Earle D. Vandekar of Knightsbridge, Inc.

The arms on this Chinese Export armorial plate were made for the Cuban noble Marquis de Almendares Ignacio Herrera. The plate is finely ...

Fornasetti porcelain Surrealist Themes & Variation plate #260, The Snail, Atelier Fornasetti The Fornasetti porcelain plate in the Themes & Variation pattern depicts a surreal depic...

Spode Imari Bowl, Pattern # 2283, Spodes New Stone China, Circa 1815-1820 The beautiful Spode new stone Imari punch bowl is painted in Imari col...

Prattware English Pottery Pearlware Tea Canister, Macaroni Figures, Possibly Bankfoot pottery, Prestonpans. Scotland or Staffordshire, Circa 1790-1800. The pearlware pottery tea caddy is decorated with Macaroni figures. On one side is depicted a gentleman wearing an exaggeratedly high wig with his servant standing beside him. On the other side is a similarly caricatured lady and her servant. Dimensions: 5 inches High x 3-1/4 inches Wide x 2 inches Deep. Condition: Glaze imperfection to neck. The caddy was possibly made in Scotland at Prestonpans where plaster of Paris moulds were recovered during excavations. Plaster of Paris moulds recovered during excavations below the floor of the Belfield Pottery in Prestonpans and almost certainly dumped from the earlier Bankfoot pottery. The figures are modelled in very full relief and painted in green and brown. The narrow sides of the tea caddy are painted with a flowering vine. In the canted corners of the caddy is a wavy underglaze blue line. During the 18th century, "macaroni" was the satirical term for men who sported elaborate clothing and continental affectations. Lampooning various occupations and specific styles, these are reproductions of period cartoons. These amusing figures are after English caricatures produced between 1765 and 1790. The satirical jibes were directed at the young moderns of the time, known as "macaronies." A group of privileged young Englishmen adopted styles and manners they had admired during their travels in Italy and France. They formed the Macaroni Club (macaroni being virtually unknown in England at the time), an eating club where they vied with one another in matters of dress and manners. Extremes developed and soon spread into larger society. With ribbon-and-lace festooned clothing, prim-verging-on-prissy manners and absurd coiffures, macaronies (both male and female) were subjects of ridicule. Provenance: Private Maine Collection Reference: Haggarty, G 2010 ‘The Belfield Pottery Production Site Ceramic Resource Disk: The Northern Ceramic Society Journal Vol 26 (2009-10), 142-3 + CD ROM. Pratt Ware: English and Scottish relief decorated and underglaze coloured earthenware, 1780-1840, John and Griselda Lewis, Page 234. Earle: The Earle Collection of Early Staffordshire Pottery...

Prattware English Pottery Pearlware Tea Canister, Macaroni Figures, Possibly Bankfoot Pottery, Prestonpans. Scotland, Circa 1790-1800. The pearlware pottery tea caddy is decorated with "Macaroni" figures. On one side is depicted a gentleman wearing an exaggeratedly high wig with his servant standing beside him. On the other side is a similarly caricatured lady and her servant. The caddy was possibly made in Scotland at Prestonpans where plaster of Paris moulds were recovered during excavations. Plaster of Paris moulds recovered during excavations below the floor of the Belfield Pottery in Prestonpans and almost certainly dumped from the earlier Bankfoot pottery. Dimensions: 5 1/8 inches high x 3-1/4 inches wide x 2 inches deep. Condition: Good with a small firing line to the foot-see photo. The figures depicted on the tea caddy are modelled in very full relief and painted in green and brown. The narrow sides of the tea caddy are painted with a flowering vine. In the canted corners of the caddy is a stylized underglaze blue leaf. During the 18th century, "macaroni" was the satirical term for men who sported elaborate clothing and continental affectations. Lampooning various occupations and specific styles, these are reproductions of period cartoons. These amusing figures are after English caricatures produced between 1765 and 1790. The satirical jibes were directed at the young moderns of the time, known as "macaronies." A group of privileged young Englishmen adopted styles and manners they had admired during their travels in Italy and France. They formed the Macaroni Club (macaroni being virtually unknown in England at the time), an eating club where they vied with one another in matters of dress and manners. Extremes developed and soon spread into larger society. With ribbon-and-lace festooned clothing, prim-verging-on-prissy manners and absurd coiffures, macaronies (both male and female) were subjects of ridicule. Provenance: Private Maine Collection Reference: Haggarty, G 2010 ‘The Belfield Pottery Production Site Ceramic Resource Disk: The Northern Ceramic Society Journal Vol 26 (2009-10), 142-3 + CD ROM. Pratt Ware: English and Scottish Relief Decorated and Underglaze Coloured Earthenware, 1780-1840, John and Griselda Lewis, Page 234. Earle: The Earle Collection of Early Staffordshire...

