European Decorative Bowls

Set of 2 matching antique British Georgian Wrythen glass bowls. Dating from the turn of the late 18th /early 19th century, circa 1800. Textured ribbed...

Small antique rustic primitive Folk art wooden bowl with handle manufactured in Jämtland in Sweden. In Swedish called "Kåsa" It has been used a...

Decorative 18th century Swedish mortar in solid stone, circa 1790 Sweden.

Bring an authentic French countryside touch to your kitchen with this tall antique copper hot water kettle. Crafted in Normandy, France, circa 1770, the decorative pitcher is round in shape and dressed with double handles attached with rivets; it is further embellished with the original lid tied up with a chain. The simple, traditional kitchen accessory...

This is a good late 18th century Worcester porcelain Slop bowl or Saucer Dish with a combined blue and gold pattern, fully marked and ...

An impressive George II hand cut full led Irish Crystal Pedestal “Kettle Drum” Bowl of circular outline and unusually large proportions. Made by the Old Waterford Glass Company, County Tipperary in Ireland. Late Eighteenth, early Nineteenth Century. The heavy gauge circular wavy cut rim with a band of richly cut diamond and chevron cut pattern. The lower bowl area with scale cut detailing, raised on a single ring socle stem above a square thick spreading pedestal, underneath with “lemon squeeze” foot detail. Condition: Good untouched condition with no losses, except for one tight short crack, see two images which clearly show this imperfection, wonderful age wear underneath base. Typically unmarked as Georgian pieces were not. *Stunning and rare example of a piece of Irish Georgian History. The asking price reflects the imperfection. Wonderful rare “grey” tint to crystal, so typical of Eighteenth-Century Irish pieces. Diameter: (top rim, an impressive) 9” (23cm). Height: 8.25" (21cm). Depth: (square base) 3.5" (9cm). Location: Dublin City, Ireland. Affordable fixed charge Worldwide Store to door shipping. The history of Irish Hand Cut Crystal goes back to the late 17th century. George Ravenscroft started the tradition in 1676. The glassmaker added lead oxide to the silicates that make up the molten glass. The process achieved a softness that allowed the glass to be blown and carved while remaining hard and clear as it cooled. The first crystal factory in Ireland opened in County Tyrone in 1771. The Creation of Waterford Crystal The Waterford Crystal we know today back in 1783 with George and William Penrose. Their vision was to “create the finest quality crystal for drinking vessels and decorative objects of beauty for the home.” The Penrose brothers sought the expertise of renowned glassmaker John Hill in 1785. Hill that began the process of polishing the glass to give the unique Waterford Crystal shine now known the world over. Hill left Waterford in 1788 after a major disagreement with the Penrose brothers. Waterford cut glass...

Beautiful and rare black marble (Belgium blue stone) mortar, France, circa 1750-1850. Great eyecatcher. Weathered but good condition.

A wonderful Trough - Mangeoire from the South of France. Wonderfully carved from a very dense log of ironwood. A terrific accent piece for any kitchen or table top. Super patina.

Cups in coconut such as this are especially uncommon and rarely appear on the world's art market. This is a very interesting piece for its fine and rich craftmenships metal silver de...

A fine antique English porcelain bowl or basin. Attributed to Worcester. Decorated throughout with grey and black floral Chinoserie decoration with gilt highlights. With a ...

Superb Flemish Renaissance bronze pot from the 16th century. Superb patina and in very good condition.

A very fine and unusual English Worcester First or Dr Wall Period porcelain bowl with molded shape with finely applied gilded and blue designs dating b...

Beautiful and rare black marble (Belgium blue stone) mortar, France, circa 1750-1850. Great eyecatcher. Weathered but good condition.

A stunning 18th century French marble mortar with the best worn surface we've seen in years, with a tiger maple pestle. The perfect accessory for your kitchen. Fill with fruits and v...

Bronze mortar with garlands, flowers and putti - Tuscany , second half of 17th century. Measures: height 10 diameter : 13 cm Artisans and healers used mortars for grinding food...

Incredilbe apothecary Mortar in Nembro Marble, made from a single block of marble and dated back to the early 600 from Tuscany. It was used in the in apothecaries to grind herbs and spices into powder for food or medicine. Very unique and rare piece in great conditions considering the the period to which it dates. This highly sculptural and unique piece would be suitable today as a magnificent decoration on a table or mantle, or to grace the counter of an open kitchen...

Fine organic late 18th century Swedish / Scandinavian folk art root wood bowl in it's original finish, great patination and an skilfully executed brass repair. Ca 1790.

