Decorative Ceramic Tiles

Artistic tiles showcasing intricate patterns and designs, from floral to geometric motifs. Ideal for decorative purposes in art and architecture.

Wall Facing (Holland); tin-glazed earthenware, underglaze

Tile wall facing, Tin-glazed earthenware, underglaze, Horizontal rectangle. Thirty tiles wide and twenty-three tiles high with opening for fireplace eleven tiles wide and ten high. Foliage arabesques disposed about three vertical axes from which are emphazised by urns at center and right, and at left by the figure of a standing woman carrying an infant on her arm and accompanied by two children., Possibly Rotterdam, Holland, Possibly Delft, Netherlands, ca. 1725, tiles, Decorative Arts, Tile wall facing

Panel, Tin-glazed earthenware, underglaze manganese decoration, Tile from upright rectangular panel of tiles; dark purple (manganese) on white ground showing arched framework; oval cartouche bearing double monogram (probably Lubert Adolf Torck), supported by pair of nude amors; pair of small amors holding crown above, borne by pair of female terms; surrounded by leafscrolls and foliations, with pair of flower-filled urns; top center, lunetted amor's head pendented with rosetted lattice cartouche., To be used in Rozendaal Castel. Intended to be viewed inset into a wall- indicated by the inclusion of a trompe-l'oeil marbleized edge that surrounds three sides of the panel., Possibly Rotterdam, Holland, Possibly Delft, Netherlands, ca. 1725, tiles, Decorative Arts, Panel

Glass mosaic inlay late 1st century B.C.-1st century A.D. Roman Translucent cobalt blue ground; decoration in opaque white, yellow, red, and greyish green.Circular, flat, and very thin plaque.Symmetrical lily and palmette motif arranged around a central six-petaled rosette, with six palmettes with spiral volutes below forming a star-shaped frame to the central rosette, alternating with six lilies in solid white.Cracked and repaired with two minor chips on edge; upper and underside and edge ground and polished; pitted surface bubbles.These inlays, despite their different shapes and colors, all have the same basic pattern, comprising palmettes and lilies or lotus flowers. Although probably of Egyptian origin, such inlays were popular in Rome, and similar designs are found in Roman decorative arts.. Glass mosaic inlay. Roman. late 1st century B.C.-1st century A.D.. Glass. Early Imperial. Glass

Tile with 'Saz' Leaf Design ca. 1545-55. Tile with 'Saz' Leaf Design. ca. 1545-55. Stonepaste; polychrome painted under transparent glaze. Made in Turkey, Iznik. Ceramics-Tiles

Box with decoration of peony scrolls. Culture: Korea. Dimensions: H. 3/4 in. (1.9 cm); W. 3 7/8 in. (9.8 cm); L. 3 7/8 in. (9.8 cm). Date: 15th-16th century.Korean lacquers from the early Joseon period expanded on the earlier tradition of using mother-of-pearl inlay by covering the entire surface with a single element, such as the peony scroll on this box. The use of slightly larger pieces of pearl shell and a greater interest in negative space also help to distinguish this box from those produced in the twelfth, thirteenth, and fourteenth centuries. Museum: Metropolitan Museum of Art, New York, USA.

Finger cloth of Linnamast with Dessin Marguerite, Cornelis van der Sluys, c. 1904 Linnamast finger cloth with a flower pattern: Motif Marguerite, Dessin No. 500. The finger cloth belongs to eleven finger cloths, thirteen napkins and a tablecloth. Eindhoven linen (material) damask Linnamast finger cloth with a flower pattern: Motif Marguerite, Dessin No. 500. The finger cloth belongs to eleven finger cloths, thirteen napkins and a tablecloth. Eindhoven linen (material) damask

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Inlay, palmette. Dimensions: l. 2.5 × ht. 2.5 cm (1 × 1 in.). Date: 100 BC-100 AD.A mosaic glass technique allowed multiples of an image to be created: a figural or design composition was made by bundling colored glass canes, which were then drawn out into a long bar. The bar was then sectioned at right angles, probably by striking the bar with appropriate tools, to produce small inlay tiles. The tile would then be smoothed and polished on the face intended to appear outwards. Museum: Metropolitan Museum of Art, New York, USA.

