Late 18th Century Bowls and Baskets

A deep delft punch bowl with polychrome decoration in reds, yellows and blues on a white ground with extensive exterior coverage depicting flowers in overlapping rounded tiles with a...

This nice mortar is made of white marble. This is a French work from 18th Century

In solid slate blue jasper, with inlaid foot; decorated with numerous reliefs typical of the period. Engine turned decoration and lapidary polished interior. Exhibited: Wedgwood, Ma...

Swedish Root Bowl dated 1782 Beautiful organic shape and silky smooth patina with some original paint left. Owner marks and dated 1782. Made out of birch burl wood. Heigth: 9 cm/3...

A George III sterling silver cake basket made by William Plummer in London, 1786. The basket is of Classic oval form with bead borders and an engraved pierced gallery and foot. Ther...

This small, 18th-century English reticulated creamware plate is both elegant and beautifully crafted. Made in England around 1780, the plate features a delicate border of openwork in...

A pair (not identical match but from the same maker) peat or plate buckets. Mahogany and brass, outstanding construction, heavy and well made, with beautiful brass details. Made in E...

This elegant set of eight antique English creamware plates dates to circa 1785. Each plate features a delicately pierced border with hearts, dots, and diamonds arranged in eight even...

Hallmarked in Dublin in 1791 by Alexander Richards, this charming, George III period, Irish Sterling Silver Dish Ring, features chased and pierced decoration depicting countryside sc...

This rare set of three creamware plates was made in England by Wedgwood in the 18th century, circa 1780. Each plate is decorated with a finely detailed black transfer-printed landsca...

With a twig handle, painted with flowers in reserve panels, edged with gilt, upon a blue scale ground. The shape is derived from a Meissen original. The mar...

This Wedgwood creamware plate and handled cup were made in England circa 1790. Both pieces feature a hand-painted border of radiating neoclassical design, rendered in striking red an...

By Wedgwood, England. This pair of Chestnut Baskets and underplates was one of Wedgwood's most intricate handmade designs, circa 1790s. Redolent of the Georgian period, this color co...

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...

A 18th Century Swedish Measure Box dated 1784 & Owner marked AHB BAS Measures, spatial measures, of wood for dry goods such as grain. Also called target vessel. The dimension is cu...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice 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 which Antonio Ferretti introduced in Italy. This 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 had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had 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, could 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...

A Pair of Irish George III Mahogany Brass Bound Peat Buckets with untouched mahogany surface, and brass handles. Additional information: Dimension: Height: 39.5 cm, 15 1/2″ Diameter...

A huge pewter bowl Manufactured most probably in Alsace Production Period around 1780 Country of Manufacture Germany H / height: 5.5cm ~ Gew. / weight: 1391 grs DM / diameter...

Hallmarked in London in 1771 by Thomas Wallis I, this attractive, George III period, Antique Sterling Silver Sugar Basket, measures 2.5"(6.5cm) tall (3.75"(9cm) with the handle up), ...

A very fine antique English creamware teabowl bat printed with scenes to two sides and attributed to Wedgwood and dating from around 1770. The teabowl is lightly potted standing raised on a narrow round foot rim with a simple raised round bowl shaped body. The teabowl is decorated to sides with black printed designs, one portraying a resting seated shepherd within a landscape with his dog and sheep...

Hallmarked in London in 1788 by Robert Hennell I, this very handsome, George III period. Antique Sterling Silver Basket, features slat pierced and an engraved decoration to the body,...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern number 20, dating to the late 18th century, Circa 1790. The bowl is well...

Three-tiered stand for sweetmeats, in the form of shells and coral, and enameled with flowers; it is rare to find these in such good condition. Probably from a large dessert service. These stands were popular in the Georgian period and were made by most of the porcelain factories. Many were modelled by a man named Tebo, who went from factory to factory creating these stands. He appears to have used real shells...

This lovely blue and white Delft charger was made in the Netherlands around 1780. It was meticulously hand-painted in two shades of cobalt blue on a white tin-glazed surface. The cen...

Heading : First period Worcester basket Date : c1770 Period : George III Origin : Worcester, England Colour : Polychrome Pattern : Central bouquet with sprigs throughout. Applied fl...

Hallmarked in London in 1778 by William Plummer, this delightful, George III, Antique sterling silver basket, features engraved and pierced decoration, and bead borders. The basket m...

A beautiful bowl, originally a musical frame drum called Terbang, which was used in ecstatic devotional music. The drum was hewn from a single piece of teak...

This antique Dutch Delft charger was hand-painted in the 18th century at De Vergulde Bloempot, one of the most esteemed Delftware factories of the period. It is marked on the reverse...

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...

Pewter plate made in England by unknown manufacturer. An good original condition, with minor wear consistent with age and use, preserving a beautiful p...

