Three lidded stoneware ashtrays — sand, terracotta and dusty teal — carved with a tactile basket-weave texture and crowned with a turned wooden knob.
A matched pair of lidded ceramic ashtrays with hand-painted vertical bands — one in deep olive-green, the other in burnt terracotta — trimmed with fine dotwork on ivory glaze in the Safi tradition.
A small hand-thrown ceramic ashtray glazed in deep teal-green and hand-painted with polychrome dotwork florals — ochre tulips, ivory petals and rust buds — in the Damascene tile tradition. Photographed on natural linen.
A hand-painted ceramic ashtray in henna red-brown and ivory, its interior radiating a concentric mandala of vine and dot motifs. Resting on a weathered olive-wood workbench, straight from the Fassi workshop.
A rounded lidded ashtray in crackle-white glaze, hand-painted with deep indigo palmette arches and dotwork in the oldest Damascene register — one colour, only line.
Dark teal-green glaze banded in warm ochre, with fine fern strokes and fine white dotwork — the Mount Lebanon palette, photographed on aged walnut.
A single-glaze emerald ashtray, its almond medallions traced freehand in black before firing — the green runs deep where the glaze pooled.
Dusty plum glaze carrying chevrons, combed fern motifs and pin-dot white highlights — a smoke-trapping lid turned to fit its own body.
Ivory earthenware with a wide painted band of interlaced diamonds in olive green, deep indigo and mustard ochre over black hatching — Levantine geometry at its most exacting.
A warm honey-amber glaze under black scallop borders and radiating palm fronds — small, low and made to sit outside on a tiled terrace.
Matte charcoal-brown stoneware flecked with gold, finished with a soft brass-toned rim that catches the light along four cut rests.
Dusty sage-green glaze scattered with white speckle, wide-walled and heavy in the hand — fired low so the clay body still shows at the foot.