Wall Facing (Holland); tin-glazed earthenware, underglaze

Wall Facing (Holland); tin-glazed earthenware, underglaze

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Sherd with a bird on a rock, anonymous, c. 1600 - c. 1624 fragment Shards of porcelain, painted in underly glaze blue with a bird on a rock. Baking sand on the bottom. Kraakporcelain. China porcelain. glaze. cobalt (mineral) painting / vitrification

Wall Facing (Holland); tin-glazed earthenware, underglaze; 5 tiles tall, various wide

Tile Wall Facing (Holland); tin-glazed earthenware, underglaze

Fragment of a terracotta kylix (drinking cup) ca. 490 B.C. Attributed to the Eucharides Painter Interior, lovemakingThe Eucharides Painter was a particularly versatile artist. He worked in both the red-figure and black-figure techniques, and although he specialized in large vases, he also decorated some cups.. Fragment of a terracotta kylix (drinking cup) 250765 : Attributed to the Eucharides Painter, Fragment of a terracotta kylix (drinking cup), ca. 490 B.C., Terracotta, H. 1 7/8 in. (4.8 cm); diameter 3 13/16 in. (9.7 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1919 (19.192.32)

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Fragment sign from V.O.C. ship De 'Witte Leeuw', Anonymous, Before 1613 plate (dishes) Fragment sign from V.O.C. ship De 'Witte Leeuw', 45 present. Jingdezhen bone china (material) Sint-Helena

Fragment of a dish, c. 1600 Fragment of a dish on a low, round base, crème shard covered with ting laze on the front and lodiclaze at the rear. Painted in blue, orange and green with a blue and orange medallion in the middle, on which there are perpendicular tires. The tires are decorated with aigrettes. Browse between the tires, partly shaded. Northern Netherlands earthenware. tin glaze. lead glaze majolica Fragment of a dish on a low, round base, crème shard covered with ting laze on the front and lodiclaze at the rear. Painted in blue, orange and green with a blue and orange medallion in the middle, on which there are perpendicular tires. The tires are decorated with aigrettes. Browse between the tires, partly shaded. Northern Netherlands earthenware. tin glaze. lead glaze majolica

Tile Wall Facing (Holland); tin-glazed earthenware, underglaze

Glass mosaic ribbed bowl fragment. Culture: Roman. Dimensions: 1 3/4 × 2 5/8 × 3/16 in. (4.4 × 6.7 × 0.4 cm)Estimated diameter 5 7/8 in. (15 cm). Date: late 1st century B.C.-early 1st century A.D..Rim and side of ribbed bowl with base ring.Translucent cobalt blue and opaque white.Almost horizontal, rounded rim; almost straight side, tapering downward.Marbled mosaic pattern with sections of two canes: one in a blue ground with white rods, and the other in a blue ground with white stripes. On exterior, vestige of a single rounded rib.Interior polished; some pitting and weathering of white on interior; dulling and patches of thick greyish weathering on exterior; some weathering on jagged edges. Museum: Metropolitan Museum of Art, New York, USA.

Box 1865-1875 England. Silver and silver gilt .

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Tile (USA); stenciled and glazed earthenware

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Snuffbox with Vegetal Pattern ca. 1750 probably French. Snuffbox with Vegetal Pattern 460506

Bowl 13th century. Bowl 446205

Panel; tin-glazed earthenware, underglaze manganese decoration; Overall: H: 147.3 x W: 85.1 cm (58 x 33 1/2 in.)

