Aesthetic Movement Ceramics

Théodore Deck (1823-1891) Gourd shape vase with a spherical body and straight neck Polychrome glazed earthenware designed on both sides with a bird, butterflies, a bee, and flowers o...

Large unusual Austrian Majolica oyster plate, circa 1880.

Circa 1859-1884 Blue Willow pattern platter by J.T. Hudden, England. Fine earthenware in one of J.T. Hudden's (John Thomas), Anchor Rd., Longto...

Large unusual Austrian Majolica oyster plate, circa 1880.

Antique French majolica basket with flowers and butterfly, bug, and insect accents, circa 1880. No maker's mark. Some chips.

Théodore deck (1823-1891) Impressive Enameled Faïence Vase, circa 1875 Large baluster shape vase with eggplant enameled background Rich hand-painted polychrome decor of two birds re...

Majolica Plate Flowers & Dragonfly Choisy le Roi, circa 1880. Baby blue background with lily of the valley. 8 inches diameter.

Théodore deck (1823-1891) Impressive Enameled Faïence Vase, circa 1875 Pair of Turquoise Glazed Ceramic Vases by Théodore Deck, 19th Century, Chinese Archaistic Style A striking p...

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...

Circa 1860s Scalloped Imari Chop Plate, Japanese. The boldly scalloped design creating two cartouches with flowering gardens decoration flanking the central floral urn reserve with f...

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...

Majolica Plate Purple Flower & Butterfly Choisy le Roi, circa 1880. Baby blue background with lily of the valley. 8 inches diameter.

These are a near pair of rare Portuguese Majolica of Caldas da Reina jugs or pitchers created by the important majolica designer Manuel Marfa c. 1860-1870. The jugs are in the form ...

A stylish early Doulton Lambeth stoneware sugar pot with silver plated mounts by renowned artist Clara S Barker and made in 1878. There is a further interesting artist mark to the base of this piece which is either that of Jane S Hurst...

Woman with a parrot, KPM Berlin, 19th century.. Beautiful figurine of a standing woman in oriental dress holding a parrot in her right hand. Naturalistically painted with fired KPM mark...

Majolica Plate Flower & Butterfly Choisy le Roi, circa 1880. Baby blue background with lily of the valley. 8 inches diameter.

Majolica Plate Purple Lily & Butterfly Choisy le Roi, circa 1880. Baby blue background with lily of the valley. 8 inches.

Théodore Deck (1823-1891) An important Japonisme vase by Théodore Deck, combining richly developed glazes with sculptural elephant-head bronze mounts. This large enameled ceramic va...

Paire of Japanese style Old Hall Earthenware vases decorated with gilt elephants. Design attributed to Christopher Dresser (a similar model in C.W Dress...

This wonderful incredibly colorful fish dish was realized by Creil & Montereau earthenware circa 1880. It is representing "La pêche aux bébés" ("Fishing for Babys") Slightly chantourné shape, representing a couple fishing for babies in a lake at sunrise, the baby caught waiting for a square aquarium. Signed bottom left, "fr.richard" and Creil stamp on the back. Le Parisien set is telling the story of a young Parisian boy discovering the countryside, with many scenes so charming. Decorated with a brown rim enhanced with groups of three petals, the whole set depicts a fantastic and humorous universe with part of imaginary characters who cook and play with vegetables, fruits, meat, and fish. This design set is the most famous of the factory Creil & Montereau, designed by the French artist and painter Antoine-Albert Richard (1845-1921) said "Froment-Richard". Book pictures...

This set of 12 Doulton Burslem plates dates from the 1890s and are decorated in the Aesthetic Movement style. Each plate is uniquely hand painted...

A very rare and stylish Doulton Lambeth Marqueterie Ware blue and brown marbled art pottery saucer with gilded designs by Lambeth’s first Art Director Wilton Parker Rix (Doulton Lamb...

Royal Worcester - Dr. Christopher Dresser (Attributed) - Antique English blue and white transfer decorated twin handled porcelain center...

BURGESS & LEIGH - HILL POTTERY (Manufacturer) - Rustic (Pattern Name) - Aesthetic Movement transfer decorated ceramic cabinet plate in brown - featuring fruits, florals and a swallow...

Though undocumented (to our knowledge) this beautiful ceramic carafe bears all the hallmarks of Christopher Dresser's innovative work.

An English majolica four fish jug, attributed to Adams and Bromley, circa 1875-1880. This whimsical Victorian Era pitcher is formed as four, side by...

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 b...

A set of two aesthetic movement poluychrome majolica plates with fruit motifs by Sarreguemines France. Each ceramic plate is round and colorfully dec...

Ott & Brewer Aesthetic Blanc de Chine Pitcher Trenton, New Jersey, circa 1880s An exquisite Ott & Brewer Aesthetic Blanc de Chine Pitcher, a remarkable example of 19th-century artis...

Set of six handmade ceramic plates, all round but with a wide variety of designs. -Bright red plate with turquoise splashes and lines -Dark black and green plate with blue-green spec...

John Tuska lidded stoneware vessel in a striking green glaze. John Tuska, full name John Regis Tuska, (1931–1998) was an American artist and educator. H...

This outstanding hand painted 19th century French ceramic charger was made by Hautin Boulenger & Cie at Creil & Montereau. The highly detailed Aesthetic Movement charger features polychrome decoration depicting a Japanese quail perched in a flowering cherry tree bearing vivid green foliage. The bird's gaze is fixed on a colorful butterfly with intricately patterned wings which is located off to one side. The image is set on a gilt ground which bears a series of repeating raised gilt motifs. The charger's shoulder is finished in cobalt blue with stylized gilt hearts separated by light blue floral and foliate elements. The 4lb 11oz charger bears an impressed mark used by Creil et Montereau between 1876-1884. The foot rim is not pierced. This beautifully executed hand painted French charger...

Celadon-colored collector's plate featuring an illustration by Gustave Léonce, depicting a sleeping duck. The edges of the plate are scalloped with a woven effect border. Discover th...

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...

Celadon-colored collector's plate featuring an illustration by Gustave Léonce, depicting a little duck. The edges of the plate are scalloped with a woven effect border. Discover this...

Celadon-colored collector's plate featuring an illustration by Gustave Léonce, depicting eggs and chicks. The edges of the plate are scalloped with a woven effect border. Discover th...

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...