Renaissance and Baroque Ceramics

Vibrant, detailed pottery plates featuring mythological scenes and decorative motifs, illustrating the craftsmanship of Italian and French pottery.

Charger. Decoration by Jean François Pelloquin (1715 - 1775) Olerys-Laugier Manufactory, manufacturer (French, active 1738 - 1770) 1739-1749 The round charger (large plate) has a slightly raised edge and lobed rim. Decorated in green and orangish yellow on a white ground, the ornamentation features fanciful figures, including animals playing musical instruments, and fantastic birds surrounded by plants and insects. These motifs are arranged in a balanced composition of three tiered registers around a central axis. All these aspects are typical of the distinctive design vocabulary developed at the Olerys-Laugier firm at Mennecy in southeastern France. This charger is an excellent example of the high-quality works produced there, in this case painted by Jean Francois Pelloquin, one of the finest painters at the manufactory. The lively and inventive nature of the decoration is particularly engaging, appropriate for an item made for use during the dessert course where it would provide visu

Dish (tondino) 1533 Lustered in the workshop of Maestro Giorgio Andreoli Italian. Dish (tondino). Lustered in the workshop of Maestro Giorgio Andreoli (Italian (Gubbio), active first half of 16th century). 1533. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Circular Plate with Perseus and Andromeda, late 1500s. Circle of Bernard Palissy (French, 1510-1589). Earthenware with lead glazes; diameter: 24 cm (9 7/16 in.).

Charger. Decoration by Jean François Pelloquin (1715 - 1775) Olerys-Laugier Manufactory, manufacturer (French, active 1738 - 1770) 1739-1749 The round charger (large plate) has a slightly raised edge and lobed rim. Decorated in green and orangish yellow on a white ground, the ornamentation features fanciful figures, including animals playing musical instruments, and fantastic birds surrounded by plants and insects. These motifs are arranged in a balanced composition of three tiered registers around a central axis. All these aspects are typical of the distinctive design vocabulary developed at the Olerys-Laugier firm at Mennecy in southeastern France. This charger is an excellent example of the high-quality works produced there, in this case painted by Jean Francois Pelloquin, one of the finest painters at the manufactory. The lively and inventive nature of the decoration is particularly engaging, appropriate for an item made for use during the dessert course where it would provide visu

Dish ca. 1480-1500 Italian, Faenza. Dish. Italian, Faenza. ca. 1480-1500. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Plate with the disobedient prophet, anonymous, c. 1570 - c. 1580 Round plate of multi -colored painted majolica. On the board the story of the disobedient prophet is painted (I Kings 13). In a mountain landscape there is a man on the ground (the disobedient prophet), behind him is a donkey and lies a lion. A text is painted on the back of the board (Manda Il Verbo ...). Venice earthenware. tin glaze. lead glaze majolica Round plate of multi -colored painted majolica. On the board the story of the disobedient prophet is painted (I Kings 13). In a mountain landscape there is a man on the ground (the disobedient prophet), behind him is a donkey and lies a lion. A text is painted on the back of the board (Manda Il Verbo ...). Venice earthenware. tin glaze. lead glaze majolica

Ludovico Sforza (1452-1508). "Coupe: Mucius Devant la tente de Porsenna, Majolique Italienne de Pesaro, 1566 (face)". Musee des Beaux-arts de la ville de Paris, demands Palais. 26972-13 Army, Battle, Cup, Director, Face, Italian Majolic, Military, Various Object, Pesaro, King Etrusca, Romain, Tent

For a long time; Nove (ceramic family; Ca 1700-Ca 1900); 19th century (1801-00-00-1900-00-00);

Plate with purple marbled edge and painted in blue with rural scene, anonymous, c. 1740 - c. 1770 Plate of Faïence. Blue painted with rural scene and decorated edge. The raised edge is marmed purple. Amsterdam (possibly) . Plate of Faïence. Blue painted with rural scene and decorated edge. The raised edge is marmed purple. Amsterdam (possibly) .