Design for the Decoration of Firearms ca. 1795-1805 Workshop of Nicolas Noël Boutet French. Design for the Decoration of Firearms 652971

Finger cloth of Linnamast with Dessin Marguerite, Cornelis van der Sluys, c. 1904 Linnamast finger cloth with a flower pattern: Motif Marguerite, Dessin No. 500. The finger cloth belongs to eleven finger cloths, thirteen napkins and a tablecloth. Eindhoven linen (material) damask Linnamast finger cloth with a flower pattern: Motif Marguerite, Dessin No. 500. The finger cloth belongs to eleven finger cloths, thirteen napkins and a tablecloth. Eindhoven linen (material) damask

Hexagonal terracotta tile, by Spanish Work, 1493, 15th Century, stanniferous enamel, cobalt blue and manganese brown. Italy: Emilia Romagna: Ravenna: Faenza. Whole artwork. Blue, branches, tulips, leaves

Sherd with flower sprays, anonymous (possibly), c. 1600 - c. 1799 Sharp of earthenware, painted in the glaze with flower branches. Majolica. Netherlands earthenware. tin glaze. lead glaze painting / vitrification Sharp of earthenware, painted in the glaze with flower branches. Majolica. Netherlands earthenware. tin glaze. lead glaze painting / vitrification

Paperweight 1840-1865 Clichy. Glass . Clichy Glasshouse

Tile. Tile with a multicolored (blue, purple, orange and green) tulip placed diagonally.

Tile (USA); Manufactured by J. & J. G. Low Art Tile Works; glazed stoneware

Saucer (USA); porcelain

Paperweight 1840-1865 France. The colorful geometric clusters embedded in this paperweight reflect the nineteenth-century European fascination with optical effects. Sir David Brewster invented the kaleidoscope in 1815, and its colorful and changing patterns brought great visual entertainment. Paperweights such as this example reformed this childlike pastime for a sophisticated adult audience. Depicted in glass were tiny glittering flowers, small black and blue cameos of figures, and even miniature bottlecaps. These were delicately arranged within the orb for the observant eye to discover.From the late 1840s to early 1860s, French manufacturers of fine glass and crystalósuch as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)ócatered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.. Glass . Baccarat Glassworks

Four tiles with pattern of grape roses, pomegranates, tulips and stars. Four tiles field (2 x 2) with a blue pattern formed by four tiles with pomegranates, grape roses and tulips around a star.

Sword-Hilt Collar (Fuchi) late 18th-early 19th century Japanese A fuchi is a collar that is mounted at the base of the grip of a sword hilt, usually made as part of a set with a matching kashira (pommel cap).. Sword-Hilt Collar (Fuchi). Japanese. late 18th-early 19th century. Copper-gold alloy (shakud), copper, gold. Sword Furniture-Fuchi-Kashira

Fragment of a Wall Revetment 50 BCE-100 CE Roman Empire. In ancient Rome, there was a high demand for colorful glass that could dazzle banquet guests alongside the expensive silver and gold serving wares meant to impress. Fragments like this one would have once been a part of larger mosaic dishes. The mosaic pattern was made by sagging molten glass into bowl-shaped molds, a technique used on many of these fragments is similar to millefiori, ìthousand flowersî in Italian, a modern glass-making method in which tiny rods of colored glass are bundled together, wrapped in a sheet of glass, fused, and then thinly sliced to reveal swirls of a flower-like patterns. They were arranged side by side, sometimes together with bits of colored glass, and fused together with heat.. Glass, mosaic glass technique . Ancient Roman

Round wooden saw cut cylinder shape on beige background abstract background. Minimal box and geometric podium. Scene with geometrical forms. Empty showcase for eco cosmetic product presentation

Dish (without image). Dish (without image)

Wall Facing (Holland); tin-glazed earthenware, underglaze; 5 tiles tall, various wide

Meissen Manufacture. Compotier with decoration called snowball. Hard porcelain, polychrome enamels. 2nd quarter of the 18th century. Museum of Fine Arts of the City of Paris, Petit Palais. Faience, dishes, XVIIth 17th XVII 17th 17th 17th century, compotier

