Earthenware Serveware, Ceramics, Silver and Glass

Add charm, devotion, and collectible Breton artistry to a shelf or devotional grouping with this lot of six antique French faience figures, crafted in Quimper, Brittany, circa 1890. ...

City: Delft Date: second half of the 18th century A genuine set of three blue and white Dutch Delft plates. Hand-painted in cobalt blue on a white tin-glazed ground with the decorat...

Rörstrand, Sweden “Lotta” coffee set, 1970s. Set consisting of a coffee pot, sugar bowl and cream jug in faience with white glaze, green and blue decoration. Origin: Sweden. Manufac...

Stig Lindberg for Gustavsberg 4 cups and saucers “Salix”, mid-20th century. Faience with the characteristic grey “Salix” pattern on white ground, designed by Stig Lindberg. Origin: ...

Stig Lindberg for Gustavsberg 3 cups and saucers “Salix”, mid-20th century. Faience with the characteristic grey “Salix” pattern on white ground, designed by Stig Lindberg. Origin: ...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

English turquoise and white faience compotes and tall plates from the 19th century, with painted floral decor, priced and sold individually. Born in England during the 19th century, ...

I offer for sale an extremely decorative and fun element to set your table. This vintage jar was made in Italy between the 1950s and 1960s, by the cerami...

City: Delft Date: second half of the 18th century A genuine set of two polychrome Dutch Delft plates. Hand-painted in multiple colors on a white tin-glazed ground with the decoratio...

Mid-Century Modern Danish Studio Pottery Wall Plate with Flower Design from Mit Stoneware, 1960s, in Very Good conditions. Designed 1960 to 1969 This piece has an attribution mark, ...

This splendid ceramic plate is handmade and hand-painted in Italy following the original Renaissance painting technique, unchanged over time, which we observe to the letter: it is de...

At over two feet in diameter, this stunning majolica platter or charger, is particularly large. The painted scene painted was taken from a ceiling fresco known as the Triumph of Bacchus and Ariadne...

French Longchamp Pompadour pattern majolica asparagus and flower plates from the late 19th century, priced and sold individually. Created in France during the last quarter of the 19th century, these Longchamp plates...

An impressive and rare 19th Century Art Nouveau French Majolica lily pads pitcher signed Choisy Le Roi, circa 1870’s. Faience pottery was first prod...

European/Continental Majolica jug/pitcher which features a leaping fish, mouth wide open, on a bed of leaves. Colouration: grey, green, yellow, are predominant.

Grindley, “Mille Fleurs” 6 large dinner plates. Set of six earthenware dinner plates with a blue border decorated with white flowers and a silver rim. Origin: England, Grindley & C...

Gien Oyster Plate, Brown Flambe Glazed Majolica, France, 1960s. This French oyster plate is made of glazed earthenware majolica with six radiating oyster ...

Digoin Sarreguemines Fondue Serving Plate, Brown Glazed Ceramic, France, 1960s. This serving plate is made of glazed earthenware in a deep caramel and amber brown, molded with a rad...

Gustavsberg “Wexiö” faience, c. 1900. Six lunch plates in faience with decoration of a bird and a flowering branch in bluish-green tones and a decorative border along the rim. Origi...

- Handbuilt terracotta ceramic wall light - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co-created by the potte...

Crafted in Quimper, Brittany, France circa 1895, this large antique faience serving platter features a beautifully detailed hand-painted scene celebrating traditional Breton life and...

Large ceramic plate in white and gold luster, hand painted in Italy and handmade with the pottery wheel. This majolica plate can be used as a centerpiece...

Neoclassical Creil creamware plate. Antique black and white soup plate "Naissance de Romulus et de Remus" with grapevine border. Impressed and undergla...

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

This antique French faience platter was produced in northern France, likely in Desvres, circa 1880, and is decorated with a lively tavern interior scene after David Teniers the Young...

Raija Uosikkinen for Arabia, Finland A set of five ‘Ali’ coffee cups with saucers, sugar bowl and creamer. Retro earthenware. Circa 1960s. In excellent and unused condition. A few c...

A magnificent big size hyper realistic glazed ceramic fish tureen in shades of vibrant red and grey with dark accents manufactured in Portugal, 1950s. Beautiful to use as a wall deco...

1950s Spanish majolica water cooler. Delightful glazed earthenware orange pitcher. Originally, hung from trees while dining outdoors, they also make wonderful decorative objects for...

This colorful set of 4 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. The elegant decoration is composed by a halo of blue foliage that resembles four groups of wings surrounding light pink backgrounds: further ornamental elements develop from the center of the plate, projected outwards and giving movement to the entire compositional structure. The beauty of these majolica plates is underlined by the artist's visible brushstrokes that give them a unique style. Further possibility to order a set of 6 or 12 charger...

Heavy pitcher in multiple glazes signed “Marc”

Heljä Liukko-Sundström (b. 1938) for Arabia. Glazed faience wall plaque with hand-painted flowers. Finnish design. Dated 1981. Measures: 23.7 x 11 cm....

