Earthenware Serveware, Ceramics, Silver and Glass

Large hand painted Turkish ceramic bowl / charger. A royal procession or hunt featuring men on horseback in traditional dress carrying processional/parade flags. This is a great det...

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...

19th Century Blue Majolica Grapes on a treillis background Plate Choisy Le Roi.

This luxurious set of four plates, in majolica painted in polychrome, reinterprets the "VARIO RICCO" decoration of the sixteenth century in Deruta: ...

Victorian Minton Majolica pigeon pie tureen with wickerwork design. Supported by three realistically modelled grey fantailed pigeons roosting...

Majolica pheasant tureen signed Sarreguemines, circa 1910.

This large-scale figure of a horse head was produced in Italy and dates to the 80s. The white glaze gives this piece a modern look and captures the elegance and beauty of the horse....

A Very Nice French Faience Hand Painted Legume container with fountain, Strasburg manufacture Beautiful Legume container with fountain in Faince or French Mayolique, hand painted, ...

Emile Gallé for St. Clement, Nancy. Antique lidded tureen in hand-painted faience. 1870s / 80s. Measures: 30 x 21 x 20 cm. In good condition. Chip on one foot and small glaze pee...

Circa 1780 Luneville neoclassical reticulated faience basket with typical floral spray central reserve & rose pink edge, the exterior latticework sprinkled with rose & yellow florets...

Fantastic rare and whimsical French faience dog with such a beautiful face and decoration. Marked "france" this piece dates from 1890-1911ish. We have never seen such a thing. Usuall...

English Delftware bowl, mid 18th Century, 4.5” h. x 11 7/8” diam. Having a lovely large floral pattern to the exterior, smaller to the interior with a ...

Enhance your space with this elegant ceramic egg plate by Mexican artist Lorenzo Lorenzzo. Handcrafted in San Miguel de Allende, Guanajuato, this versatile piece features a refined e...

Original faience pitcher dating from the early 20th century, made by the Sarreguemines factory, depicting a man’s head with expressive and caricatured features. This type of humorous...

Eye-catching large leaf shaped glazed ceramic platter, serving tray or centerpiece manufactured by Vallauris. France, 1950-1960s. Interesting to be used as decorative centerpiece bow...

Grethe Meyer for Royal Copenhagen, set of six Blue Line dinner plates. Elegant set of six dinner plates in faience with the characteristic hand-painted blue rim, model from the Blue...

A "Baca" vase by Nils Thorsson for Royal Copenhagen. Marked 719/3259 and signed accordingly.

A child’s assiette parlante, a talking plate, illustrated by Benjamin Rabier for Sarreguemines, France – circa 1900. Benjamin Rabier (1864-1939), was a French children’s author, pla...

Monumental 18th/19th Century French Blue and White Faience Pitcher. Large blue and white faience decorated water pitcher / vessel, foliate scroll bands and hunting genre scenes, shap...

Rare and charming antique children’s tea set in Gien faience dating from around 1900, composed of a complete and matching 50-piece set. This wonderful miniature tea set is beautiful...

This large 18th-century Dutch Delft faience charger is hand-painted in cobalt blue under a tin glaze and features a finely executed architectural landscape framed by a segmented bord...

Set of sea shells pink ceramic lidded tureen and candleholders, France, 1930s Exclusive set of Majolica ceramic soup tureen with clams and shells motifs on the lid. A pair of glazed...

18th-19th century polychrome delft platter.

Decorate a kitchen wall or a shelf with this elegant antique decorative vase. Created in Quimper, France circa 1890, the bagpipe shell-form ceramic vase with a bow at the pediment, i...

English Majolica pitcher with flowers, circa 1890 Measures: H 6", L 5.5" et 3.5".  

A 19th century French faience shaving bowl, hand-painted with blue flowers. Hairline crack.

Minton Majolica game pie dish with liner which features a hare, mallard and blackbird on a bed of fern and oak leaves. Coloration: brown, green, turquoise, are predominant. The piece...

