18th Century and Earlier Bowls and Baskets

A fine antique German porcelain twin handled fruit basket by prolific makers Meissen and dating from the Marcolini period 1774 to 1814. The fruit basket stands raised on four Greek k...

This 18th-century porcelain dish was made by the Worcester porcelain factory in England around 1785. It is decorated in underglaze cobalt blue with a classic English interpretation o...

Description A very nicely decorated large dish from around 1600-1630. Heavy and larger sized piece with beautiful decoration in red and green Storage box included. Similar piece in ...

An antique Islamic or Indo-Persian etched footed bowl, made of tinned copper, dating possibly from the 17th to 18th century. Key features include: Constructed from tinned copper ...

Rare French antique decorative large wooden bowl in dark stained oak. In good vintage condition. Dimensions: H 9,5 cm / 3.75" W: 46 cm / 18" D: 46 cm / 18"

This exquisite 18th-century Dutch Delft or Samadet faience barber's bowl showcases a classic lobed shape with a notched rim, traditionally designed for shaving use. The piece is hand-painted in vibrant green with a central floral motif surrounded by delicate foliate designs, accentuated by a decorative border along the scalloped edge. The tin-glazed ceramic surface exhibits the characteristic craquelure and slight imperfections typical of early Delftware. Originally used in barbershops for lathering and rinsing during shaves, this historical faience bowl is now a highly collectible decorative object, perfect for display in a Delftware collection or as a charming accent in a period interior. A remarkable example of Dutch craftsmanship, this piece captures the elegance and functionality of antique Delftware.

Hallmarked in London in 1767 by Robert Albin Cox, this striking, George III, Antique Sterling Silver Basket, features pierced and punched bead decoration to the sides, shaped gadroon...

This is a very rare offer of a spectacular moulded and pierced chestnut basket, cover and stand, made by Worcester between 1770 and 1775 in their 1st or "Dr Wall" period. The set con...

This is a very good 18th century, First period (Dr. Wall), Worcester porcelain teapot stand, printed in cobalt blue with the "Fisherman" pattern and with a mock oriental or painters ...

An incredible 18th century early American ash burl bowl from New England, possibly New York, with a heavy lip, spiral-cut ribbed sides, and an unbel...

RARE 18th century hand turned burl wood bowl from the early period of the American Colonies, soon after to be known as the United States of America. This is a wonderful piece of Ame...

A ceramic stoneware chawan tea bowl made in Korea circa 16-17th century. The chawan is identified as Ko-ido (small ido) due to its size and form. Ido bowls were made since 15th centu...

An Imposing Hand Painted Chinese Export Porcelain Twin Handle Enameled Soup Tureen or Centerpiece of large proportions and traditional form, made during last quarter of the Eighteent...

Hallmarked in London in 1669, this handsome, Charles II period, Antique Sterling Silver Porringer, is of traditional form with chased and engraved detailing. The makers mark T.P is s...

Kraak type porcelain bowl. It has polylobed border and it is painted in blue. It features decorations with birds, flowers and ornamental rocks within alternating reserves of tassels that descend from “ruyi”. The interior is delicately decorated with panels of flowers...

Chinese Export Porcelain Large Famille Rose Punch Bowl, Circa 1765-75 A large Chinese export porcelain punch bowl, distinguished by its vibrant famille rose enamel decoration. The e...

A large earthenware bowl with a deep and wide body supported on a foot ring decorated with incision and slip paint circa 11-12th from Iran when ...

An 18th century baptismal plate in brass with beveled flower decoration to celebrate the birth of the infant or perhaps as in French is called "Plat a offrandes", which means "Plate ...

Made in the Netherlands in the late 17th century, circa 1690, this extraordinary Delft charger is hand-painted in shades of cobalt blue. ...

A large turned circa 1790 birch burl bowl from New England in fine original condition and having an untouched surface and patina.

An earthenware bowl supported on a foot ring decorated with elaborate slip paint. The bowl was likely made in Kashan (in nowadays Iran) during 12-14th century, in Khwarazmian Empire,...