Plate 18th century Castelli. Plate. Italian, Castelli. 18th century. Maiolica (tin-glazed earthenware). Ceramics-Pottery

A decorative tea service engraved by Francesco Bartolozzi (1725-1815) an Italian engraver. Dated 18th Century

Brush back, anonymous, c. 1730 - c. 1760 Brush ridge multicolored painted with a sitting man in a landscape. Delft . Brush ridge multicolored painted with a sitting man in a landscape. Delft .

Plate, 1725-1775. Liborius Grue (Italian, 1702-1776). Tin-glazed earthenware (maiolica); diameter: 48.3 cm (19 in.).

Plate late 16th-early 17th century Manner of Bernard Palissy French. Plate. French, Fontainebleau or Avon. late 16th-early 17th century. Lead-glazed earthenware. Ceramics-Pottery

Abraham and Sarah's Journey through Canaan to Egypt ca. 1567 Possibly engraved by P.M. The fine engraving on this set of plates (65.260.1-.12) depicts scenes from the Old Testament. The engraver, who must have been trained on the Continent, based his compositions on illustrations in a Concordance to the Bible, improvising where necessary to fill in the circular frame offered by the plates. The plates and a related piece engraved with a portrait of Queen Elizabeth I must have been made as a gift to or from the queen herself.. Abraham and Sarah's Journey through Canaan to Egypt 204598

Plate. Italy, Montelupo. Date: 1615-1625. Dimensions: Diam. 32.5 cm (12 13/16 in.). Tin-glazed earthenware. Origin: Montelupo Fiorentino. Museum: The Chicago Art Institute, Chicago, USA.

Plate 1615-1625 Montelupo Fiorentino. Tin-glazed earthenware .

Dish with a woman and attendant on a bridge in a landscape, anonymous, c. 1675 - c. 1699 Porcelain saucer, painted in underly glaze blue and on the glaze red and gold. On the flat and the wall in a medallion a woman on a bridge, behind her a servant with a parasol. In the background a river landscape with boats, on the bank pavilions, people and trees. The edge with a honeycomb pattern filled with flowers. The rear with six flower branches (Prunus). Seven fat prenis on the bottom. Imari. Japan porcelain. glaze. cobalt (mineral). gold (metal) painting / gilding / vitrification Porcelain saucer, painted in underly glaze blue and on the glaze red and gold. On the flat and the wall in a medallion a woman on a bridge, behind her a servant with a parasol. In the background a river landscape with boats, on the bank pavilions, people and trees. The edge with a honeycomb pattern filled with flowers. The rear with six flower branches (Prunus). Seven fat prenis on the bottom. Imari. Japan porcela

Plate Depicting a Dancing Figure 600 CE-800 CE Guatemala. Ceramic and pigment . Maya

Aiguière basin: Amphitrite, Italian majolica of Urbino, early 17th century (face). Museum of Fine Arts of the City of Paris, Petit Palais. 27011-7 Acute, ceramic, faience, woman, Italy, Italian, nudite, urbino, mythology, naked

Close-up of a Crespina plate depicting gods Jupiter and Juno, Urbino, Italy

Plate with The Continence of Scipio. Artist: Francesco Durantino (Italian, active 16th century) , possibly with collaborator. Culture: Italian, probably Urbino. Dimensions: Overall (confirmed): 1 3/8 × 10 1/2 in. (3.5 × 26.7 cm). Date: ca. 1545. Museum: Metropolitan Museum of Art, New York, USA.

Leaf with Abraham that sends Hagar away, Anonymous, c. 1740 - c. 1780 Faïence leaf. Blue painted with Abraham who sends Hagar away Delft . Faïence leaf. Blue painted with Abraham who sends Hagar away Delft .