Tile (USA); Manufactured by J. & J. G. Low Art Tile Works; glazed stoneware; 10.5 x 10.5 x 1.1 cm (4 1/8 x 4 1/8 x 7/16 in. )

Round box with ribbed sides, anonymous, c. 1500 - c. 1599 Round box of porcelain with ribbed wall, painted in underlaze blue. Ming porcelain in blue and white. China porcelain. glaze. cobalt (mineral) painting / vitrification Round box of porcelain with ribbed wall, painted in underlaze blue. Ming porcelain in blue and white. China porcelain. glaze. cobalt (mineral) painting / vitrification

Mosaic glass bowl fragment. Culture: Greek, Eastern Mediterranean. Dimensions: Overall: 2 x 1 7/8 in. (5.1 x 4.8 cm). Date: 2nd-mid-1st century B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Vase fragment. Dimensions: h. 3.8 cm (1 1/2 in); w. 2.9 cm (1 1/8 in). Dynasty: Dynasty 12-13. Date: ca. 1981-1640 B.C.. Museum: Metropolitan Museum of Art, New York, USA.

Box (possibly Germany or Low Countries); Retailed by Black, Starr and Frost Co. (United States); silver; 2.3h x 9.5w x 6.7d cm (7/8 x 3 3/4 x 2 5/8 in.)

Dishwill of earthenware, with tinglaze on the top and bottom and a single -in blue at the top, damaged, anonymous, 1500 - 1799 earthenware. tin glaze earthenware. tin glaze

Glass striped mosaic bowl fragment late 1st century B.C.-early 1st century A.D. Roman Rim fragment.Translucent blue, turquoise blue largely layered with yellow appearing green, purple appearing opaque brick red, opaque yellow and white, with colorless glass.Applied coil rim with rounded, vertical lip; slightly convex curving side, tapering downward. Rim in colorless glass with two yellow spiral threads; body decorated with horizontal wavy bands, forming a regular pattern: blue, white, green, yellow, red, green, and blue.Pinprick bubbles; exterior polished, with pitting of surface bubbles; dulling and iridescent weathering on interior; some weathering on jagged edges.. Glass striped mosaic bowl fragment. Roman. late 1st century B.C.-early 1st century A.D.. Glass; cast. Early Imperial. Glass

Salver c 1788-1790 Philadelphia. Silver . Joseph Richardson Jr.

Saucer Dish With a Crackled Red Glaze. Scale of porcelain with round wall, covered with a crackled red (sang the boeuf) glaze, the edge is white. Within the foot ring a cracked celadnic acid. Wall has been broken. Monochromes.

Fragment of a Tile with the Name of King Khendjer ca. 1763-1758 B.C. Middle Kingdom. Fragment of a Tile with the Name of King Khendjer. ca. 1763-1758 B.C.. Faience. Middle Kingdom. From Egypt, Memphite Region, Lisht North, Cemetery, MMA excavations, 1920-22. Dynasty 13

Fragment of majolica dish, orange and green and blue on white, cross shape and in between leaves, in the middle circles, cable border, dish plate crockery holder earth discovery ceramics earthenware glaze, total with , archeology Rotterdam decorate soil discovery Rotterdam 1941.

Subtotel belonging to a Terrine, Hendrik Duller, 1785 Round dish with contoured edge. A six -pointed star is engraved in the flat and rocailles are engraved in the edge. The dish is marked: stk. = Amsterdam, Jrl. = A (1785), Mt. = Hendrik Duller, De Letter L (Herkeur Haarlem), Crowned O, the Letter V and the Drawing & (Herkeur 1812-1813). The dish is stored with a non-corresponding terrine (BK-NM-11177-131-A). Amsterdam silver (metal) Round dish with contoured edge. A six -pointed star is engraved in the flat and rocailles are engraved in the edge. The dish is marked: stk. = Amsterdam, Jrl. = A (1785), Mt. = Hendrik Duller, De Letter L (Herkeur Haarlem), Crowned O, the Letter V and the Drawing & (Herkeur 1812-1813). The dish is stored with a non-corresponding terrine (BK-NM-11177-131-A). Amsterdam silver (metal)

