Artistoric Pottery

An English mochaware mug with black and blue machine-turned bands and a tree pattern on a soft brown glaze. This large mochaware mug features rouletted bands of black and blue frami...

An English mochaware mug with black and blue machine-turned bands and a tree pattern on a soft brown glaze. This large mochaware mug features rouletted bands of black and blue frami...

A vibrant Neoclassical Revival decorative bowl in the 'Greek' pattern made by Copeland Spode in the late 19th century. 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. This Copeland Spode Greek...

A brightly colored Neoclassical tazza or cake plate in the 'Greek' pattern made by Copeland Spode in the late 19th century. This tazza, in Copeland Spode’s ‘Greek...

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 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 pair of plant pots covered in marbled brown glaze emulating agate gemstone encircled with checkered rims accented in gold, made circa 1770 by Wedgwood &...

A Creil mochaware peach-colored coffee pot made circa 1810. This elegant coffee pot features a dark brown mocha dendrite (tree) design on a light peach body. Mochaware pottery...

A Wedgwood rosso antico coffee pot made ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. Developed by Josiah Wedgwood in the 1760s, rosso antico famously exhibits the Egyptian Revival style that became popular in the early 19th century during Napoleon...

A rosso antico teapot made by Wedgwood ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. This ros...

Six Wedgwood majolica Argenta palette ‘Lincoln' pattern dessert plates with finely molded maroon prunus blossoms and dark taupe pine branches surrounded by a yellow Greek key border. The dishes are decorated in the japonisme style and feature the “Three Friends of Winter” motif, an Asian artistic convention showing the pine, plum, and bamboo together to represent steadfastness, perseverance, and resilience. The Wedgwood factory introduced muted Argenta glazes to its majolicas in the 1880s to keep up with ever-changing fashions. The Argenta glaze color palette was more subdued than that of traditionally vibrant majolica, and was thus more appealing to the Aesthetic Movement japonisme style that pervaded the market. These Argenta majolica dessert dishes...

An Iznik pottery dish made in the first half of the 17th century and decorated with chrysanthemums and tulips. The rim features the rock and wave pattern. Under the direction of O...