Earthenware Furniture

The Giustiniani family was one of the most important in ceramic production in Naples, particularly from the 17th to the 19th century. The Giustiniani manufactory is famous for its "r...

Grotesque Figural Jug-shaped Vase. Ceramiche Artistiche Solimene, Vietri, Earthenware, glazed turquoise blue, and purple on white. Marked: C.A.S. VIETRI ITALY.

Introducing a truly exquisite floral vase from the 1920s, a magnificent showcase of the artistic genius of Charles Catteau (1880-1966). Crafted from earthenware, this vase stands as ...

A Rare and highly collectable French glazed ceramic pitcher in the shape of a Rabbit. The design is a wonderfully detailed rabbit wearing a green ribbon bearing a '1900' medallion, ...

A beautiful deep blue Art Deco / Swedish Grace clam shaped stoneware vase with hand painted gold details. Designed by Vicke Lindstrand and handmade at Karlskrona / Upsala-Ekeby, Swed...

- 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...

This lovely set of three English Mason's Ironstone Regency period jardineres with handles are decorated in the vivid Japonesque Imari colors and pattern. The two smallest urns meas...

Andalusian Hand-made terracotta two-handled water jar, Spain, 1880s-1930s. Traditional spanish terracotta jar / pitcher. Unglazed exterior and interior with handles at both sides. Us...

An off-white-glazed earthenware vase designed and produced by Upsala Ekeby, Sweden, 1930s.

Standout 18th Century delft earthenware lidded tobacco jar hand decorated with tobacco plant, urns, a ship and a Native American in an alluring blue against a cream background. The l...

For your consideration, a handcrafted ceramic vase featuring a distinct textured crawl or "crackle" glaze finish. A round, bulbous "moon jar" shape with a small, clean-rimmed top ope...

Model #13 Eduard Stellmacher and Co, Porzellanfabrik und Kunstkeramische Industriewerke Driven to establish a new company that produced luxury porcelain and ceramic items based on his own aesthetic aspirations, Stellmacher left Amphora when the workshop was at its most prosperous, in 1904. Together with entrepreneur Karl Frank, who provided the financial backing, he founded Ed. Stellmacher & Co. in Turn-Teplitz in 1905. From the outset, Stellmacher worked hard to achieve a major position among other high-end ceramic art producers. He believed the success of the company would depend on his products of “appropriate methods and unerring quality, perfect from both the technical and artistic sides”. Stellmacher based his first collection on artistically progressive products, pieces he believed would be in high demand. The greater part of the designs were either large vases complemented with sculptures of fantastic dragons or natural animals. With this series, Stellmacher continued the themes he had created for Amphora from 1899-1902, however, his naturalistic renderings of animals was even more elaborately precise. He developed a special ceramic material called refined earthenware, which minimized the shrinkage that was common during firing and allowed for greater preservation of details in the original models. Unfortunately, by 1905, contrary to Stellmacher’s plans, there was little to no demand for objects of this type. Very few pieces exist today as very few were originally produced. Even after redirecting the company to produce commercial goods Stellmacher still could not ward off the company’s demise. By 1910 the Stellmacher & Co. fell into bankruptcy and was liquidated. Art Nouveau Dragon...

Belgium plate, made in the manufacture of Wasmuel in Belgium in the late 19th century. This manufacture was known of its speciality of barbotines. It was opened between mid 19...

Creil Faience Fine Creamware Dish, Circa 1800-20 This charming French creamware dish is decorated with a molded design of bullrushes encircling the dish. The crisp design display...

Efir Large Vase by Willem Van Hooff Dimensions: W 65 x D 8 x H 42 cm (Dimensions may vary as pieces are hand-made and might present slight variations ...

- Handbuilt white 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 potter Hou...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over wh...

Terracotta Coiled Moon Jar by Elena Vasilantonaki Unique Dimensions: ⌀ 23 x H 27 cm (Dimensions may vary) Materials: Stoneware, Earthenware Available finishes: Experimental Glazes, e...