Known as a rafraichissoir, this beautifully polished copper vessel has been hammered using both repousse and chasing metalworking techniques. Beneath the ...

Antique Meissen braided and gilded rose du Berry porcelain. Hand-painted and gilded leaves. Mid-18th century. Measures: 12.8" x 9.25"x 2.5" In excellent condition and Stamped.

An 18th century French copper confectioner's pot with wonderfully forged handles, a thick rolled rim, and a circular patch at the bottom with the most elaborate hand-hammered rivets...

Large late 18th early 19th century rustic French pancheon or dough bowl. This antique French dough bowl has a beautiful green glazed interior...

Elegant bronze mortar from the 17 century from Italy dated 1630. Really rare mortar due to his big size. In very good condition and beautiful patina.

A fine antique Chantilly French porcelain low bowl. Decorated in an underglaze blue sprig pattern with additional cold painted iron-red leaves and ...

This is an antique wall plate. A Continental, lead display dish honouring St Hubertus, dating to the late Georgian period, circa 1800. St. Hubertus was ...

Marble Mortar. French. 18th Century.

1/2 Thaler Swiss-Republic of Zurich small silver coin dish A 1/2 Thaler Zurich City dated 1768 coin dish, marked at reverse by Silversmith S.& P. Web...

Bernegal or trembling with handles. Silver. Spain, 18th century. Avocado shaker in its color with a circular base, without base or foot, and a hemispherical body that is wider at the top, which has two handles on the sides. These present two facing C's of different sizes (the largest on top) or in the shape of that, and a decoration based on silver pearls and a bird perched on the upper part (both of the piece located facing the center). In Spanish silverware...

A genuine antique wood trough dated 1789 and signed with ownermarks PPS OIS ,from Hälsingland Northern Sweden A nearly monumentaly large farmers ...

Minoan Lotus vase Circa 1700-1450 B.C. Serpentine stone 8.9 cm x 14 cm ‘’The fruitful isle of Crete, well known to fame, Sacred of old to Jove's imperial name, In the mid-oce...

A nice 18th century Pancheon bowl with a nice decorative slip decoration.

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Apothecary tripod skillet from the end of the 17th century beginning of the 18th century From England. The skillet is in superb condition and has not undergone any restorations. Br...

A fantastic very large scale 18th century Spanish dough bowl - or trough, carved from a single tree trunk. Perfect by a fireplace to house kindling, or filled with an assortment of c...

Rock crystal vessels were highly demanded and valuable in Medieval times. Inventories from European royal houses and the highest aristocratic families detail the important and sophisticated collections of ewers and bowls. Rock crystal has also been used extensively in religious art. Fine European reliquaries were also made of Rock Crystal including gems, enamel and other precious materials. The work of rock crystal is very ancient. The materials has been worked and valued for its solidity and its purity: it has been believed to be water ice permanently frozen. Our superb example is a gold-mounted rock crystal bowl with enamel. The items origin is not clear and various features and characteristics may lead us to think of different origins and periods of creation. A single piece of stone mounted with gold could be a Milanese work. Although the cut could be French as similar pieces belonged to the French royalty (especially the art lover Duc de Berry, (1340-1416)). French and Italian crystal cutters have been active at the same time and it is often difficult to differentiate their works. Islamic art also influenced European artists. The famous Fatimid treasury provided examples of their sophistication and quality. The seven ewers carved for the Fatimid Imans (known as "The Magnificent Seven") display impressive quality of both rock crystal and enamelled mounts. Even though not identical to works by French silversmith Jean-Valentin Morel who was appointed goldsmith to Queen Victoria in 1852 or Reinhold Vasters (1927-1909) another renown German goldsmith who embellished older rock crystal items, there are similarities between these works. Both reduce their use of colour to black and white on pure gold mounts. Moreover the black enamel design is quite similar. Also, no gems are included and no human figure is represented. Sotherby's described our bowl as a "German Rock crystal bowl with later gold mounts, 15th century." Other items from the period from Germany or Austria are usually silver mounted and the decorations are more colourful and include gems or human figures but they have in common enamel motifs. In our case, the gold foot, handles and rim could date from the 1900s. An expert has established the foot, handles and rim are pure gold. The goldsmith responsible for the improvement of the bowl is possibly the most famous Reinhold Vasters whose work has been displayed in the greatest museums such as the V&A in London and the Metropolitan Museum of Art in New York. The Rock Crystal bowl we have is gold mounted. The gold shows in enamelled details that are black and white. The gold handles are also enamelled with black acanthus-like leaves. The enamelling method could be "champleve" or "painting metal". The metal that is usually preferred is copper but these techniques are also applied to gold. The bowl itself could be from the 14th century. It's cut reminds of an estimated 14th century rock crystal ball bearing the Buoncompagni family arms...

