Earthenware Furniture

The Netherlands Gouda Workshop of W. J. Oliviers Verswaen (De Swaen) Circa 1625 - 1650 A polychrome Dutch Delft tile with the decoration of a flying bird, probably a parrot. This t...

A green-glazed earthenware vase designed and produced by Upsala Ekeby, Sweden, 1930s.

This rare and stunning Art Deco Egyptian Faience Glaze Vase Signed Leon Volkmar for Durant Kilns originates from the United States, C.1922. This piece features a timeless composition...

A rare and richly detailed blue and white earthenware plate by esteemed Swedish porcelain maker Rörstrand, dating to the mid-1800s. Crafted using the classic transferware technique, ...

A rare Royal Copenhagen Cigarette Jar/trinket in faience decorated by Norwegian Female artist/designer Marianne Johnson. It is decorated on all sides and...

French Majolica Bird & Holly Plate Sarreguemines, circa 1880. One hairline.

Magnificent large majolica vase attributed to Jules Vieillard & Cie, Bordeaux, circa 1870. This richly decorated urn is a superb example of French Renaissance Revival majolica, featu...

Note: We highly recommend shipping through 1stDibs for its cost effectiveness, full insurance coverage, and reliable handling. While standard parcel services are an option, the defau...

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

Handmade earthenware facetated side table manufactured at the workshop of Apparatu in Barcelona. Different clay bodys are mixed with natural fibers like corn, straw, or heather straw...

This elegant example of a Scandinavian Art Deco vase is designed by Anna-Lisa Thomson and produced in Sweden between 1936 and 1944. This sculptural earthenware vase embodies the ref...

Early 19th century Delftware plate with polychrome floral decoration in yellow, blue, green and iron-red. Good condition; only slight usual wear to the rim

This Wedgwood creamware plate, made in England circa 1765, is hand-painted with a finely drawn purple flower at the center, surrounded by a delicate neoclassical garland border. This...

A beautiful English Delftware plate, hand-painted featuring a Chinoiserie-inspired landscape with a fence surrounded by flowers in full bloom and a flying insect. The rim decorated ...

French Faience Quimper Candelstick Circa 1950.

This is an antique hexagonal spice jar. A Japanese, glazed earthenware lidded pot, dating to the late Victorian period, circa 1880. Striking colour and charming decoration from the Meiji period. Displays a desirable aged patina, some marks commensurate with age. Distinctive hexagonal form a delight of bright green glaze. Inset panels host foliate relief Tapering circular lid with concentric detail in natural finish. This is an appealing antique spice jar...

The Blue Fish is a wall-mounted relief designed by Jeanne Grut around 1962 and produced by Royal Copenhagen (Aluminia). The relief is modelled in faience with a pronounced three-dim...

Dutch Delft Chinoiserie dish with a 'Mille Fleurs' decoration of flower buds and flower sprays. Good condition: some chipping and usual wear to the rim.

A pair of Dutch Delft sweetmeat dishes in finely modelled fleur-de-lys form, painted in underglaze blue. These pieces belong to the 17th–18th century tradition of Delft sweetmeat se...

Embossed and partly glazed earthenware mirror. The ceramic is glazed in shades of bright yellow and green, crackled gold frame around the mirror and on the external edge. The upper ...

Old dish by Terre de Fer. This dish is in Faience, and has been made in France, during the 19th century. The colors are blue. It is signed.

Japanese Satsuma miniature tripod teapot and cover, Meiji period A circular flattened form miniature teapot with cover painted in enamels and gilt...

This delightful 18th-century Dutch Delft plate is hand-painted with a lively Paradise Bird perched proudly on a curling flowering branch. The bird appears animated and full of chara...

A fine and unusual Chinese Tang Sancai glazed model of a horse and rider, Tang Dynasty (618 to 906 CE), early 8th century, China. This fantastic sculpture portrays a male figures se...

A lovely antique late 18th-century to early 19th-century French faience plate with beautiful hand painted flowers and a scalloped rim. It would look fabulous displayed on a wall or s...

This pair of large Delft plates presents a strong, balanced composition centered on a long-tailed crane standing in a stylized garden, surrounded by...

Vintage set of placemats and napkin holders feature capiz, abalone, pearl shell designs with overlapping shell pattern covering rectangular placemats. Both placemats and napkin rings...

French Majolica oyster plate called Russian imperial eagle, circa 1890. Reference / page 132 "Oyster Plates" of Jeffrey B. Snyder.

Set of Four 18th Century Blue and White Delft Tiles Framed in Custom Iron Frame. Wonderful piece to display.

Early 19th century Delftware plate with polychrome floral decoration in yellow, blue, green and iron-red. Good condition; only slight usual wear to the rim

Pot of Majolica 1930, signed Ginori model 1208-3130, accompanied by an authentic archives Gio' Ponti.