Spode Neo-classical Greek pattern blue soup plates, Refreshment for Phliasian Horseman, Set of twelve (12) Early-19th century The Spode Greek pattern ...

Herculaneum Neo-classical large Greek pattern blue printed dish, Early-19th century The Herculaneum pottery underglaze blue central pattern shows ase...

Massive Staffordshire Pearlware Pottery Figure of Venus, circa 1810 The extremely large figure depicts Venus, Aphrodite of the Classical Greek legend. This model is of great rarity. Venus, is superbly painted, depicted in purple robes with green edging as she rise from the foam of the sea The condition is excellent. Only one other example is known- see below. Dimensions: 24 1/4 inches high x 8 1/2 inches wide x 8 inches deep See: Myrna Schkolne, Staffordshire Figures 1780-1840, Family, Friendship, Play, & Classical Subjects, Vol 4, Page 186, Figure 194.37 from the Collection of Arnold and Barbara Berlin, although this example is plainly decorated with a white dress with scattered flowers and a Greek Key border to the plain base. History of Venus Venus is the Roman goddess of love, beauty, pleasure, and procreation. She is the equivalent of the Greek goddess Aphrodite. Venus was born from the foam of the sea after Uranus, the sky god, was castrated by his son Cronus. She was carried to the island of Cythera by seashells and then to Mount Olympus, where she became the wife of Vulcan, the god of fire. Venus in Art Venus has been a popular subject for artists since ancient times. She is often depicted as a beautiful woman, nude or partially clothed, and is often accompanied by symbols of love and beauty, such as doves, roses, and apples. Some of the most famous depictions of Venus include the Venus de Milo, a marble sculpture from the 2nd century BCE, and the Venus of Urbino...

English Mocha Pottery Pearlware Earthworm Jug, Circa 1800-20 The pearlware mocha jug has three bands of blue slip and four of a white ground with two red-brown lines. The blue slip...

English Mocha Pottery Pearlware Cat's Eye Jug, Circa 1800-1820 The pearlware mocha jug has a band of tri-color cat's eye designs in brown, orange and blue with a series of band's a...

English Mocha Pottery Creamware Earthworm Jug, Circa 1800-10 The creamware jug with a pinched spout and a leaf terminal handle and a flared foot has two wide molded bands with alter...

French Faience covered blue & white jug, circa 1900 The underglaze blue and white faience jug is raised on a hollow foot. The body has eight panels. One s...

Madame Pauline Knipp engraving of a pigeon, From Les pigeons par Madame Knip, ne´e Pauline de Courcelles ; le texte par C.J. Themminck, Plate 2, Paris 1809-1811. A remarkable ...

Best example I've ever had. Folk Art Sussex pottery pig jug and cup, from the Belle-Vue Pottery, Rye, UK, circa 1870. This Sussex pig from the Bell...

Clews Lead-glazed Earthenware Plates with Russian Eagles, James and Ralph Clews, Cobridge, Stoke-on-Trent, Staffordshire, Eight Plates, 1830 The se...

Doulton Faience Shaped Botanical Pottery Vase, Aesthetic Movement, Signed by Artist Mary M Arding, Early 1880s The unusually shaped molded vase...

Massive Staffordshire Pearlware Pottery Figure of Ceres or Plenty, circa 1815 This large scale figure of Ceres or Plenty is a stunning example of Staffordshire pottery. The figure is finely modeled and enamelled in colors, and she stands on a wonderfully decorated marbled plinth. Ceres is the Roman goddess of agriculture, fertility, and motherhood, and she is often depicted holding a flaming torch and a cornucopia. The figure wears a striking yellow robe over a light purple dress decorated with black flowers. In her left hand she holds a flaming torch while in the right she holds a large cornucopia...

