Manhattan - Ceramics

A beautiful 'sage' green and white English Wedgwood Jasperware matte stoneware vase in the Neoclassical style, England, 1973. Vase has Renaissance/Neoc...

Large studio planter with a multicolored glaze.

A extra large unique and rare design by the famed Italian artist of Studio Del Campo. The 1980s geometric abstract design is done is shades of blue, purple,gray, and yellow. Signed. Biography: Studio Del Campo in Turin, Italy (1957-1998), was a collaborative name shared by craftsmen-artists Virgilio Bari...

Aldo Londi Bitossi Kwan Yin, Ceramic, Buddha Bust, Blue. Beautiful and calming female Buddha glazed in a vibrant dark reflex blue. According to one legend, Kwan Yin was an Indian Princess...

A rare Meissen Marcolini Porcelain Chinoiserie incense burner vase and cover, made for the Chinese market, circa 1800, blue cross swords and star mark, Pressnummer 58 A Museum Quality Piece. Painted in the sought after famille rose palette with sprigs of indianische Blumen and enriched in gilding, the simulated pierced body supported by four feet painted with stylized dragons, the pierced cover with a Buddhist lion finial. 10" high x 6" wide x 6" deep The shape of this piece, which appears to be unrecorded in the literature, is inspired by similar Chinese porcelain censers from the Qing Dynasty, Kangxi Period (1654-1722). An example in the Palace Museum, Beijing, is illustrated by Li Yi-hua in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, pl. 65. Another in the British Museum, London (museum no. PDF, A.812) is catalogued as a perfume-holder. These porcelain examples are in turn inspired by ancient Chinese bronzes from both the Shang (1600-1046 BC) and the Zhou (1046-246 BCE) dynasties, an example of which was sold anonymously by Christie's New York, 22 March 2019, lot 1601. This chain of inspiration tracking backwards from the 19th century to antiquity provides a clear example of how ceramics, and indeed other mediums, are able to influence and motivate the works of later generations. For a Meissen porcelain snuff...

Exceptional & Large Lurçat Charger for Sant Vicens with Rascasse and leaves motif, numbered 39/50. Produced after one of the artist's drawings by the San Vicens ceramic studios in Pe...

This stunning hand painted ceramic vase was realized by the esteemed Swedish ceramicist Arthur Percy for Gefle circa 1920. It features a subtly conical body with inset sloped shoulde...

Francois Lembo mirror, ceramic, jeweled, gold, emerald green, black signed. Small scale circular gold glazed mirror with embedded jewel decoration. Signed F. Lembo with incised signature on the back. A native of Vallauris François Lembo started his pottery career in 1951, in the workshops of Calva and Rossignol. After his apprenticeship and having completed his national service...

Aldo Londi for Bitossi Vase, Ceramic, Orange, Brown, Signed. Small ball form vase with orange glazed body and raw clay collar. Signed on underside of base: 4208 B Italy.

A beautiful set of eleven (11) ceramic red onions on natural rope, trompe l'oeil style, circa mid to late-20th century. Each bulb with root depicting a real red onion. Hang in a kitc...

In 1917, Gustavsberg hired Kåge to make its dinnerware and other everyday products more beautiful—he would serve as the company's Artistic Director until 1948. During this fruitful p...

Colorful fish tray with an abstract Rascasse motif. Signed.

Bruno Gambone tall stoneware or ceramic vase or bottle in dark brown and matte off-white glaze with incised line around upper area below the bottle neck, Italy, 1970s. Marked with gl...

Traditionally shaped fruit dish by contemporary French ceramist and colorist Claire de Lavallée.   

An antique Wedgwood Jasperware blue and white oblong jewelry dish in the Neoclassical Style, circa late-19th century, England. Piece has a ...

Aldo Londi for Bitossi Vase, Ceramic, Orange, Brown, Signed. Small ball form vase with orange glazed body and raw clay collar. Signed on underside of base: 4208 B Italy.