EVENTAIL. "Galante, shepherd and shepherdess scene in a landscape". Cabrettille, ivory and painting painted, mother -of -pearl rter and steel. Paris, Carnavalet museum. 99105-16 Fashion accessory, Eventail

Dish with Jacob's Dream ca. 1550 Possibly by workshop of Orazio Fontana Italian. Dish with Jacob's Dream. After a woodcut by Sebald Beham (German, Nuremberg 1500-1550 Frankfurt). Italian, Urbino. ca. 1550. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Embroidered Picture (England); silk embroidery on silk foundation

Francesco-Saverio crane. "Plate, shepherd and shepherdess in a country landscape, Castelli, around 1720 (view without supervision)". Museum of Fine Arts of the City of Paris, Petit Palais. 26973-11 Shepherd, shepherd, countryside, castelli, champetre, woman, man, Italian majolic

Plate with The Continence of Scipio ca. 1545 Francesco Durantino Italian. Plate with The Continence of Scipio 187842 Artist: Francesco Durantino, Italian, active 16th century , possibly with collaborator, Plate with The Continence of Scipio, ca. 1545, Maiolica (tin-glazed earthenware), Overall (confirmed): 1 3/8 10 1/2 in. (3.5 26.7 cm). The Metropolitan Museum of Art, New York. Gift of Henry G. Marquand, 1894 (94.4.332)

Painted by Francesco Xanto Avelli, Charger with the Massacre of the Innocents, c 1527 1530 Painted by Francesco Xanto Avelli (Italian (Rovigo), active in Urbino, c. 1486/1487 - after 1542), Charger with the Massacre of the Innocents, c. 1527/1530, tin-glazed earthenware (maiolica), Corcoran Collection (William A. Clark Collection) 2014.136.322

Plate: naked woman holding a spear and a shield, Italian majolica of Castel Durante around 1525 (face). Museum of Fine Arts of the City of Paris, Petit Palais. 27012-14 Weapon, Shield, Ceramic, Woman, Italy, Castel Durante, female naked, nudite, Italian renaissance, dishes, plate, lance

Plate with Grotesques; Unknown; Venice, Italy, Veneto, Europe; about 1540 - 1560; Tin-glazed earthenware; Object: H: 5.72 x Diam.: 47.63cm (H: 2 1/4 x Diam.: 18 3/4 in.)

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Watchcase cover: Pomona and Vertumnus first quarter 17th century Suzanne de Court French. Watchcase cover: Pomona and Vertumnus 461659

PLATO CERAMICA VERDE DE PATERNA S XIV-MUJER CON PECES. Location: MUSEO DE CERAMICA GONZALEZ MARTI. Valencia. SPAIN.

Dish with The Story of Semiramis 1534 Fra Xanto Avelli da Rovigo This large dish has a wide depression and narrow rim. The organization of the imagery relates to these specifications; the figures on the rim are mere bystanders responding to the scene of Queen Semiramis receiving a visitor, and the primary narrative is completely enclosed within the plates central well.. Dish with The Story of Semiramis 194541

Plate (part of a set of six) ca. 1790 John Turner. Plate (part of a set of six). British, Staffordshire. ca. 1790. Earthenware. Ceramics-Pottery

. Plate of faïence. Multicolored painted with a farmer sitting inside a lambrequin edge, to a print of Cornelis Saftleven.

Plaque with Bacchus, Fauns, and Silenus 1769-1780 Burslem. Stoneware (jasperware) . Wedgwood Manufactory (Manufacturer)

. Porcelain plate, painted on the glaze in black and gold. On the flat a representation of a group of people around a table and two sitting next to each other in a vaulted niche, above them garlands hang; A landscape can be seen through a bow. Presentation of Daphnis and Cloë. A 'Spearhead Border' on the wall; The edge with four cartouches with animals in a landscape. On the underside an old label with 'F. Bodenham / Elmhurst, Hereford / 53 '. Based on an engraving of Benoit Audran (1661-1721), based on a painting by Philippe d'Orléans (1674-1723). European performance with encre de chine.

Plate. Moskwa, Szkoła im. S.G. Stroganowa, school

PLATO DE LOZA DE CARTAGENA. Location: MUSEO ARQUEOLOGICO-COLECCION. MURCIA. SPAIN.