Produced in Bristol, England, circa 1760, this handpainted blue and white Delft charger is a visual delight. The center of the charger features a flower garden with songbirds seated ...

A very nice blue and white dish, in the style of similar Ming period early 17th century pieces. Beautiful decoration. Edo period. Condition Perfect condition. Size: 36CM Diameter ...

Chinese Export Porcelain Rouge de Fer Large Punch Bowl, Imari, circa 1735-50 This fabulous Chinese Export porcelain large Imari punch bowl is painted on the exterior with underglaze...

Rare Swedish dark brown antique decorative wooden bowl made out of birch wood produced in Sweden, 1793. In good condition with some old and genuine repairs. Dimensions: H: 13 cm / ...

This mid-18th-century Bow Porcelain plate features a hand-painted chinoiserie scene with a pair of black storks. One stork wades in the water while the other flies above it. Near the...

Neoclassical gilt decorated plate with leopard. A Naples Real Fabbrica Ferdinandea white porcelain painted and gilt decorated saucer dish with leopard....

This is a hand painted Chinese Export porcelain dish, which we date to the 17th century, Ming Dynasty, Tianqi or Chongzhen c.1620-1640 The dish is fairly thickly potted with a fai...

This lovely 18th-century Dutch Delft charger showcases hand-painted decoration in deep, dark blue. We see ten panels of floral decoration filled with tulip bulbs and scrolling vines....

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...

On offer is a Korean celadon bowl with elaborate slip inlays circa 13-14th century from the late Goryeo Dynasties (918 to 1392AD). Despite inspired...

This blue and white Delft charger was hand-painted with a chinoiserie scene in the late 17th century. The decoration style was taken directly from Kraak porcelain...

This hand-painted plate, made in the Netherlands around 1780, features the "Walking Man," a decorative motif commonly found in 18th-century Dutch Delftware. The image depicts a man i...

16th Century Spanish Terracotta Vase Hand made marks around the vase.

A very nicely made 18th century Qianlong Amsterdam Bont porcelain plate with a rare scene of stadholder Willem IV of Orange and his wife. Well documented in the literature these kind of European scenes. We take a look at Amsterdams Bont porcelain from China. A relatively unknown niche of Chinese porcelain from ca 1680-1740 that was partly decorated in Europe. Because mainstream Chinese collectors have yet to discover the historical significance of these wares they are relatively easy to find in Holland. While also being highly interesting and of often super quality and with an amazing array of decorations. Amsterdams Bont is a name given to porcelain partly decorated in the Netherlands (most likely in cities like Delft, Haarlem, Makkum). Because Amsterdam was at this moment in time the trade centre of the western world and also of the porcelain trade a lot of this over enamelling was probably commissioned by Amsterdam merchants, to reap higher profits on otherwise boring Chinese wares. The name Amsterdam Bont probably derives from the fact that these type of decorated ware was sold by Amsterdam Merchants. Amsterdam Bont consists of either blanc or under glaze blue decorated Chinese porcelain of basic quality, that was later enhanced with red and sometimes other colours in the Netherlands. It must not be mistaken for other type of Chinese & Japanese blanc wares decorated in Europe. Those we simply call European Decorated Chinese porcelain. Amsterdam Bont really is easily recognisable by its colour and style. An interesting side note is that a similar process of overdecorating with red was done in London in more or less the same colours. Method of manufacturing. This enhancemend was done on “petit feux” or small fire at a lower temperature. This technique of baking enamels on a lower temperature that was perfected in the Delft around 1670-1680 to compete with the colourfull Japanese porcelain of the time. At the turn of the 17th c Chinese porcelain...

Place this antique coal basket next to your front door to catch umbrellas. Crafted in France circa 1780 and made of copper with a large side handle...

Very happy with this new arrival. Hexagonal Arita kakiemon bowl of unusual shape and design and size. Landscape scene with birds, trees, flowers and pomegranates. Period; 17/18C S...

