18th Century Ceramics

A large Chinese Export Famille Rose charger with pink lotus and other flowers. Painted in bright vivid colors of blues, reds and yellow accents.

This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760.   Finely potted with a lovely rich, glassy white glaze, the charger is hand-p...

Elegant circa 1790 Nanking Chinese porcelain hand painted blue and white tureen in excellent condition, no repairs.

A very fine antique Chinese Qing large porcelain cylindrical mug hand painted with floral designs and probably dating from the latter 18th or possibly even early 19th century. The mu...

Crafted by Wedgwood, this exquisite and rare assembled coffee cup and saucer set are comprised of the firm’s famous pale “Wedgwood blue” jasperwar...

This is a fine quality Derby porcelain bowl in pattern number 110, fully marked with puce crown & battons and dating to 11790, George 111rd period. It is beautifully decorated in ...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

A stunning Spanish or North African faience deep bowl. 18th century. Well cared for with various old rim repairs typical of the form. Red ware base. 15 1/4" diameter, 4" height. We ...

This is a hard paste porcelain coffee Can by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. The piece is well potted of hard paste porcelain on a low foot with a loop handle having rounded attachments. The cup is decorated over-glaze with hand painted pattern...

18th century Portuguese "Vase" Measures: 154cm x 140cm 110 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pai...

Pair of Delft calendar plates in blue and white garden scenarie. March and April plates. These two plates were part of a 12 plate series of calen...

18th century Portuguese "Troubadour" Measures: 252cm x 86 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

Antique set of two 19th century Spanish hand painted glazed ceramic patterned tiles with white frame Dimension do not include frame.

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

18th century Portuguese "Vases" Measures: 312 cm x 210 cm Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a painting ...

These stunning Wedgwood black basalt sphinxes are a true masterpiece of Wedgwood craftsmanship and artistry. These mythical creatures are a sight to behold with their majestic woman's head, mighty lion's body, and elegant wings. Each sphinx sits atop a raised rectangular base, adorned with a geometric design of circles and fleur-de-lis. Each sphinx features a 'lotus flower' nozzle to hold candles, adding a touch of whimsy and charm. Made in the eighteenth century, circa 1785, these sphinxes showcase Wedgwood's exceptional attention to detail and dedication to quality. The underside of each sphinx is marked with an impressed "Wedgwood" signature in lowercase letters. With a height of 10.2", a depth of 7", and a width of 3.6", these sphinxes are truly imposing in size and presence. In excellent condition, this pair is a rare and highly coveted find for collectors of Wedgwood black basalt. Reference: "The Dictionary of Wedgwood" R Reilly and G Savage pg 323. Dimensions: 10.2" height x 7" deep x 3.6" wide Condition: Excellent with tiny edge chips invisibly restored Price: $6,600 Background of Wedgwood black basalt: In the mid-18th century, Josiah Wedgwood created black stoneware, which he named "Black Basalt," as it resembled Egyptian basalt...

18th Century Portuguese " Angels " Measures: 84 cm x 70 cm 30 Tiles. Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a...

18th century Portuguese "Troubadour " Measures: 140cm x 108 cm 80 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it wer...

18th century polychrome Delft oil and vinegar stand in Imari flower decorations.

18th century Portuguese "Spring " Measures: 112 cm x 89 cm 48 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a ...

18th century Portuguese "Citywide " Measures: 168cm x 126 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

18th century Portuguese "Knight" Measures: 98 cm x 112cm 56 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a pa...

An assembled pair of Wedgwood cress or strawberry dishes, Two Piece; Footed Pierced Dish with Stand. Late 18th c. This would have been used to serve watercress or strawberries after ...

Coffee assortment with “barbotine” decoration Manufacture of Pasquale Rubati or Felice Clerici Milan, 1770- 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). ...

Assortment of dishes Lombard manufacture 1770 – 1780 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...

18th century Portuguese "Lady " Measures: 262 cm x 170 cm 228 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a ...

18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

18th century Portuguese "Prayer " Measures: 182cm x 182 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a...