French Majolica Camel-form Lidded Box, St. Amand, circa 1870 The French majolica box is in the form of a seated, naturalistically colored, camel on a raised mottled green ground. On its back is a loaded pack filled with different packed goods. The top section is removable to reveal a square-shaped hollow interior in light blue. Mark: on the base is an impressed "St Ad" Dimensions: 8 inches high x 10 inches long x 5 inches deep; (20.32cm high x 25.40cm x 12.7cm) Provenance: New York Private Collection, Jesse Davis Antiques...

Neoclassical Greek pattern blue printed large dish, Herculaneum, Liverpool, Early 19th century The Herculaneum pottery underglaze blue central pattern shows a series of images e...

Superb quality painting! China Trade Watercolor & Gouache on pith paper, Set of twelve paintings of fruit and flowers, Circa 1850-1860 ...

Japanese bronze geese koros, Late 19th century. The pair of goose koros or censors are in the form of geese with their long necks extended and their ...

Spode pottery neoclassical Greek pattern blue pair of dishes, Bacchus Mounted on a Panther, Early-19th century The Spode Greek pattern pottery sha...

Set of three nested Chinese ebonized trunks, circa 1900 The China Trade trunks are each of rectangular form with gilt and polychrome painting of birds and flowers and landscape s...

Spode Pottery neo-Classical Greek Pattern blue set of dinner plates-33 plates Zeus in His Chariot, Early-19th Century The Spode pottery underglaz...

Copeland-Late Spode Neo-Classical Greek Pattern Blue Sauce Tureen & Cover, circa 1847. From a large collection of Greek Pattern Objects- please inqui...

British Sailor's large woolwork of a royal navy ship under full sail, circa 1875 The sailor's woolie or woolwork depicts a starboard ...

Mason's Ironstone Garniture of Three vases, circa 1835 The three hexagonal-shaped vases are painted with polychrome flowers on a mazarine blue ground. The open-work handles, rim ...

Framed lithograph print of an ancient Greek vase from the folio Griechische Keramik by Albert Genick, the color-printed lithograph by Ernst Wasmuth. T...

Leslie Formalik Trompe L'oeil paintings of butterflies, Pair, Dated 2013 and 2019 The pair of beautiful tromp l'oeil paintings each depict a different pinned butterfly...

Wedgwood Nautilus yellow and pink pearlware shell service, circa 1800-1810 The fine quality Wedgwood pearlware pottery service is known as the Naut...

The large underglaze blue and white pearlware jug is decorated with flowers on one side and a simple modernistic stylized drape design on the other.

Mexican Portrait Miniatures of Officer and Wife Medium: Oil on Board, Circa 1845-50 Two intricately detailed oil-on-board miniatures portray a military officer and his wife. The pai...

Hexagonal Ironstone Vases & Covers, Mason's Ironstone or Ashworth, Circa 1845. A stunning and elegant pair of large, probably Mason's Ironstone, blue and white hexagonal ironsto...

French Architectural Porcelain Vases, A Pair, Late 19th Century The French porcelain urn-form vases with architectural scenes to back and front within a gilt border on cobalt ground...

British Botanical Watercolor of Tulips, 19th century The beautifully framed and matted botanical watercolor depicts seven different tulips. Dim...

English Pottery Vases decorated with Flowers and Leaves, Douton Lambeth, 1870s-80s The pottery mallet-shaped vases are hand painted with brown leaves and white flowers on a green ...

Paris Porcelain Armorial demi-lune Salad Plates, Circa 1820-40, A Set of Six The Paris porcelain is of a high quality. The armorial dishes have a demi-lune form and the center of e...

China Trade Watercolor Paintings of Chinese Sampans and Junks, A Set of Twelve, Circa 1850. A superb set of twelve China Trade watercolors on pith paper mounted in contemporary egl...

Ridgway Porcelain Botanical Dessert Service decorated with Fruit, John Ridgway ( & Co.), Circa 1830 The dessert service is decora...

British pottery pearlware sponged spirit flasks modeled in form of boots, Scottish, circa 1840-1850. Great fun & so decorative! The pair of unusual flasks are sponged in mottled ...

British pottery pearlware sponged spirit flasks modeled in form of boots, Scottish, circa 1840-1850. Wonderfully folky pair of unusual flasks sponged in mottled colors of blue, pin...

Copeland & Garrett Pottery neo-classical Greek Pattern blue dish, Centaurs Battling Theseus, 1833-47 The Spode Greek pattern pottery, shaped r...