Classical Elegance: A Set of Four Spode ‘Greek Pattern’ Openwork Dessert Plates Staffordshire, England, Early 19th Century This exquisite set of four dessert plates represents the h...

A rare and beautiful late 18th early 19th century French Conscience vessel which were used for carrying water. This one has the most wonderful vibrant colour glaze making it a very d...

This eye-catching 1960s French side table is a true statement piece, boasting a captivating mosaic top. The surface is decorated with a vibrant array of glazed, textured ceramic tile...

A beige and orange-glazed earthenware vase, designed and produced by Töreboda Keramik, Sweden, 1930s.

Art Nouveau Majolica jardinière, planter with Oak stand Style of Delphin Massier & Fils at Vallauris This stylish piece is an early example by a renowned maker, showing the main inspirations of Art Nouveau, applying curved, organic and asymmetrical design elements to a functional object. In this example, hand-applied ceramic petals and streaks of coloured glaze are used to accentuate the plant-like shape. The jardinière is exactly matched to the Oak stand on which it sits. Design period, circa 1890 The piece is in Good condition with no signs of cracks or damage, and a real beauty! A rare find for the connoisseur. Dimensions: Complete Height 97 cm External diameter 46 cm Jardinière / pot External diameter 46 cm Height 34 cm Stand/pillar Oak...

Cupid neoclassical Creil creamware plate. Antique black and white soup plate "L'amour et l'Himen l'entrainent à leur autel" with grapevine border. Impr...

A charming antique French faience Henriot Quimper hand painted rectangular lidded trinket box, circa 1930. Maker's mark on underside of lid and on base. The lid of this box features ...

A green and brown-glazed earthenware vase designed by Erik Mornils and produced by Nittsjö, Sweden, c. 1930s.

- Handbuilt brown jar - Made of clay collected from the potter's surroundings. - Made in the Moroccan Rif mountains by the potter Aïcha. Approximate mea...

Beautiful and rare antique enamelled flower pot from the art deco period, designed by Charles Catteau for Boch Keramis, decor number D704, shape number F424, circa 1922-1924, Belgium...

Vintage Strasbourg Style Faience Crudite Dish. Vintage Strasbourg style faience crudite footed dish. France, early 20th century. Dimensions: 9.5" dia x 3"H

I offer for sale an extremely decorative and fun element to set your table. Made in Italy between the 70s and 80s, this jar with lid is part of a successful series that included many...

A petite earthenware ceramic bowl. This small vessel will be a great addition to a coffee table used as a vase, or a side table as a trinket dish. We also love the idea of using it as a salt well...

Atelier Primavera, Pair of Glazed Ceramic Lamps By French Design House, Primavera, Atelier d’Art du Printemps, or the French department Store “Le Printemps” Embossed stamp, 'PRIMAVERA' and numbered '17769' Model created 1926-1929 Bibliography : Primavera 1912-1972, Atelier d'Art du Printemps, A-R. Hardy, Faton ed., Primavera 1912-1972: Atelier d’Art du Printemps Primavera, “Spring” in Italian, was the first French department store to set up a creative workshop at the beginning of the 20th century. The adventure began in 1912 with two Decorative Arts enthusiasts: Pierre Laguionie (1884-1978), director of “Printemps” Department Store and lawyer René Guilleré (1878-1931), founder of the Salon des Artistes Dé-corateurs. Their objective is to promote the craft of Art in the daily life of the French people on the motto of the beautiful and the useful. Decorative objects and furniture (furniture, ceramics, glassware, carpets, up-holstery, wallpapers, etc.) must be beautiful, modern, of high quality and at affordable prices. The studio acquired young decorative artists such as Marcel Guillemard (1886-1932) and Louis Sognot (1892-1969) for furniture, and for works of art and ceramics by Madeleine Sougez (1891-1945)active from 1920 to 1928, Claude Lévy (1895-1942) from 1919 to 1929, Paule Petitjean (1895-1989) de 1913 à 1929, Hélèné Gatelet de 1924 à 1930, Marcelle Thiénot...