The engraved and brush painted ceramic plate, Visage Gris (Grey Face) is one the most iconic pieces created by Pablo Picasso (1881 - 1973) at the Madoura workshop in Vallauris, France. It is said "all portraits are self portraits". In this work, we see Picasso's wistfulness, vulnerability and humor set within a beautiful image representing both the sun and the moon, the masculine and the feminine. Picasso mastery of form, image, composition and subtle color is evident in a work that resonates transcendence. Created in 1953, Pablo Picasso ceramic Visage Gris (Grey Face), 1953 A.R. 206 is a Madoura white earthenware clay, knife engraved under partial brushed glaze with decoration in engobes (green, black, white) from the edition of 500. This work is stamped with the 'Madoura PLEIN FEU' and ‘EMPREINTE ORIGINALE DE PICASSO’ pottery stamps on the reverse. Dimensions: 12 3/8 x 15 1/8 x 1 5/8in (31.4 x 38.3 x 4.1cm). Madoura was an artisan workshop created by Georges and Suzanne Ramie which collaborated with Picasso in the fabrication and hand painting of the works. Pablo Picasso designed 633 different ceramic editions between 1947 and 1971 at the Madoura workshop, with a number of variants and unique pieces resulting from these initial works. He began by creating simple, utilitarian objects such as plates and bowls, but later produced more complex forms, including pitchers and vases — their handles occasionally shaped to form facial features, or anatomical parts of his animal subjects. Picasso remains one of the highest-grossing artists at auction today, and the range of his ceramics means it's possible to find both a good investment and a beautiful object. Visage Gris is among the most important. A Short Biography follows: Pablo Picasso revolutionized the art world and to many is THE artist of the 20th century. He is famous for his role in pioneering Cubism with Georges Braque and for his melancholy Blue Period pieces. Original signed Picasso lithographs and prints are a sure investment. Madoura Picasso ceramics are highly collectible in their own right. As one of the most influential Modern artists of the 20th century, Pablo Picasso is renowned as a legendary artistic master to this day. Born on October 25, 1881 in Malaga, Spain, Pablo Picasso was a child prodigy who was recognized as such by his art-teacher father, who ably led him along. The small Museo de Picasso in Barcelona is devoted primarily to his early works, which include strikingly realistic renderings of casts of ancient sculpture. Picasso was a rebel from the start and, as a teenager, began to frequent the Barcelona cafes where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Edouard Manet, Gustave Courbet, and Henri de Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain – all in the years 1899 to 1904. Before he struck upon Cubism, Picasso went through a prodigious number of styles – realism, caricature, the Blue Period, and the Rose Period. These distinguished styles are apparent in the unique original works as well as Picasso ceramics, lithographs, linocuts, and etchings that he created later in his life. The Blue Period dates from 1901 to 1904 and is characterized by a predominantly blue palette and focuses on outcasts, beggars, and prostitutes. This was when he also produced his first sculptures. The most poignant work of the style, La Vie (1903), currently located in Cleveland’s Museum of Art, was created in memory of his childhood friend, the Spanish poet Carlos Casagemas, who had committed suicide. The painting started as a self-portrait, but Picasso’s features became those of his lost friend. The composition is stilted, the space compressed, the gestures stiff, and the tones predominantly blue. The Rose Period began around 1904 when Picasso’s palette brightened and is dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. One of the premier works of this period is Family of Saltimbanques (1905), currently in Washington, D.C. at the National Gallery, which portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space. In 1905, Picasso went briefly to Holland, and on his return to Paris, his works took on a classical aura with large male and female figures seen frontally or in distinct profile, as in early Greek art. One of the best examples of this style is in the Albright-Knox Gallery in Buffalo, NY, La Toilette (1906). Several pieces in this new, classical style were purchased by Gertrude Stein (the art patron and writer) and her brother, Leo Stein. With his groundbreaking 1907 painting Les Demoiselles d’Avignon...

French ceramist Eric Astoul (b. 1954, Morocco) infuses his sculptures with the essence of ancient and modern earthenware he has encountered along his travels in France, England, Japa...

Bruno Gambone large glazed ceramic horse sculpture with flattened hollow body, Italy, 1970s. This regal stoneware horse has an off-white matte gla...

Wonderfully unusual glaze. Unique shape.

Blue vase by ES Keramik, the variation of blue and white in the matte lava glaze makes for a stunning vase. Measurements: H 8.5", W 5", D 3.5"

Unique bottle-form case by Bruno Gambone. Large-scale, stoneware bottle-form sculpture/vase with incised line decoration to front and back. Off-white m...

1940's Argenta stoneware plate with female siluett decor by Wilhelm Kåge for Gustavsberg. The now iconic Argenta stoneware collection with its green gl...

Chinese Export platter, circa 1820. Mille fleur pattern.

This sophisticated ceramic lidded box was realized by the esteemed maker Rosenthal. It features a round body with a sculptural pull in the form of a...

Stunning white plisse porcelain vase by Ambrogio Pozzi for Rosenthal. The rounded pleat design reflects the light beautifully. Signed, see last photo. In good vintage condition, no c...

“Two Small Contemplation Boxes, 3 Inch Cubes, Hand Built Glazed Stoneware” A pair of small 3 inch cube box or bud vase to hold your thoughts or a tiny flower. Hand carved line-drawn ...

Large sculptural vase #4 by Dena Zemsky. Hand-built, glazed stoneware vase form. Signed and dated on underside.

Fabulous ceramic rooster by master French artist Jacques Pouchain, circa 1970s. Signed JP L'Atelier Dieulefit.

Ceramic drinking cup. Hand-cast in porcelain and once bisque fired, each dot is hand-painted with a traditional cobalt blue glaze. An unconventional layered glazing technique, develo...

