Aesthetic Movement Ceramics

An unusual Doulton Lambeth saucer shape stylized leaf design candlestick with brass fittings by Frank Butler and dating from around 1890. The candle stick...

A very rare and stylish Doulton Lambeth Marqueterie Ware blue and brown marbled art pottery saucer with gilded designs by Lambeth’s first Art Director Wilton Parker Rix (Doulton Lamb...

Large unusual Austrian Majolica oyster plate, circa 1880.

Palissy Style Majolica Crab Motif Plate, Portugal, C. 1940s Portugal, Circa 1940s Presenting an exquisite Palissy Style Majolica Crab Motif Plate, from ...

George Jones Aesthetic Majolica Cat & Bird Figural Dish, England, 1876 Registry Date marked for January 22, 1876 A truly exceptional piece of antique majolica pottery: the George Jo...

A stylish early Doulton Lambeth stoneware sugar pot with silver plated mounts by renowned artist Clara S Barker and made in 1878. There is a further interesting artist mark to the base of this piece which is either that of Jane S Hurst...

A large, impressive and rare aesthetic movement Doulton Lambeth vase by renowned artists George Hugo Tabor, Eliza L Hubert and Ernest R. Bishop whose work is rare and dated 1883. The...

An unusual antique pottery vessel molded with maiden’s heads and decorated in Whieldon glazes dating from the 19th century. Possibly a spill vase or table snuff bottle the vessel is ...

A delightful Doulton Lambeth aesthetic movement thistle shaped vase applied with stylized leaf and floral designs by Clara Baker and dated 1878. This nice early stoneware...

Large unusual Austrian Majolica oyster plate, circa 1880.

A rare and unusual Maw & Co, Jackfield, English majolica aesthetic movement art pottery plaque decorated with a chariot attributed to designer Walter Cran...

MINTON - 'Faisan' - Rare antique Aesthetic Movement ceramic tea cups and saucers - set of four - transfer decorated in brown on a cream ground - elabor...

An exceptional and rare Doulton Lambeth Aesthetic Movement onion shaped vase decorated with star like motifs by renowned artist Elizabeth A Sayers dated 1878. Elizabeth A Sayers while recongized as a highly accomplished and distinguished artist did not spend much time at Doulton Lambeth so pieces by her are both rare and sought after. This stylish stoneware onion bodied vase...

A set of two aesthetic movement poluychrome majolica plates with fruit motifs by Sarreguemines France. Each ceramic plate is round and colorfully dec...

A stunning Aesthetic Movement William Brownfield plate with a stylised panel and floral design by Christopher Dresser (British, 1834-1904) dating from around 1876. Christopher Dr...

An unusual antique Copeland Aesthetic Movement cabinet plate decorated with a titled stag hunting scene dated 1879. The large ceramic plate is of round sh...

Paire of Japanese style Old Hall Earthenware vases decorated with gilt elephants. Design attributed to Christopher Dresser (a similar model in C.W Dress...

A white and brown ceramic pitcher marked Davenport on the base in good conditions.

A Wedgwood Majolica earthenware pottery match holder and striker, Staffordshire, England – circa 1869. For the hearth, kitchen or bedside, the holder is ribbed for lighting strike...

A rare and early stoneware oil lamp base incised with butterflies by Robert Wallace Martin for the Martin Brothers dating from around 1873 when Martin Brothers were founded. The tall oil lamp...

A rare, probably unique, tall grotesque figural ewer by Robert Wallace Martin for the Martin Brothers dated 1880. The ewer is very tall and modelled as a fanciful animal seated...

Royal Worcester - Dr. Christopher Dresser (Attributed) - Antique English blue and white transfer decorated twin handled porcelain center...

A beautiful blush porcelain pitcher in the Aesthetic style, made by Royal Worcester in 1890. This small pitcher is decorated with hand-painted flowe...

A good and finely decorated Aesthetic Movement stoneware jug decorated with fan shape and floral designs by John Pollard Seddon and dating from around 1880. The jug stands on a round...

A fine and very stylish antique German Westerwald salt glazed donut shaped handled jug decorated with flowers dating from the latter 19th century. The jug stands raised on a conical ...

A very unusual Aesthetic Movement biscuit fired Doulton Lambeth stoneware vase pigment hand-painted with stylized foliage and geometric designs by Minnie G Thompson...

An exceptional and finely made Aesthetic Movement Doulton Lambeth stoneware ewer with geometric and stylized leaf patterning by renowned artist Edith D Lupton and dated 1875. An earl...

An impressive English aesthetic movement ceramic twin handled moon shaped vase decorated with classical figures dating from around 1880. The vase is finely made and stands on a wide ...

A very stylish aesthetic movement terracotta vase with slip applied floral designs in the manner of Watcombe and design attributed to Christopher Dresser dating from around 1880. Thi...