Paperweight 1843-1860 France. Technological improvements to optical scientific instruments in the mid-nineteenth century spurred a veritable obsession across Europe with identifying and classifying the natural world. Amateur botanists were eager to collect and preserve floral specimens, which they intently researched and catalogued. In response to this broad appeal, French glassmakers made paperweights that portrayed the very botanical subjects that were so enthusiastically sought. Many weights represented specimens with horticultural correctness, but others were entirely fanciful creations. Paperweights like this example speak to the periodís fascination with taxonomic systems.From the late 1840s to early 1860s, French manufacturers of fine glass and crystalósuch as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)ócatered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, we

Fragment of a Revetment 100 BCE-100 CE Italy. Glass, cast technique . Ancient Roman

Casket with domed lid. unknown, craftsman

Fragment of terra sigillata ca. A.D. 170-220 Roman These fragments demonstrate how some producers of Roman fineware pottery in the Rhineland experimented with incised decoration inspired by that found on contemporary glassware.Group label : 17.194.2005-.7. Fragment of terra sigillata 250352 Roman, Fragment of terra sigillata, ca. A.D. 170?220, Terracotta, 2 9/16 ? 3 1/8 ? 13/16 in. (6.5 ? 7.9 ? 2 cm). The Metropolitan Museum of Art, New York. Gift of J. Pierpont Morgan, 1917 (17.194.2007)

Terracotta mortarium fragment. Culture: Roman. Dimensions: Other: 3 5/8 in. (9.2 cm). Date: late 2nd century A.D..Mortaria were the grinding and mixing bowls commonly used by the Romans. Most were made in plain, unslipped wares, and tiny bits of grit were often added to the inside of the bowl to aid the grinding process. This fragmentary rim, however, is an example in finer ware, terra sigillata, decorated with barbotine, or relief decoration. Such vessels suggest that some food preparation was carried out at the table, in front of the host and his dining companions. Museum: Metropolitan Museum of Art, New York, USA.

Paperweight 1875-1900 United States. Glass . Boston and Sandwich Glass Company

Fragment sign from V.O.C. ship De 'Witte Leeuw', Anonymous, Before 1613 plate (dishes) Fragment sign from V.O.C. ship the 'Witte Leeuw'. Jingdezhen porcelain Sint-Helena

Cup plate. Culture: American. Dimensions: Diam. 3 5/8 in. (9.2 cm). Maker: Possibly Boston & Sandwich Glass Company (American, 1825-1888, Sandwich, Massachusetts). Date: 1829-30. Museum: Metropolitan Museum of Art, New York, USA.

Earrings, Gold, a) Earrings in design of bar surmounted by pointed ornament of Greek key and leaf; below bar are seven pendants (balls and rods) in four lengths., b) Box designed to hold the set, covered with red leather, lined with blue velvet and white satin., USA, ca. 1880, jewelry, Decorative Arts, Earrings

Cup plate 1835-45 American. Cup plate. American. 1835-45. Pressed glass. Made in New England, United States

Sign, with an oriental landscape with a rider statue, Petrus Regout, c. 1860 - c. 1890 Plate of pottery with blue transfer decor. On the flat an oriental landscape with a equestrian statue. The edge with cartouches, alternately filled with bouquets and buildings. Between the cartouches fencing. Maastricht . Plate of pottery with blue transfer decor. On the flat an oriental landscape with a equestrian statue. The edge with cartouches, alternately filled with bouquets and buildings. Between the cartouches fencing. Maastricht .

