Bardith Decorative Objects

This pair of large Delft plates presents a strong, balanced composition centered on a long-tailed crane standing in a stylized garden, surrounded by...

This Chinese Famille Noire stoneware dish, hand-painted in the Late Qing dynasty, circa 1880. The strength of this piece lies in its color harmony, the depth of the black field, and ...

This English salt-glazed stoneware large plate is the exact model illustrated on page 17 of George Washington’s Chinaware by Susan Gray Detweiler, a reference that describes this for...

This pair of Whieldon creamware plates has an immediate visual energy created by the freely flowing tortoiseshell glazes. The plates were thrown wit...

This pair of Chinese blue and white porcelain covered jars is hand-painted with lively fish swimming through aquatic plants and blossoms across the porcelain surface. At 15.5 inches ...

This New Hall porcelain bowl carries the confident clarity of late 18th century English interpretations of Chinese Export design. The form is clean and well proportioned, resting lig...

This antique Italian porcelain plate was made at the Ginori Doccia manufactory near Florence in the mid-eighteenth century and represents one...

“Only the best” was the guiding principle of Syd Leventhal as he assembled the Longridge Collection, one of the most important collections of early English pottery ever formed. This ...

This pair of small English pierced creamware baskets was handcrafted in England circa 1820. One basket is round, and the other is oval; together, they show two variations on the same...

This pair of large Chinese Export porcelain blue and white temple jars stands out for its assured hand-painted decoration, balanced proportion, and commanding scale. Dating to the la...

This large English Delft punch bowl was hand painted in Liverpool around 1760. At thirteen inches in diameter, it combines substantial scale with remarkable lightness, both in its th...

This pair of Dutch Delft blue and white covered jars was hand painted in the Netherlands circa 1770. Fully composed on every side, they reflect a level of planning and painterly cont...

This group of three Dutch Delft blue and white large plates was hand painted in the Netherlands circa 1790 and stands out for the strength and clarity of the Peacock pattern. The des...

This large Dutch Delft large plate (diameter 13.75 in.) dates to circa 1780 and is decorated with a lively blue-and-white design centered on a bold floral rosette. Radiating foliate ...

This Chamberlains Worcester porcelain plate, made circa 1820, is decorated in the highly sought-after Dragons in Compartments pattern, one of the outstanding patterns produced by the...

Made circa 1810, this pair of neoclassical Spode porcelain plates is distinguished by its saturated cobalt blue ground, sharply scalloped outlines, and confident use of burnished gil...

Made in the late 18th century, this pair of blue and white Delft jars has an elegant presence. The smooth ovoid bodies rise to a strong, stepped neck and a wide, projecting flange th...

This pair of antique English porcelain dishes was hand painted by Flight, Barr & Barr Worcester circa 1820, a period when the factory held a royal appointment as porcelain manufactur...

This pair of blue and white Royal Worcester 'Japonism' vases dates to circa 1862. They are square and intricately decorated in blue with cranes beneath towering bamboo. The blue deco...

This hand-painted Dutch Delft vase, made circa 1770, is a beautiful example of 18th-century tin-glazed earthenware in blue and white. Rising to more than eighteen inches, the vase ha...

The decoration on this French hard-paste porcelain plate was hand-painted in England circa 1825 by Caroline Leigh, who signed the plate's underside. The neoclassical design centers o...

This pair of Delft blue and white antique lidded jars, marked for The Claw** and dating to circa 1820, is hand-painted in the traditional Delft style. Each jar features a cover toppe...

This pair of early 19th-century Wedgwood caneware saucers shows the elegant restraint that defines the firm’s neoclassical production of the Regency period. Made in the characteristi...

This shaped Wedgwood creamware dish, hand-painted circa 1780, presents the quiet elegance characteristic of late 18th-century English creamware. The gently undulating rim frames a so...

This pair of English porcelain spill vases, hand-painted circa 1840, shows the charm and refinement of mid-19th-century decorative wares, where ornamental brilliance and practical fo...

This set of four black basalt masterpieces, made by Wedgwood & Bentley at their Etruria works around 1775, represents the height of 18th-century English neoclassical design. Each pie...

Date / Origin: Staffordshire, England, circa 1745 – 1760 A seated cat with upright ears and grounded paws, holding a small brown mouse in its mouth. The figure is formed from two pre...

This fine 18th-century Dutch Delft jar was hand painted in blue and white circa 1780. The octagonal body is decorated with a swirling cobalt blue floral design. The painter’s confide...

We are pleased to offer this large antique Japanese low bowl painted with children-at-play and bird-and-flower motifs on a striking red background. The bowl dates to the late 19th ce...

This antique Worcester porcelain dessert set was hand-gilded in England during the Regency period, around 1820. Created by Flight Barr Worcester, the set features the distinctive "St...

This mid-18th century First Period Worcester Porcelain bowl was made in England circa 1755. It is hand-painted in the beautiful Worcester Imari style ”Fan Pattern.” The pattern is al...

This rare six-piece set of antique English creamware, with elegant hand-painted brown trim, was made between the late 18th and early 19th centuries. The highlight of the group is a m...

This beautiful antique English creamware plate, dating back to 1785, features a hand-painted Neoclassical garland design around the border. Delicate green swags encircle small purple...

This pair of large English Prattware figures, hand-painted in Staffordshire around 1790, represents Autumn and Winter through the distinctive charm of late 18th-century folk pottery....

This pair of antique Dutch Delft blue and white tobacco jars, made at De Vergulde Bloempot in Delft circa 1770, is hand-painted with lovely scrolling foliage, leafy vines, and blosso...

This antique English pottery plate, made at Don Pottery circa 1825, is crafted from buff earthenware with a clear glaze that enriches its warm, earthy tone. The surface is printed in...

These antique English porcelain plates were made at the Royal Porcelain Works, Worcester, by Barr, Flight & Barr between 1807 and 1813. Each plate is hand-painted in Worcester’s ...

This antique English pearlware plate, circa 1820, showcases a vivid red Bacchanalian scene framed by an elegant reticulated border with a geometric pierced design. At the center, a d...

This pair of Flight, Barr, Barr Worcester porcelain plates was hand-painted at the Worcester factory, in England, circa 1825. They feature a vibrant apple green complemented by lavis...

This pair of Barr Worcester porcelain plates was hand-painted at the Warmstry House factory on the River Severn in Worcester, England, between 1792 and 1803. Each plate features clus...

Provenance: The Metropolitan Museum in New York has in its collection a similar Le Nove Porcelain pair of courting figures. Accession Number: 06.381. Factory: ...

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 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 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 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...

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...

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 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...