Charming folky fresh pottery teapot decorated with flowers in distinct orange and green in a good large size.

English pottery pearlware botanical plates, circa 1840     The folky painted plates have a scalloped rim. In the center of each plate is a large...

American portrait miniature by Thomas Story Officer, Woman in a White Gown, Signed "T.S. Officer, Pinxt", The 1830s The American portrait miniature signed by Thomas Story Officer depicts a beautiful young woman, her red hair “Coeffure a la Chinoise”, sitting in a red chair confidently looking out towards the painter and us, the viewers.  She wears a white dress with a pin in the center of her chest.  Based on her style of dress and her hair, we believe this was painted while Officer was in Philadelphia. It is signed to the lower right "T.S. Officer, Pinxt" along at edge. The reverse has a small oval glass Dimensions: 3 inches high x 2 3/16 inches wide x 1/4 inch deep Reference: Thomas S. Officer: Miniature and Portrait Painter, Gardner Library,  Author: Merri Lou Schaumann. Born in Carlisle in 1810, this gifted artist trained in Philadelphia, traveled extensively and won awards for his paintings. In 1872, James Miller McKim wrote a series of reminiscences for the Carlisle Herald newspaper about the places and people of Carlisle in an earlier day. He wrote that “David Smith, a boot and shoemaker, had two sons… one of whom early developed a taste for art and finally devoted himself to miniature painting as a profession. He was a contemporary, and for a while, a rival of Mr. Thomas Officer, though I believe he never reached the celebrity attained by that gifted young artist. Mr. Officer, by the way, was one of the last miniature painters of any eminence produced by this country, the daguerreotype and photographer having come in to sweep away the entire profession.” Thomas Story Officer was born in Carlisle on August 15, 1810, to cabinetmaker John Officer and his second wife Margaret. He trained in Philadelphia with the well-known portrait painter Thomas Sully and began his career there in the 1830s. Officer left Philadelphia occasionally to paint portraits in Mobile, Alabama in 1837, in Richmond, Virginia in 1845, and in New York City from 1846-1849 where he became a member of the National Academy of Design. In 1842, Officer intended to travel to Mexico and needed a passport. He asked Attorney Charles B. Penrose, formerly of Carlisle, to write a letter of recommendation for him. In his letter to Fletcher Webster, Esq., Penrose wrote, “This will be handed to you by Thomas S. Officer, Esq., a friend of mine, and a native artist of Pennsylvania, who is a gentleman of great talents and respectability. Intending to visit Mexico, he wishes to procure passports at the State Department…”  Officer was issued a passport in July 1842. He was described as 30 years old, 5’ 11” with a “full and round forehead, bluish-gray eyes, an ordinary nose, medium mouth, ordinary chin, sallow complexion with an oval face and brown hair.” Officer went to Mexico and later to Australia. In 1854, he opened a studio in Sandridge, Australia, and while there he “entered several oil portraits in the 1854 Melbourne Exhibition preparatory to sending them to the 1855 Paris Exhibition.” Officer left Australia, and in 1855 he settled in San Francisco where he would spend the last years of his life. He set up a portrait painting department in James Johnson’s photographic gallery in San Francisco. In 1857, Officer received a bronze medal for his oil portraits exhibited at The First Industrial Exhibition of the Mechanics’ Institute of San Francisco, as well as awards at several other exhibits in 1858. A short piece in the San Francisco newspaper, Alta, on October 30, 1859, read, “Mr. Thomas S. Officer, the talented portrait painter, lies near to death’s door and is in pecuniary distress. Out of the many to whose pleasure he has contributed by his gay, social manners, as well as by his pleasing artistic productions, may there not be found someone who will extend a helping hand?”  Officer died on December 8, 1859. Almost an entire column in the January 18, 1860 edition of the Carlisle Herald, was devoted to a very long and informative obituary of Officer taken from the Alta, California newspaper. Officer was buried in the now defunct Lone Mountain Cemetery in San Francisco. In 2014, the Cumberland County Historical Society received a bequest of a portrait painted by Thomas Officer from the estate of historian John J. Snyder, Jr. It joined a miniature portrait already a part of the Society’s museum collection in Carlisle, not far from where Officer was born. Notes: The May 28, 1834 edition of the Carlisle Weekly Herald reported that Thomas S. Officer had "...within the last few weeks, taken the portraits of several gentlemen of this borough...Mr. O. is principally self-taught, and although young, already evinced a degree of taste, judgment, and talent..." A short biography of Officer can also be found in Early American Portrait Painters in Miniature by Theodore Bolton, published by F. F. Sherman (New York, 1921). The entire book is one line  Bio. of Officer on page 117. See Officer’s portrait...