18th century Portuguese "Vase" Measures: 126cm x 126cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pain...

18th Century Portuguese " Saint Antony " Measures: 266 cm x 168 cm Important note: This panel is with the tiles restored 18th century. The panel i...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

18th Century Portuguese "Saint Antony" Measures: 266 cm x 210 cm Important note: This panel is with the tiles restored 18th century. The panel is ...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern No. 20, dating to the late 18th century, circa 1790. The bowl is well potted on a mid depth foot. The decoration is hand-painted using bold enamels in a charming chinoiserie figure pattern, number 20, showing a Lady with a parasol being presented a flower by a young man, all by a fence in a garden setting. The inner rim has a repeated border pattern and the inside base has a hand painted flower bud sprig which is worn and faded. This is a recorded New Hall pattern No 20. Overall a charming 18th Century Bowl...

18th century Portuguese "Vase" Measures: 131cm x 131cm 110 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a pai...

This elegant antique jar was hand-crafted in Spain circa 1760; round in shape with narrow base and neck, the vessel features a rolled rim at the top accented with a mustard color gla...

With mask spout the sides moulded with upright leaves and painted with insects, foliated capped handle.

Maiolica puerperal cup Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm) Weight: 0.78 lb (358 g) State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked. From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany. In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility. During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc. Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift. This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor. In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...

Derby was able to produce exceptional work, and these vases are a brilliant example of what they were capable of, when making for the top of the market. The body, the modeling, and t...

A pair of Japanese decorative ceramic plates, made in Arita for export market circa 17-18th century. The cabinet-display dishes feature lotus-petal gilt rim and a lavish tricolor ene...

A Superb Meissen Marcolini tulip in a tub, Circa 1780. Fine quality Meissen porcelain model of a flowerpot, modelled as cylindrical tub enhanced in gilt with 2 mythological masks on...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

18th century Portuguese " Virgin wedding " Measures: 154cm x 140 cm 110 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if ...

This is an early porcelain trio comprising a vertically fluted coffee can, tea cup and saucer, all in a hand painted and gilded pattern, which we attri...

Chintz pattern painted with panels of three variant frizes colores, one with variant diaper cartouches entwined with gilt and berried laurel, the second with entwined rose vines rese...

18th century Portuguese " Virgin wedding " Measures: 196cm x 168 cm 168 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if ...

Two large French Faience dishes and two smaller from the city of Strasbourg in hand painted floral decoration. They are approximately from around...

A rare and utterly charming English Staffordshire blue and white glazed ceramic dog whistle. Showing the pooch standing alert with tail up and ears pricked...

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

This is a rare first period (or Dr. Wall) Worcester Coffee Cup, with a distinctive hand painted pattern, made of porcelain and dating to the 18th century, circa 1770. The cup is well potted with a grooved loop handle This delightful early Worcester Cup...

A large Danish (or Northern German) faience charger from circa 1780 in blue and white flower decor. The decoration is inspired by, or actually exact copies of the contemporary Chine...

An 18th century Delft ceramic plate, hand-painted in, blue red and green with floral decoration. Several chips to rim.

This is a good, early hand-painted English coffee can, from the late George-III period, of the late 18th Century, circa 1795, which we attribute to ...

A delightful cream pail in black basalt, decorated with Poor Maria and Charlotte at the Tomb of Werther. The associated makes it very special indeed.

This is an early porcelain trio comprising a coffee can, tea cup and saucer, all in gilded patterns, which we attribute to Coalport, John Rose & Co., Shropshire, England, made at the...

Late eighteenth century Chinese Export Porcelain handleless tea bowl and saucer referred to as "Chinese Imari". Hand decorated in iron red, underg...

A very nice set of polychrome dishes with green and red overglaze colors. Interesting brown circle in the centre. Early Edo period.   Condition No real damages, just crackl...

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...

18th C Chinese Export Famille rose tea pot, in the French taste, of typical form the drum shape with twisted strap handles, and straight angled s...