Art Dealers Association of America Serveware, Ceramics, Silver and Glass

Unusual accent decorating piece; a silver plated or silver alloy (unmarked) late Victorian British diminutive watering can, circa 1895, that would have been used to water interior pl...

Charming pair of porcelain white seated Bulldogs holding a pair of puppies each from their mouth in a straw basket with a blue bow around their necks; mounted on a blue base. Conditi...

The mark on the underneath (see image) indicates that this spittoon is of Japanese Imari porcelain, manufactured circa 1880, and made specifically for the American market for the preponderance of bars and saloons at that time. These were popular from 1865 to the turn of the century; this is a particularly fancy and elaborate example. Note the copious and highly detailed and beautiful floral decoration to the inside of the upper portion of the spittoon; pretty fancy for something meant for spit and saliva! Fantastic and all original condition with no cracks, no chips and very bright paint in sharp colors of blue rust and pink, and meticulously painted in a floral pattern. Several of these would have been “stationed” in strategic places within a saloon. This is a wonderful piece of porcelain, and quality item of saloon and Western United States history...

"Sleepy Eye" stoneware pitchers were promotional items used to advertise The Sleepy Eye Flour Milling Company, in Sleepy Eye, Minnesota. The factory was bui...

Outstanding and rare early 19th century Mason's Ironstone (6) piece set consisting of toilet necessities as follows: Large oversized highly decorated pitcher and bowl for storing water and wash basin Pair of chamber pots for evening needs Similarly decorated toothbrush holder, large enough for multiple users Soap dish with removable strainer dish The fact that this rare ensemble has survived intact with no damage for nearly two hundred years is remarkable. It would have been an item owned and cherished by the aristocracy. and enjoyed as an art form because of it's high quality manufacture, in addition to the elaborate and detailed decoration. Also of note is the 8 sided octagonal form of each of the six items (see images). Please observe the elaborate serpent or snake formed handles to the large pitcher and both of the chamber pots (see images). Also worth mentioning is the attention the interior of the bowl receives, with as much decoration applied as the exterior (see image). The interior upper perimeters of all of the items receive the same amount of attention. The pitcher and bowl combination is larger than most that were manufactured during that period, (16" diameter) made possible by the strength of the ironstone. The Mason's mark underneath the items indicates a 1830s manufacture, with the "Mason's Patent Ironstone China" above and beneath the crown in blue. The ironstone process was patented by Charles Mason...

This hard to find ensemble consists of a uniquely configured 18th century Georgian night cupboard circa 1770, and a six piece Victorian Mason's Ironstone toiletry set for washing and toiletry needs, circa 1835. The washstand conveniently accommodates all of the pieces from the Mason's set in their appropriate compartments as if it was specifically made for the grouping (see images). The Georgian washstand...

Uniquely decorated porcelain Limoges jar with a wide winged span nude woman and a duck flying out of her hair, perhaps beckoning her to join in the flight. Her legs and feet end as one "a la mermaid". She is quite beautiful and is holding a bouquet of flowers in front of her. The same image appears on the other side. She is hand painted with brown hair, skin tones, with white and black detail to the "butterfly like" double wings. The duck is painted brown and black. Two gold leaf bands circumvents the vessel at the bottom and two thirds up. A blue band above the gold band at the base completes the hand painted decoration of the exterior. The interior of the jar is painted a light colored lime green. The underneath is clearly marked "P L Limoges...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Highly unusual, seemingly to be, one of a kind silver plate epergne by Meriden Britannia Company of Connecticut. No doubt circa 1875 and manufactured to commemorate the launching of "Le Tricolre Balloon" on June 6th, 1874 in France (I have attached image of actual French hot air balloon...

This well made early 19th century deer horned fork, rests on it's own rotating Stand, and with long forked prongs, it was designed to hold any size piece of meet in place. The natura...

Very unusual western Americana theme silver plated covered tureen, consisting of four feet of cast and silver plated deer heads; rams heads on each end; and opposite facing deer heads at the top of the lid to lift off of the bowl. Sides and top are decorated with elaborate floral engravings. It was manufactured by Meriden B...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

Nice example of an ironstone pitcher, hand painted from copper plate transfers in the Chinese Manduran pattern depicting peacocks and abundant floral decoration in a Famille Rose sty...

All original early 18th century pewter dish, hallmarked on the rear of the gently rounded bouge; three touchmarks are visible albeit not completely discernible. The most visible stat...

This is a most unusual piece appealing to both those who collect cigar cutters, and collectors who seek out silver plated novel items. It consists of a bottom scalloped edged bowl wh...

Listed is a silver plated figural napkin ring that I have not seen before and is unmarked. I do not think it is from the Victorian era, but I do believe it was manufactured and somew...

Saloon or soda fountain pressed steel tin tip tray; circa 1910 with whimsical theme showing a pig jumping through a paper covered hoop held by two colorfully ...

French, circa 1820. Porcelain, painted and gilded, with applied bisquit flowers 8 13/16 in. high. Inscribed (with incised mark, under the base of each): 3.   

Attributed to Schoelcher, Paris, France, circa 1830. Porcelain, painted and gilded. 16 1/4 in. high, 9 1/2 in. wide, 9 1/2 in. deep. Ex Coll.: by repute, Joseph Bonaparte...

Peacock green cut-glass decanter English, circa 1840. Glass, blown and cut. Measures: 13 1/2 in. high. Condition: Perfect, except for minor flakes on the bottom of stopper.   

French. Plateau in the Restauration taste with grape and leaf motifs, circa 1825. Ormolu and patinated bronze, with mirror plate and wood backing. Measures: 15 7/8 in. diameter, 3 11...

Monumental clear cut-glass covered compote, circa 1820. La Cristallerie de Vonêche (active 1802-30), Belgium. Glass, blown and cut. Measures: 17 3/8 i...

Rare Queen Anne with shagreen cover red fabric fitted interior for silver tableware set terminating in brass feet.