Earthenware Ceramics

French Majolica Lobster ,Shrimp and frog Platter HB Choisy Le Roi Circa 1930. The manufacture of Choisy le Roi was one of the most important manufacture at the end of 19th century, t...

A lovely and colorful Manises ceramic sauce boat with a fish figure on a plant leaf saucer manufactured by Hispania CH-Lladró. This piece is in great condition and it is full of expr...

A large vintage serving platter featuring the wild Turkey, Barnyard King brown and white transfer-ware pattern by the celebrated English pottery firm, Jo...

19th Century Majolica napkin Trompe l'oeil box or basket/tureen with an egg on the handle signed Sarreguemines.      

Unusual 19th century majolica asparagus plates with large green cabbages leaves on a yellow background (usually on blue background), very colorful plates...

Elegant 19th century French Majolica pair of vases attributed to Fives Lille. The vases are shaped like walls decorated on the front with kingfishers on branches, on the base mushro...

Handmade stoneware table lectern manufactured at the workshop of Apparatu in Barcelona. Different clay bodys are mixed with natural fibers like corn, str...

Rare small Palissy platter with frog, shells, butterfly and plants, circa 1880 signed Thomas Sergent.

Unusual and playful majolica pitcher has its top part shaped in form of a bull's head with bull's mouth forming the spout. It is decorated with hand painted traditional Italian flow...

Very rare and beautiful Spanish earthenware bowl. Wonderful decoration with a bird sitting on a vase of flowers Sevilla, Spain, circa 1750-1850 Weathered and amazing antique repair ...

Elegant white and blue sink lavabo made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. 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...

A Highly Important George Jones Majolica 'Palissy Vase,' molded as an obovoid-form ewer, the rustic bark ground with molded green-glazed leaves and ferns,...

An assembled pair of Wedgwood cress or strawberry dishes, Two Piece; Footed Pierced Dish with Stand. Late 18th c. This would have been used to serve watercress or strawberries after ...

Unusual 19th century majolica asparagus plates with large green cabbages leaves on a yellow background (usually on blue background), very colorful plates...

Assortment of dishes Lombard manufacture 1770 – 1780 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...

- 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...

T.C. Brown-Westhead, Moore & Co. Majolica Jug Depicting 'The Fox and the Grapes from Aesop's Fables, with a molded and applied fox to each side and glazed in deep cobalt blue, the to...

Striking earthenware floor vase by Anna-Lisa Thomson, glazed semi-translucent white. Decorative embossed graphic pattern. The artist Anna-Lisa Thomson is best known for her stonewar...

Lovely German Majolica cat with her kitten plate, circa 1900.

A Joseph Holdcroft Majolica Plate, the center with a relief-molded fish and floral on a deep cobalt blue ground, with a Moresque-style ornamental circular band glazed in brown and oc...

Majolica flowers sweet peas plate signed Choisy le Roi, circa 1880.

A Minton Majolica Small Tazza formed as a shallow bowl supported by a horn and naturalistic stag's head, with green stylized leaves, the oval base glazed in cobalt, with gadrooned ed...

- 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...

Amusing pair of Victorian Majolica pickles pitchers signed dated with the English mark June 7th 1871.

Charming Art Nouveau Majolica handled platter with two pink wild roses signed Jerome Massier Fils, circa 1900.

- 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...

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

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...

A 19th Century French glazed earthenware plate by H. B. Boulanger Choisy-le-Roi. Hand-painted urn of flowers in magenta, green and brown. Marked verso: Terre de Fer H.B Choisy-le-Roi...

A pair of late 19th Century English Minton Majolica oyster plates with six oyster wells and a large well for crackers surrounding a center well for sauce. Luminous cream and pink gla...

Menton French Majolica (Barbotine) Trompe L'oeil Wall Plaque on a turquoise ground with lemons molded in high relief, circa 1880, 8-inches diameter. Generally referred to as "Mento...

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter l...

Early 19th century creamware Liverpool jug of the American ship Caroline, circa 1800, with polychromed decorated image of the sea and the American flag ...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice 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 which Antonio Ferretti introduced in Italy. This 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 had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had 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, could 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...

- 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...

The designs on this French faience group is typical of pottery made in Rouen. Early 20th Century French Hand-Painted Faience Vasse from Rouen Marking on the bottom: " Rouen Fait ...

