Bardith

This set of six English porcelain coffee or espresso cups was hand-painted in the late 18th century. Traditionally known as coffee cans, they were made by the Derby factory circa 179...

This Chinese Export porcelain dish was hand-painted in deep cobalt blue with beautiful floral decoration featuring peonies, a traditional symbol of prosperity and beauty. Made circa ...

This Chamberlains Worcester porcelain plate is hand-painted with the vibrant "Dragons in Compartments" pattern, also known as the "Bengal Tiger" pattern. Made in England circa 1820, ...

This set of four antique porcelain bowls was made by Coalport in England, circa 1825. Each bowl is hand-painted in a vibrant interpretation of the Imari style, with rich orange flora...

This elegant set of twelve porcelain dinner plates and twelve matching soup dishes was made by Royal Epiag in Czechoslovakia circa 1935. It includes twelve dinner plates and twelve m...

These two Chinese Export porcelain plates were hand-painted in the Famille Rose palette circa 1770. Each plate offers its own exuberant interpretation of floral beauty, capturing the...

This antique English porcelain sugar box, made around 1810 by Coalport Porcelain, is hand-painted in the richly colored and intricate Money Tree pattern, also known as the Rock and T...

This lovely pottery dessert service was made in England by William Ridgway circa 1825. The set includes four dessert plates, two pairs of shaped serving dishes, and a raised centerpi...

This exquisite pair of large blue and white Delft jars was hand-painted in the Netherlands during the late 19th century, around 1880. The design features shaped panels, each depicti...

This exquisite pair of Paris Porcelain baskets was made in France circa 1860. Each basket features a gracefully flared reticulated body, highlighted with hand-applied green enamel an...

This set of three antique Delft plates was hand-painted in the Netherlands circa 1800. Each plate measures approximately 9 inches in diameter and ...

This set of nine antique porcelain small dessert dishes with a matching cookie or serving plate was made in France circa 1870. The porcelain is white with finely detailed gilt decora...

This rare set of seven antique Worcester porcelain cups was hand-painted in the iconic Fence pattern by the Barr Flight Barr Worcester factory in England, circa 1810. Each cup featur...

This 18th-century Chinese export blue and white porcelain dish was hand-painted in underglaze blue, circa 1780. The whimsical central scene depicts two stylized deer beneath a bloomi...

This antique porcelain plate was hand-painted by Coalport in England around 1820. It features a lovely central scene of a two-tiered pagoda set within a garden, surrounded by floweri...

This rare set of three creamware plates was made in England by Wedgwood in the 18th century, circa 1780. Each plate is decorated with a finely detailed black transfer-printed landsca...

This large Dutch Delft charger was hand-painted at the De Witte Starre* factory in Haarlem circa 1770. The cobalt blue decoration is arranged in petal-like panels radiating from a ce...

This rare drabware trio comprising a tea cup, coffee can, and saucer was made by Don Pottery in England around 1810. Drabware is a warm-toned, refined stoneware first introduced at W...

This set of eight antique English porcelain plates features vibrant hand-painted floral decoration. Made at Derby circa 1825, each plate features an exuberant bouquet of garden flowe...

This set of three antique English porcelain plates was hand-painted by Barr Flight Barr Worcester circa 1820. The plates are decorated in the colorful and highly sought-after “Fence ...

