Earthenware Serveware, Ceramics, Silver and Glass

Good pair of 18th century Dutch Delft Blue plates decorated with a geometrical arrangement of a central flower, adorned with foliage scrolls. The borders richly adorned with similar ...

From W.T. Copeland & Sons pottery in Stoke-on-Trent, Staffordshire England, a handled server, circa 1860-1875. Glazed in a deep, luscious green, showing an overlapping leaf patter...

Modernist majolica bowl vase or centerpiece features a complex sculptural shape with stepped body, flared round foot, and prominent angled rim; minimal form of the piece is accentuat...

Majolica roses plate signed Saint Amand, circa 1890. Very rare aqua background. Large size 8.8 inches.

Unusual 19th century Majolica Snail Platter attributed to Luneville. Decorated with grapes.

Pair of 2 White Gien Majolica Artichoke Plates, France 1960s set of French majolica artichoke plates patterned with leaves, scrolls and an artichoke moti...

French Miniature Henriot Quimper Plate signed circa 1950. A breton man is represented on the center with a yellow border.

French Majolica leaves platter, circa 1890.

French Faience plate quimper circa 1960. Breton with flowers.

Mid-Century round dish with handle by Robert Picault Vallauris. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After th...

Shiny orange cup or vide-poches by Jacques et Dani Ruelland, 1960s. Signed on back Measures: Diameter 20 cm. Nice condition Bibliography : Les Ruelland Céramistes / JJ Wattel

Otherworldly circular earthenware vase by Ikebana master Jean Clause Seris b 1941. His works have become highly collectable of recent years especially in specialist galleries in ce...

Stylish and functional American modern celery tray by Russel Wright for Steubenville Pottery of Ohio, circa 1940s. The ultramodern design emphasizes soft c...

From the Creil region of Northern France, a transfer printed polychrome plate, titled – Le Polichinel. Circa 1830. Pulcinella is a classical charact...

18th century English delft polychrome charger.

A gorgeous vintage French majolica parrot absinthe pitcher decanter or figural jug hand painted with beautiful vibrant colors, circa 1940-1950. ...

A stunning of pair of blue and white bronze-mounted lamps, wired for US, circa 1880. Total height with the shades / 22".

Coffee or tea set of cups orange design, Spain, 1960s. Cool set of hand-painted orange glazed ceramic cups. Manufactured at the Mid-Century Modern Period. This set will be a nice...

This colorful and elegant set of 6 majolica charger plates is handmade and hand-painted in Italy following the original Renaissance painting technique, unchanged over time, which we observe to the letter: every artist's brushstroke, which you can see on each plate, contributes to make our plates look bold and unique. The plates feature fluttering ribbons that frame recently blossomed flowers, representing the triumph of life and youth. A stylish set of charger plates...

Elegant pink Majolica serving dish decorated with a three green vine leaves, the handle formed as a fox peering into the bowl with its tail appearing on the mottled underside signed ...

A majolica multi-colored glazed fringed leaf on basket weave handled server, Josiah Wedgwood, Burslem, England – circa 1870. A leaf shaped molded shallow bowl with a pierced twig ha...

French faience plate Quimper, circa 1920 Border with flowers, representing a woman with the traditional costume of Brittany.

French Miniature Quimper Heart plate, Circa 1950.

Magnificient and exceptional centrepiece in white majolica with polychromes flowers and branches produced around 1740 - 1770 by the ancient Pasquale Antonibon Manufacture based in N...

Rustic French Majolica Brown Hen Tureen circa 1950 signed Caugant.

French Majolica elephant pitcher signed Sarreguemines, circa 1900.

French Majolica leaves and yellow flowers plate Clairefontaine, circa 1890.

Lovely German Majolica cat with her kitten plate, circa 1900.

Liverpool Pearlware Plates Printed with a Naval Engagement, Pair, Circa 1800 Circa 1800 Each plate in this pair of Liverpool pearlware pottery plates has a scalloped rim edged with ...

Majolica plate with a pheasant in the woods signed Hippolyte Boulenger Choisy le Roi, circa 1890. The manufacture of Choisy le Roi was one of the most important manufacture at the en...

An extremely rare and wonderfully hand-painted monumentally large charger featuring a portrait of Queen Elizabeth - a quite unique and bold work by famed American/ California studio ...

Two English Burgess & Leigh Middleport Nonpareil pattern flow blue plates from the late 19th, early 20th century, with outdoor scenery and gold rim. They are priced and sold individu...