These pudding molds are a set composed by three nice France pieces fine hand made in copper. All of these molds have the shape very detailed. Suitable to ...

This is a very good early, First period (Dr. Wall), Worcester porcelain leaf shaped Pickle Dish in a deep cobalt blue floral pattern with a Crescent mark to the base. dating to 1770 ...

Beautiful and very rare wooden mortar, France, circa 1750-1850. Great eyecatcher. Weathered and but in a good condition.

A scarce Continental hammered copper wine cistern dating to the 18th century, with beautifully aged verdigris patina! The European antique having gadro...

With shield in center surrounded by gadrooned and hammered decoration.

Rare Magnificent 18th Century Spanish Faience large charger. Rare Delft faience plate, hand-painted in cameo cobalt blue flowering color, with green and red accents in the centre, Th...

Brazier. Copper. Possibly Castile, 16th century. Brazier made of copper with a circular foot decorated with vertical bands, a low tubular shaft enhanced with a fine roped molding and a semicircular body, with a wide mouth that flares outwards, and two halfrectangle-shaped metal handles with a torso part on the sides. Of the piece. These types of pieces were used both in civil and ecclesiastical interiors with the aim of heating the occupants of the room as much as possible, and their conservation is rare because they are utilitarian elements that were discarded over time or due to be damaged They used to be objects destined for the upper class, and followed the same typologies whether they were destined for a sacristy or a private residence. This case, possibly intended for use in the sacristy, shows a typical typology in the Spanish school of the time. Compare, for example, with the brazier present in The Birth of the Virgin Mary of the Altarpiece assembled around 1520 by Pedro de Guadalupe from Valladolid and found in the church of San Esteban...

This granite rose mortar was hand-carved in Northern Brittany, France during the 1600’s. Granite is formed when magma is cooled underground, which causes various minerals to become e...

Marble mortar. French. 18th Century.

This is a fine quality Derby porcelain bowl in pattern number 110, fully marked with puce crown & battons and dating to 11790, George 111rd period. It is beautifully decorated in ...

An Incredible and Rare 18th Century Meissen Hausmaler Decorated Bowl with High Relief Multi-Colored Flowers. Hand-carved with encrusted and relief f...

Marble Mortar. French. 18th Century.

A French 18th century large polychrome Faience lidded soup toureen or entree dish with scallop-shaped edges attributable to Rouen manufacture. This lovely...

Scandinavian ceramic “Marselis” serie bowl designed by Nils Thorsson for Royal Copenaghen, marked under the base, Denmark 1950s Please note that the item is original of the period...

German Neoclassical silver urn, 18th century. Oval tapering bowl on raised and stepped foot. Cover domed with vasiform finial. Chased imbricated le...

These pudding molds are a set composed by three nice France pieces fine hand made in copper. One of these has a crown shape, very detailed. Suitable to be...

This beautiful tråg, Swedish for trough, is a simple, clean example of 18th century of Swedish folklore. It shows the handiwork that it cost to make i...

Rare 18th century clay mortar, ca 1790 Sweden.

19th century Italian Majolica dish with Renaissance figures Superb highly decorated Italian Majolica plate with hand a hand painted scene of Roman mythology; The abduction of Sabine...

French Late 18th Century Louis XVI Gilt Bronze Incense Burner or Brule Parfum A round and fluted foot surrounded by a laurel wreath standing on gilt bronze rectangular plinth which is mounted on a green marbled metal base. The round foot carries a hemispherical bowl, which together with the also hemspispherical cover, form a globular shape. The bowl and lid bear finely chased, radially applied lancet leaf reliefs, the rim of the bowl shows a frieze of openwork pearl pattern cartouches alternating with 6 button-like decorative knobs...

Rare grey pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1750. Other examples can be seen in...

Scandinavian green ceramic bowl serie Aluminia Marselis designed by Nils Thorsson for Royal Copenaghen, Denmark, 1950s.

Superb fountain and its 18th century copper basin. The fountain is in perfect condition and has its top. It has been repolished and has a superb patina....

This is an elegant pair of porcelain sauce bowls with floral drawings in red and blue. It is beautiful for a table dressing or to collect. The production of this well known Italian...