Although many European countries, including France, Germany, Portugal and Austria, produced majolica from 1860 to1930, early collectors often referred it to as German majolica. In contrast to more highly favoured English or American produced wares, continental majolica was scorned as cheap and too new to be of serious consideration. Now, it's being rediscovered and appreciated for it's true worth.
All majolica (except the very finest produced by Minton, Wedgwood and George Jones) was originally produced as inexpensive, everyday ware. Its purpose was mainly to brighten the middle class Victorian dining table and parlour. This colourful pottery came into demand by a broad market and was produced in large quantities. Though interest in majolica waned in England and America at the close of the nineteenth century, potteries on the continent continued to churn out majolica well into the twentieth century. Much of it was produced to be exported as inexpensive tourist trinkets.
Its reputation as a cheap souvenir may have sullied continental majolica's image among collector enthusiasts. Another possible reason for its initial lack of popularity is that it has a different look and feel than traditional majolica. The types of clay used, glazes and styles of decoration are distinctly different.
Continental wares often feel lighter than English or American products. Since most pottery from the last century was produced in the same area where the clay was found, composition varied from region to region and from country to country.
French potters used very white clay that was cast with thin walls. This gave their wares a light feel and appearance. American wares tend to be fairly thickly cast; consequently, they have a heavy, substantial weight. The rather flimsy feel of continental wares put off collectors used to the feel of American and English majolica.
Continental glazes were different as well. The insides of American and English majolica vessels often were glazed in orchid pink or turquoise. Continental potters used dark rose, light pink, dark turquoise, and clear, colourless glazes to coat the insides of their containers. Exterior glazes were also different. Green glazes had a yellow cast and light amber was popular in Germany and France. A somewhat muddy, grey-brown background is found in some French wares. These are not colours typically seen in American and English majolica.

The application of the glazes varied from their American and English counterparts. Especially late in the nineteenth century and into the twentieth century, glazes were sometimes airbrushed. This technique using sprayed-on paint gave the continental ware a different look.
Style wise, early continental majolica copied the work of Minton in England. Later, however, particularly after interest in majolica faded in England and America, continental potters took their own initiative. Some of the late majolica produced in France had a well-defined, provincial look. Some designs reflected the Art Nouveau movement in France and its Jugendstijl counterpart in Germany. This is especially apparent in pieces produced at the turn of the century, when flowing vines and stylised flowers became recurring motifs.
While most majolica is notorious for being unmarked, much continental majolica has some sort of mark on it. If nothing else, there may be a series of numbers impressed into the bottom.
Numbers can be found on German, French, and Austrian-made pieces. French majolica may have the word "Depose" or its shortened version "Depo" on it. This means that the design was registered with the Department of Patents and Trademarks in Paris.
French pottery names one might encounter include "Sarreguemines" and "Saint Clement," which are sometimes seen with the initials "K" and "G" for Keller and Guerin. To add to the confusion, a different French pottery ("Luneville") also used the initials "K" and "G".
A pottery at Onnaing, France produced many majolica mouth-pouring pitchers. These often bore a large shield below a crown with a sun and "Frie" to the left and "O" to the right.
In Germany, Villeroy and Boch produced majolica marked "VBM." The Zell pottery in Baden made many dessert sets and other souvenir wares marked "GZS" or "Zell".
Majolica made in Portugal often had the country's name impressed into it. New collectors should be aware that majolica is now being reproduced, including continental designs. Some of the old German and French designs are produced in Portugal and may have an ink stamp mark signifying "made in Portugal." Fitz and Floyd, Porta, the Haddon Group, and Mottahedah, among others, now reproduce authentic majolica designs.
Even today, dealers frequently fail to recognize continental majolica, so bargains are out there. For the knowledgeable buyer, the types of wares are often a clue to their continental origin.
Smoking paraphernalia was made in abundance, Producing, Small ashtrays with a container for matches, and also figurines were produced in Germany for export to the United States. The attached figures of animals or people were often humorous in nature. Many humidors also exist, some humidors were in the shape of heads with hats that served as tops, others were animals dressed as humans. Persons from exotic lands, especially North and equatorial Africans, frequently appeared on smoking paraphernalia. .
The French and Germans produced many mouth pouring pitchers. Imported by the United States and England, they were given away in taverns and stores to entice patrons. . Animals, birds and people were depicted on these pitchers.
At the turn of the century, Germans were the world's single biggest consumers of asparagus, and Continental majolica manufacturers catered to this market. It is not uncommon to find continental majolica plates decorated with asparagus or designed to hold asparagus.
If you are unsure about whether to collect chipped or damaged pieces? Experienced majolica collectors are fairly forgiving about small chips and hairline cracks. Majolica is rather fragile and little of it has lasted this long without a few chips and cracks. Majolica with applied decoration as was produced in France is especially prone to damage. Obvious and severe damage should be avoided but pieces with more subtle damage may still be worth buying.