"Apotheosis" of George washington creamware jug, Liverpool, Circa 1800-10 The large "Apotheosis" of George Washington Liverpool transfer decorated ...

From the description de l'Egypte. J. Ces. Savigny, 1809-1813. The stipple engraving depicts the Imperial Eagle. This is Aquila heliaca or the Easte...

French Aesthetic Movement bronze champleve Urns, Circa 1880 The pair of aesthetic movement champleve footed jardinieres with floral enameling over a ...

A fine continental botanical still life painting with insects, possibly Scandinavian, Gouache and oil on vellum, early 19th century. The painting is stunning. The painting with...

American Mocha Yellow Ware Jug with Puce Seaweed Decoration, mid-19th century The American yellow ware bulbous jug has continuous bands of brown and white and a large band of puce sea weed design which runs below the spout and through the ridged loop handle. Condition: Good- no repair or damage. Dimensions: 6 1/4 inches high x 8 inches wide x 5 1/2 inches wide. Reference: American yellowware...

18th Century English Creamware Painted Plate, Cornucopia of Flowers, Circa 1780-1800 The circular creamware plat, probably with outside decoration, is painted with a cornucopia shap...

Boston & Sandwich American Pressed Glass Compote, Pineapple Pattern, Circa 1860's The pressed lead glass compote is made in the Pineapple pattern made circa 1860. It has a tall hol...

Massive 17-inch English Saltglaze charger, Attributed to Wiliam Greatbatch, Circa 1762-70 The massive salt-glaze charger has a wide border of barleycorn or seed pattern within six shaped panels with deep molded ridges around the edge of the rim Measures: Diameter: 17 1/4 Inch diameter x 1 3/4 inches Reference: "White Salt-glazed Stoneware of the British Isles", Diana Edwards and Rodney Hampson, Page 209, Fig 189, for an identical rim found in fragments from the William Greatbatch...

Chinese export glass picture of a Persian warrior, The Chinese reverse glass picture depicts a Persian warrior seated on the back of a dappled horse riding at a trot, a shield slu...

George Brookshaw print of four varieties of plums, Plate XVII, from Natural History Art, Botanical, Fruit, Brookshaw, Pomona Britannica, 1806 ...

Chinese Export Porcelain Underglaze Blue Pair of Candlesticks, Circa 1850-80 The pair of Chinese Export underglaze blue porcelain candlesticks have a circul...

Burgundy papier mâché lacquered tray and base, Impressed "Clay" for Henry Clay, circa 1815 The burgundy-ground "papier mâché" lacquered tray...

Antique Derby Porcelain Botanical Salmon-ground Plate, Marsh Hibiscus, by John Brewer after Curtis, The Botanical Magazine, #882, 1806, circa 1815. The Derby Porcelain plate is superbly painted with a Marsh Hibiscus botanical specimen with richly gilded borders with swans and stylized flowerheads on a rich salmon ground.y gilded borders with swans and stylized flowerheads are on a rich salmon ground. The flower is named on the reverse: "Marsh Hibiscus". Diameter: 8 7/8 inches (22.5 cm) Mark: crown, crossed batons, and D mark in red, numerals 4 & 13 in yellow & green inside foot rim. John Brewer, (1764-1816) John was the elder of two brothers who both worked at Derby. Their parents were both artists and from 1762-1767 had studios in London at Rupert Street. Brewer started working at Derby in 1795. He was a talented watercolorist and had never applied his art to porcelain painting. At Derby, he painted a variety of subject matters including plant and flower painting. The Botanical Magazine is one of the oldest - and longest-published - of the British botanical...

Vintage Fornasetti porcelain themes & variation plate #15, The Hand, Barnaba Fornasetti, Fornasetti Studio. The Surreal Fornasetti porcelain plate in the Themes & Variation patt...

Antique Derby Porcelain Botanical Salmon-ground Plate, French Marigold, by John Brewer, Circa 1815. The Derby porcelain plate is boldly painte...