18th Century and Earlier Bowls and Baskets

A "Kakinoheta" type ceramic chawan (tea bowl) made in Korean during Joseon dynasty circa 16th-17th century. The bowl has a slight irregular flat shape w...

A ceramic chawan (tea bowl) circa 17-18th century fired in the Busan kiln in Korean specifically for the Japanese market. The kilns were run by the So c...

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...

This antique Dutch Delft charger was made in the 18th century, circa 1770. It features a beautiful flower-filled garden hand painted in beautiful polychrome colors. We see a single large, bright yellow peony, other flowers painted in shades of purple, flower buds painted red, green leaves, a pierced rock painted deep cobalt blue, and the garden fence painted red and yellow. The border of the charger is decorated with a ring of flower buds in purple and red with green leaves. The overall effect is lovely! Dimensions: Diameter 12.5" Dimensions: 12.25 diameter x 1.75" tall Condition: Excellent with slight edge frits invisibly restored Price: $780 Background of Delft: The origins of Delft are found in the Middle East. Tin ash was used in a glaze for pottery as early as the 9th century in Mesopotamia. Using white glaze over a dark or buff-colored pottery body created a "canvas" on which painters could show brilliant colors that did not appear well on the earlier pottery...

A large & fine antique Italian maiolica Istoriato charger, Urbino, circa 1800. This very handsome charger is hand-painted with Neoclassical nu...

The first popular use of the heart shape as a symbol of love is often attributed to the importance of courtly romance in late-medieval life. At a time when chivalrous knights and damsels in distress made for romantic tales, tokens of love were deeply significant and very popular This creamware heart-shaped dish...

We are pleased to offer these two 18th century French faience dishes painted with figures. The first plate, mustard yellow on a white ground, fea...

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...

This antique Dutch Delft charger was hand painted in the 18th century, circa 1770. The center of this large Dutch Delft charger shows a lovely chinoiserie scene painted in vibrant p...

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 ceramic chawan (tea bowl) circa 17-18th century fired in the Busan kiln in Southern Korean specifically for the Japanese market. The kilns were contro...

Decorative centerpiece made out of Pewter. Shallow opening in the center for storage. Craved angel figures along the sides. Originates from France. Signed by Oval Jardiniere. Circa, ...

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

A country that existed more than 2000 years ago during the Han dynasty in China. What is called green glaze pottery has been made here. It is a pottery baked at a low temperature of about 800 degrees. When the lead glaze is baked at 800 degrees, it turns green. This was not used as tableware for daily life, but as a burial item. Such pottery was made only for those in power and high status. Why was it made? It was buried with a lot of pottery...

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...

A late 18th century to early 19th century Chinese export bowl with a doré bronze French rococo base mounted onto the bowl. Bowl is decorated with raspberry...

A massive Americana bowl hand-carved from Elm wood (with some possible burl pattern in the wood) circa 18th century. The bowl was from Northeastern part or Eastern Woodlands of the U...

A Korean Hori-Mishima Chawan (tea bowl) circa 16th-17th century (Joseon Dynasty). The tea bowl is of an upright conical form supported by a high foot ring. It was decorated with incised brushwood fence patterns filled with white slip on both the interior and exterior surface. These dominant motifs were spaced by three encircling double lines. Seven chrysanthemum flowers (inka) were stamped on the lower interior surrounding a swirling tea well on the bottom. There are six spur marks known as Meato in Japanese on the interior bottom and a pointy spot in the center of the foot ring known as Tokin. Two crack lines were historically repaired by superb Kintsugi, adding a mysterious wabi-sabi appeal to the piece. The Hori-Mishima bowl was also known as Gohon Mishima. It was made in Bushan Kilns of the Southern Gyeongsang Province specifically for the Japanese market in the 16th-17th century, when the tea ceremonies in Japan demanded such ware. The bowl comes with a purple fabric pouch...

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...

Rare basin (We think it was the basin to wash the feet on hollyThursday) in brass Rare plat of the german renaissance since it is rather a basin which is much rarer than a offering basket...

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...

Hallmarked in London in 1795 by Solomon Hougham, this attractive, George III period, Antique Sterling Silver Sugar Basket, is in t...

