Earthenware Ceramics

Large English Majolica begonia leaf decorated with strawberries and cherries, circa 1890.

A Majolica Dragon Jug designed by Hugues Protât (French, 1835-1871) for Wedgwood, the ovoid-form jug glazed in cobalt blue with a brightly glazed drago...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

A rarely found English Majolica mask handled and climbing Ivy water pitcher, marked Samuel Alcock & Co. circa 1875. A round bellied cobalt blue body ...

Designer: Britt Louise Sundell Series: Santos Product Description: The Santos-series has been designed by Britt Louise Sundell for Gustavsberg. The artist is most famous for her col...

Majolica dish hand made and hand-painted in Deruta, Italy, according to the original Renaissance painting technique. The dish is enriched by the presence of four metamorphic dolphin-...

Rare vintage oversized cup and saucer set is decorated with hand painted stylized fruits and leaves decor. The saucer features grapes, and the cup - plums; fruits are depicted hangi...

French faience oyster plate signed Fouillen Quimper, circa 1930.

French faience oyster plate signed Fouillen Quimper, circa 1930. With a crab.

French faience oyster plate signed Fouillen Quimper, circa 1930.   

Samuel Alcock Majolica grape and strawberry tray, English, ca. 1875, naturalistically molded with a large grape leaf with purple glazed grapes, ...

George Jones Majolica Trompe L'oeil Rare Tile, naturalistically molded in high relief with a large green-glazed lily pad and waterlilies, on a cobalt blue ground, the reverse with pa...

This is a beautiful stoneware vase by S. Hublet, made in Belgium. It has a granite like beige, pink and black surface accented by freeform chevrons on the top and the bottom. The center of this magnificent oversized art pottery tea pot...

A fine pair of decorative ceramic vases from the Arts Crafts period, by the celebrated English pottery firm, Royal Doulton. Each vase featuring a design of grape clusters ar...

Miniature Majolica-glazed teapot, on a porcelain body, English, morning glories on trellis, English, circa 1920. This charming little piece is of extremely high quality; it is molded...

Vase model "Medium Luno" Manufactured by Willem Van Hooff. Exclusively for SIDE. Netherlands, 2023. Earthenware, glazed. Measurements 38 x 35 x 30h cm 15 x 13,8 x 11,8h in ...

Hand-Painted Talavera Ceramic Jug by Mave, Spain, Mid-20th Century A finely hand-painted Talavera ceramic jug, crafted in Spain and signed Talavera Mave to the underside. Cylindrical...

Menton French Majolica (Barbotine) Trompe L'oeil Wall Plaque on a turquoise ground with oranges molded in high relief, circa 1880, with impressed mark for Eugene Perret-Gentil, diame...

Crespina Faenza, last quarter of the 16th century Maiolica painted in two colors, light blue and yellow, on a thick, rich layer of white enamel. It measures 2.24 in (5.7 cm) in height, 6.10 in (15.5 cm) in diameter. lb 0.55 (kg 0.25) State of conservation: mimetic restoration. The small cup has a raised central “umbone”, a perforated brim and a shaped rim. It rests on a high jutting foot. The "crespina" shape, in some inventories is cited as "tacce de frute" (fruit cups). It was particularly appreciated in the Renaissance and has variants based on the formal types and the different sizes. The decoration, made according to the dictates of the “compendiario” style, used few standardized colors: blue and yellow on a thick white and shiny enamel, deliberately chosen as the colour which was most reminiscent of silver. This choice derived from a trend in creative design of the era: the shapes used in the molds were often taken from metal objects. An idea which would last throughout the Renaissance. The work shows, in the middle of the “umbone”, a winged putto stepping forward while playing a long thin trumpet. The depiction of the putto is fully representative of the repertoire of the Faenza workshops of the sixteenth century. Some specimens with this type of decoration have been published in a volume by Carmen Ravanelli Guidotti: there appears the whole productive repertoire of this fundamental moment of transition between the taste for the “istoriato” style and the great simplification of decoration in the “compendiario” period. This style, in its simplicity, however, saw its expression in a rather varied collection of decorative subjects, including old-fashioned busts...

English majolica green-glazed 9.13-inch plate, with relief molded geranium plants and blossoms, with a shaped rim; the reverse with impressed mark: HOPE & CARTER, BURSLEM. For thir...

J. Roth London Majolica Taza, with Greek key boarder in pink on cobalt blue, with green leaf and ferns and wild roses, English, circa 1880, on a footed circular base, incised monogra...

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

The designs on this French faience group is typical of pottery made in Rouen. Early 20th century French hand-painted Faience Terrine from Rouen. Marking on the bottom: "Rouen Fait...

Mintons, England. Two antique plates in hand-painted faience. Chinese style, early 20th century. Largest measures: 23.5 x 20.5 cm. In excellent condi...

Rare and important French Art Deco ceramic sculpture by Marcel Renard (1893-1974), circa 1920s of a woman modeled in robes with a baby. Made...

Early Arista y cuenca tile made in Toledo. Tile decorated in renaissance with stylized flowers was probably made between 1550 and 1575.

An assembled pair of Wedgwood cress or strawberry dishes, Two Piece; Footed Pierced Dish with Stand. Late 18th c. This would have been used to serve watercress or strawberries after ...