This blue and white Dutch Delft charger was hand-painted in deep cobalt blue in the 18th century, circa 1780. The central scene features a pair of birds in flight above a basket brimming with full blooms and leafy stems. The birds—elegantly rendered with wings extended—add a sense of movement and vitality to the design. The flower basket is painted with expressive brushwork, creating a beautiful and balanced composition. Surrounding the central reserve is a wide border of scrolling foliate motifs and stylized floral panels. This charger exemplifies the refined decorative tradition of 18th-century Delftware. Its tin-glazed surface enhances the depth of the blue pigment, and the expressive brushwork throughout reveals the painter's skill. Dimensions: 14" diameter Condition: Excellent—very minor expected wear consistent with age Decoration: Birds in flight, flower basket, and scrolling floral border Price: $980 Material: Tin-glazed earthenware (Delftware) Style: Dutch Delft, Chinoiserie-inspired decoration Origin: Netherlands Date: 18th century, circa 1780 Key Features   • Hand-painted scene with birds and blooming basket   • Expressive brushwork and deep cobalt blue decoration   • Wide floral border with scrolling foliate motifs   • Tin-glazed surface characteristic of Delftware   • Reverse shows three stilt marks from traditional 18th-century kiln firing   • Fine example of Dutch Delft painting...

This antique Dutch Delft charger was hand-painted in the first half of the 18th century at De Vergulde Bloempot, one of the most esteemed Delftware factories of the period. It is mar...

Staffordshire, England, circa 1745 – 1760 This charming and unusual figure depicts a seated cat, its body marbled in tones of buff, grey, and warm brown, the patterns flowing like fur beneath a translucent salt glaze. From the crown of its head rises a small candleholder—an enchanting, functional variation that transforms the cat into a decorative light for the Georgian home. The salt-glazed surface has a gentle satin sheen, enlivened by a cobalt wash brushed across the ears and shoulders, a subtle touch of colour that draws the eye. The figure is compact and beautifully balanced, exuding both humor and grace: a work of wit and craftsmanship meant to charm and amuse as much as to illuminate. As a pair, this cat with candleholder and its companion cat carrying a mouse form a dialogue of light and life—one playful, one practical—representing the Staffordshire potters’ genius for turning everyday subjects into artful curiosities. Attribution and Significance Within the history of English ceramics, agateware animals represent the marriage of experimentation and domestic charm. They were objects of conversation—proof of a potter’s technical mastery and a household’s refinement. This cat, with its delicate candleholder, captures that artistic playfulness and innovation. The glaze’s clarity, the elegant pose, and the subtle marbling make it not only an artifact of mid-18th-century Staffordshire but also a small masterpiece of whimsy and craft. Scholarly Analysis and Authentication The figure is made from laminated clays of contrasting colors, known as laid agate, a technique perfected in Staffordshire workshops during the 1740s and 1750s. Strata of buff, pale grey, and iron-bearing brown clay were rolled together, pressed into a two-part mold, and luted along the spine before firing. The cat’s body thus shows true through-body marbling: the veining continues through the thickness of the clay, not merely applied on the surface. The candle socket, made from a single buff clay rather than agate, was luted to the head before glazing. This practical choice prevented distortion during firing and was a typical workshop economy seen in other mid-18th-century functional animal forms. The piece was salt-glazed in a wood- or coal-fired kiln into which common salt was introduced near peak temperature. Sodium vapor combined with the silica of the clay to form a thin, glassy coating. Here, the glaze is smooth and even, suggesting the cat was fired within a protective sagger. The underside of the figure is open, revealing the pressed-clay interior. Two or three minute stilt contacts are visible on the bottom ledge, confirming that the figure rested on kiln props during firing rather than being supported from beneath a closed base. The cobalt wash was brushed under the glaze before firing. It fuses permanently into the surface, creating soft haloes of blue wholly consistent with decoration on salt-glazed figures from the Whieldon circle circa 1750-1760. Later 19th-century reproductions employ overpainted enamels that sit atop the glaze. The open underside, authentic stratified body, integrated socket, and original cobalt staining collectively identify this as a genuine product of Staffordshire’s mid-18th-century agateware tradition, most plausibly from the orbit of Thomas Whieldon at Fenton Vivian or a closely related potter. The measured height, modelling, and marbling correspond closely to examples in the Burnap Collection (nos.. 362–363, Nelson-Atkins Museum) and Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Provenance / Condition: Current Condition: Excellent, with one ear repaired at the tip and restoration at the top of the candleholder; the glaze remains bright and continuous across the body and socket. References: Burnap Collection, English Pottery 1675–1825, nos. 362–363. Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Christie’s, London 2010, lot 82. 1stDibs “Staffordshire Agateware Pottery Saltglaze Figure of a Cat,” item ref LU95812370442 Price: $3100 Chipstone Foundation, Marbled Agateware: Techniques and Identification, 2005. Henry Sandon, Staffordshire Pottery, 1970, pp. 52–54. John Howard Antiques, Antique Agateware...