Dish 1530-45 Follower of Fra Xanto Avelli da Rovigo. Dish. Follower of Fra Xanto Avelli da Rovigo (ca. 1486-1582). Italian, Urbino. 1530-45. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Plate with an image of Daphnis and Chloe, anonymous, c. 1750 Porcelain plate, painted on the glaze in black and gold. On the flat a performance of a group of people around a table and two sit next to each other in a vaulted niche, above them hang garlands; On the left through an arc you can see a landscape. Presentation of Daphnis and Cloë. On the wall a 'Spearhead border'; The edge with four cartouches with animals in a landscape. On the bottom an old label with 'F. Bodenham/ Elmhurst, Hereford/ 53 '. Based on an engraving by Benoit Audran (1661-1721), based on a painting by Philippe dOrléans (1674-1723). European performance with Encre de Chine. ChinaFrancepainter: Paris porcelain. glaze. gilding (material) painting / gilding / vitrification Porcelain plate, painted on the glaze in black and gold. On the flat a performance of a group of people around a table and two sit next to each other in a vaulted niche, above them hang garlands; On the left through an arc you can see a landscape

Earthenware dish showing the Baptism of Christ. French (probably Fontainebleau) 1580-1620

Joseph Interpreting Pharaoh's Dream ca. 1567 Possibly engraved by P.M. The fine engraving on this set of plates (65.260.1-.12) depicts scenes from the Old Testament. The engraver, who must have been trained on the Continent, based his compositions on illustrations in a Concordance to the Bible, improvising where necessary to fill in the circular frame offered by the plates. The plates and a related piece engraved with a portrait of Queen Elizabeth I must have been made as a gift to or from the queen herself.. Joseph Interpreting Pharaoh's Dream 204608

Dish 17th century. Dish. 17th century. Stonepaste; underglaze painted in black, blue, and green with red and yellow slips. Attributed to Iran. Ceramics

Sculpture of a Guardian Angel, 1880 - 1900 photograph. frame wood (plant material). glass. paper. lacquer (coating). metal lacquering / albumen print guardian angel. piece of sculpture, reproduction of a piece of sculpture

Saucer with classical figures, anonymous, c. 1800 Porcelain dish with a straight wall, painted on the glaze with black and gold. On the flat a gold medallion with a classic performance saved in black. The show shows a woman kneeling with a putto on her chest. An anchor behind her. On the wall musical instruments and weapons. Belgium porcelain. glaze. gold (metal) painting / gilding / vitrification

Vase, Jannitge Claesdr Hoppesteijn-van Staten, Het Moriaanshooft, c. 1680 - c. 1685 Vase, bottle -shaped. The belly is decorated all around with three large vignettes in which blue-painted scenes derived from an engraving by P.S. Bartoli (1635-1700) according to paintings by Juilio Romano in No Sala di Constantino in the Vatican. Between these vignettes, horizontal edges of flower, leaf and band motifs in red, green, blue and gold on China. Such horizontal "hoppesteijn edges" on foot and shoulder. Two flower bouquets on the neck. Marked with the monogram w considered that of Jacob Wemmersz. Hoppesteijn from 1664-1674, owner of 't Jonge Moriaanshoofd ". The neck of the vase has been restored. Delft . Vase, bottle -shaped. The belly is decorated all around with three large vignettes in which blue-painted scenes derived from an engraving by P.S. Bartoli (1635-1700) according to paintings by Juilio Romano in No Sala di Constantino in the Vatican. Between these vignettes, horizontal edges o

Pleated Fan (possibly France); oil paint on paper leaf, carved and pierced ivory sticks

Saucer-dish with figures in a pavilion. Scale of porcelain with brace-shaped edge, painted in underglaze blue. The front of the dish with a river landscape with two Chinese men in a pavilion. A third man with a servant comes across a bridge. Around the pavilion blooming trees (prunus, pine), rocks, a vase and spiral clouds. The outer wall with a continuous floral. Marked on the bottom with 'fuku' in a double square and a circle. Six preen on the bottom. Some chips in the edge. Arita, kakiemon in blue and white.