An English majolica four fish jug, attributed to Adams and Bromley, circa 1875-1880. This whimsical Victorian Era pitcher is formed as four, side by...

Though undocumented (to our knowledge) this beautiful ceramic carafe bears all the hallmarks of Christopher Dresser's innovative work.

An exceptional and scarce William Brownfield Aesthetic Movement porcelain jug decorated in the Japanesque taste by Christopher Dresser and dated 1878. This very finely made jug is de...

An unusual large Aesthetic Movement Doulton Lambeth jug decorated with dancing cherubs by Mary Aitken and assisted by Harriette Knight dated 1883. ...

A Minton pottery tile designed by Christopher Dresser in 1873. This tile, designed by Christopher Dresser and made in 1873, exemplifies the Aesthetic Movement ethos of the home as...

A very unusual Aesthetic Movement art pottery silver mounted mug modeled in relief with thirteen grotesque faces and dating from around 1880. The finely...

Dessert set for 12 people "Le Parisien" by Creil & montereau. 12 patterns with children playing with fruits. Stamped in the back with Creil & Montereau marks and Le Parisien identification. Le Parisien set is designed by the French artist and painter Antoine-Albert Richard (1845-1921) said "Froment-Richard". He designed several sets for the French Creil & Montereau manufacture, but "Le Parisien" is the most famous. Decorated with a brown rim enhanced with groups of three petals, the whole set depicts a fantastic and humoristic universe with imaginary characters who play with vegetables, fruits, meat and fish. Dessert plates patterns : 1. Grapes 2. Flower and angels 3. Cassis 4. Blackberries 5. Heart plate...

A Wedgwood Majolica earthenware pottery match holder and striker, Staffordshire, England – circa 1869. For the hearth, kitchen or bedside, the holder is ribbed for lighting strike...

Woman with a parrot, KPM Berlin, 19th century.. Beautiful figurine of a standing woman in oriental dress holding a parrot in her right hand. Naturalistically painted with fired KPM mark...

Antique French majolica basket with flowers and butterfly, bug, and insect accents, circa 1880. No maker's mark. Some chips.

Ott & Brewer aesthetic blanc de chine pitcher, with patterned body and reptile handle. Stamped O & B.

A rare and stunning French majolica twin handled pottery bowl applied with birds by renowned maker Sarreguemines and dating from the latter 19th century. The rounded bowl stands raised on four half ball shaped feet with a basket weave styled design. The rounded bowl is applied with decorative panels in low relief with leaf and stem handles to either side and with birds, their wings out spread, perched on a scorlling vine. The bowl has a raised rim with gothic style pierced panels and is richly hand painted in tones of brown, green, red, yellow, white and black. The inner bowl and base applied with bright turquoise glazes. The bowl is numbered 537 and has impressed SARREGUEMINES and MAJOLICA marks...

Elegant 19th century French Majolica pair of vases attributed to Fives Lille. The vases are shaped like walls decorated on the front with kingfishers on branches, on the base mushro...

This outstanding hand painted 19th century French ceramic charger was made by Hautin Boulenger & Cie at Creil & Montereau. The highly detailed Aesthetic Movement charger features polychrome decoration depicting a Japanese quail perched in a flowering cherry tree bearing vivid green foliage. The bird's gaze is fixed on a colorful butterfly with intricately patterned wings which is located off to one side. The image is set on a gilt ground which bears a series of repeating raised gilt motifs. The charger's shoulder is finished in cobalt blue with stylized gilt hearts separated by light blue floral and foliate elements. The 4lb 11oz charger bears an impressed mark used by Creil et Montereau between 1876-1884. The foot rim is not pierced. This beautifully executed hand painted French charger...

A fine and quality antique French Majolica plate with a pheasant set within a wooded landscape signed Hippolyte Choisy le Roi and dating ...

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

Unusual Majolica platter with 3 fishes signed Choisy le Roi, circa 1880.

An exceptional and rare Doulton Burslem Luscian ware tear drop shaped vase handpainted by renowned miniature and historical artist Leslie Johnson dating between 1891 and 1902. The ta...

Offering a Christopher Dresser attributed group of Torquay pieces. The plate (10.25" diameter) with a decal of a Geiko, and a carafe (10.25" height) with its cover and under plate al...

Large unusual Austrian Majolica oyster plate, circa 1880.

John Tuska lidded stoneware vessel in a striking green glaze. John Tuska, full name John Regis Tuska, (1931–1998) was an American artist and educator. H...

This set of 12 Doulton Burslem plates dates from the 1890s and are decorated in the Aesthetic Movement style. Each plate is uniquely hand painted...

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...

Christopher Dresser designed for the Ault Pottery in the 1890's, taking a lot of inspiration from middle eastern designs, in particular, Persia, of which this an example of a Persian oil...