This antique creamware mustard pot was made in England around 1810. The pot features an elegant, barrel-shaped, rounded body with an integrated stand, a gracefully shaped handle, and...

This antique English creamware horse was hand-painted at St. Anthony’s Pottery in Newcastle around the year 1800. This charming figure is modeled in a standing position on a green-gl...

This beautiful blue and white porcelain dish was made in China during the Kangxi reign (1662–1722). It was created specifically for export to the European market. Measuring 8.25 inch...

Dimensions: 9.5" diameter Condition: Excellent Price: $1,360 Made circa 1750, this beautiful pair of Chinese export porcelain plates is hand-painted in vibrant famille rose enamels. ...

This set of porcelain dishes was hand-painted by Flight Barr Worcester between 1792 and 1803. Each of the six dishes can be seen in one of the first three images. The pattern feature...

Made by Spode in England circa 1830, this oval ironstone bowl is decorated with flowers in a rich Imari palette of cobalt blue and iron red, with accents of green foliage. The floral...

A pair of Wedgwood creamware sauce tureens with original attached underplates and spoons, made circa 1820 in the refined Neoclassical style popular during the Regency era. Each turee...

This antique American pitcher, dating to circa 1830, is a rare example of slip-decorated creamware that evokes the spirit of mochaware but diverges from its typical look. Rather than...

This 18th-century Wedgwood creamware bowl is defined by its dramatic reticulated strapwork, formed as radiating open spokes that create a basket-like architectural structure. Fine br...

This set of ten beautiful French porcelain soup plates was made by Nast, the Parisian factory renowned for producing porcelain for Napoleon and his imperial court. During the Napole...

This pair of Late Leeds creamware berry strainers was made in West Yorkshire, England, circa 1870. Originally used to wash and serve berries, they allowed excess liquid to drain away...

This lovely pair of English caneware baskets and stands was made circa 1815. Each piece is finely modeled with an all-over low-relief basket-weave pat...

Pair of 18th Century English Salt Glazed Oval Dishes — A Style Favored by George Washington This lovely pair of small salt glazed oval dishes is a true piece of Americana—a style adm...

This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760. It is finely crafted with a beautiful, glossy white glaze and hand-painted in...

This Chelsea-Derby dish, made in England around 1775, is hand-painted with beautiful flower designs. The center features purple roses and an orange tulip, accented by small yellow fl...

This 18th-century French porcelain dish was hand-painted circa 1785. Crafted at the renowned Locré manufactory, also known as Porcelaine de La Courtille, in Paris the bowl is decorated with gorgeous handpainted purple roses, complementing green leaves, and small gilded flower sprigs, The border continues the same pattern. The enameled flowers create a striking visual contrast against the fine white porcelain. The small gilded sprigs add an elegant shimmer. Craftsmanship: Jean-Baptiste Locré founded this celebrated porcelain workshop in 1771. Locré porcelain...

This pair of black Staffordshire pottery vases has a bold, architectural presence. The glossy black ground and burnished gold handles create immediate contrast, while mythological s...

This pair of antique Wedgwood creamware baskets and stands was made in England circa 1840. The baskets and their stands feature an impressed basketweave pattern and arcaded borders. ...

Our friend and client Mario Buatta owned a dozen Laughing Boys* in his private collection, which we purchased and sold several years ago (see last image). These three would have fit ...

