New York - Ceramics

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...

Blue & White Dish “Siam” Pattern Ironstone Transferware

Chinese Export platter, circa 1820. Mille fleur pattern.

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

3-646 Antique Capo DiMonte hand painted ceramic box.

Handbuilt organic modern moon vase made from a groggy clay body covered layers of glossy and matte white glaze, and a heavily textured lava glaze. Each vase is made by hand in our Br...

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...

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...

This rare large punch bowl beautifully marries two of the most sought-after patterns of early 19th-century English ceramics: The Medicine Man and The ...

Vintage hand-thrown bowl features complex Crater glaze in mocha and latte brown colors. Minimal color palette and streamlined shape of the piece allow the textured glaze with variations from semi-matte to high gloss to take the spotlight; slightly asymmetrical rim adds hand-crafted, Organic Modern mood to the bowl's design. The bowl is personally signed by Douglas Ferguson on the bottom with his name and "Pigeon Forge Pottery". The Crater glaze has become one of the most recognizable glazes made by the Pigeon Forge Pottery. Often commonly referred to as "Volcanic" or "Lava" glaze, the Crater glaze was developed and made in several colors. We are offering a vase and 4 more bowls in different shapes by Douglas Ferguson, done in variations of Crater glazes, in separate listings. Douglas Ferguson (1912-1999) was an established Tennessee pottery artist; he received a degree in Art Design Studies from Mars Hill College and worked in the Ceramic Research Laboratory for the Tennessee Valley Authority in Norris, TN, from 1935 to 1947, where he experimented with local clays. In 1946 he started Pigeon Forge Pottery in an old tobacco barn with his wife Ruth and Ernest Wilson, his colleague at the Ceramic Research Laboratory. He formulated many of his own glazes, including crystalline and Crater glaze. In 1957 he created the Clingman Dome tea set, named by Ferguson for the highest peak in the Great Smoky Mountains, which the state of Tennessee presented to Queen Elizabeth. Ferguson became a member of the Southern Highland Craft Guild in 1948 and remained active until 1998, receiving Life Membership in 1991. He earned two awards from the Tennessee Arts and Crafts Festival in Nashville, received the Rotary Certificate of Distinguished Service, and was featured in books on Appalachian...

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

Vintage hand-thrown bowl features complex Crater glaze in off-white and mocha brown colors. Minimal color palette and streamlined shape of the piece allow the textured glaze with variations from semi-matte to high gloss to take the spotlight; slightly asymmetrical rim adds hand-crafted, Organic Modern mood to the bowl's design. The bowl is personally signed by Douglas Ferguson on the bottom with his name and "Pigeon Forge Pottery". The Crater glaze has become one of the most recognizable glazes made by the Pigeon Forge Pottery. Often commonly referred to as "Volcanic" or "Lava" glaze, the Crater glaze was developed and made in several colors. We are offering a vase and 4 more bowls in different shapes by Douglas Ferguson, done in variations of Crater glazes, in separate listings. Douglas Ferguson (1912-1999) was an established Tennessee pottery artist; he received a degree in Art Design Studies from Mars Hill College and worked in the Ceramic Research Laboratory for the Tennessee Valley Authority in Norris, TN, from 1935 to 1947, where he experimented with local clays. In 1946 he started Pigeon Forge Pottery in an old tobacco barn with his wife Ruth and Ernest Wilson, his colleague at the Ceramic Research Laboratory. He formulated many of his own glazes, including crystalline and Crater glaze. In 1957 he created the Clingman Dome tea set, named by Ferguson for the highest peak in the Great Smoky Mountains, which the state of Tennessee presented to Queen Elizabeth. Ferguson became a member of the Southern Highland Craft Guild in 1948 and remained active until 1998, receiving Life Membership in 1991. He earned two awards from the Tennessee Arts and Crafts Festival in Nashville, received the Rotary Certificate of Distinguished Service, and was featured in books on Appalachian...

Known for his long career spanning a range of 20th Century movements, Jean Luce's Art Deco vase is a gilt orb etched with a motif of overlapping, matte black rectangles in intaglio. ...

Kawa Vase 06 Tactile and organic white vase with textured raw porcelain exterior surface and clear glazed interior. As a result of the production process each item is one-of-a-kind....

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

Blue & White Platter “Thomas Walker” Simla Pattern Transferware Beautiful platter and great condition no cracks or significant chips or losses

Rose and Erni Cabat glazed porcelain Feelie vase citron chartreuse yellow green, USA, 1970-1985 Incised signature to underside 'Cabat' and numbered. This li...