This blue and white Dutch Delft charger was hand-painted in deep cobalt blue in the 18th century, circa 1780. The central scene features a pair of birds in flight above a basket brimming with full blooms and leafy stems. The birds—elegantly rendered with wings extended—add a sense of movement and vitality to the design. The flower basket is painted with expressive brushwork, creating a beautiful and balanced composition. Surrounding the central reserve is a wide border of scrolling foliate motifs and stylized floral panels. This charger exemplifies the refined decorative tradition of 18th-century Delftware. Its tin-glazed surface enhances the depth of the blue pigment, and the expressive brushwork throughout reveals the painter's skill. Dimensions: 14" diameter Condition: Excellent—very minor expected wear consistent with age Decoration: Birds in flight, flower basket, and scrolling floral border Price: $980 Material: Tin-glazed earthenware (Delftware) Style: Dutch Delft, Chinoiserie-inspired decoration Origin: Netherlands Date: 18th century, circa 1780 Key Features   • Hand-painted scene with birds and blooming basket   • Expressive brushwork and deep cobalt blue decoration   • Wide floral border with scrolling foliate motifs   • Tin-glazed surface characteristic of Delftware   • Reverse shows three stilt marks from traditional 18th-century kiln firing   • Fine example of Dutch Delft painting...

Large Swedish Turned Bowl, ca. 1780 The old repairs on this bowl add to its unique character and beauty. With beautiful repairs and owner mark. M...

Neoclassical gilt decorated plate with mythological figure. Naples Real Fabbrica Ferdinandea white porcelain painted and gilt decorated saucer dish wi...

This pair of Barr Worcester porcelain plates was hand-painted at the Warmstry House factory on the River Severn in Worcester, England, between 1792 and 1803. Each plate features clus...

Rare Swedish antique bowl from the late 1700s. This wooden bowl is oval with a large carved handle on the side, a very unusual detail hardly ever seen on bowls like this. It is made ...

This exquisite piece is crafted with great care and beauty. It features a stunning dragon scene and is marked at the base. Cloisonné, the enameling technique employed in this piece,...

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

Chinese Export Porcelain Turquoise Openwork Fruit Baskets & Stands, Circa 1785 The Chinese Export porcelain openwork fruit baskets and stands are painted with an allover turquoise e...

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...

Unusual Swedish antique bowl from the late 1700s. The bowl is a large and heavy root bowl in an organic shape made in solid birch root. Made by hand with a great patina after 200 yea...

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1890. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

Transport yourself to the opulent splendor of the 18th century with this exquisite find: the lid of a rare baroque hatbox dating back to around 1740. C...

Hand painted circa 1780, this eye-catching blue and white Delft charger is hand painted in shades of cobalt blue with black accents. ...

A remarkable large Chinese export blue and white punchbowl painted with a floral and brocade design, and featuring a stunning staple repair, 18th century...

Set of three Leedsware lattice baskets and underplate. Cobalt blue trimmed cream colored basketweave patterned pottery tray with reticulated border and ...

American, late 18th century/early 19th century wooden mortar and pestle. The urn shaped mortar with rich patina has a wonderful ...

A set of five antique Dutch Delft dishes beautifully hand painted with manganese-based purple. The dishes show a peony plant in full bloom. The maker was Hugo Brouwer. Brouwer created the design, and each dish would have been hand-painted in his factory, The Dreye Porceleyne Flesschen, using a stencil of his design. Each dish is signed with Brouwer's H-B mark. Dimensions: diameter 9" Condition: Excellent Price: $500 for the 5 plates Background of Hugo Brouwer: Maker: Hugo Brouwer (active 1760–1788) at The Dreye Porceleyne Flesschen (The Thee Porcelain Bottles) factory. Ref: C.H. De Jonge...

This nice mortar is made of white marble. This is a French work from 18th Century

This collection of platters and dishes is hand-painted in the beautiful Prince of Wales Roses pattern. The porcelain was crafted at the Derby factory in Derby, England, in the late 1...

Rare red pitcher ‘cantaro’ from Calanda, Aragon-Zaragoza area of Spain, circa 1750 a rare piece from a Private collection. Other examples can be seen in t...

This is an antique serving cup. A Continental, bronze goblet, dating to the late 18th century, circa 1800. Offering a delightfully natural weathered a...

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 ...

Unique Swedish folk-art bowl in a very unusual boat like shape. This wooden bowl is large and wide with date “1782” underneath along with a set of initials. An unusual detail is the ...

These Dutch pancake plates are adorned with a beautiful hand-painted scene in bold Imari colors of cobalt blue and iron red, enhanced by forest green and bright yellow, which replace...

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 18th-century Chinese export blue and white porcelain dish was hand-painted in underglaze blue, circa 1780. The whimsical central scene depicts two stylized deer beneath a bloomi...

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...

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

Purple and green gilt porcelain tulip bowl. Nast manufacture hard paste French porcelain serving dish with botanical painted tulip specimen identified on the reverse with strong viridian green glaze interior border and Fine gilt filigree border. Red under-glaze markings for Nast Paris...

An exceptional, fine and impressive antique George III Irish sterling silver sugar basket; an addition to our Georgian silverware collection. This exceptional antique George III Iri...