Made in England around 1805, this exquisite pair of early Minton porcelain plates features beautifully hand-painted Oriental flowers and bamboo branches in vibrant shades of red, yellow, green, and gray. Part of the intricate design was first applied using a delicate red and yellow bat print...

This hand-painted Derby porcelain plate from circa 1810 is centered on a bold Neoclassical Greek Key design, one of the most sought-after classical motifs of the Regency period. The...

This large and beautiful Chinese mug is hand-painted with beautiful flowers. This mug dates to the second half of the nineteenth century circa 1860. It was crafted in a southern Chin...

This charming small creamware tureen showcases the "Brown Grapes" pattern, a refined Neoclassical design. Crafted at the Spode factory in Stoke-upon-Trent, Staffordshire, England, ci...

This pair of elegant oval-shaped pearlware baskets and stands were made by Thomas Fell & Co**, St Peter’s Pottery, Newcastle upon Tyne, circa 1830. The baskets were made to hold brea...

This exceptional Dutch Delft blue and white charger was crafted by the De Klaauw (The Claw) factory circa 1780. The entire surface is richly decorated in vibrant cobalt blue. The cen...

This large Staffordshire spill vase features a proud stag with a fawn at its side, modeled in a naturalistic Victorian pastoral style. The deer are hand-painted in warm orange-brown...

This elegant pair of Wedgwood creamware baskets and stands has arcaded openwork along the borders. The pair was made at the Wedgwood Etruria factory in Stoke-on-Trent in Staffordshir...

This Delft charger showcases a charming hand-painted chinoiserie scene featuring blooming trees, rocky formations, a cottage, and two fishermen in their boats on the water, with bird...

This blue and white English Delft jug, made circa 1750-1760, has a tall, narrow neck with a slightly flared rim on a distinctive globular body. The decoration is the word "BOY" framed by blue dashes. It is hand-painted in blue, done in a freehand, fluid style that includes typical irregularities in the paint. Historically, 18th-century English Delftware is known for its freehand, fluid decoration, characterized by minor irregularities that evoke an authentic folk art quality. The rustic and uneven glaze is also characteristic of this pottery. The jug has a utilitarian feel, featuring four protruding lugs on the sides. Its modest yet charming form, rounded shape, and understated ornamentation reflect the everyday aesthetic of mid-18th-century Delftware production. Delftware jugs were often created for public houses, and "Boy" might reference part of a pub name, a local drinking song, or a common toast. Just as likely, given England's strong maritime traditions, this could refer to a sailor's drinking vessel. In naval and military slang, "Boy" was often used to refer to young sailors or recruits. This hand-painted inscription adds a personal touch, making this jug a unique and engaging example of antique Delftware...

This trio of beautiful Chinese export dishes is decorated in the Famille Rose style. It features purple peonies, orange lilies, and a variety of other flowers. In Chinese culture, pe...

Produced in Bristol, England, circa 1760, this handpainted blue and white Delft charger is a visual delight. The center of the charger features a flower garden with songbirds seated ...

This pair of Wedgwood & Bentley black basalt urns was crafted at the renowned Etruria factory around 1775. They show the refined simplicity of Wedgwood's 18th-century neoclassical de...

The decoration on this pair of blue and white Dutch Delft jars features intricate floral patterns, scrolling foliage, and a central vase, all hand-painted in two shades of rich cobal...

This mid-18th-century Bow Porcelain plate features a hand-painted chinoiserie scene with a pair of black storks. One stork wades in the water while the other flies above it. Near the...

This hand-painted plate, made in the Netherlands around 1780, features the "Walking Man," a decorative motif commonly found in 18th-century Dutch Delftware. The image depicts a man i...

Painted at Chamberlain's Worcester around 1810, this dish draws inspiration from 17th-century Japanese Kakiemon palette and design. The style showcases enamels in a distinctive Kakie...

This 18th-century porcelain dish was made by the Worcester porcelain factory in England around 1785. It is decorated in underglaze cobalt blue with a classic English interpretation o...