Pair of French Mid-19th Century Flower Decorated Creamware Dishes

This elegant Wedgwood charger was made in England in the late 18th century, circa 1785. Crafted from creamware, the charger features a meticulously painted geometric border composed of orange and black flowerheads set within a lattice of fine black lines. Each flowerhead is centered in a diamond-shaped cell, creating a repeating pattern that radiates rhythm and precision. The inner field is left undecorated, emphasizing the clean form and enhancing the visual impact of the border. The simplicity of the cream-colored ground paired with the precise hand-painting along the rim reflects the neoclassical restraint and balance that defined Wedgwood’s aesthetic...

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 is a pair of English creamware dishes from the 18th century, created around 1780. The plates display a lovely chinoiserie scene in the Meissen style, with women selecting access...

We are pleased to offer this sweet 18th-century English creamware covered box decorated with well-painted sprigs of flowers on the cover and along the sides of the circular box (see ...

Large late 18th early 19th century rustic 24"+ French pancheon or dough bowl. This antique French dough bowl has a beautiful green glazed int...

This Antique French Provincial Tian bowl, dating back to the early 19th century and found in Provence, France, showcases a beautiful light yellow glaze with a time-worn patina. Tradi...

Rare Large Antigua Majolica ceramic baptismal bowl in glazed terracotta.

Pair of resin dishes in glazed terracotta. In the South West of France, the country named Landes was a poor country having very few natural resources, the inhabitants lived on meager harvests whose land was manured by their flocks of sheep. The Landais also exploited the resin of the maritime pine: it was collected at the foot of the tree using a very artisanal technique which offered low yields: tapping with “crot” (from the Gascon cròt: hole). To harvest the resin, ancient resin workers dug a hole at the foot of the pine, generally between the roots, which they lined with moss. The resin obtained, if it had not crystallized on the care before arriving at the base of the pine, was full of impurities: twigs, sand, insects, and it contained very little turpentine. A first progress was to put dishes at the bottom of these holes which made it possible to collect the resin with fewer impurities, In 1844, the resin pot...