Lotus Flower Inlay ca. 1353-1336 B.C. New Kingdom, Amarna Period The water lily, more commonly known as the lotus, was one of the most ubiquitous plants and symbols of ancient Egypt. Its flower, which is either blue or white (Nymphaea coerulea and alba), closes up at night and reopens in the morning to reveal a central yellow circle radiating yellow petals. To the ancient Egyptians this phenomenon reflected the rising of the sun at the dawn of creation, and the flower was honored as an image of daily rebirth and rejuvenation. De-pictions of the water lily, such as these models and inlays, usually incorporate this symbolism, but the plant was also valued for its medicinal properties as a pain reliever.. Lotus Flower Inlay 548302

Box for Incense with Design of Peonies, Iris, Morning Glories, and Wisteria 19th century Kajikawa School. Box for Incense with Design of Peonies, Iris, Morning Glories, and Wisteria. Kajikawa School. Japan. 19th century. Gold and silver maki-e on black lacquer. Meiji period (1868-1912). Lacquer

Bowl with Radiating Petals and Two Fish 918 CE-1392 Korea. Celadon-glazed stoneware with underglaze incised decoration .

. Scale of porcelain with round wall, modeled in compartments and scallop edge, painted in underglaze blue. On the flat five flowers on curl work; The wall with a trade decoration filled with flour branch on the front and rear. Marked on the bottom with a tripod in a double circle. Three chips in the edge. Blue White.

Sharf of ross -baking earthenware, with blue glaze at the front, with a painting of a tulip on it, in brown, green, yellow and orange, anonymous, 1600 - 1650 Northern Netherlands earthenware. glaze majolica Northern Netherlands earthenware. glaze majolica

Plate with Arms of Barry-Barry. Derby Porcelain Works (England, 1756-1848)William Billingsley (England, 1758-1828). England, circa 1800. Furnishings; Serviceware. Porcelain, gilding

Paperweight 1801-1900 Clichy. Glass . Clichy Glasshouse (Manufacturer)

Tile Wall Facing (Netherlands); tin-glazed earthenware, underglaze

Inlay, falcon hieroglyph. Dimensions: H. 1.7 × W. 1.8 cm (11/16 × 11/16 in.). Date: 100 BC-100 AD.A mosaic glass technique allowed multiples of an image to be created: a figural or design composition was made by bundling colored glass canes, which were then drawn out into a long bar. The bar was then sectioned at right angles, probably by striking the bar with appropriate tools, to produce small inlay tiles. The tile would then be smoothed and polished on the face intended to appear outwards. Museum: Metropolitan Museum of Art, New York, USA.

Shards of a sign from V.O.C. ship De 'Witte Leeuw', Anonymous, Before 1613 plate (dishes) Shards of a sign from V.O.C. ship the 'Witte Leeuw'. Jingdezhen bone china (material) Sint-Helena

Scale, leaf shaped. Scale of porcelain, leaf-shaped scallops, on one side with an acanthus sheet embossed. Edge and leaf with golden trim. Part of a crockery, painted in sepia with landscapes or topographical faces.

Paperweight 1840-1860 Clichy. This paperweight uses a traditional glass-making technique called millefiori to great effect. Italian for ìone thousand flowers,î millefiori was first developed in fifteenth-century Venice. In the nineteenth century, French glassmakers revived the technique with a cultural twist. Arranged to evoke traditional French gardens such as the Tuileries in Paris, paperweights like this example brought a little of this landscaping magic indoors.From the late 1840s to early 1860s, French manufacturers of fine glass and crystalósuch as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)ócatered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.. Glass . Clichy Glasshouse

Paperweight 1843-1854 England. Glass .

