Earthenware Ceramics

A Wedgwood pitcher and tumbler set with a rare majolica colorway of mottled brown with a touch of cobalt blue. This pitcher and tumbler, designed by Wedgwood in 1877, is a unique example of majolica pottery. Most majolica pieces are decorated: adorned with Renaissance-inspired designs, heavily ornamented in the Victorian taste, or covered in Japanese motifs. This pitcher and tumbler, on the other hand, is simply glazed in earth brown and cobalt majolica...

A majolica game pie dish made by Minton & Co. in 1874. The dish takes the form of a wicker basket and is covered with oak leaves, acorns, vines,...

George Jones Majolica Pitcher, of baluster form with relief molded stiff acanthus leaves, grasses, and wheat on a brown ground, the top banded with stylized leaves glazed in chartreu...

A vintage Italian Blanc De Chine fountain of a beautiful putti sitting atop a lion's bust bowl. This piece is a wonderful decorative centerpiece on its own.

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...

French Majolica grape leaves plate Onnaing, circa 1900.

A good English Majolica plate, dated 1885 and marked Minton, with turquoise and cobalt blue oyster plate with a central well surrounded by small ochre flowers. Six small and one larg...

An Early Minton Majolica 'Tavern' Ale Jug, formed as a tapering medieval flagon, the figures molded in high relief and applied, depicting a man and woman dancing, a seated figure wit...

A naturalist Majolica jardinière with different kind of leaves, large ferns leaves, a branch on the front and a nest with birds threatened by a snake signed Johann Maresch (1821-1914...

T. C. Brown-Westhead, Moore & Co. Majolica Wine Jug is molded as bunches of purple-glazed grapes with grape leaves and vines on a raised base of crisscrossed branches and branch hand...

Italian Cantagalli Maiolica Large Plate with family noble emblem, Late 19th Century During the 19th century Renaissance-Revival period the Cantagalli Maiolica and ceramic factory near Florence produced authentic copies of Renaissance Maiolica using traditional methods of tin glazing earthenware. This large Maiolica plate from the late 1800s is marked on the back with the symbol of the Rooster, which indicates that it was created by the Cantagalli ceramics factory. The plate is decorated in the center with the noble emblem of the house of Frederick Stibbert, a well-known late 19th century English/Italian collector of ancient weapons...

A Mochaware mug decorated with bands of slip in light and midnight brown. Between the midnight and light brown slip bands are three bands of inlaid rouletting decoration in geometric patterns. Although made circa 1815, the inlaid rouletting gives the mug a surprisingly modern look. The applied handle has exceptionally crisp acanthus leaf terminals. Dimensions: 4.9" tall x 4.9" deep from spout to handle, 3.25" diameter Condition: Excellent Price $1600 Background of Mochaware: Mocha decorated...

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...

A Minton pottery tile designed by Christopher Dresser in 1873. This tile, designed by Christopher Dresser and made in 1873, exemplifies the Aesthetic Movement ethos of the home as...

Keller & Guerin-Luneville pair of vases signed Handwritten signature: KG Luneville France Ne Art Nouveau shape Lys hand-painted Decor iris amid Umbelliferae...

Maiolica tureen “allo struzzo” (ostrich decoration) Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780 Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26) lb 4.78 (kg 2.17) State of conservation, a felûre consolidated inside with slight edge chipping restored. In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati. Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories. This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles. The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem. The lid is ribbed with a pear-shaped knob on top. The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...

This beautiful and impressive Rouen earthenwear in the shape of a young bacchus seated on a blue barrel holding a bottle in his right hand and a glass in his left hand. Polychrome de...

Denmark 'Flamestone' coffee or tea pot, creamer, and sugar by Jens H. Quistgaard for Dansk designs, circa 1958-1964. Features the Flamestone signature slate, almost brown glazed-ear...

An 18th century Wedgwood creamware double salt cellar. The form consisting of two basket (or pail-form) bowls joined at the rim and connected by ...

