Herculaneum Pottery

An antique 19th century Minton Chinese blue and white transferware platter. It has a lovely pastoral scene. The underside is marke...

Our stoneware Torin Sculpture is handcrafted using slab-construction techniques. FINISH - Dipped glaze, pictured in verdigris DIMENSIONS Base: 13.5” x 9" Height: 16” Made to or...

Our stoneware Stack Bowl is handcrafted using slab-construction techniques. FINISH - Dipped ochre glaze DIMENSIONS 16.5" Dia x 4.5" H Made to order ...

West German ceramic wall plate or charger. Crisp glaze and Greek key center pattern with caramel and blue glaze alternating circles. Nice lava relief to the Greek key detail.

Antique Earthenware asparagus plate, made by Emile Galle, French, about 1883 signed Emile Galle, Nancy, Depose.

Mid Century Studio Pottery dish or serving plate rendered in hand thrown clay with a pale blue glazed interior, by Ro Ro, 1960s. Stamped on bottom.

A very stylish Villeroy & Boch Art Nouveau Majolica pottery tazza or cake stand decorated with tubelined floral designs dating circa 1900. The tazza stands on a bell shaped foot and ...

Very fine, elegant antique handmade and hand painted Meissen porcelain, 2 lobed scalloped serving dish with rocaille handle in the "Blue Onion" pattern. In perfect condition. The ...

This is a stunning game pie tureen with cover made by Minton in 1881. The piece is made of majolica and has realistically relief-moulded game on the cover: a rabbit, a mallard and a ...

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...

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...

A French Provincial green glazed pottery Hors d'Œuvres dish from the mid 19th century, with scalloped edges and orange accents. Created in Provence during the reign of Emperor Napolé...