Early Coffee Cup Blue and White Boy on a Buffalo Ptn probably Spode, circa 1790

This is a rare Creamware pottery Chestnut Basket made by the SPODE factory, Stoke on Trent, Staffordshire, England, in the late Georgian, Regency period...

This is a beautiful plate in the Bow Pot pattern, produced by the Spode factory and made of a type of earthenware pottery called Pearl-ware, in the early 19th century, circa 1820. ...

This is a beautiful pair of deep plates or Soup Bowls in the blue and white Rome or Tiber Pattern, produced by the Spode factory and made of a type of earthenware pottery called Pear...

This is a Georgian set of six matching Mason's ironstone plates, all in the Oriental Pheasant pattern and dating to the earliest period between 1813-1820. Sets of early plates in...

This is a cup & saucer duo in the rarely seen, hand painted "Pine Grove" Pattern by the renowned Art Deco designer Clarice Cliff. This piece dates to the late Bizarre period, Circa 1935. The Pine Grove Pattern was Newport pattern 6449, having boldly drawn black, blue and green fir trees with orange/red trunks, the whole design then covered in thin grey, blue & green bands. This pattern is rarely seen but has the distinctive "Clarice" look of the early Bizarre pieces. The cup has the Bizarre black printed stamp on the base and the saucer has the Wilkinson's honey-glaze mark, all fully documented in the book ; Clarice Cliff The Bizarre Affair, written by Leonard Griffin and Louis K. and Susan Pear Meisel...

This is a very decorative large bowl, produced by the Spode factory, circa 1820. The bowl is circular with an everted rim and on a raised pedastal foot. This is pattern number 3875, the chinoiserie decoration being transfer printed in cobalt blue under-glaze, then carefully and beautifully hand-painted in bold colored enamels with additional gilding over-glaze. The pattern shows a large Jardiniere beside a vase, both holding colourful flowers beside a tree, all in a garden setting with a distinctive floral border. The pattern is on the inside and outside of the bowl with hand gilded gold highlights. The pattern is in the Chinese taste as produced by many of the English potteries of the time, to compete directly with the large import of Canton or Chinese export porcelain from China. The bowl is fully marked to the base, with "Spodes New Stone...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

Globular teapot in black basalt, painted with matt white, red and ice blue. Judging by the shape and general appearance, probably by Spode, in imitation of Wedgwood designs of the pe...

Mid-century French ceramic pitcher set with four cylindrical drinking cups by Jacques Blin (circa 1950s). To find an intact set such as this is rare and certainly fortuitous. An eleg...

A section of the Palladian motif artfully and elegantly frames the rim of this soup bowl. The composition expresses a fully-formed Palladian window, t...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Zeus in His Chariot’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

Robert Picault set of 6 cups.