Crespina Faenza, last quarter of the 16th century Maiolica painted in two colors, light blue and yellow, on a thick, rich layer of white enamel. It measures 2.24 in (5.7 cm) in height, 6.10 in (15.5 cm) in diameter. lb 0.55 (kg 0.25) State of conservation: mimetic restoration. The small cup has a raised central “umbone”, a perforated brim and a shaped rim. It rests on a high jutting foot. The "crespina" shape, in some inventories is cited as "tacce de frute" (fruit cups). It was particularly appreciated in the Renaissance and has variants based on the formal types and the different sizes. The decoration, made according to the dictates of the “compendiario” style, used few standardized colors: blue and yellow on a thick white and shiny enamel, deliberately chosen as the colour which was most reminiscent of silver. This choice derived from a trend in creative design of the era: the shapes used in the molds were often taken from metal objects. An idea which would last throughout the Renaissance. The work shows, in the middle of the “umbone”, a winged putto stepping forward while playing a long thin trumpet. The depiction of the putto is fully representative of the repertoire of the Faenza workshops of the sixteenth century. Some specimens with this type of decoration have been published in a volume by Carmen Ravanelli Guidotti: there appears the whole productive repertoire of this fundamental moment of transition between the taste for the “istoriato” style and the great simplification of decoration in the “compendiario” period. This style, in its simplicity, however, saw its expression in a rather varied collection of decorative subjects, including old-fashioned busts...

Elegant white and blue vase 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 learned his art in the workshop of the Uriarte family, an excellent workshop where his grandfather worked. In his creations he uses the black and white mud that is obtained from the nearby hills of Loreto and Guadalupe, and colors of mineral origin that he creates in his workshop with recipes from his grandfather. All the pieces are modeled in a traditional way and go through a production process that usually takes from one to two months, between drying, burning, and painting. Being surrounded by a living tradition, Cesar Torres Jr., learned from his father since childhood. Architect by profession, Cesar Jr. has come to revolutionize and modernize with new designs and ideas of the current world, nevertheless always respecting the tradition of the processes and materials that make Talavera a Creole art...

English Majolica basket with mottled green basketweave, a cobalt blue handle, and lavender interior, ca. 1875, Measures: W 6 x H 4 x D 1.5 inches For 30 years we have been among th...

1959 / 2004 based on Red Rose Plate from 1959 earthenware plate with acrylic display box plate diameter: 23 cm or approx. 9" display box: 32 x 30 cm or approx. 12 1/2" x 11 3/4" edit...

Theodore Deck (1823 - 1891) An Iznik Style Enameled Faïence Rectangular Jardiniere Hand-painted with foliages, stylised leaves and flowers in turquoise, cobalt-blue and red outlined ...

Pair of George Jones Majolica Cornucopia Vases, English, circa 1875, each modeled as a white wicker ground cornucopia, with trailing green glazed leafy vines and simulated mossy twig...

A small 19th century English Wedgwood majolica oyster plate having six wells with green fish head motif surrounding a central white well...

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

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

18th Century polychrome Delft oil and vinegar stand in Imari flower decorations.

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...

Unusual French yellow Majolica moon plate with owl, star ,bat and bird, circa 1880.  

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...

A Large Wedgwood Majolica Oyster or Mussel Server, the lobed dish molded with twelve fish head-shaped wells glazed in green, with a central dipping well, the reverse with impressed m...

Samuel Alcock Majolica grape and strawberry tray, English, ca. 1875, naturalistically molded with a large grape leaf with purple glazed grapes, ...

Rare 1930's Italian black glazed majolica urn with asymmetric handles which are silvered along with rim and foot and an orange glazed stylized fox set within an arched niche. Designe...

Holdcroft Majolica umbrella stand, English, circa 1875.

Wayte & Ridge Majolica Monkey wall pocket, 18 inches high, English, ca. 1860, molded as a monkey climbing a tree, holding a simulated coconut forming the flower bowl, with molded loz...