Beautiful large earthenware wall plate by the artist Géo Condé (1891-1980), featuring a typical Art Deco design. A bird in the center with stylized flowers in the background. Beautif...

An Early Minton Majolica 'Tavern' Ale Jug, formed as a tapering medieval flagon, the figures molded in high relief and applied, depicting a man and woman dancing, a seated figure wit...

Very nice pottery, ewer, by the well known artist, John Gill, signed, dated 1986.

In addition to tea leaves, water, and heat, the art of drinking tea (chayi) calls for a variety of teaware and utensils - both practical and decorative. This petite ceramic ewer date...

Made in Italy by Roberto Rigon for Bertoncello, 1970s. It is made in multicolored glazed earthenware. It is a vintage piece, therefore it might show slight traces of use, but it can...

A fine Majolica vegetable tower or topiary, attributable to the ceramic artisans of Este, Italy, featuring a naturalistic relief of vegetables upon...

Rare Fluted Earthenware Vase by Vicke Lindstrand for Upsala Ekeby. Sweden, 1930s. A rarely seen white earthenware vase designed by Vicke Lindstrand and produced by Upsala Ekeby in S...

A Wedgwood Majolica Lobster Plate, with the central figure of a red-glazed lobster on sea greens on a cobalt blue ground, and with relief molded...

Royal Copenhagen, six Baca faience tiles with patterned glaze in brown, blue and green. Model 869/3813. 1970s. In perfect condition. Marked. Fi...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Beautiful sculpture in brown earthenware modeled in the expression of a woman in polychrome glaze with blue hair, made in Germany, 1930s. Erwin Spuler (1906-1964), who initially studied at the School of Applied Arts in Stuttgart, studied with Georg Scholz...

A George Jones Majolica Kingfisher on Lily Pad Luncheon Tray, the trefoil dish naturalistically molded as a lily pad and blossoms with cattails, with a colorfully glazed model of a k...

A fine Majolica serving platter or bowl by the celebrated English pottery firm, Minton. Featuring a design of a recumbent cherub or child clutching grapes upon a bed of grape leaves...

A majolica game pie dish made by Minton & Co. in 1864. The dish takes the form of a wicker basket and is covered with oak leaves, acorns, vines,...

Large hand painted Turkish ceramic bowl / charger. A royal procession or hunt featuring men on horseback in traditional dress carrying processional/parade flags. This is a great det...

A rare Dutch Majolica plate with a decoration of a tulip. Northern Netherlands, probably made in the city of Rotterdam. Made 1620 - 1640 Dutch majo...

Wonderful Art Nouveau large ceramic handled bowl or basket by German artist/designer Wilhelm Süß for Karlsruhe Majolika (Majolica) circa 1910. He was one of their top designers at th...

Maiolica tureen “allo struzzo” (ostrich decoration) Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780 Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26) lb 4.78 (kg 2.17) State of conservation, a felûre consolidated inside with slight edge chipping restored. In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati. Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories. This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles. The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem. The lid is ribbed with a pear-shaped knob on top. The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...

Santa Rosa majolica plate hand painted in bright colors of orange, yellow, blue-greens and red. The workshop is in the mountains of central Mexico above the city of Guanajuato. The scalloped plate...

Vintage glazed terra cotta platter with three dimensional SeaLife. Very whimsical & colorful.

Large Vintage Glazed Earthenware Teapot by Peter Shire, 1982. Earthenware and Enameled Metal construction, Hand-Built. Approx: 15 1/2" high x 12" wide x 25" long Peter Shire: ...

George Jones Majolica Pitcher, of baluster form with relief molded stiff acanthus leaves, grasses, and wheat on a brown ground, the top banded with stylized leaves glazed in chartreu...

Pair of Art Deco (Belgian) crackled earthenware vases with blue floral motif (stamped Boch Frs/La Louviere, #D944) (PRICED AS Pair)

- 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...

A Minton Majolica Small Tazza formed as a shallow bowl supported by a horn and naturalistic stag's head, with green stylized leaves, the oval base glazed in cobalt, with gadrooned ed...

Wedgwood Majolica cauliflower pattern compote pedestal bowl, English, 1879, with impressed Wedgwood mark and three letter date code for 1879. For...

T.C. Brown-Westhead, Moore & Co. Majolica Jug Depicting 'The Fox and the Grapes from Aesop's Fables, with a molded and applied fox to each side and glazed in deep cobalt blue, the to...

An unusual grotesque three-tier candelabra in the manner of Bernard Palissy, the central column decorated with coiled serpents and lizards on a stepped...

Antique 19th century neoclassical Vase By Gerbing & Stephan Germany 1892. Ebonised earthenware, of baluster form with horned mask handles, on a circular footed base, with impresse...

Majolica Italian grey hound. Mid-20th century.

Staffordshire Pottery tureen with cover which features a duck forming the lid, sitting on a base molded with a rippling water effect. Maker's mark, '6' mo...

George Jones Majolica Dish, the center with tortoiseshell mottling, bordered with green-glazed acanthus leaves on a turquoise-glazed ground, the inner and outer border rims glazed in...

Exceptional early 20th century earthenware bookends in the style of Wiener Werkstatte of stacked Lions. Both beautifully sculptural and functional these unique period pieces have tho...