An expressive fish form and vivid glaze give this antique majolica pitcher its playful sculptural presence. Crafted in France circa 1890 by the Clairefontaine faience manufactory, th...

A rare late 17th-century English Delft charger distinguished by its deeply lobed form, inspired by Chinese porcelain of the period. Dating to circa 1690, the charger is considered m...

Ettore Sottsass was an influential Italian architect and designer whose work helped redefine the language of postmodern design in the late 20th century. Born in 1917 in Innsbruck and...

Fine pair of 19th century English orientalist blue and white transfer pottery dishes by John Rogers and Sons, Staffordshire, depicting chinoiserie landscapes in floral borders. Stamp...

This colorful antique majolica charger was crafted in France circa 1860 and features a finely hand-painted pastoral scene inspired by the elegant fête champêtre tradition of the 18th...

Emile Gallé for St. Clement, Nancy. A set of six dinner plates in hand-painted faience. Decorated with coat of arms. 1870s/1880s. All plates have chips - one has a hairline crack. Se...

Mid-20th Century Johnson Brothers "Indian Tree" China, Set of 49 Pieces. This iconic design features richly colored floral and foliate motifs in vibrant greens, reds, and blues with ...

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...

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...

Enameled earthenware vase. Handcrafted in France, in the potters' region of Puisaye. Dripping glaze and complex texture on its pot-belly. In the style of Jean Carries...

Wilhelm Süs (1861-1933) for Karlsruher Majolika. Large Art Nouveau compote in hand painted faience / majolica with playful children and flower deco...

Bring color and Breton charm to a kitchen, hallway, or dining room with this striking pair of antique faience wall vases, crafted in Brittany circa 1895 by the celebrated Porquier-Be...

Longchamp, France, hand painted, six-piece children's service in faience. Mid-20th Century. In excellent condition. Marked. Plate: L 17.0 x W 12.0 cm. Jar: D 11.5 x H 7.5 cm.

Shorthose & Heath English Creamware Basin, Yellow Wave Border, Georgian, Large Hanley, Staffordshire, circa 1795–1815 At seventeen inches across, this creamware basin makes the cas...

This antique eighteenth-century Dutch Delftware wall plaque is made of tin-glazed earthenware, also known as Delft faience. The shaped ceramic plaque is painted in blue, green, yellow, iron-red and manganese. Its raised, self-framing border is outlined in blue and decorated with continuous scrolling ornament against a green ground. The centre is painted with an elaborate symmetrical fantasy ornament composed of three winged masks, volutes, foliage, shell motifs and scale-patterned fields. The central mask supports a two-handled vase filled with flowers, with a bird in flight above the bouquet. The plaque is pierced at the top for suspension and was made specifically for wall display. The composition belongs to the broader tradition of French-inspired grotesque ornament that circulated in the Dutch Republic through prints by designers such as Jean Bérain and Daniel Marot. By the mid-eighteenth century, Delft painters had adapted this ornamental vocabulary freely, combining masks, scrolls and fantastical forms into highly decorative compositions. Delftware wall plaques held a distinct place within eighteenth-century Dutch interiors. In contemporary household inventories, they were sometimes recorded as porceleine schilderijen, or “porcelain paintings”, reflecting their function as ceramic counterparts to paintings on panel, canvas or copper. During the eighteenth century, Delft potters increasingly produced plaques in moulds with shaped outlines and raised borders, creating complete, self-framed decorative objects. With its unusual grotesque decoration, strong polychrome palette and pronounced shaped border, this antique Delft plaque...

French Majolica chesnut leaf plate signed Villeroy & Boch, circa 1890.

Mid-Century French Majolica Walnuts Tureen.

Rare antique English Yorkshire or Staffordshire creamware pierced basket with intricate reticulated body. Lovely color no damage or repairs.

French Majolica chesnut leaf plate signed Villeroy & Boch, circa 1890.

