Glazed Ceramics

Valentine Schlegel rare biomorphic glazed ceramic vase beautifully contoured, sensual and organic in form, France, 1955. Incised 'V. Schlegel' to underside. Valentine Schlegel (French, b. 1926) was one of the most important modernist ceramicists of the 1950s whose abstract, unique style was evident in her varied oeuvre consisting of sculpture and ceramics to leatherworking and interior architecture. She was born in the coastal town of Séte and studied at l’École Supérieure des Beaux-Arts in Montpellier where she began developing her interest in the medium of drawing. Schlegel worked for the first Avignon festivals as an assistant costume designer, prop specialist, and eventually chief stage manager. In 1945 Schlegel moved to Paris and discovered ceramics with Frédérique Bourguet and later with her sister Andrée Vilar...

Clyde Burt stylized face vase in glazed stoneware with manipulated and applied facial details. Signed to underside: [CB]. American, circa 1965.

A boldly strutting rooster fills a framed ceramic tile from Roger Capron for Vallauris, France Dark wood framed tile with cream background and dark brown detailed etching Circa 1970...

1970’s Italian ceramic planter. Glazed yellow and white. Retains hand made in Italy label. Measurements: 14” diameter 18” high.

1960's Japanese round charger, no visible mark This ceramic plate displays design characteristics similar to the works of Shoji Hamada (1894-1978), a renowned Japanese potter and a k...

Saxbo miniature bowl in glazed ceramics. Beautiful glaze in brown shades. Mid-20th century. Measures: 9.5 x 2.8 cm. In excellent condition. Stamped.

Gorgeous pair of vases by West German Pottery manufacturer Scheurich Keramik (Ceramic), circa 1965. Add a splash of color/colour to your home decor with these beautiful mustard yello...

Bjørn Wiinblad (1918-2006), Denmark. Heart-shaped bowl in glazed ceramics with hand-painted flowers. Dated 1985. Measures: 10 x 5 cm. In excellent condition. Signed and dated.

A Gunnar Nylund vase in hare's fur glaze of tans and mossy green. Crafted by Rorstrand in the 1960s, and inscribed {R Sweden GN}.

Eva Stæhr-Nielsen for Saxbo. Miniature bowl in glazed stoneware. Beautiful glaze in brown shades. Mid-20th century. Measures: 7.5 x 2.5 cm. Stamped. In excellent condition.

This decorative ceramic was created by Nils Thorssen for Royal Copenhagen. Earthy tones of golden brown and muted blue compose this 'Baca' or circular ab...

Ceramic pitcher / vase designed by Gunnar Nylund. Sweden, 1950’s. Signed.

Clyde Burt vase, striped graduated tones vase. "Signed underside CB".

Three Belgian miniature vases in glazed ceramics. Mid-20th century. Largest measures: 12.2 x 5.5 cm. In excellent condition.

Trish DeMasi Moderno pedestal vessel, 2021 Glazed and raw speckled stoneware Measures: 7 x 7 x 8 in.

European studio ceramicist. Two rattle instruments in glazed stoneware. Hand-painted wavy decoration in orange-brown shades. Late 20th century. Largest measures: 14 x 8 cm. In ...

Charming mid-century modern Italian ceramic bowl in the shape of a stylized chicken, hand-painted in black, white, and red. This whimsical and sculptural piece features an elongated ...

Vallauris & Monaco, France. Table lamp in glazed ceramics shaped like a fish. 1950s. Measures: 24.5 x 22 cm. In excellent condition.

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...

Moon Jar in Raw by Solem Ceramics Dimensions: Ø 42 x H 42 cm. Materials: Red stoneware, white slip, glaze This Jar is also available in Gloss and Obsidian finish. Please contact us. ...

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,...

Edouard Cazaux French Ceramic Gilt Centerpiece Platter with Figures Offered for sale is a French glazed ceramic and gilt round centerpiece platte...

A very rare and interesting set of six French Pirelli advertising plates printed with motoring scenes in late Art Nouveau and early Art Deco style and produced by Keller et Guérin, L...

Vintage duck terrine mold, pate mold designed by the studio of Michel Caugant, collector's item from the 60s-70s. Entirely handmade item in glazed earthenwa...

Large glazed ceramic bowl by noted and highly collected Italian artist Guido Gambone. A lovely example of his work in muted yellow and neutral toned surface with signature on botto...

Sculptural wall mounted mirror features glazed ceramic frame with Arts and Crafts style relief decor. Minimal, Organic Modern palette of mocha and latte brown semi-matte glaze does n...

Very beautiful ceramic vase with handle by the artist Franco Cardinali from the 1950s from the Vallauris workshops. Very nice glazing in sky blue, brown and white colours with drawin...