- Dimensions: 8.75” wide x 7” deep x 1 1/8” high - We're always on the lookout for chic catchalls for keys, rings, desk accessories, and toiletries; this vintage piece fits the bill...

Stunning white porcelain vase by Thomas. The rounded pleat design catches light and shadow beautifully from different angles. Measurements: H 8", W 5.5", D 3".

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Beautiful decorative plate, bowl, vide poche from famed Italian ceramic house Studio Del Campo of Turin, Italy. Manufactured somewhere in the 1960's. Plate is comprised of enamel c...

Each decorated with cobalt, lime green, maroon and coral foliate motifs against a white ground. Comprising 12 dinner plates, 12 luncheon plates (one...

The shape of this remarkable Rivier vase has a beautiful asymmetry which is mirrored by the abstract human forms depicted on all sides, as the blac...

Each piece finely painted in tones of black, brown and gilt with classical figural decoration, the handles and borders with gilt painting. Comprising: 1 reticulated stand, 1 reticulated basket, 3 covered sauce tureens (two finials professionally replaced), pair of covered sauce tureens and stands, 4 oval...

Large, vibrant French Provincial hand painted faience wall decoration in the shape of a cover, rocaille et décor à la corne pattern. A double cornucopia filled with flowers, flying i...

Beautiful, large French Provincial style faience covered box profusely decorated with vibrant bouquets of flowers against a marvelous craquelure background. The cover topped with fiv...

An original sleek 1960s polished steel and blue/violet enamel bowl by the famed Italian Studio of Del Campo. Signed

Exquisite Royal Vienna portrait porcelain gilded cabinet plate featuring hand-painted illustrations of two beautiful young neoclassical women lounging in a garden. The cobalt blue bo...

This Mid-Century Modernist Ceramic Vase With Banded Detailing is a beautiful example of Post War European Ceramics, realized in Hódmezovasarhely Majolikagyár, Hungary Circa 1960. With a Stunning textural finish composed in Cream White and Blackened Umber, the surface of each vase features Molten Geometric Motifs unique to each Vessel. The quality of the surface balances the materiality of the glaze with the scale and emotional expression of the line work, seamlessly integrating the intrinsic nature of ceramic with the touch and inspiration of the maker. This particular vase has horizontal lines creating bands of space delineating the silhouette and profile...

Created by the Swedish ceramist Arthur Andersson in the middle of the 20th century, these voluminous vases are noteworthy for their formal symmetry and their banded designs, which of...

Stoneware. Bottle and stopper decorated with beige background. Green and brown linear decoration throughout. Similar bottle available with a yellow geometric pattern.

A beautiful vintage porcelain famille rose three-piece hand-decorated teacup and saucer or soup set with lid, in the Chinoiserie style, circa mid-20th century, Hong Kong (British rul...

This Mid-Century Modernist Ceramic Serving Tray W/ Yellow Spiral & Dots originates from the United States, Circa 1980. Features an oval form with a raised lip and graphic eye catchin...

Large vase with threaded neck by Saxbo, Denmark.

This stunning sculpture of an Art Deco Pouncing Tiger is realized in a pale terra-cotta glaze ceramic .It features a stylized Tiger on a stepped geometric base echoing the design of ...

19th century French ornithological ceramic charger by Montereau B et Cie, depicting two perched songbirds. In very good condition.

Made completely by hand, this Large Ceramic Fruit Bowl with Creamy White Glaze is unique to the core from its unusual texture and hand carved drawing to the gorgeous glaze. The white stoneware clay was worked using several techniques, slab, coiling, pinching, and scraping, with hand drawing over the surface. Three hand-formed feet both elevate and add character to the bowl. The Creamy White Glaze shows the off white clay body in places as well as a faint underglaze painted into the carved areas...

This vase is ribbed and richly glazed in blue. Signed AB.

Early pieces by CAB for Primavera were inspired by ancient ceramic methods as well as early Japanese metalware. Félix Gête developed the green overglaze seen in this vase, obtained f...

Earthenware vase with shades of blue glaze by Annikki Hovisaari Incised with artist's initials AH and dated 1935 Light scratches but overall fine condition.  

An asymmetrical bowl handcrafted by Ewen Henderson, (1934-2000) Mixed clay layered with pink, olive green, and grey glazes.    

Chinese export underglazed blue and polychrome octagonal platter, circa 1800.

Reflection by Elnaz Rafati (Sculpture 10) Dimensions: W 18 x D 23 x H 50 cm Materials: Clay I am an Iranian architect and artist living in NYC. After receiving my architectural ...

This elegant Art Nouveau vase was realized in the England by the storied maker Wedgwood circa 1890. It features Art Nouveau stylized foliate patterns in caramel and crimson with an i...

Charming pair of of ceramic miniatures by Eva Jancke-Björk for Bo Fajans, Sweden. They are part of a collection miniature objects that Eva Jancke-Björk crea...