Earthenware Ceramics

We are pleased to offer this exceptionally large and rare mid-19th century English mochaware bowl. Each piece of mochaware is unique. Made in England ci...

- Handbuilt terracotta ceramic wall light - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co-created by the potte...

A Wedgwood Majolica 13-in Oval Platter molded with a continuous band of red-glazed strawberries and flowering vine glazed in green, the well with a stylized flower glazed in turquoi...

Rare 19th century porcelain Palissy platter with fishs, eel, shells , crawfish and ivy leaves.

Stunning lemons Manises Majolica ceramic wall decoration, Spain, 1960s. Handcrafted ceramic wall hanging sculpture featuring a bunch of...

19th Century French Blue & White Pagoda Plate signed Creil et Montereau. 8.7 inches diameter.

A modern earthenware English butter dish made by Denby, a traditional English pottery company in the village of Denby, Derbyshire. A traditional re...

Traditionally shaped fruit dish by contemporary French ceramist and colorist Claire de Lavallée.   

Small Majolica white rabbit pate tureen or box circa 1950 signed Caugant.

Visage Noir Putoise (A.R. 49), 1948 Stamped "Madoura / Plein / Feu / Edition / Picasso", marked "I 105" and numbered "77/200" to underside White Earthenware ceramic plate with engobe...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Antique French faience handled platter with coat of arms dogs and floral pattern, circa 1900.

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

This antique Historism centerpiece / pedestal bowl is made of polychrom glazed majolica and features four cartouches decorated with high relief knight helmets and dragons. The manufa...

Large Plalissy ware Majolica Trompe L'oeil Platter by Alfred Renoleau (French 1854-1930), circa 1885. Naturalistically molded and applied with a large fish and eel to the center, a ...

Coffee or tea set of cups orange design, Spain, 1960s. Cool set of hand-painted orange glazed ceramic cups. Manufactured at the Mid-Century Modern Period. This set will be a nice...

A lovely antique 19th-Century French majolica footed grape leaf platter or dish, circa 1880. This beautiful platter has a scalloped edge, gorgeous teal and pink colors, and charming ...

Unusual Majolica platter with 3 fishes signed Choisy le Roi, circa 1880.

Vintage glazed terra cotta platter with three dimensional SeaLife. Very whimsical & colorful.

Art Nouveau Majolica glazed tableware set of 10 pieces Leaves pattern in relief. Sarreguemines Majolica is a type of earthenware, decorated with colored lead glazes. Majolica was m...

Beautiful artichoke and leaves 8 pieces crockery /tableware / serveware set. Spain, 1960s This serving set is made in dark green glazed ceramic and it is comprised by: 1 artichoke sugar bowl / sauce tureen with lid+ 1 small serving spoon+ 1 small plate 1 serving small bowl 2 leaf shaped small plates 1 artichoke salt shaker+ 1 artichoke pepper...

A George Jones Majolica Baluster-Form Pitcher, the body with relief-molded chestnut leaves and blossoms on a deep pink-glazed ground, the handle formed with two branches tied with pi...

Set of Spanish tiles of the 'dos por tabla/ type in the Arista y cuenca tile made in Toledo. This particular type was to adorn ceilings. Tile decorated in renaissance style with a c...

George Jones Majolica Lotus Plate, naturalistically molded as overlapping lily pads and lotus leaves, with a central relief-molded pink and yellow lotus flower on turquoise-glazed wa...

Early Arista y Cuenca tile made in Toledo. Azulejo Toledano. Alhambra tile decorated in renaissance mudejar style geometrical design. Probably made between 1550 and 1575. In very g...

Early Arista / border tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575. Catalogue: La Azulejería Toledana a Través ...

Rare late 15th or early 16th century Mudejar tile of the so-called ‘Arista’ technique with intricate geometric decoration. Good condition; some chipping to the edges, some wear to ...

Big Majolica vase Ginori Italy, 1850-1890 Very good codiction Difetto di cottura sotto la base (vedere fotografia)

Nice Mado Jolain vide-poche ceramic, circa 1950, France. Enameled white earthenware, pale creamy yellow, grey and black decor. Signed underneath. Dimens...

Joseph Holdcroft Majolica Japonisme square shaped box and cover, glazed in cobalt blue, with relief molded flying cranes, flowering prunus branches, and squirrels, the cover bordered...

Majolica asparagus platter in two pieces signed longchamp, circa 1890. Measures: two pieces / the platter 13.3" on 9", H / 1.8". cradle / ...

