Earthenware Serveware, Ceramics, Silver and Glass

Sarreguemines Majolica Smoking Stand, molded and applied with an artiste de rue with his dog, and holding a wine bottle with an overturned wine glass below; the humidor formed as a c...

Cupid neoclassical Creil creamware plate. Antique black and white soup plate "L'Amour la punit de son indiference" with grapevine border. Impressed and...

Minton Majolica jug/pitcher which features flowering lilies and lily pads. Colouration: green, dark pink, white, are predominant.

Dutch-decorated English Creamware Plate, Onse Live Vrouw Tot Kevelaar (Our Lady to Kevelaar), Circa 1765-1785. Dimensions: 10 inch diameter x 1 inch high. Kevelaer is a municipality in the district of Kleve, in North Rhine-Westphalia in Germany. It is the largest Catholic pilgrimage location within north-western Europe. More than 1 million pilgrims, mostly from Germany and the Netherlands, visit Kevelaer every year to honour the Virgin Mary. The population in 2015 was 28,311. History Kevelaer is a center of veneration and pilgrimage to Our Lady, Comforter of the Afflicted (also known as Our Lady of Consolation. According to tradition, a merchant praying in front of a cross in a field, heard a voice that told him: "Here thou shalt build me a chapel." His wife dreamt of a little chapel with a Madonna that someone had previously advised her to purchase, In 1642 a copperplate engraving, representing Our Lady of Luxembourg, was installed in a sanctuary erected the same year. It is one of the best visited Catholic pilgrimage locations in north-western Europe. The Gnadenkapelle [Chapel of Grace] has drawn pilgrims to the Lower Rhine Region from all over the world for more than 360 years. Pope John Paul II...

Liverpool Pearlware Plates decorated with Ships, Pair, Circa 1800. The Liverpool pottery pearlware plates with black rim are each printed with the i...

Add to your pitcher collection with this colorful antique Majolica water pitcher; sculpted in Clairefontaine, France, circa 1890, he ceramic jug...

The large 18th century Neale & Co. creamware sauce tureen, cover, stand and ladle are each decorated in puce transfer with figures amongst classical ruins. The rims also with a painted shell-edge puce border highlighted with the strong remnants of original gilding. Dimensions: 7 inches high x 10 1/2 inches wide x 7 1/4 inches; The under dish...

Beautiful painted ceramic by the well known Art Nouveau artist/ designer Emile Galle, also known for cameo glass etched and furniture .

English pearlware pottery jug with speckled blue glaze, Circa 1780-1800 The pearlware jug with a wonderful speckled blue ground. Dimensions: 6 inc...

Bring classic European charm to a buffet, console, or dining-room display with this elegant antique French faience ewer, crafted in France circa 1880. Hand-painted in traditional cob...

Regency Grandeur: Massive 19-Inch Blue & White "Chariot" Platter (Liverpool, c. 1810) A magnificent and monumental early 19th-century blue and white transfer-printed serving platter...

Royal Copenhagen, "4 All Seasons". A set of three dinner plates in faience with green glaze. Dating from 1991-1995. Marked. In perfect condition. Third factory quality. Dimensions: ...

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...

Creamware Armorial Dish, Possibly Melbourne, Arms of Grant, Circa 1800. The large dish with a puce band on the border and a central coat of arms and a crest to the upper border. Th...

Creamware English pottery pair of botanical 18th-century dishes, Neale Pottery. The oval dishes are a rich creamy color painted in the interior with a rose stem with an open rose...

A good 19th century French Porquier Beau Quimper Plate with a dark green border depicting a courting scene. Good details and in no chips nor hairline. S...

Made in Italy in the 70s by Ernesto Treccani. This is an incredible polished earthenware piece that would fit perfectly in a museum. Measures: height: 140 cm width: 41 cm depth: 22 ...

Tittensor (possibly) Staffordshire Pottery Prattware bocage cow creamer which features a cow and a calf, recumbent on a shaped base. Decorated 'in the round', decoration to front and...

Made in Italy by Lino Zaramella in the 70s. This bowl is made in hand-modeled earthenware. It is a vintage piece, therefore it might show slight traces of use, but it can be consid...

English Pearlware tea set, early 19th century. Two tea pots with swan finials. Six tea bowls and matching saucers. Delicate white porcelain with grap...

Cylindrical with pewter lid. Floral decoration and loop handle.

Proskau Faience Jug in the form of a Parrot, circa 1770. The tromp l"oeil tin-glazed earthenware jug is in the form of a parrot with a removable head...

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...

A late 19th century French Malicorne faience pate, hand painted with Breton man and child in traditional costume and decorative blue and yellow border on the rim. Nice quality, thick...

A French Mid Century Majolica asparagus set, hand-panted in pink and light green. Serving cradle with asparagus stalks has a pierced bottom and rests on an rectangular platter with a...

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

Minton Majolica spoon warmer which features a volute shell resting on coral. Colouration: yellow, brown, cream, are predominant. The piece bears maker's marks for the Minton pottery....

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

Denmark 'Flamestone' coffee or tea pot, four demitasses, four mugs, and eight saucers (four small / four larger) by Jens H. Quistgaard for Dansk Designs, circa 1958-1964. Features the Flamestone signature slate, almost brown glazed-earthenware with striated pattern and white porcelain interior (pitcher has a green tinge to the porcelain interior). Elegant, attractive set with only one fleck to the rim of one of the mugs (very minor and easy to miss -- see photos 15 and 16 for closeups). Early, Danish production, as indicated by the markings and rough exterior (a smooth version was introduced in 1964). Measures: Pitcher H 13.5" x L 7.5" x D 5" Coffee mugs H 3.75" x L 4" x D 3.13" Coffee saucers...