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

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 ...

Quimper ceramic earthenware vessel with lid Substantial piece in weight and feel with beautiful floral motif Wonderfully vibrant colors Marked identi...

A most unique and unusual piece of wall art by the well known Swedish Lisa Larson for Gustavsberg, 1970s. There are 3 individually tiles plaques. Each pattered tile is a work of art ...

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...

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

From Italy, this hand painted majolica vase has two scenes divided by scrolling snake handles. One side depicts a trophy of arms with black eagle supporters, a flag and a ribbon date...

Colorful set of three West German fat lava brown and orange glazed ceramic vases. Germany 1960s. The giant sized one is a West German Pottery fat lava glazed ceramic vase manufactured by Scheurich. Marked on underside: W.German 408-40. . These vases are amazing placed together. They have eye-catching colors in orange, shades of red, orange and brown. The smaller fat lava West Germany...

George Jones Majolica 'Apple Blossom' Teapot, the pear-shaped teapot and lid molded with blooming apple tree limbs, with a mossy branch handle and spout, with basketweave banding, th...

T. C. Brown-Westhead, Moore & Co. Majolica Bread Platter, of round form, the mottled center, banded in yellow, the outer border with yellow wheat sheaves molded in high relief, the r...

Rare early 16th century Mudejar tile of the so-called ‘Aristo’ or 'cuerda secca' technique Geometric design with a central intertwining cords. Very ornate decoration. This type of...

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...

Tittensor (possibly) Staffordshire Pottery Prattware bocage cow creamer which features a cow and a calf, recumbent on a shaped base. Decorated 'in the round', decoration to front and...

This large turquoise pot holder in glazed earthenware was made by the reknowned ceramist Théodore Deck at the end of the 19th century. Its beautiful bl...

Arabia, Finland. Art Deco bowl in glazed faience. Beautiful marbled glaze. 1920s/30s. Measures: 27 x 5 cm. In excellent condition. Stamped.

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

Five oval maiolica dishes with pierced edge Manufacture of Pasquale Rubati Milan, 1770-1780 Three small oval dishes 10.23 in x 7.67 in (26 cm x 19.5 cm) Two large oval dishes 10.82 in x 8.85 in (27.5 x 22.5 cm) lb 3.5 (kg 1.8) State of conservation: intact The five dishes of different sizes have an oval shape, a mixtilinear edge and a molded polylobed shape with a surface enriched with a relief weave motif extending to the brim and forming a perforated basket...

Discover this rare 19th-century polychrome earthenware set, featuring a covered asparagus server with a matching platter. This French Barbotine asparagus server is a true collector's...

This is superb set of 12 faience "Vietri" Italy Hand Painted Soup plates. The plates were painted and signed by Romolo Apicella. We believe that the plates date to the 1960's, but it...

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

Dessert set for 12 people "Le Parisien" by Creil & montereau. 12 different exquisite scenes of children playing with fruits. It is stamped on the back with Creil & Montereau marks and Le Parisien identification. Le Parisien is the story of a little boy discovering country life, designed by the French artist and painter Antoine-Albert Richard (1845-1921) named "Froment-Richard". He designed several sets for the French Creil & Montereau manufacture, but "Le Parisien" is the most famous with a brown rim enhanced with groups of three petals and ex. The dinner set depicts a fantastic and humorous universe. Wonderfully decorated all the characters' clothes are exquisitely detailed, they play with vegetables, fruits, meat, and fish. Dessert plate patterns : 1. Grapes 2. Flower and angels 3. Cassis 4. Blackberries 5. Heart plate...

Emile Gallé for St. Clement, Nancy. Antique bowl with a handle on three feet in hand painted faience with a coat of arms. 1870s-1880s. Measures: 15.5 x 5 cm. In excellent condition.

Samuel Alcock & Co. Majolica purple glazed geraniums plate, English, circa 1860, molded with purple glazed geranium blossoms, stems and leaves glazed in green, yellow and brown, rese...