Antique German Lidded Blue Glazed Earthenware Beer Stein Jug Merkelbach & Wick German Earthenware, Metal c. 1900 Dimensions: H x D: 18.5cm x 13.5cm This fine beer stein was made by Merkelbach & Wick, a German stoneware factory based in Grenzhausen. Founded around 1872–1873 by Friedrich Wilhelm Merkelbach II and Georg Peter Wick, the firm became known for its fine earthenware and, from the early 1880s onward, its ivory stoneware, which blended traditional craftsmanship with emerging artistic styles. Their creations gained particular popularity in North America, with roughly half of their production exported there by the late 19th century. Merkelbach & Wick’s beer steins were especially notable: many 19th and early 20th century pub steins, including those produced for major breweries, were crafted in salt-glazed or ivory stoneware and often bore the distinctive ‘M W Gr.’ impressed seal - such as the one on this example - making them highly prized by collectors today. Crafted from earthenware, this stein features moulded high-relief decoration encircling the entire body. Various geometric borders frame a central band filled with naturalistic and mythological motifs. Oval cartouches contain classical busts, while the spaces between them depict centaurs, symbolising the duality of human nature and the tension between intellect and instinct. The deep blue glaze accentuates the raised decoration while allowing parts of the ivory-coloured earthenware to remain visible for contrast. The prominent earthenware handle is decorated in the same style as the body, and the vessel is topped with a hinged metal lid. Its generously sized thumb lever allows the drinker to comfortably raise the lid, and the top is inset with a beautifully modelled earthenware panel. On the base remains the original Merkelbach & Wick label, highlighting the firm's international reach with branches in Philadelphia, Vienna, and Munich. The earthenware is also impressed with their ‘M W Gr.’ mark, used between c. 1879 and 1921. With its detailed design and superb craftsmanship from a renowned manufacturer, this antique stein...

Rare and important French Art Deco ceramic sculpture by Marcel Renard (1893-1974), circa 1920s of a woman modeled in robes with a baby. Made...

These sake cups are exceptionally detailed, particularly given their small size. They are signed “Hododa” on the undersides, the hallmark of the prominent maker of the rare Japanese ...

A gorgeous antique Dutch Delft faience floral scalloped wall charger plate by Royal Tichelaar Makkum, circa 1920. Maker's mark on reverse. The foot on the back is pierced for hanging...

This RARE complete set of 13 (1 platter and 12 plates) Henriot Quimper black faience oyster plates is a stunning example of the beauty and craftsmanship of Quimper's original creations. Each plate features a unique and intricate hand-painted design with vibrant colors over a black base and detailed colorful seashells that are characteristic of Henriot Quimper. The plates are made of high-quality earthenware and have a durable glaze finish that adds to their functionality. These plates are not only a beautiful addition to any table setting but also serve as a testament to the rich cultural heritage of France's Quimper faience. Each plate in this set of 12 Henriot Quimper oyster...

Five dishes hand-painted majolica and glazed. Manifattura central Italy. ORIGIN Central Italy PERIOD Nineteenth Century MATERIALS Hand-painted majolica and glazed DIMENSIONS The ...

Nils Thorsson Blue Baca Series for Royal Copenhagen Faience bowl. Perfect condition.

Made in Italy in 1959 by Cioffi. It is marked on the bottom. This tray / centerpiece is made in hand-modeled and hand-painted earthenware. It is a vintage item, therefore it might s...

A charming Vallauris Majolica presentation tray from the French Riviera, crafted circa 1960. Shaped as an elegant leaf, the piece features hand‑painted floral motifs in soft pinks an...

Full of humor and character, this antique barbotine pitcher takes the form of a jovial sailor standing in a confident, slightly defiant pose. Crafted in Belgium circa 1890 by the Nim...

This early 18th century tin glazed earthenware platter was made by the Hannong ceramics factory in Strasbourg, France. Hannong was founded in 1721 by Charles-François Hannong and rem...

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...

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

A charming Dutch Delft ginger jar of lobed form, with chinoiserie design in polychrome tin glazed enamels, 18th century, Holland. The ginger jar (missing its lid), of globular fo...