Contemporary American ceramic artist Richard Hirsch's Mortar and Pestle Sculpture #30 was assembled in 2009. It's wheel thrown and hand built clay, slips and glazes with raku patinas. The following is an excerpt from the book "With Fire: Richard Hirsch, A Life Between Chance and Design" written by Scott Meyer; "The glass "masher" is lightly sand-blasted, suggesting opacity but yielding subtle light penetration, the perfect foil for Hirsch’s heavy clay concavities. Conceptually, Hirsch enjoys the compatibility of the two heat-driven materials, and the alchemical issues with shared chemistry seems right for themes involving vessels and raw geologic age." This four piece sculpture is signed and dated by the artist. It will ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "Mortars and Pestles" pgs. 57 - 60. The Ceramic Mortar and Pestle...

Stunning pair of extra large signed ceramic urns dripped in a glaze of dark umber and white over dense terracotta forms. Large in scale, these make a great statement and are very rar...

Set of four green banded white espresso cups and saucers. Set of four vintage Continental white espresso cups and saucers with smart double green banding. Underglaze markings for Hei...

Signed in ink: Ch. Catteau Marked in ink: D.1009 (design number) Incised: Grès Kéramis and 898 (shape number) Stamped: Boch F es La Louvière made in Belgium This vase displays Catte...

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

Beautiful earth tone glazed ceramic vase by American artist Michael Kreisberg, late 20th century.

Wonderful weathered glazed earthenware jug from the south of France., France, circa 1850-1900. Despite of its age in a good condition.

Finished in a soft ivory glaze with subtle shifts to dove grey, this lovely, placid nude is depicted in a seated position with her hands clasped and her gaze looking into the distanc...

In 1917, Gustavsberg hired Kåge to make its dinnerware and other everyday products more beautiful—he would serve as the company's Artistic Director until 1948. During this fruitful p...

Hand Painted Spanish Decorative Plate of Archbishop's Bridge Glazed

Handmade and hand-painted Danish midcentury organic modern ceramic vase by Haunsø in the 1950s. Incised lines on base and grazing deer motifs on body with green and cream colored gla...

Vase ‘Surrea’ by Wilhelm Kåge for Gustavsberg, Sweden, 1940. Carrara-glazed stoneware. Stamped "GUSTAVSBERG KÅGE". Measurements: H: 32.5 cm/ 12 3/4...

This unique vase by Swedish ceramist Claes Thell possesses the kind of rough beauty for which he is well-known the world-over among enthusiasts of Scandinavian ceramics. Thell deve...

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: ...

This small vase is ribbed and richly glazed in light brown. Signed and numbered 128.

The glazed terracotta pots of Françoise Blondeau and AÏt Lhaj Hassan possess a symmetry and balance that pits their natural, earthy medium against an elegant beauty specific to man-m...

Glazed Whiteware ceramic mug sculpture by Peter Shire, 2016. Approx: 8 3/4" high x 13" wide x 23" long (to handle). Peter Shire: Peter Shire is an LA-based artist whose work elu...

This footed coupe is glazed in black and a brilliant, craquelure turquoise green. Stamped: CAB Numbered: 41

A traditional and timeless Chinese Export "Canton" pattern blue and white porcelain tureen and cover with associated large platter, late 19th ce...

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...

Dramatic Ceramic floor lamp orange glaze with a narrow neck In excellent condition and in full working order having recently been re-wired and provided with new fittings E27 And sa...

A very stylish and hand-crafted matched pair slipware pottery pilgrim flasks decorated with floral designs possibly originating from Sussex, England and dating to the 19th century. T...

Trish DeMasi Botanica vessel, 2021 Glazed ceramic Measures: 9 x 8 x 8 in.

1930s Lapis Blue Art Deco Ceramic Refrigerator Water Jug with Matching Stopper A stunning example of 1930s Art Deco design, this lapis blue glazed ceramic water jug is both a functi...

Ceramic : Porteuse d'eau sclupture by Jean Derval, active in Vallauris, France, during the 1960s.

CHAMBERLAIN'S WORCESTER - Rare ceramic serving bowl on stand - transfer decorated in pink with floral borders and sprays featuring roses and passion fruit flowers - hand painted highlights - 1230 painted pattern mark to both pieces - impressed CHAMBERLAINS mark on the stand only...

A ceramic (earth ware) lidded jar with glazed surface by American studio potter Karen Karnes (1925-2016). The mark on the jar indicates that the piece was m...

Faux-bois ceramic vase or picher by Grandjean Jourdan, Vallauris, France, 1960s A matte glazed ceramic pitcher with stunning shape and decor Height 32 cm

19th Century Glazed Ceramic Pottery Pot

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...

Exceedingly charming ceramic 'Busto di Bambino' in the Italian Renaissance style. With the blue and white glaze typical of artist Andrea Della Robbia...

French ceramist Eric Astoul (b. 1954, Morocco) infuses his sculptures with the essence of ancient and modern earthenware he has encountered along his travels in France, England, Japa...

Stunning expressionist bottle vase by Guido Gambone. Vase is decorated with a vibrant geometric pattern all over, in a striking citron yellow that pops against a white background. Th...