Figural group: H Koenigliche Porcellain Fabrique, Meissen (1710-1763), Acier, Michael Victor (1736-1799), Schoenheit, Johann Carl (1745-1794); XIX/XX (according to the model from 1778) (1890-00-00-1910-00-00);

Mirror: Venus Mourning the Dead Adonis early 17th century Suzanne de Court French. Mirror: Venus Mourning the Dead Adonis 460520

PLATO DE LA SERIE DE LAS NARANJAS CON UN PERSONAJE TOCADO CON TURBANTE EN EL ESCUDETE - MANISES - SIGLO XV. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Plate (piatto) 1508 Italian, possibly Cafaggiolo. Plate (piatto) 460275

Apulian red-figured phiale, by Workshop Painters of Patera and Baltimora, IV Century, 330-310, cm 14 diamentro orlo 35.8 cm, piede 14.6 cm

Plaque ca. 1890-1900 James Callowhill American Callowhill, renowned for his decorative raised-gold-paste technique, was an important decorator at the Worcester Royal Porcelain Works in England. He, his equally gifted brother Thomas, and his son Sidney emigrated to the United States in the 1880s and worked for important art potteries such as the Faience Manufacturing Company in Greenpoint, Brooklyn, and the Willets Manufacturing Company in Trenton, New Jersey, decorating wares in the Aesthetic style. Although James later moved to Boston to complete a major commission for Louis Prangs lithographic firm, he continued to decorate ceramics. This plaque, painted in polychrome enamel with a bird on a branch among elaborate flowers and foliage and enriched with raised gold paste, is characteristic of Callowhills best work and may have been exhibited at the Worlds Columbian Exposition in Chicago in 1893.. Plaque 17052

Folding range, consisting of a frame of ajour and sliced ivory painted with watercolor and a leaf of leather, on which a forest and river landscape with three nymphs is painted at the front with gouache and a house hidden on the back between a forestage, anonymous , c. 1760 Folding range, consisting of a frame of ajour and cut ivory painted with watercolor and a leaf of leather, on which a forest and river landscape with three nymphs is painted at the front with Gouache and a house hidden on the back between a forestage. The magazine is mounted à l'Anglaise. The cows extremely left are probably a reference to the Beotia region, literally the 'cow country'. It is a area of fertile plains in Central Greece. Here the worship of the charits would have arisen, which would later spread all over Greece. These charits or graces were goddesses of beauty and gracefulness that brought joy, beauty and creation to both people and the gods. On archaic images they were still displayed as three separa

Plaque with Boys Playing. Wedgwood Manufactory; England, founded 1759. Date: 1769-1780. Dimensions: 17.3 × 22.4 cm (6 13/16 × 8 13/16 in.). Stoneware (jasperware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA.

Unknown (n. - d.), Plate (main title). Porcelain, polychrome enamels. Petit Palais, Museum of Fine Arts of the City of Paris.

Medallion with Youth Leading Long-necked Animal ca. 1240-60 French. Medallion with Youth Leading Long-necked Animal 464213

La Liberté Americaine (American Liberty) (Furnishing Fabric) Made 1783-1789 France. Cotton, plain weave; copperplate printed . Jean Baptiste Huet (Designer)

Plaque with Bacchus and Two Bacchantes Made 1784-1794 Burslem. Stoneware (jasperware) . Wedgwood Manufactory (Manufacturer)

Probably painted and lustered in the workshop of Maestro Giorgio Andreoli of Gubbio, Shallow bowl on low foot with the muse Clio riding on a swan through a watery landscape, c 1535 1540 Probably painted and lustered in the workshop of Maestro Giorgio Andreoli of Gubbio, Shallow bowl on low foot with the muse Clio riding on a swan through a watery landscape, c. 1535/1540, tin-glazed earthenware (maiolica), Widener Collection 1942.9.340

. Porcelain plate, painted on the glaze in blue, red, pink, green, yellow, black and gold. On the flat a representation of a horizontal lady in a garden with flowering plants and trees, a Lord sticks out his arm to her; behind them an urn on a pedestal; In the background a lady looking at the couple from the window of a building; On the wall a band with decorative pattern; The edge with a tire flower drinks. Two chips in the edge. Based on an engraving of Nicolas de Larmessin (1684-1753), with the title La Serke Justifiée. It is a verse from the stories of La Fontaine. European performance in email colors.