Art Nouveau Majolica glazed tableware set of 10 pieces Leaves pattern in relief. Sarreguemines Majolica is a type of earthenware, decorated with colored lead glazes. Majolica was m...

Dark gray modern art nouveau vase by Upsala Ekeby in the 1940s. Soft shaped ceramic vase with a mother of pearl like shine, green accents, geometric belt around the belly and two ora...

Handmade hand-thrown Chinese pottery vase. A 19th-century version with plenty of character. Large, round vase with a relatively flat top and a narrow opening. Decorated with small,...

A stunning large studio pottery Jug, glazed earthenware with a slipware stylized polychrome decoration. Clearly marked to the base. The Troita studio was a prominent studio producer ...

Pair of Staffordshire Pottery porcellaneous figures which feature a lion and a lioness with her cub, recumbent on a shaped base. Green ground. Dull gilt embellishment. Decorated 'in ...

Circa 1920s McCoy Amaryllis pattern console set, American. Majolica pottery; 1926 pattern. Comprised of a small bowl & 2 small vases. 5/8" pre-glaze loss to interior rim, now with mi...

English majolica green-glazed 9-inch plate, with relief molded geranium plants and blossoms and shaped rim, the reverse with impressed mark 'HOPE & CARTER, ENGLAND,' ca. 1880. For t...

Set of 5 butter pats Henriot Quimper, circa 1920. Geometrical pattern all four differents.

Decorate a shelf or kitchen counter with this elegant and characterful antique jug or pitcher. Created by an artisan in Carinthia, Austria, this distinctive piece features a sculptur...

19th Century, English Majolica Oyster plate by S. Fielding and Company multicolored. Reference: Page 29 of "Collecting Oysters plates" of J. B. Snyder.

Marvelous vintage Italian pair of table lamps composed of pierced majolica urn shaped bodies with hand painted green leaves & gilded tips, brass & brass plated combination fi...

Vase in ceramic from France. It has been done during the 19th Century. Decor with Caracthers and Flowers. Main clors are white blue. Signed Henriot Quimper.

French Majolica oyster plate with flowers circa 1890 signed Longchamp.

Eye-catching Majolica glazed ceramic trompe l'oeil plate attributed to Vallauris. France, 1960s. This large plate has a black background and a colorful trompe l'oeil decoration comp...

Palissy footed platter on a blue brown mottled background with a large lizard on the centre, on the platter severals white shells and different leaves a...

A stoneware bowl designed by Höganas Keramik, produced in Sweden, 1940s.  Overall Dimensions (inches): 2.6"H x 10.4"W x 8.75"D All items ship from High Point, North Carolina.

Eye-catching Majolica ceramic white and green strawberry shaped tureen. Manufactured by Bordalo Pinheiro, Portugal, 1960s. This cute tureen has a very realistic design with leaves on the top. A leaf shaped serving plate and a small serving spoon complete the set. This highly decorative serving piece will be a nice addition to any kitchen or dining table. It will be a cool choice used as sauce tureen. Excellent condition. On sale as a set of three pieces, strawberry tureen...

This charming French faience plate is attributed to the celebrated pottery workshops of Nevers and dates to the late eighteenth century. Decorated in the distinctive chinoiserie tast...

Decorative tray, by an unknown designer. Manufactured in Spain, circa 1950. In good original condition, with minor wear consistent with age and use, preserving a beautiful pati...

A very rare Palissy oyster plate or platter who represents twelve fish heads shells, circa 1880. Attribution to the School of Paris, a French group of ceramists inspired by Bernard P...

White Neoclassical Urn. Large white glazed Italian urn form earthenware vase after the antique with classical figures in draped garments with sigillated urns on either side issuing ...

Majolica stove made by a Florentine company in the 1970s. It can run not only on wood but also on electricity. Excellent condition.

Whimsical 19th century Portuguese earthenware pitcher crafted in an eccentric composition with lizards and frogs on a grassy background. Stamped Portugal on the bottom.

This is an antique Italian ceramic jug, likely from the Montelupo Fiorentino factory, dating to around the late 19th century with the coat-of-arms of the Medici Grand Dukes flanked b...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

French Faience Platter Henriot Quimper Circa 1900. Diameter / 9.2 inches. Height / 2 inches.

Large white earthenware dish made in one piece by artist G.Mengoni. The plate was made by the pressure technique and then hand-embossed by the artist. The 'abborchiato' technique is ...

This evocative Japonist vase was designed by Sándor Apáti Abt for the Hungarian ceramic factory Zsolnay. The vase features a radiant background of gold, green, and orange, and is ado...

Rare Japonism "Folded" Fruit Bowl from service "Bracquemond-Rousseau" of Faience Manufacture Creil et Montereau. This French earthenware Faience piece is part of the world-renowned...