Vest of brown sheet pissed off with white silk, slanted front buildings, standing collar, bags with hollow sculpted valve, anonymous, c. 1810 - c. 1829 Model: something sphere cut front buildings with seven holes for buttons (only in the wool, not in the lining). The inner tape to string through the knots are still present. Tilted corners of front buildings. Wide, low -applied empty bags. White Ripping Side lining. Netherlands whole: Wool. Lining: Silk Model: something sphere cut front buildings with seven holes for buttons (only in the wool, not in the lining). The inner tape to string through the knots are still present. Tilted corners of front buildings. Wide, low -applied empty bags. White Ripping Side lining. Netherlands whole: Wool. Lining: Silk

Rectangular box with pommel scrolls first half of the 14th century China The pommel scroll is so-named because it resembles the shape of a Chinese sword pommel. This design is often seen in objects decorated with layers of contrasting colors of lacquer, particularly red and black. Found predominantly on ceramics, metalwork, and lacquer from the thirteenth century, there is no known explanation for the creation and popularity of this motif. However, it may have been inspired by the antiquarianism of the period, when motifs that were based on, or presumed to be based on, the Chinese Bronze Age were incorporated into the designs of many types of objects.. Rectangular box with pommel scrolls 40181

Inlay, falcon hieroglyph 100 BC-100 AD Ptolemaic Period-Roman Period A mosaic glass technique allowed multiples of an image to be created: a figural or design composition was made by bundling colored glass canes, which were then drawn out into a long bar. The bar was then sectioned at right angles, probably by striking the bar with appropriate tools, to produce small inlay tiles. The tile would then be smoothed and polished on the face intended to appear outwards.. Inlay, falcon hieroglyph. 100 BC-100 AD. Glass. Ptolemaic Period-Roman Period. From Egypt

Plate (England); 2.4 x 18.7 cm (15/16 x 7 3/8 in.); Bequest of Jane M. Epstine; 2006-20-43

BORD, TELDERD MET Het wing pattern decor, Meissener porcelain manufactory, 1901 Plate of painted porcelain. The board is painted in green and blue with the Flügelmuster. The board belongs to a service (BK-1976-65-1 to BK-1976-65-34) and is marked. Float porcelain Plate of painted porcelain. The board is painted in green and blue with the Flügelmuster. The board belongs to a service (BK-1976-65-1 to BK-1976-65-34) and is marked. Float porcelain

Field of four tiles with flower pots, anonymous, c. 1610 - c. 1625 Field of four tiles (2 x 2) each with a multicolored (blue, orange, green and yellow) flowerpot with marigolds. In the corners, a quarter rosette. Netherlands earthenware. tin glaze majolica Field of four tiles (2 x 2) each with a multicolored (blue, orange, green and yellow) flowerpot with marigolds. In the corners, a quarter rosette. Netherlands earthenware. tin glaze majolica

Fragment sign from V.O.C. ship De 'Witte Leeuw', Anonymous, Before 1613 plate (dishes) Sign from V.O.C. ship De 'Witte Leeuw', 40 present; Parts of the flat and the wall are missing. The shard is glassy white and has little ingrained dirt. The glaze is blue tinted and shows Pinholes and Leine baking cracks on the corners of the lip edge. The bottom is glazed. The foot ring is inside, is V-shaped and faceted. More than 20 grains of oven sand have been found. Consists of ten fragments glued together. Jingdezhen bone china (material) Sint-Helena

Linnamast napkin with ivy, Chris Lebeau, c. 1904 Linnamast's napkin with ivy: Motif Klimop, Dessin No. 513. The napkin belongs to eleven napkins (BK-1979-262-A to BK-1979-262-L) and two tablecloths (BK-1979-261-A and BK-1979-261-B). Eindhoven linen (material) damask Linnamast's napkin with ivy: Motif Klimop, Dessin No. 513. The napkin belongs to eleven napkins (BK-1979-262-A to BK-1979-262-L) and two tablecloths (BK-1979-261-A and BK-1979-261-B). Eindhoven linen (material) damask

Paperweight 1840-1865 Baccarat. Technological improvements to optical scientific instruments in the mid-nineteenth century spurred a veritable obsession across Europe with identifying and classifying the natural world. Amateur botanists were eager to collect and preserve floral specimens, which they intently researched and catalogued. In response to this broad appeal, French glassmakers made paperweights that portrayed the very botanical subjects that were so enthusiastically sought. Many weights represented specimens with horticultural correctness, but others were entirely fanciful creations. Paperweights like this example speak to the periodís fascination with taxonomic systems.From the late 1840s to early 1860s, French manufacturers of fine glass and crystalósuch as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)ócatered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts,

Cocked feathers in the colors orange and blue in the shape of a rosette, anonymous, c. 1925 Cocked feathers in the colors orange and blue in the shape of a rosette. West-Europa . Cocked feathers in the colors orange and blue in the shape of a rosette. West-Europa .