A ceramic tea bowl with milky white glaze made in Korea for Japanese market circa 16-17th century. The thinly potted bowl is in the shape called Hatazori-gata (curving-lip type) that is known as Komogai (or Kumagawa) type. It was named after the historical port of Komogai, close to Bushan in Gyongsangnam-do, southern coast of Korea, where these bowls were traded and exported to Japan in the 16-17th century. The white glaze that covers nearly the entire surface resembles the color and texture of eggshell, therefore is known as Tamago-de. This type of glaze is rather rare, and few examples exist. It was believed that the Tamago-de glaze was only made in Korea from late 16th to mid-17th century during Japan's Edo period. The tea bowl on offer bears typical characteristic of Tamago-de glaze. The smooth milky color glaze shows a fine crackle with scattered spots of flakes exposing the dark clay underneath. The glaze on the rim was largely worn off, so was on the base. There is a subtle indentation on the bottom of the interior known as kagami (tea pool). The ring base is relatively thick compared to the base and trimmed by the potter's knife. It appears delicate to the eyes, but it feels strong in the hands. The bowl comes with a fabric pouch...

A rare Dutch Majolica plate with a decoration of a tulip. Northern Netherlands, probably made in the city of Rotterdam. Made 1620 - 1640 Dutch majo...

This Delft dish is hand-painted in fabulous, intense cobalt blue. The center shows a lovely garden with a songbird among blooming flowers and a willow tree with its branches draped over the garden. The border of the dish is filled with floral decoration and scrolling vines. The edge is painted with a traditional yellow slip...

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...

A set of three Chinese rose mandarin large bowls in beautiful condition decorated with flowers and birds add a courting scene on each. Late 18th ...

This set of six blue and white Chinese porcelain dishes was hand-painted 300 years ago, circa 1700, during the Kangxi dynasty. According to Sir Harry Garner, author of "Oriental Blue...

Decorative centerpiece made out of Pewter. Shallow opening in the center for storage. Craved angel figures along the sides. Originates from France. Signed by Oval Jardiniere. Circa, ...

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...

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...

The cobalt blue is exquisite! Provenance: An identical dish is in the collection of the Philadelphia Museum of Art. For an image of this identical plate and a discussion of its origins, see: E B Schaap "Delft Ceramics at the Philadelphia Museum of Art" pages 74 and 75. We are pleased to offer this Dutch Delft dish...

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 ...

Large Chinese Export punch bowl in Mandarin Palette & Gilt Accents, ca. 1780.

An exceptional, fine and impressive and rare antique Georgian English sterling silver swing handled bon bon basket; an addition to our ornamental silver...

This extraordinary Dutch Delft pancake plate was made in the early 18th century. Beautifully hand-painted, it features bold zigzag lighting bolts, Bliksemborden, which seem to flash across the plate. Between the lightning bolts, we see clouds painted...

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

The New Hall China Manufactory made this pair of late 18th-century blue and white gilded dishes in Stoke-On-Trent, England, circa 1790. On the border, the deep blue has exceptional ...

This blue and white hand-painted Dutch Delft dish was made in the Netherlands in the 18th century, circa 1780. The composition has excellent movement. The ...

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

An incredible 18th century American turned wood platter with a wide rim, wonderful incised lines on the exterior, an old repair, and a weathered pa...

A spectacularly designed and beautifully made Chawan tea bowl dating back to the Edo period. This work is attributed to Ogata Kenzan who is widely conside...

An Islamic ceramic bowl from Samanid Dynasty Persia circa 10th century, possibly from Nishapur. The earth ware body of the bowl was made of a red clay, whic...

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...

A small Islamic ceramic bowl circa 11-12th century, possibly from Nishapur or Aghkand area of Persia. The elegantly shaped bowl with a slightly flared opening is supported on a small foot rim. The earth ware...

A collection of two small pottery bowls with polychrome central figurative decorations, matching size and similar conical form. These bowls are identified as Nishapur ware circa 10th century (in nowadays Iran). They were stoneware (possibly buffware) and covered with opaque white glaze. Both were lovely decorated with a central human figure within an outer border. One is predominantly yellow, an imitation of luster ware...

Why we love it: Look at the image! This beautiful Chinese porcelain charger is hand-painted in the Imari style. It dates to the Qianlong per...

This blue and white Dutch Delft charger shows a chinoiserie scene in a lovely naive style. The chinoiserie scene in the center of the charger includes three unique viewpoints. On o...

Pre-Colombian vessel from northern Nayarit, Mexico. Elaborately painted. Most likely post-classic, 1200-1500 AD. Culture and exact origin unknown.

We are delighted to offer this sublime original circa 180+ Million year old Atlas Mountains Morocco Fossil bowl polished to a marble finish They are...

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...