Pietà. Pénicaud Workshop. Date: 1500-1533. Dimensions: 11.8 x 8.7 cm (4 5/8 x 3 7/16 in.); With Frame: 11.4 x 14 cm (5 1/2 x 4 1/2 in.). Enamel on copper. Origin: Limoges. Museum: The Chicago Art Institute, Chicago, USA. Author: Jean Pénicaud, I.

Harlequin and Columbine in a group ca. 1750-55 Saint James's Factory Listen to experts illuminate this artwork's story Listen Play or pause #413. Retail Value. High and Low Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Harlequin and Columbine in a group. British, London. ca. 1750-55. Soft-paste porcelain. Ceramics-Porcelain

Figural group: Lost Innocence. Acier, Michael Victor (1736-1799), sculptor, Cesarska Fabryka Porcelany w Petersburgu (1744-1917), manufacture

Sample Plate, hard paste porcelain, vitreous enamel, gold, A sample pattern plate displays a variety of patterns in numerous colors. This white plate has samples on both the front and back of the plate, including five portraits on the front., France, ca. 1875, ceramics, Decorative Arts, plate, plate

Wine cooler with Charles V's Victory at Mühlberg. Artist: Based on an engraving by Enea Vico (Italian, Parma 1523-1567 Ferrara); Probably after a design by Battista Franco (Italian, Venice ca. 1510-1561 Venice). Culture: Italian, Urbino. Dimensions: Overall (confirmed): 5 7/8 × 19 1/2 × 19 1/2 in. (14.9 × 49.5 × 49.5 cm). Date: ca. 1560-90.The painted scene on the interior of this cooler depicts an important sixteenth-century event--the 1547 victory of the Catholic forces of the Holy Roman Emperor Charles V over his Protestant enemies. A Latin inscription identifies the scene, which was adapted from a popular print. Coolers were not originally intended to be hung on a wall, but this work's foot was removed in later centuries when collectors preferred the vertical display of pottery. Museum: Metropolitan Museum of Art, New York, USA.

Charger with the Conversion of Saul. This Antwerp charger would originally have been some 50 cm in diameter. When the rim around the central scene was damaged, it was removed and replaced by a brass mount. Such a dish would never have been used for eating, but would have been displayed on a wall as a painting in ceramic. The absence of the rim now reinforces the dishs resemblance to a painting.

Window with the wedding in Kana, Anonymous, c. 1525 Window with stained glass show of the wedding in Kana (John 2) in a Renaissance room. In the foreground Christ performs the miracle and a man is busy filling one of the jugs. Under a canopy, the bridal couple is seated at a set table around which Maria with raised hands and the other guests. On the right a view of a classic structure and more forward a man, stirring in two fire pots. Colors: Grisaille and yellow in different shades. Southern Netherlands glass. silver stain. lead (metal) Window with stained glass show of the wedding in Kana (John 2) in a Renaissance room. In the foreground Christ performs the miracle and a man is busy filling one of the jugs. Under a canopy, the bridal couple is seated at a set table around which Maria with raised hands and the other guests. On the right a view of a classic structure and more forward a man, stirring in two fire pots. Colors: Grisaille and yellow in different shades. Southern Netherland

Briséwaaier of Ivory, completely painted with tempera on which a varnish -like varnish, with a central cartouche in which 'the triumph of love' at the front and an arcadic seascap on the back, surrounded by chinoiseries, anonymous, c. 1700 - c. 1750 Briséwaaier of Ivory, completely painted with tempera on which a varnish -like varnish, with a central cartouche in which 'the triumph of love' at the front and an arcadian seascape on the back. Front: Although the Waiaer consists of a whole, an attempt is made to create the illusion in the painted decoration that the fan still consists of a leaf and a frame. The loose legs are connected to each other at the top by means of a ribbon. The triumph of eros; Eros is on a victory cart, preceded by musician figures and eroten. To the right of this group, two lovers, most likely Mars and Venus, are depicted. The allegorical performance grabs back on the 'Trionfi' of Petrarca from 1352, in which it is one of the first abstract ideas personified and

