Earthenware Pottery

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

Circa 1880s pair of majolica begonia leaf sweetmeat dishes, English. Scalloped cobalt bordered. Each decorated with a single green with brown leaf fading into pink. Each retains the ...

This is a fabulous example of a large 18th century French walnut oil jar, with three decorative handles and short pouring spout. Retaining its original dusky-green glaze, the jar is ...

A set of six pottery au gratin dishes, Vallauris, France, circa 1930s. A traditional rustic design, these Treacle glazed shallow, handled open-proof dishes are perfect for prepari...

This lovely rounded 19th century walnut oil jar has an interestingly shaped spout and elegant side handle and would have once been used for the storage and pouring of walnut or olive...

A gorgeous 19th century water, or olive oil, jug, glazed, inside and out in warm rustic tones of brown and green. Full of character, this unusual storage vessel features a short and ...

Pair of Raku burnt earthenware lidded bowls by Ilja Pronk. Signed. The Netherlands, circa 1980's

Carole Moses Harman Hand-Painted Fish Dishes, Arctic Char & Ouananiche, Pair These two large circular earthenware dishes were painted in the same month of 1987 and are titled by the artist for two northern cold-water game fish. Each is wheel-thrown, with a broad sloping rim and a wide shallow well, and each carries its fish in profile across the full width of the well over a cream-white glaze, framed by two thin blue lines, one on the rim and one encircling the well. The Arctic char swims to the left with an olive-green back scattered with pale yellow spots, a pale green flank shading to a deep yellow belly, a flush of rose along the lower body and a yellow-orange tail dark at its base. The ouananiche, also swimming to the left, is the cooler of the two: an olive-green back over a silvery-white flank with faint cross-hatched scaling, pale yellow along the belly and lower jaw, a rose flush on the cheek, and round black and green spots crowding the head and gill cover and running back to the tail. On both, the fins are drawn as fans of fine rays and the small adipose fin of the salmonid is carefully given. The handling throughout is that of a natural-history painter rather than a decorator, with each fish placed on the white ground as a specimen would be placed on a page and the title written beneath it in the artist's own hand — in dark brown on the char, in blue on the ouananiche. For the fisherman in the family, and a natural pair: both dishes are dated June 1987, both are signed on the front and inscribed on the reverse in the same hand, and the two subjects belong together as northern cold-water game fish rather than as a general decorative pairing. Dimensions Diameter: 12 inches (30.5 cm) each Height: 1¼ inches (3.2 cm) each Marks Each signed on the front: CMHarman. Titled and dated on the front: "Artic Char 6/87" in dark brown script — the misspelling of Arctic is on the dish itself — and "Ouananiche 6/87" in blue script. Each inscribed on the reverse in brown script, read as "LM-N '87". A small circular paper label on the reverse of the Arctic char dish...

English Creamware "Tortoiseshell" Glaze Tea Caddy with French Silver Cover, Circa 1770 A fine 18th-century English creamware tea caddy (or canister), produced in Staffordshire circa...

Very decorative pair of vintage candleholders from the 1950s. Originating from one of France's best known pottery making villages, Vallauris in the French Riviera. Materials: ceramic...

The most exceptional aspect of this pair of dishes is the fabulous gilding lavished over the cobalt borders. As a less prominent feature, the gilding carries throughout the decoratio...

An antique Spanish cooking terracotta lidded handled jar from the 19th Century with a weathered patina. This kind of pottery was used in Europe during centuries to cook on the fire...

Ascending to Glory: A Monumental Liverpool Creamware Jug Celebrating Washington's Apotheosis Historical Context: From Man to Myth George Washington's...

Whieldon-Type Creamware Grey Tortoiseshell Octagonal Plate Circa 1765–1775 This octagonal creamware plate is glazed, front and back, in a softly mottled grey tortoiseshell glaze, th...

Impressive, large-scale studio pot by California Artist Dayle Rushall. Exceptional detail to hand incised decoration. Stands 19.5 inches tall. Signed and...

Wedgwood Creamware Soup Plate, Ship with Imperial Double Eagle Flag, Circa 1775–1790 The Wedgwood Queen’s ware soup plate, of the “Royal” shape with a lobed rim, is transfer-printed...

Unidentified European Majolica stick or umbrella stand which features a Pug. Colouration: grey, blue, brown, are predominant.

Standout example of a 19th century Rockingham brown glazed earthenware piece in the form of a lidded jar with cherubs. Probably manufactured in Bennington Vermont.

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...

A large 19th century Samson et Cie faience figurine depicting either Venus & the Golden Apple or a rendition of Eve with the Apple. We seen this figure called both. This nude Venu...

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...

An English mochaware mug with black and blue machine-turned bands and a tree pattern on a soft brown glaze. This large mochaware mug features rouletted bands of black and blue frami...