Slipware Dish England, 1900 Earthenware adorned with patterned hand-trailed slip decoration. 11”dia x 1.75”h Ref. O2163

- 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...

George Jones Majolica Trompe L'oeil Rare Tile, naturalistically molded in high relief with a large green-glazed lily pad and waterlilies, on a cobalt blue ground, the reverse with pa...

Antique Wedgwood creamware pottery plate with James Bakewell type enamel decoration, circa 1770. Raised relief border. Measures 7 5/8" diameter. Good condition. Unmarked.

A pair of Minton Majolica Reticulated Baskets, designed by Albert-Ernest Carrier-Belleuse (1824-1887). Excellent condition on both pieces, no issues! Made in lead-glazed earthenware (Mintons "Majolica"). With full marks "MINTON 1210". Albert-Ernest Carrier-Belleuse worked at Minton as chief designer between 1850 and 1855. During his time at Minton, he created models for porcelain items, including vases and sculpture...

Authentic antique Catalan faience plate, attributed to Catalonia, Spain, dating to the late 18th - early 19th century. The plate is hand-painted in cobalt blue with a charming naïve ...

Set of beautiful moulded tiles made of earthenware. Featuring flowerheads and foliage, this set of antiques creates a universe on its own.

Late 19th Century French creamware pickling bath. A great shape, Circa 1880.

A Highly Rare Thomas Sergent Palissy Ware Majolica Trompe-l'oeil Wall Pocket, naturalistically molded as an oak tree, with green-glazed leaves and acorns, a fledgling blackbird in ne...

This 19th-century French confit pot showcases the rustic charm of Provincial stoneware, featuring a beautiful yellow glaze typical of the region. Used historically for preserving mea...

Handsome Art Nouveau Flemish earthenware three handled vase with applied L.M.V mark and decorated with figures in landscape. It is in good vintage condition. One handle has been restored and there are several glaze flakes and small chips; however, it still presents very nicely. It is priced accordingly. Please see photos, circa 1890s-1910s. I fell in love with this pot immediately so snatched it up quickly. Then fell in love further after learning about its rich Flemish history. This three-handled Art Nouveau jug style vase is decorated with interesting figures and landscapes in the most beautiful blue, yellow, green, and brown polychrome glaze. It is signed by the artist, Leo Maes...

Beautiful lustreware plate from Manises, Valencia, early 18th century, Hispano Moresque, its oval well decorated with a striking depiction of a bird amid dense scrolling foliage — a ...

Gaetano BATTAGLIA (Naples-Italy-Active between 1850 and 1885) Large circular earthenware plate in the style of Italian majolica with polychrome historiated decoration on the basin, t...

- Handbuilt ceramic coat hook - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co...

Charming mid-20th-century ceramic bowl or cup with its matching saucer, designed by celebrated French ceramicist Robert Picault in Vallauris. Both pieces feature Picault’s highly rec...

Figgjo Flint, Norway. Three "A La Carte" faience plates. 1960-1970s. Perfect condition. Marked. Dimensions: D 24.0 cm.

A charming set of nine ceramic knife rests by French ceramicist Robert Picault, produced in Vallauris, on the French Riviera, circa 1960. Each rectangular rest is individually hand-...

Cantagalli Maiolica Plate with Heraldic Emblem Cantagalli Factory, Florence, Late 19th Century Tin-glazed earthenware (maiolica); polychrome decoration This large maiolica plate was...

- 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...

Ettore Sottsass was an influential Italian architect and designer best known for reshaping the language of postmodern design in the late 20th century. Born in 1917 in Innsbruck and r...

Decorative bowl by Stig Lindberg, Sweden, circa 1950. Faience. Very good condition. Hand painted. An artistic jack-of-all-trades, Stig Lindberg was accomplished in industrial design...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). This decorative choice 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 which Antonio Ferretti introduced in Italy. This 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 had started their Maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had 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, could 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...

This early 20th century Continental terracotta planter is designed in a rich high glaze cobalt blue and white finish. The body of the planter features decorative applied handles that...

Rare Fluted Earthenware Vase by Vicke Lindstrand for Upsala Ekeby. Sweden, 1930s. A rarely seen white earthenware vase designed by Vicke Lindstrand and produced by Upsala Ekeby in S...