In ancient times, the Nariño culture flourished in the area around the Colombia-Ecuador border, and it is believed that this polychrome pottery emerged from that culture. The front a...

The entire surface of this blue and white Dutch Delft charger is covered in deep beautiful cobalt blue coloring. The center of the charger is filled with lovely hand-painted peonies...

A very nice landscape plate ca 1760-1790. 14-1-19-1-17 Additional information: Material: Porcelain & Pottery Type: Plates Region of Origin: Japan Country of Manufacturing: Japan Pe...

A large and heavy (it weighs 109 lbs!) example of a traditional French pharmacy bowl, this bronze mortar with handles is from 1587, as seen on the production date beneath the molded ...

This set of four bowls was hand-painted in the Queen Charlotte pattern at Worcester, England, circa 1775. Each bowl features swirling panels of delicate blue and pink flowers, meticu...

18th century 36cm blue and white Chinese porcelain tureen cover, with rock form scrolling handle to lid and lotus pods to the b...

The heavily potted dish is molded in the central roundel below the fluted cavetto and the everted rim with lipped edge, and is covered overall with a glaze of sea-green color, except for the unglazed ring on the base. The wood stand is not included with the item. Period: Ming Dynasty (1368~1644) Region: Longquan, China Medium: Celadon Type: Dish Provenance : Acquired in late 1990s from Hongkong Reference : 1) Christies NEW YORK 22–23 MAR 2018 - Fine Chinese Ceramics and Works of Art - Lot 722 2) Sotheby's Paris 11 December 2020 - Arts d'Asie - Lot 8 (Price realised : 4,032 EUR / Type : Closely related) 3) Christies LONDON 21–28 MAY 2020 - The Art of China - Lot 31 (Price realised : 5,250 GBP / Type : Closely related) * Ming Dynasty Longquan Celadon Longquan celadon from the Ming Dynasty typically exhibits a more robust and heavier stoneware body compared to its Song Dynasty predecessors. The Ming era saw an evolution in celadon glaze, achieving a wider spectrum of green hues, from olive to bluish-greens. Ming celadons...

A very charming 18th century mortar from the Catalan region in Spain. Beautifully carved from stone. A wonderful accessory piece for any kitchen, bathroom, or table top.

A Korean ceramic shallow bowl on ring foot in the classic Buncheong (or Punch'ong) style from early Joseon Dynasty circa 15th century. The bowl features...

A nice strainer. Qing Dynasty - Qing Period. Central scene of flowers. Additional information: Material: Porcelain & Pottery Color: Blue & White Region of Origin: China Emperor: Qia...

Made in the factory of "The Axe" circa 1780, this blue and white Delft charger shows a lovely garden scene hand-painted in cobalt blue. In the center, we see a pine tree, a garden fe...

Beautiful Turned Birch Wood Bowl from Bohuslän, Sweden ca 1750 Great patina and a timeless shape. Height: 9.5 cm/3.7 inch Diameter: 23 cm/9 inch

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...

These two dishes were crafted at Spode in Stoke-on-Trent, England, circa 1820. The Imari pattern is Spode pattern 1495. It is hand-painted in shades of orange, blue, and gold. The di...

Beautiful small marble mortar full with small fossils. France, circa 1750-1850 Weathered. H:9,5cm W:20,5cm D:20,5cm

Description Very happy with this new arrival. Octagonal Arita kakiemon bowl of unusual shape and design. Period; 1670- 1680 Condition 1 small chip a...

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.

This is a beautiful Chinese Export porcelain footed Bowl with fine Imari hand painted decoration, dating to the Qing, Kangxi period, circa 1700. The bowl comes with a Chinese hardwoo...

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

We are pleased to offer this Antique blue and white Delft charger with a well-painted landscape showing a house and trees. The decoration is crisp. The scene is framed by an attracti...

Sharing with you this very nice edo period, 1680-1700, example. With a central scene of a flower basket. The rim beautifully painted. The base is blank.31 Unmarked at base Arita wa...