A French Majolica asparagus tray from the 19th century, with large cradle and wicker motifs. Created in France during the 19th century, this Majolica tray features large cradle with ...

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....

A beautiful earthenware table lamp with amazing glaze. Handmade by an unknown artist in Sweden, 1960s. Great original condition. No chips, cracks or crazing. Sold without lampshade...

A decorative pair of large Spanish Fajalauza pottery bowls, likely produced in Granada during the early 20th century, hand-painted in the traditional cobalt blue and green palette as...

A fine pair of antique 18th century English or Irish Delft pottery plates. With Chinoiserie decoration in blue underglaze decoration throughout including ...

A pair of fine antique Dutch Delft plates. Each depicting a woman in classical Chinese garb gesturing towards an extravagant potted plant atop a table. The rim of each is decorated...

This rare “Soleil” mirror by French artist Mithé Espelt (1923–2020) exemplifies the refined craftsmanship and poetic sensibility that define her work. Created in the 1980s after an o...

Holdcroft Majolica dish which features two entwined fish and coral. Cobalt blue ground version. Colouration: cobalt blue, green, grey, are predominant.

Scandinavian modern french blue, hand-painted plate with floral motif designed by Eva Jancke-Björk for Bo Fajans, Sweden. This exquisite plate, numbered 3733, is designed by Eva Ja...

Ashworth, England. Set of six plates in faience. Chinese style. Decorated with flowers. Late 19th century. Marked. In excellent condition with natural crazing. Dimensions: D 17.0 cm.

Beautiful small platter by Hans Hedberg, made in faience. Almond shaped with striking blue glaze covered with litchen-like flecks.

Arabia, Finland. Art Deco vase in glazed faience. Beautiful marbled glaze. 1920/30s. Measures: 11 x 10.5 cm. In excellent condition. Stamped.

A beige and orange, glazed earthenware vase designed and produced by Upsala-Ekeby, Sweden, c. 1940s. Overall Dimensions (inches): 6.0"H x 7.43"W x 6.18"D All items ship from High P...

Biomorphic lamp in heavy earthenware in a deep brown glaze 28x20 Base Only 16x7 Shade Not Included

A striking and poetic pair of Berber terracotta figures from North Africa, dating to the mid-20th century. Hand-shaped and decorated using traditional techniques, these figures embod...

Sculptural Modernist Sterling Silver and Pearl Ring Striking modernist ring crafted in sterling silver , featuring a bold sculptural design accented by a single cultured pearl. The ...

Robert Maxwell & David Cressey Storage Jar for Earthgender. Studio executed in hand thrown and designed textured earthenware with matching glazed lid, ideal as both a storage solutio...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

A black and off white-glazed earthenware vase designed by Eva Jancke Björk and produced by Bo Fajans, Sweden, 1940s.

Ceiling lamp, porcelain, Royal Copenhagen, Denmark, height 8". Existing wiring, rewiring available upon request.

A Pilkington Royal Lancastrian pottery low luster bowl, English, circa 1900. Scratch "P" under glaze mark. The white inner ring (with tiny chip) suggests a lacking flower frog or oth...

Discover the art of tasting with our French cheese service, which highlights the richness of French cheeses on your table. With an elegant set of 6 Saint Amand faience plates, each p...

A green glazed earthenware vase designed and produced by Gabriel Keramik, Sweden, 1940s.

A pair of 19th century French Gien faience urns with hand-painted decoration. Nice form with double handles and square pedestal base. Hand-painted in blue, orange, yellow, and green ...

Pair of Royal Worcester Majolica vases which feature a Chinese dragon wrapped around the sides. Colouration: turquoise, green, red, are predominant. The piece bears maker's marks for...

An interesting an nicely made plate. This JM emanated from a town called Aussig on the banks of the river Elbe in 1841 in a place that was then Eastern Bohemia, later becoming part o...

The BRICK I is a modern interpretation of the classic vanity light, celebrating the dialogue between the handmade and the serial. A cast earthenware base hand-glazed in soft white fr...

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