Majolica plate with rooster signed Hippolyte Boulenger Choisy le Roi, circa 1890. The manufacture of Choisy le Roi was one of the most important manufacture at the end of 19th centu...

Massive Italian Majolica allegorical charger by A. Deruta Gorgeous continuous Italian Renaissance style decoration Ready to hang.

Majolica Chrysanthemum oyster plate signed Wedgwood, circa 1875.

Rare Rouen plate with beautiful blue decoration. France, circa 1750 Good condition.

Majolica plate two parakeets with oranges Salins, circa 1890.  

An antique Majolica lidded vase moulded with a continuous relief moulded scene of putti in various activity with grotesque horned lion heads applied either side of the rim. The earth...

Large English Majolica begonia leaf decorated with strawberries and cherries, circa 1890.

Maiolica puerperal cup Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm) Weight: 0.78 lb (358 g) State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked. From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany. In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility. During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc. Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift. This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor. In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance style with interlacing lines ending in four stylized flowers was probably made between 1550 and 1575.

Maiolica tureen Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 9.05 x 12.59 x 9.05 in (23 x 32 x 23 cm) ...

Made in England circa 1815 this mochaware pitcher is decorated with bands of lovely milk chocolate-colored slip. The color works beautifully with the unpainted creamware body of the handle and interior of the pitcher. Just below the top edge, we see a band of black and white rouletting, and above the bottom edge is a similar black and white rouletted band. Dimensions: 5.75" tall x 4" at the widest point Condition: Very Good: two short hairlines of approximately half an inch are seen on either side of the top edge. There is a hairline on the underside which does not go through. Price: $760 Background of Mochaware: Mochaware pottery...

MAJOLICA COATING; PORTUGESE PALISSY WARE, CALDAS DA RAINHA, PLATE , CRAB/Vintage Crab Palissy Majolica Ocean Sea Decor Wall Plate. Traditioneel Caldas da Rainha plate Handmade and H...

Minton Majolica Oyster Plate, the relief-molded dish with six wells glazed in mottled leopard spots of green and dark brown, each well separated by shells and seaweed, the center wel...

Majolica plate two parakeets on a blue background with oranges signed Salins, circa 1890.  

Table set for 12 people "Le Parisien" by Creil & montereau. 12 different patterns with children playing with vegetables, eggs, frogs, nuts, snails, etc. Creil & Montereau marks with ...

A set of four mismatched earthenware mugs with colorful drip glazes. One is a triangular shaped mug in a blue with green drip glaze, another is purple with a sculptural ribbed shape,...

A lovely dish in faience designed by Stig Lindberg at Gustavsberg Studio, it´s 25.5 x 19,5 cm (10.2" x 7.8"). It´s in excellent condition. It is marked with the Stig Lindberg charact...

Enameled earthenware vase. Handcrafted in France, in the potters' region of Puisaye. Dripping glaze and complex texture on its pot-belly. In the style of Jean Carries...

A stylish and impressive antique English majolica pottery game pie dish and cover by renowned and sought after maker Minton and dated 1867. The earthenware dish stands raised on four...

A Samuel Alcock Majolica Pitcher, the body molded as a tree trunk with ferns, oak leaves, acorns, and ivy, entwined by a high relief-molded and ...

Elegant surrealist sink lavabo made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. The Spanish colonial style sink is a perfect piece to bring personality and light to bathrooms and restrooms. Its warm colors bring light to the piece, creating a cozy effect in the atmosphere where it is placed. The Talavera is not just a simple painted ceramic: its exquisite decoration is the product of a delicate process of alchemy that translates into fine enamels. In Puebla, Mexico few people still produce using Talavera with the ancestral techniques.One of those few is Cesar Torres, Don Cesar...

PICHET AU OISEAUX (A.R 456), 1962 incised with number 80/200 and Edition Picasso and Madoura, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. Painted ...

Albarello wand cover with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N° 49" 18th century. Height: 15 cm incl lid, diameter ...

A Wedgwood Majolica earthenware pottery match holder and striker, Staffordshire, England – circa 1869. For the hearth, kitchen or bedside, the holder is ribbed for lighting strike...

A rarely found English Majolica mask handled and climbing Ivy water pitcher, marked Samuel Alcock & Co. circa 1875. A round bellied cobalt blue body ...

Majolica oyster plate with different flowers on each shells, circa 1900 signed Longchamp. Hairline.