An Aesthetic Movement French Faïence trompe l’oeil asparagus server, Keller & Guerin St. Clément, circa 1890-1900, in the Art Nouveau style. Molded to imitate a fringed and floral...

A charming Prattware pottery model of a standing horse, attributed to the St. Anthony's Pottery, Newcastle upon Tyne, circa 1800–1820. The horse is b...

Majolica plate with a pheasant in the woods signed Hippolyte Boulenger Choisy le Roi, circa 1890. The manufacture of Choisy le Roi was one of the most important manufacture at the en...

From the Creil region of Northern France, a transfer printed polychrome plate, titled – Le Nid d’oiseau (the birds nest) Circa 1830. The image shows No. 6 fr...

A French Revolution tin-glazed earthenware dish, made in Nevers, circa 1790. Showing a plump figure along side a basket of flowers beneath de l’arbre de la Liberté. The full body of...

This early eighteenth-century Dutch Delft large plate is painted in cobalt blue with a charming, naive garden scene showing a seated lady beside a flowering plant in a pot. The paint...

A deep cobalt blue glazed earthenware dinner plate from the "Quadruped" series. These transferware pieces were produced in the Burslem, Staffordshire area of England. The central medallion displays a lion and wildebeest. The four surrounding cartouches display a pair of stags...

Huge Vase in form of an amphora, by the well known manufacturer Bernhard Bloch from Bohemia. The beautiful emerging amphora shape is decorated with hand-cut décor all over the body...

19th Century Faience Winter Scene Platter signed Hippolyte Boulenger Choisy Le Roi.   

In the Renaissance Revival Rose pattern from the Barrettoni già Antonibon pottery in Nove, Italy, a covered and handled sugar bowl, circa 1930s. A scarce hand painted piece in an ...

This vivid green-glazed plate was made by the Brameld family at their pottery at Swinton in Yorkshire during the Regency period. The whole surface is relief-molded with overlapping l...

An Art Deco hand-turned and painted mushroom plate from C.J. Lanooy An earthenware plate with raised edges from the Art Deco period 1925 marked 1 Se...

A rare pair of early 19th century Wedgwood pearlware platters made in England circa 1820. These splendid platters feature a rich lustrous c...

Portmeirion England, set of 5 deep plates. Set of 5 deep faience plates by Portmeirion, decorated in “The Botanic Garden” series with botanical motifs and the characteristic green le...

French Oval Faience Platter With Flowers Moustiers Style.  

A charming set of six French faïence hand painted plates, circa 1880-1900 – a reissue of the original 18th century Sceaux mold. Marked on the verso, Sceaux 1777. Sceaux was a faië...

Midcentury round dish with handle by Robert Picault Vallauris. Robert Picault (1919 - 2000) was born in Vincennes, Paris and studied at the School of Applied Arts in Paris. After the...

A Midcentury earthenware faience oval serving bowl, signed HenRiot Quimper, France, No. 459 (bis) The center shows a femme de la campagne, the French Breton region woman standing b...

A French Neoclassical faïence transfer printed creamware plate produced by P&H Choisy, circa 1824-1836. A black transfer of an architectural image on a creamware body, depicting t...

18th Century Large French Faience Parrot Bowl La Rochelle. On the center a parrot in a tree. Unusual cornflower blue color , decorated with flowers and insects.

A charming and authentic ceramic water pitcher, or 'cruche', with top handle and lid, made of ochre-glazed terracotta earthenware. Originally a p...

Dark red and green glaze with mother of pearl sheen covers this soft cylinder shaped tall Dutch vase from the 1950s. Signed under base. Beautiful vintage condition. Zaalberg, The N...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style 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 later introduced by Antonio Ferretti to Italy. The 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 started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano 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, was able to 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, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Purple Bloom: Hand-Painted English Pearlware Botanical Plates Object: Pair of Hand-Painted Dinner/Dessert Plates Origin: English Potteries (Staffords...

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...

Dutch Delft Large Dish with Chinoiserie Dragon Design A superb large-format Dutch Delft circular dish, dating to circa 1700. This highly decorative...

French Faience platter signed HB Quimper Circa 1930.

An English majolica glazed leaf and basketweave cheese tray, attributed to Adams & Bromley, circa 1880. A pattern beautifully glazed with a strong graphic presence, six leaves alter...