Rococo Decorative Bowls

This listing features a Limoges style cobalt blue handled centerpiece with gilt bronze and hand painted ornamentation. There are no visible markings to suggest that this is an origin...

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

This is an Alt Furstenberg Lottine porcelain white tureen decorated with royal blue roses and foliage. There are garlands with this pattern adornin...

Ormolu-mounted blue celeste Sevres porcelain bowl center piece, probably second half of 19th century. Unusual mounting in rococo style with four winged putti supporting each corner o...

Dutch Delft Blue & White Botanical Bowl, Circa 1720 The high-sided Dutch Delft pottery blue and white bowl with a plain flared foot is painted with a band below the rim of six large...

This pair of antique French pearlware bowls was made by Gien around 1870. Each oval bowl features colorful floral bouquets in the Rococo style, showcasing roses, peonies, and wildflowers in vibrant shades of pink, purple, yellow, and green. The interior is adorned with blossoms, a butterfly, and a dragonfly, adding a lively natural charm. The exterior is framed by pink panels, with flowers painted in between them. The shaped handles, designed as ram's head scrolls, are painted in a bold pink that is echoed along the border of the rim and the square base. A bright turquoise trim around the foot provides a striking contrast, enhancing the overall dimension of the pieces. These bowls are highly decorative and perfect as table centerpieces or for display. **Dimensions:** 11.75" long x 8.25" wide x 6" tall **Condition:** Excellent **Price:** $480 Background of Gien Pottery...

A Rare 19th Century Meissen Porcelain ‘Schneeballen’ (Snowball) Covered Bowl and Underplate with Encrusted Flowers, Vines, Leaves, and Birds. This piece is very rare and extremely hi...

E & A Muller 'Corona' porcelain figural cherub Jardinière or centerpiece bowl. 19th century Austrian porcelain centerpiece bowl or ...

This Antique Brass Art Nouveau Jardiniere Rococo Footed Bowl boasts detailing inspired by the Art Nouveau movement, prominent in the late 19th and ea...

European silversmith, Ornamental silver bowl on feet, circa 1900. Stamped. In very good condition. Measures: 25 x 9 cm.

BIRKS - Pair of vintage sterling silver candy or nut dishes - pierced basket design - signed - Canada - mid 20th century. Excellent vintage condition - all original - no loss - no d...

A Beautiful and Quite Unusual Meissen Porcelain Reticulated Centerpiece with Rams Heads Handles, Lions paw feet, and Wreath Border. The centerpiece is formed as a circular reticulat...

This is a large and exquisite lacquered wooden tray, with floral decoration and polychrome rural scene, on blue background. The curved shape of the tray, on the front and on the sid...

18th century Italian collectible antique painted majolica bowl, a large basin-shaped centerpiece, with vertical ribs, decorated with polychrome flowers. Small chips, felure and minor...

This elegant stylized shell bowl was realized by the illustrious atelier of Les Freres in France during the 19th century. It offers a stylized silvered ormo...

PLEASE NOTE ONLY THE SMALLER OF THE TWO SHELLS IS AVAILABLE. This pair of carved wood Clamshells are gessoed finished in White Gold and then burnished to a warm glow. The price listed is for the pair. Can be purchased separately The larger clamshell...

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...

This is a set of Meissen hand painted porcelain bowl/plate. It depicts in the center a couple of cherubs holding a garland of flowers and also a wreath of green leaves while they are...

A rare and soulful 18th-century (or earlier) Swedish hand-carved wooden bowl, accompanied by its original iron cannonball used for crushing mustard seeds—a functional and historical ...

A Rococo style Thomas Webb & Sons wheel carved 'Rock-Crystal’ type punch bowl/ centerpiece, circa 1890, designed by and signed Geo(rge) Woodall. Of tapering bulbous form, wheel-engra...

Ornate glass bowl centerpiece with with gilt metal base. The glass is intricately cut with a with a lattice design, with bases ornamented with curvin...

French Rococo style silver plated cherub dome centerpiece fruit bowls - a Pair. Item features a tall stately form, cherubs to center shafts, ornate leafy scrollwork throughout, dome ...

Antique heavy bronze bowl from the 18-century Sweden. Unknown maker.