A Henriot Quimper French faience hand painted decorative plate, depicting a Breton Man with pipe in traditional clothing. Blue foliate border an...

Five French Choisy-le-Roi Majolica strawberry plates from the second half of the 19th century, priced and sold individually. Charming our eyes with their lovely decor, each of these ...

In addition to tea leaves, water, and heat, the art of drinking tea (chayi) calls for a variety of teaware and utensils - both practical and decorative. This petite ceramic ewer date...

A Wedgwood Majolica Lobster Plate, with the central figure of a red-glazed lobster on sea greens on a cobalt blue ground, and with relief molded...

A lovely, highly-detailed pair of French faience soup tureens, with handles, feet and nicely-sculpted vegetable decorated cover (18th century). The top cover has leeks, flowers and h...

Three hand-painted tea cups and saucers in faience with motifs of flowers and insects. Style of Emile Gallé. 1870s. Marked. In excellent condition with natural cracks. One cup has a...

The designs on this French faience group is typical of pottery made in Rouen. Early 20th Century French Hand-Painted Faience Candlestick from Rouen Marking on the bottom: " Rouen Fa...

Extraordinary multi colored and multi faceted majolica pitcher made by San Polo Venezia, designed by Otello Rosa. Signed and numbered on the bottom.

A Henriot Quimper French faience statue of Saint Anne and the young Virgin Mary. Polychrome enameled earthenware, hand-painted in blue, brown and yellow. Titled at the base and marke...

Our ceramic plate "Mediterranean Nuances" is handmade and hand-painted in Italy: realized in majolica painted in polychrome, it is characterized by elegant decorative motifs of the Deruta tradition colored with different variations of blue and brown tones following the original Renaissance painting technique. The particular shape of this dish is traditionally called "a priest's hat". This majolica can be exposed as an centerpiece or it can be used as a fancy wall dish...

Delft polychrome Portuguese hand painted ceramic covered tureen with lid and under plate, hand painted 17th century, tin glazed faience with floral, hunting and bird motif, early 20t...

This decorative antique wall object was sculpted in Quimper France, circa 1890. The Porquier-Beau ceramic bagpipe with large bow in high relief at...

A good 19th century French Porquier Beau Quimper plate with a green border depicting a man with a your child sharpening a knife. good details and in no c...

George Jones Majolica Dish, the center with tortoiseshell mottling, bordered with green-glazed acanthus leaves on a turquoise-glazed ground, the inner and outer border rims glazed in...

Beautiful hand painted reticulated and signed Galle in back made in Nancy in the late 19 th Century, He is well known by the Art Glass cameo vases . and also furniture .

Staffordshire Pottery tureen with cover which features a duck forming the lid, sitting on a base molded with a rippling water effect. Maker's mark, '6' mo...

A set of French Majolica strawberry plates from the 19th century, with pink, green and blue accents, priced and sold individually. Each of these eight French plates features a delica...

Maiolica puerperal cup Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm) Weight: 0.78 lb (358 g) State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked. From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany. In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility. During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc. Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift. This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor. In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...

Large decorative ceramic plate made and hand painted by the artist G. Mengoni for deBlona. Diameter 64 cm (25.2 in). The surface of the plate is studded and decorated with ash-colour...

This magnificent service dating from 1970, with a multicolored floral decoration, consists of 10 flat plates and 2 serving dishes. Among the dishes, there is a rectangular dish with ...

George Jones Majolica game pie dish with liner which features a recumbent deer (doe) forming the handle, on a leafy ground. The dish has a repeating pattern of swirling leaves surrou...

Quimper Pottery, French 20th century. A collection of six vintage Quimper faience pottery plates. Each plate has a hand painted and tin glazed figural...

George Jones Majolica platter which features a banana leaf sitting on a branch-like base. Colouration: green, brown, are predominant. The piece bears maker's marks for the George Jon...

A ruby lustre box with mother-of-pearl lustre interior and decorated with polychrome butterflies in gold, designed by Daisy Makeig-Jones circa 1920. This ...

Franco Bucci Grés Vase for Laboratorio Pesaro

An early 20th pair of French Faience Candlestick with the Rouen Decor, from the faiencerie of Desvres, signed on bottom Mosanic. Note : one chip on the top. See last picture. Dimen...

George Jones Majolica basket which features yellow woven basket sides and a branch handle. Embellished all over with strawberry leaves, flowers and fruit. Colouration: turquoise, yel...

Four French Sarreguemines asparagus plates from the late 19th century, with teal accents and shell-shaped hole for the sauce. We currently have four plates left, priced and sold individually. Born in France during the later years of the 19th century, each of these four delicate Sarreguemines asparagus plates features a delicate border adorned with teal accents and asparagus head motifs, surrounding the center showcasing a shell-shaped hole ideal for the mousseline, Hollandaise or any sauce of your liking! Marked Sarreguemines with U & C overlay in the back, these French asparagus plates...

Wedgwood Majolica cauliflower pattern compote pedestal bowl, English, 1879, with impressed Wedgwood mark and three letter date code for 1879. For...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

A fine pair of decorative ceramic vases from the Arts & Crafts period, by the celebrated English pottery firm, Royal Doulton. Each vase featuring a design of grape clusters ar...