No. 9, Haring Banket (The herring banquet), from 'The Herring Catch', c. 1780, Porcelain Axe (Porceleyne Bijl) Factory, 1 × 9 × 9 in. (2.54 × 22.86 × 22.86 cm), Tin-glazed earthenware, Netherlands, 18th century, The 17th century has been called the Golden Age of the Dutch Republic, its prosperity built by a new and expanding merchant class which had become wealthy through industry and international trade, its tolerance of religious and intellectual diversity, and its patronage of home grown and international traders, craftsmen and artists. This radiance was in large part supported by the Dutch mastery of fishing for herring and by preserving this otherwise undistinguished silver fish. So much of the national wealth was accumulated through this industry that Amsterdam was said to have been built on herring bones. What could be a more appropriate subject to be celebrated by the potteries in Delft'

Dish 12th century The whitebodied stonepaste introduced into Syria by potters from Egypt after ca. 1075 was a perfect medium for this technique, which involves carving the body in a way that prevented the colorants from running into each other. Formerly attributed to Iran, recent evidence suggests instead a Syrian origin for this socalled Laqabi ware. View more. Dish. 12th century. Stonepaste; carved, incised, polychrome painted under a transparent glaze (Laqabi ware). Made in Syria. Ceramics

Dish (tondino) ca. 1530-40 Italian, Urbino or Pesaro and Gubbio. Dish (tondino) 460213

Dish with scene of a family early 18th century China Scenes of children and families, like the one on this porcelain dish, became increasingly popular during the Qing dynasty. The central scene represents an intimate moment in which a man seated in the hall of a two-story house watches his wife and two boys play in a walled garden. Dish with scene of a family. China. early 18th century. Porcelain painted in underglaze cobalt blue (Jingdezhen ware). Qing dynasty (1644-1911). Ceramics

Saint Elizabeth of Hungary. Félicie de Fauveau; French (1801-1886). Date: 1851. Dimensions: 50.8 × 38.1 × 22.9 cm (20 × 15 × 9 in.). Marble. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Two soldiers shaking hands 1761-64 Kelsterbach Pottery and Porcelain Manufactory Germany witnessed a growing number of porcelain factories in different regions of the country during the mid-eighteenth century, and the circumstances of their founding often had much in common. Most of the new porcelain factories were created due to the interest of an aristocratic patron, and they relied on the financial subsidies provided by that patron to varying degrees. Typically, the technical expertise required to produce porcelain was supplied by potters who had learned their trade at another factory prior to their arrival, and workers were commonly hired away from other concerns to staff the new enterprise. The production of the factory often reflected the taste of the patron who founded it, and frequently the factory floundered financially when the patron died. All of these circumstances applied to the Kelsterbach factory, which had its roots quite commonly in the production of faience and which

François Emile Ehrmann (1833-1910). "Flat". Earthenware. Museum of Fine Arts of the City of Paris, Petit Palais. 74618-7 Helmet, faience, warrior, man, peacock feather, dishes, mustache, dish

Close-up of a figurine, France

Handscreen; painted paper leaf, turned wood handle

Fragment of a dish, c. 1600 - c. 1650 Fragment of a dish on a low foot ring. White-cream shard covered with ting laze on the front and green lead glaze at the rear. Painting in blue, orange and yellow with two standing figures in wide clothing, who keep a falcon in one hand and a torch in the other. They wear a headgear with a large spring. Northern Netherlands earthenware. tin glaze. lead glaze majolica Fragment of a dish on a low foot ring. White-cream shard covered with ting laze on the front and green lead glaze at the rear. Painting in blue, orange and yellow with two standing figures in wide clothing, who keep a falcon in one hand and a torch in the other. They wear a headgear with a large spring. Northern Netherlands earthenware. tin glaze. lead glaze majolica

A chalk and feather drawing by Mattia Bortoloni for a mythological ceiling fresco tondo, with blue laved highlights, showing figures, composition, and mythological motifs.

