Earthenware Ceramics

Eye-catching Majolica glazed ceramic corn on the cob jug and tumbler set of four. France, 1960s. The set is comprised by a large ceramic jug with co...

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...

This 19th century Majolica asparagus hand painted plate was made in France. This Majolica dish is in the style of the Salins-les-Bains Craft.

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...

19th century majolica plates by Villeroy & Boch in unusual color combination of olive green and turquoise with relief design on front. Nice addition to your table or just to display....

French Majolica rooster pitcher Keller and Guerin Saint Clement, circa 1900. Original older model. Height / 12.8 inches.

Decorate a wall of a shelf with this colorful set of decorative plates. Crafted in England circa 1880, each plate is heavily textured and brig...

Three 19th Century faience vases or 'albarelli' from Puglia. Southern Italy, 19th century. The vases measure 20 x 17 cm, 16 x 15 cm and 16 x 14 cm.

A pair of Italian majolica trompe l’oeil garden stools, mid-20th century. 13 inches wide by 13 inches deep by 15 ½ inches tall

This large bowl narrows at the base and is glazed in peacock blue with black line pattern. Stamped Primavera Lonqwy France.

This beautiful antique ceramic dish was crafted in Normandy, France, circa 1880. The stylized ceramic plate has a scalloped edge and depicts a han...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

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...

Majolica asparagus plate attributed to Fives Lille, circa 1890.  

Black ceramic Art Nouveau style jardinière with green distressed finish. Inside is flamed glaze and outside is natural finish. Minor chipping/scuffs. (See pics). Signed Italy.

Beautiful set of 2 earthenware tea cups in the "George Sand" collection. These tea cups feature an elegant and detailed design, adorned with a raised pattern of strawberry leaves, ...

This is 1953 Art glazed Ceramic Charger Painted with two stylised blue figures suggesting dance movement on an off white background with earth brown and grass green soil with a touch...

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

Charming, unusual bowl depicts a donkey wearing pink baseball hat and pulling a cart. The piece features elaborate decor on the cart with applied wheels and decorative rims; the donk...

French Majolica grape leaves plate Onnaing, circa 1900.

A 19th century English George Jones Majolica glazed ceramic plate with grapevine pattern in green and brown, center medallion and ochre banded rim. Mottled color on reverse side with...

Majolica plate two parakeets with oranges Salins, circa 1890.  

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...

Rare early 16th century Mudejar tile of the so-called ‘Aristo’ or 'cuerda seca' technique. Polychrome tiles had long been made in Spain in the cuerda seca (dry cord) technique, dati...

Rare pair of blue faience tiles Marine landscape painted France, 1880-1890 "E. Gallé Nancy" signed on the back Excellent condiction.

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. two red bands around the top. the base decorated with...

Large Hispano-Moorish earthenware plate, 18th century Diameter: 41 cm Good condition

Large Vintage Glazed Earthenware Teapot by Peter Shire, 1982. Earthenware and Enameled Metal construction, Hand-Built. Approx: 15 1/2" high x 12" wide x 25" long Peter Shire: ...

A Large George Jones Majolica Cheese Bell and Stand, rendered as a beautiful summer's day, the domed lid and stand with a rustic fence and relief-molded daisies, wheat sheaves, and g...

A very handsome pair of 19th century British ironstone earthenware platters, decorated by hand in a striking palette of cobalt, vermillion & gilt. Unmarked but most likely manufact...

Antique French hand-painted Majolica porcelain "Beagles" wall pocket, Circa 1890's.

Bottega Vignoli, Byzantium vase, 2022 Full-fire reduction earthenware 17cm x 37cm height. unique piece hand-painted Italian majolica. Bottega Vignoli is a brand of artistic ceramics...

Set of Two Green Plates from the George Sand Collection These plates feature a deep, vibrant red background that creates a striking contrast with the intr...

Large, rare Italian reticulated, hand painted Rococo style floral motif centerpiece by the Nove factory. Designed as an oval reticulated footed basket with masses of hand sculpted fl...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

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

Vintage hand-painted polychrome Makkum Dutch ceramic tiles by Royal Tichelaar ranging from the 1920s to 1950s. An assortment inspired by designs dating back to the 17th century decor...

French Faience oyster signed plate signed Alfred Renoleau Angouleme, circa 1890.  

Stunning, sleek and simple Japanese inspired Art Deco serveware set in shiny emerald green and black glaze. Produced at the Upsala Ekeby studio attributed to Harald Östergren, 1930s....

Lovely rectangular earthenware tile representing a woman's face surrounded by ribbons and folliage. An exquisite antique with a lot of character that draws the eye and makes you wonder.

A 6 antique earthenware tiles set evoking a delicate sun-shaped figure surrounded by abstract shapes. A beautiful decorative set that can be used on a chimney or a wall - one of many...

Set of 4 early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. condition: 3 are in very good conditi...

A fine vintage Santa Claus character jug or decorative mug by the English pottery firm, Royal Doulton.

This is a very good early decorative large earthenware pottery Soup Bowl or Deep Plate made by Zachariah Boyle of Hanley and Stoke, England, circa 1825...

French oval Majolica cake stand or comport with leaves, ferns, and pink flowers, circa 1880-1890, signed Choisy le Roi. 9.8 by 8.2 inches. H / 2 inches.

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...

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...

Decorate a tabletop with this colorful, majolica basket composition. Crafted in France circa 1960, the centerpiece features a realistic assortment of fruits and vegetables in high re...

A Minton Majolica Jardiniere, the urn-form body with applied laurel wreath handles tied with pink ribbon bows on a turquoise ground, the shoulder and rim molded with neoclassical bor...

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...

Set of glazed ceramic radish salt wall container, vase & pink onion salt shaker Beautiful set of Majolica ceramic radishes wall salt container and vase and ...

Elegant black and white jar made with the authentic Talavera technique. Master artisan, Cesar Torres portraits the colonial art of Mexico while cre...

This faience dish was crafted by the B&Cie factory in Montereau, while its design was conceived and painted by Félix Flick; Charles Poyard likely contributed to the enameling. This ...

Charming set of 4 French Provincial plates. Each with scenes of man and woman. Labeled on the back of each plate. Wonderful collection of plates with many uses including display, jew...

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...

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...

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...

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. The oval centre painted with a large berry and leafy ...

Delightfully painted in soft tones of blue conveying the lightness and charm of Chinoiserie. Painted with a chinoiserie landscape scene of a large peony growing behind a fence wit...

French faience fish head plate signed Henriot Quimper, circa 1940. 10 plates available.