Sword-Hilt Collar and Pommel (Fuchigashira) 18th century Japanese A fuchigashira is a pair of matching sword fittings comprising the fuchi (collar at the base of the grip of the sword hilt) and kashira (pommel cap at the end of a sword hilt).. Sword-Hilt Collar and Pommel (Fuchigashira). Japanese. 18th century. Copper-gold alloy (shakud), gold. Sword Furniture-Fuchi-Kashira

Brush Washer in Shape of a Leaf, 1723-35. China, Jiangxi province, Jingdezhen, Qing dynasty (1644-1911), Yongzheng reign (1723-1735). Porcelain with camellia-leaf green glaze; overall: 19.7 cm (7 3/4 in.).

Shards of signs from the wreck of the East Indians Hollandia, Anonymous, 1700 - in Or Before 1743 plate (dishes) Porcelain, plate, type 3; fragm of base, sim. NG 1980-27H3202c. Netherlands porcelain Second

Locket Panel (2 of 4), 1800s. Alexis Falize (French, 1811-1898), Antoine Tard (French, active 1860-1889). Gold and cloisonné enamel; overall: 5.4 x 3.1 cm (2 1/8 x 1 1/4 in.).

Model of a House 12th-13th century. Model of a House 447294

Saucer with gold borders on a red ground, anonymous, c. 1800 - c. 1824 Porcelain saucer, covered on the glaze with red and gold. The wall and edge are covered with tires of red and gold, with a flower drink on the edge. Golden line closely. Empire. France (possibly) porcelain. glaze. gold (metal) painting / gilding / vitrification Porcelain saucer, covered on the glaze with red and gold. The wall and edge are covered with tires of red and gold, with a flower drink on the edge. Golden line closely. Empire. France (possibly) porcelain. glaze. gold (metal) painting / gilding / vitrification

Porcelain fragments

Paperweight 1840-1860 Clichy. This paperweight uses a traditional glass-making technique called millefiori to great effect. Italian for ìone thousand flowers,î millefiori was first developed in fifteenth-century Venice. In the nineteenth century, French glassmakers revived the technique with a cultural twist. Arranged to evoke traditional French gardens such as the Tuileries in Paris, paperweights like this example brought a little of this landscaping magic indoors.From the late 1840s to early 1860s, French manufacturers of fine glass and crystalósuch as Baccarat (Alsace), Clichy (Paris), and Saint-Louis (Lorraine)ócatered to the vast public enthusiasm for beautiful yet functional desk accessories. Paperweights, which were designed to secure loose papers against drafts, were among their most popular products.. Glass . Clichy Glasshouse

Sword-Hilt Collar and Pommel (Fuchigashira) 18th century Japanese A fuchigashira is a pair of matching sword fittings comprising the fuchi (collar at the base of the grip of the sword hilt) and kashira (pommel cap at the end of a sword hilt).. Sword-Hilt Collar and Pommel (Fuchigashira). Japanese. 18th century. Iron, copper-gold alloy (shakud), gold, copper. Sword Furniture-Fuchi-Kashira

Fragment flower tile with corner decoration and central multi-colored flower arrangement, corner pattern lily, wall tile tile visualization earth discovery ceramics earthenware glaze tin glazing, baked 2x glazed painted Orange green and blue on white archeology Rotterdam rail tunnel Soil discovery: rail tunnel Rotterdam.

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