9 Come in X - 1801 Renaud Jean-Martin, said Renaud de Sarreguemines (1746-1821). Medallion. Face: Napoleon crowned by victory. Reverse: Colombe wearing an olive branch, 9 vendemiae An X, 1801 (preliminary London of the Peace of Amiens) .. 9 Fri in X - 1801. Terracotta, light brown color matte, with metal strapping.

Przeszo Przyszoci unknown

Study for the ceiling of the peace fair Eug�ne Delacroix (1798-1863). Study for the ceiling of the Peace Fair.

Wide-rimmed bowl with Hercules and Cacus and arms of Cardinal Antonio Pucci. Artist: probably workshop of Guido Durantino (Italian, Urbino, active 1516-ca. 1576). Culture: Italian, Urbino. Dimensions: Overall: 1 3/4 × 9 7/8 in. (4.4 × 25.1 cm). Date: ca. 1535-40.With its wide rim and small but deep well, this type of bowl is called a scodello. These were sometimes filled with soup or stew at the table, and at other times were put before diners already filled. In either case, they could not hold much food. Renaissance meals generally consisted of multiple small courses and often lasted for several hours. In addition to displaying the host's sophistication, the decorated wares would help keep diners entertained throughout. Museum: Metropolitan Museum of Art, New York, USA.

PERDIZ - PLATO CERAMICA VERDE DE PATERNA. Location: MUSEO DE CERAMICA GONZALEZ MARTI. Valencia. SPAIN.

Folded range, Faced decor: painted decor with plant and floral patterns developing in a garland, in the center, a fishing scene: 2 men, 3 women and a boy on the ground, 3 men in a boat fishing in the net. Gal1995.71.22 Facing sheet: lithographed cream fabric, golden paper edge, gouache and gold, engraved and golden, pearl pendulum frame, plumes with application of golden paper on the reverse, metal rivet ended by

Plate with the Abduction of Helen; Francesco Xanto Avelli (Italian, 1486,1487 - about 1544); Urbino, Italy; 1534; Tin-glazed earthenware; 6.4 x 46 cm (2 1,2 x 18 1,8 in.)

Round plate of hard-baked pottery; Creamware (Liverpool). Round plate of hard-baked pottery; Creamware with decoration on the glaze. A woman is shown on the flat, including a rectangle within which the text: Onse Lizen Vrou to Kevlaar. The edge is scalloped and has flowerguirdes as a decoration. A board with Invnr belongs to the board. BK-NM-4221.

Plate. Culture: China. Dimensions: Diam. 8 1/8 in. (20.6 cm). Date: late 18th-first half of the 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Atalanta with her Followers, David Heschler, c. 1660 Relief on a cylinder of ivory, made for a pul (humpen). Ulm ivory cutting Relief on a cylinder of ivory, made for a pul (humpen). Ulm ivory cutting

Silversmith's art, Italy, 17th century. Massimiliano Soldani Benzi (1656-1740), reliquary of Saint Raymond in silver, ebony and pietre dure, 1690.

The Calmady Children, Edward William Wyon, 1811-1885, British, after Sir Thomas Lawrence, 1769-1830, British, 1848, Spermaceti wax and plaster ('fictile ivory'), Overall: 7 1/2 inches (19.1 cm), portrait

PLATO DE PORCELANA DE LA MONCLOA (HACIA 1850). Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN.

Project for a Ceiling Frieze, Pen and brown ink, brush and brown wash, white heightening on off-white laid paper, Trapezoid. At left is the points of the arms in -1051. At right lies another trophy with a shield., Italy, mid- 17th century, interiors, Drawing, Drawing

Square with garden of love (Venus and Amor). Rhombus with the presentation of the garden of love (Venus and Amor). In a niche Venus, for her on the ground Amor, in the background a landscape with castle and three minister of couples.

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