Wedgwood Majolica plate which features pheasants amongst foliage. Coloration: green, blue, ochre, are predominant. The piece bears maker's mark...

Royal Worcester Majolica posy holder which features a dolphin supporting a shell on it's tail. Colouration: green, cream, red, are predominant. The piece b...

A Mid-Century Modern lidded studio pot by Herman Roderick Volz. Inscribed on base "Volz". Circa. 1970's. HERMAN RODERICK VOLZ Works Held: National Gal...

Gorgeous small size set hyper realistic glazed ceramic fish covered sauce tureen and salt and pepper in shades of vibrant red and grey with dark accents ...

Large French Ceramic Serving Bowl, Signed Lacoste A beautifully handcrafted French earthenware serving bowl signed Lacoste. This large ceramic piece features a cream glaze with deco...

This wonderful mid-century jug style earthenware from West Germany (pre-unification/ cold war era) features a beautiful arched handle that is almost architectural. The gradation of ...

A pair of fine large English round garden urns or planter pots of terracotta, approximately 17 1/2 inches in diameter, featuring a stylized Classical rolled edge to the rim and scrol...

- Handbuilt freckles terracotta jar - made of clay collected from the potter's surroundings. - made in the Moroccan Rif mountains by the potter Raja. Approximate measurements: 13.4 x 11.4 x 15.8 in // 34 x 29 x 40 cm; weight 22.5 lb // 10.2 kg Handmade: Variation is to be expected, each piece differs in color, size, shape and decorations due to its handmade nature and natural pigments. Memòri is about simplicity, imperfections, and embracing the "flaws". Each piece is fired in an open fire - a dug hole during more than 12 hours, which makes unexpected and surprising results, including smoke marks on some pieces. This means that each piece is one of a kind and cannot be duplicated. Care instructions: The ceramics are not glazed. We advise you to keep it as a decorative object if you want to conserve the original aspect. About the savoir-faire, the modeled pottery The potters of northern Morocco perpetuate the ancient art of modeled pottery, which first appeared around 6,000 BC. The techniques and patterns used today are very close to those of their origins. This ancestral know-how, which has disappeared around the Mediterranean, still lives in the pre-Rif. Today, these potters are the guardians of this ancient art. The modeled pottery according to the ancestral art...

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...

An English mochaware mug with black and blue machine-turned bands and a tree pattern on a soft brown glaze. This large mochaware mug features rouletted bands of black and blue frami...

Made in Italy, 1970s. Made in glazed earthenware. It's a vintage piece, therefore it might show slight traces of use, but it can be considered as in perfect original condition and re...

Exceptional dimensions for this extra-large dish which can be also a wall-mounted decoration. Glazed earthenware with incised floral decor. Hollow stamp on the back. Ceramic center...

Botanical Bliss: A Rare Derbyshire Creamware Overlapping Leaf Dish Late 18th Century This large Derbyshire creamware dish, dating to circa 1785, is a masterful example of late 18th-...

Two Hildo Krop (1884-1970) Amsterdam School sconce/ornaments in a forge form, made of thick green glazed stoneware with glass panels created around 1920.   

Prattware Pearlware Prince of Wales Feathers Plaques, Pair, Circa 1800–1820 Staffordshire, England, Circa 1800–1820 Each of these large circu...

Neale & Co. Creamware Sauce Tureen, Stand and Ladle, Puce Ruins, Hanley, Staffordshire, Circa 1780–1785 The tureen is of lobed ovoid form, molded with spiral fluting and raised on a...

Wood & Hulme Garfield Pottery Fish Plates, Set of Six, Aesthetic Movement, English, Burslem, Staffordshire, Registered 1884 This set of six earthenware plates was made at the Garfie...

This most impressive large twin handled table centrepiece is stunning in its fine hand painted detail. It was made in France at the Gien Faience Pottery Works and bears the early fac...

An English blue and white Brown-Westhead, Moore & Co., Valletta pattern washbasin from the late 19th century, featuring a pitcher and its basin. Created by the English manufacturer B...

A large and exceptional early 19th century French terracotta walnut oil jug, probably from the Auvergne region, with a beautiful and vibrant green glaze, circa 1810s. Having a round ...

Set of four colorful French majolica asparagus plates attributed to Orchies. Each plate features six amethyst-colored molded asparagus spears resting on a leaf on a plate with turquo...

Jug with neck in Saint Jean of the desert signed Berty of dimension 13 cm in diameter for 15 cm in height. Additional information: Material: Earthenware & Ceramics Style: 1940s ...

Turn of the century earthenware water jug with cream glaze and green and red finger style markings motif with handled lid and thin spout. Once a common piece of pottery used daily in...

Vase of large proportions, decorated with a pair of colourful fish on a black background, on either side of the handles. The movement of the handles is continued almost down to the b...