Unusual cups or mugs were hand thrown and hand glazed in traditional salt glaze in grey-brown palette. The inner surfaces of the cups are decorated with abstract naked female figure...

A porcelain flower vase with an organic and fabric-like form and texture. Clear glazed applied on interior surface. As a result of the production...

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

Wonderfully unusual glaze. Unique shape.

Handbuilt organic modern vase made from a groggy clay body covered in a matte black glaze with layers of glossy and crawling black glaze on top. Each vase is made by hand in our Broo...

Charming vintage set of 4 ceramic glasses features hand-painted motif of blooming lilac branch in pastel colors on mottled off-white and blue background glaze. The rims are decorate...

A pair of white porcelain vases made by casting into leather molds. As a result of the production process each item is one-of-a-kind. Set includes one tall vase and one medium vase...

Rare bowl, great condition for age and use. And if you haven’t seen the documentary about Ravilious, Drawn to War, released in 2022, you should! There’s so much to this artist who...

A German Meissen yellow porcelain candy bowl with a figural knob. The exterior of the bowl is delicately adorned with oval shaped medallions with images of bouquets of flowers, geome...

One-of-a-kind Raku-fired vase. Imperfectly round. Made in our Brooklyn studio then fired in a New Jersey back yard, All dimensions are approximate as each piece is handmade. Slig...

This early 20th century Continental terracotta planter is designed in a rich high glaze cobalt blue and white finish. The body of the planter features decorative applied handles that...

Danish 'Flamestone' earthenware salt and pepper shakers by Jens H. Quistgaard for Dansk designs, circa 1958-1964. Features the Flamestone signature slate glaze with striated pattern ...

A set of 5 tactile and organic porcelain vases with leather textured exterior surface and clear glazed interior. As a result of the production process each item is one-of-a-kind. Set...

Lovely and large Victorian French Angel holy water font in bisque with glazed calm shell. Beautifully detailed hand painted decoration throughout. 1900 Fr...

Set of 6 salad/occasional plates in Alpha 3 pattern was designed by Kaneaki Fujimori for Kato Kogei Japan in 1980s. Alpha 3 series consists of mugs, salad/casual plates, and decorat...

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"

Art Pottery, Studio Ceramic /weed pot , feelie by Brenda Williams.. Northern California artist.. Stunning form,, wonderful glaze.. Last pho...

Staffordshire 8.25” Plate “Whampoa Pattern” Transferware

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...

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

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...

This exquisite 19th-century majolica jardiniere and underplate by Minton was handpainted in Stoke-upon-Trent, Staffordshire, England, around 1880. This jardiniere measures an impressive 17" across the handles it is adorned with a delightful design of green oak leaves and light brown acorns that stand out beautifully against the beautiful turquoise background. The handles, in the shape of twisting oak branches...

Hand-built free-form long shallow platters custom-designed for Dan Barber's Blue Hill at Stone Barns restaurant. Variegated glossy white glaze on dark brown clay. Equally well suited...

One of a kind ceramic ash vase. The vase is comprised of two different clay bodies and is glazed with a coppery green glaze on the top contrasting a speckled matte white bottom. Asse...

“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, 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...

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...

Rare majolica jar with lid is decorated with bright, multicolored abstract birds and flowers motifs in sgraffito technique, that were hand-painted over the lines. The handles, the r...

An animal farm scene pottery spill vase, Folk Art design, attributed to Staffordshire, circa early-20th century, England. A beautiful scene of dove birds o...

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

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...

Italian ceramic terrier. 1950s. Very Hollywood Regency.

Baby Huey is a rare find in a cookie jar. He was a famous animated cartoon character. Do you remember him?

One of a kind ceramic stoneware hand built bowl. The piece is comprised of two different clay bodies and features a coppery green handmade glaze in contrast to a speckled bowl . Th...

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".

Large vase with threaded neck by Saxbo, Denmark.

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...

This exceptional creamware shell shaped dish has a lovely yellow ground decorated with brown chrysanthemums, scrolling vines, and golden leaves. The...

Blue & White Dish Staffordshire Whampoa Pattern Transferware

Denmark 'Flamestone' coffee or tea pot, creamer, and sugar by Jens H. Quistgaard for Dansk designs, circa 1958-1964. Features the Flamestone signature slate, almost brown glazed-ear...