This exclusive ceramic plate is handmade and hand-painted in Italy following the original Renaissance painting technique, unchanged over time, which we observe to the letter: it is d...

This exclusive ceramic plate is handmade and hand-painted in Italy following the original Renaissance painting technique, unchanged over time, which we observe to the letter: it is d...

Our fancy ceramic plate is handmade and hand-painted in Italy following the original Renaissance painting technique, unchanged over time, which we observe to the letter: it is decorated in majolica painted in a monochromatic antique blue and decorated by a platinum luster, comprising a wavy mixtilinear rim which is divided by eight bands which are arranged on the following with a radial structure: half of them, the largest ones, are painted with refined floral motifs; the others, which alternate with the previous ones, are devoid of ornaments. The same decorations present in the brim are shown in the large cable, which are characterized by natural elements such as flowers, leaves and berries. This beautiful piece can be hung as a decorative wall dish...

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...

Gefle Plates “Mullbär”, 1930s Set of 6 round faience plates with relief decoration and grapevine motif in a brownish tone along the rim. Maker: Gefle Pattern: “Mullbär” Material: Fa...

Sarreguemines French Majolica Oyster Plate, Glazed Earthenware, 1950s. This French majolica oyster plate is made of glazed earthenware, marked Sa...

A French Majolica asparagus serving platter from the mid-19th century with turquoise, purple, green and yellow accents. Created in France during the 1850s, this Majolica platter feat...

Emile Gallé for St. Clement, Nancy. A large round serving platter and three open lace plates in hand-painted faience. Decorated with a coat of arms. 1870s/1880s. In good condition, a...

A George Jones Majolica 10-inch Oval Pen Tray, with green-glazed relief-molded lily pads with white blossoms and naturalistically glazed bullrushes on turquoise-glazed water forming the ground, with a yellow ocher rim, the reverse glazed in brown and green tortoiseshell...

Very nice pottery, ewer, by the well known artist, John Gill, signed, dated 1986.

Pre-owned goods are exempt from import duties for U.S. customers. Therefore, no import tariffs will be applicable to your purchase. Gustafsberg, Sweden. A set of six flat earthenwa...

Pair of turn of the century Italian Majolica porcelain male and female harlequin figures each wearing a top hat, striped pants and a red shirt.

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 Abstract Raku Glazed Studio Ceramic Bowl, Japanese-Style Mid-Century Design, Large Raku Fired Studio Pottery Bowl Attributed to Michel Brainin, Japanese-Style Glaze, Exceptiona...

T. C. Brown-Westhead, Moore & Co. Majolica Bread Platter, of round form, the mottled center, banded in yellow, the outer border with yellow wheat sheaves molded in high relief, the r...

Brown Westhead Moore and Co Majolica game pie dish which features a crouching rabbit knop, surrounded by various game and leaves. Basketweave ba...

A Majolica Dragon Jug designed by Hugues Protât (French, 1835-1871) for Wedgwood, the ovoid-form jug glazed in cobalt blue with a brightly glazed drago...

Pair of Large Plates Gaetano Battaglia 19th century made of earthenware decorated with mythological scenes Italy (Naples) Diameter 50 cm good cond...

Large antique 18th century English George III creamware blue shell edge or feather edge oval platter circa 1790. Measures 20 3/8" x 16" x 1 3/4". Good condition.

Whimsical and historically engaging, this antique barbotine pitcher portrays French politician and journalist Camille Pelletan. Crafted in Northern France circa 1910 by the Onnaing F...

French Majolica asparagus plates from the 19th century with colorful flowers, ten available priced and sold individually. Born in France during the 19th century, each of these majolica plates features a delicate décor showcasing asparagus with lavender hued spear heads, surrounded by lovely flowers of pink, red or orange tones, standing out beautifully on their green leaves. Perfect to adorn any dining table or be displayed in a vaisselier, these French Majolica 19th century...

- Handbuilt terracotta ceramic wall light - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Houda. - co-created by the potte...

German Majolica plate with morning glory on a blue basket weave and a brown border, circa 1900.

A French Longchamp Terre de Fer Majolica asparagus tray from the 19th century, with green, purple, brown and white tones. Created in France during the 19th century, this Majolica Ter...

This vintage earthenware pitcher presents a full, rounded belly that rises to a gently narrowed neck and a softly pinched, pouring spout, balanced by a sturdy, looped strap handle. T...

This petite Provençal tourne-omelette dates from the early 20th century, with a broad, shallow shape on a narrow foot. Its slightly irregular form and simple, glaze graphic showing a...

This petite Provençal tourne-omelette dates from the early 20th century, with a broad, shallow shape on a narrow foot. Its slightly irregular form and simple, glaze graphic showing a...

Petite Provençal tourne-omelette dates from the early 20th century and has the characteristic broad, shallow form raised on a narrow foot. Its hand-crafted profile is slightly irregu...

This petite Provençal tourne-omelette dates from the early 20th century, with a broad, shallow shape on a narrow foot. Its slightly irregular form and simple, graphic flower motif gi...