Earthenware Ceramics

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...

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...

- 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...

Decorate a kitchen wall or a breakfast room with this large antique majolica plate. Sculpted in France circa 1880 in the manner of Longchamp, the colorful porcelain platter is decora...

French red Majolica creamer pitcher Onnaing, circa 1920.   

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

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 ...

French Majolica asparagus platter Salins, circa 1880. Decorated with ferns.

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-...

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

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 ...

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 ...

- 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...

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...

Centerpiece white maiolica shell Ferniani factory, early period: 1693-1776 Faenza, circa 1700 Measures: 5.6 in x 14.72 in x 13.46 in (14.3 cm x 37.4...

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...

Creil Faience Fine Creamware Dish, Circa 1800-20 This charming French creamware dish is decorated with a molded design of bullrushes encircling the dish. The crisp design display...

Elegant white and blue jar made with the authentic Talavera technique. Master artisan, 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 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...

Beautiful sculpture in brown earthenware modeled in the expression of a woman in polychrome glaze with blue hair, made in Germany, 1930s. Erwin Spuler (1906-1964), who initially studied at the School of Applied Arts in Stuttgart, studied with Georg Scholz...

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

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

Superb pair of large traditional 19th Century Spanish lGranada Fajalauza Lebrillo earthenware bowls. With green and white hand painted glaze decoration. Both bowls have old metal ri...

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

Majolica Cockerel Spill Vase by Choisy-le-Roi, naturalistically modeled and glazed as a crowing rooster on a molded barnyard base, the rectangular vase formed by simulated stacked st...

"Cockerel & Monkey Minton Majolica Teapot the protrusive cockerel head with forming the spout, a smiling, like if he was riding the cockerel, is...

Decorative ceramic vase handmade in Italy and decorated with platinum luster, the luster process requires three firings of the vase. Dimensions: D 22 cm, H 31 cm. The vase draws in...

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

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...

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...

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

Stunning Art Nouveau/ Arts & Crafts tile panel from the superb firm, Craven Dunnill, & Co., Ltd, Jackfield Salop, England, circa 1905, in a bright celadon. This quantity original jug...

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

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...

- 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...

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

A rare and beautiful wall relief featuring hand-painted flowers & women, designed by Birger Kaipiainen for Rörstrand and manufactured in Sweden in the 1950s. Kaipiainen spent onl...

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...

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...

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...

- 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...

French Majolica oyster plate with yellow acanthus leaves, 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...

A Wedgwood Fairyland lustre bowl designed by Daisy Makeig-Jones ca. 1925 and decorated with the 'Blue Willow' pattern. The ‘Blue Willow’ pattern is timeless, inspired by 18th-century Chinese blue and white porcelains and appearing on English transferwares since the early 19th century. Thomas Minton is credited with creating the standard pattern as we know it today circa 1780; from there, all the major English potteries, and some American ones, began producing ‘Blue Willow’ transferwares...

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...

Coffee pot Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome maiolica It measures: 7.87 in x 6,49 x 5.11 (20 cm x 16,5 x 13); weight 1.23 lb (561 g) ...

A dark brown-glazed pearlware bough pot with pierced cover and applied decoration, made by Wedgwood circa 1785. The development of a whiteware body had been a goal of ceramicists ac...

Arabia, Finland. Art Deco vase in glazed faience. Beautiful marbled glaze. 1920s/30s. Measures: 27.5 x 17 cm. In excellent condition. Stamped.

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...

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 im...

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

Majolica flower pot "crescent" decorated in manganese Pasquale Rubati Factory Milan, c. 1770 4.92 in x 8.66 in x 5,31 in 12.5 cm x 22 cm X 13.5 cm Weight: 2.29 lb (1039 g) State of conservation: intact with slight chipping due to use in relief parts A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...

Heljä Liukko-Sundström (b. 1938) for Arabia. Glazed faience wall plaque with hand-painted flowers. Finnish design. Dated 1981. Measures: 23.7 x 11 cm....

Pair antique 18th century Wedgwood creamware green feather edge sea shell dishes in the Rococo taste. Each dish marked on the base. Measure 7 3/4" x 5 1/2" x 2 1/8" tall. Good condit...

A George Jones Majolica Candlestick Stand on a rustic brown ground, the stand with a comb design and raised candle snuffer receptacle, with relief molded g...

A vibrant and rare set of six French ceramic mugs created by celebrated artist and ceramicist Robert Picault in Vallauris, on the French Riviera, circa 1960. Each generously proporti...

A Mid Century Modern teapot and milk jug from the series "Blå eld" translated to Blue fire in English is quality earthenware from Rörstrand, Sweden desig...

Ettore Sottsass was a groundbreaking Italian architect and designer whose work reshaped postwar design culture. Born in 1917, he became widely known for challenging the rigid functio...

A George Jones Majolica Centerpiece Jardinière, the cobalt glazed shaped bowl supported by two naturalistically molded and glazed doves, with ribbon-wrapped garlands and trimmed in yellow ocher, on a rustic mound with green-glazed leaves and ferns forming the base; the reverse with molded and applied blue cartouche pad, 'GJ' monogram, and 'STOKE-on-TRENT.' Design number 2225 for the entry, 'Dove Jardinière,' as recorded in the George Jones Majolica Pattern Books preserved in the Victorian and Albert Museum, Wedgwood Collection, and reprinted in V. Bergesen.* The design is documented in the Karmason Library of the Majolica International Society, Number KL001257 with the designation 'Rare.' We have been among the preeminent specialists in fine English majolica for over thirty years. BOOK REFERENCES: -Victoria Bergesen, MAJOLICA: British, Continental, and American Wares. London: Barrie & Jenkins, 1989, p. 202 (George Jones Majolica Pattern Numbers, pp. 201-205). -Susan Weber et al., MAJOLICA MANIA: Transatlantic Pottery in England and the United States 1850--1915. New Haven and London: Yale University Press, 2020, Volume Two, p. 246, FIG. 18.21. -CHRISTIE'S London, 19TH CENTURY BRITISH AND CONTINENTAL CERAMICS...