Late 18th Century Bowls and Baskets

A genuine antique wood trough dated 1789 and signed with ownermarks PPS OIS ,from Hälsingland Northern Sweden A nearly monumentaly large farmers ...

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...

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...

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

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

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...

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 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 ...

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...

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

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...

Marble Mortar. French. 18th Century.

We are pleased to offer this pair of blue and white Dutch Delft dishes with lovely chinoiserie decoration, which features an image of a vase overflowing with flowers. Around the vas...

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 ...

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 ...

Marble mortar. French. 18th Century.

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

Late 18th Century Antique English Georgian pewter porringer soup or stew bowl, dish or cup with crown handle / ear by William Wright of Little Minorie...

A beautiful 18th century French copper grain measure. A perfect kitchen accent piece or wonderful as a planter.

French Late 18th Century Louis XVI Gilt Bronze Incense Burner or Brule Parfum A round and fluted foot surrounded by a laurel wreath standing on gilt bronze rectangular plinth which is mounted on a green marbled metal base. The round foot carries a hemispherical bowl, which together with the also hemspispherical cover, form a globular shape. The bowl and lid bear finely chased, radially applied lancet leaf reliefs, the rim of the bowl shows a frieze of openwork pearl pattern cartouches alternating with 6 button-like decorative knobs...

These pudding molds are a set composed by three nice France pieces fine hand made in copper. One of these has a crown shape, very detailed. Suitable to be...

Sizeable and museum quality, embossed copper with brass handles bucket on feet. This stunning, sturdy and heavy antique and hand-crafted buc...

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 ...

This pair of Delft dishes was hand-painted in the Netherlands in the 18th century, circa 1780. We see a lion and the motto Nu Rust ik Veilig, "Now I Rest Safe." The lion is a symbol...

We are pleased to offer this extraordinary Dagoty porcelain plate showing children playing. The happy children are joined by their dog in a scene painted in grisaille. On this plate, the border of deep cobalt blue is lavishly gilded in a dramatic geometric pattern. As we see here, burnished gilt was another hallmark of Dagoty porcelains. The formal border juxtaposes the informal scene of the children at play with the geometric design. This type of contrast is typically French, and only the French made porcelains with this particular type of sophisticated contrast. Romanticism had a strong influence on the Dagoty porcelains of the last decade of the 18th century. Anecdotal scenes, indoor scenes, and scenes showing children's games replaced neoclassical subjects. The new themes were more human and had a much less rigid atmosphere. Condition: Excellent Diameter: 8 inches Price: $420 Background: The Paris retail shop was on the Boulevard Montmartre. The Dagoty factory made hard paste porcelain. The factory was in the Rue de Chevreuse, Paris, leased for nine years in 1800 by brothers Pierre-Louis (1771-1840) and Etienne-Jean-Baptiste Dagoty (1772-1800). Pierre-Louis became sole owner in 1804, and in 1807 the lease was renewed for a further nine years. The factory was under the protection of the Empress Josephine and supplied porcelain for Versailles. In 1816, Dagoty went into partnership with Edouard Honoré...

Known as the "Brocade" pattern, the design on these exquisite eighteenth-century dishes is complicated yet delicate. The inspiration for this pattern comes from seventeenth-century J...

A fine and impressive antique George III English sterling silver sweetmeat basket; part of our Georgian silverware collection. This antique Georgian sterling silver sweetmeat basket has an oval navette form onto a collet foot. The body of this sterling silver basket is embellished with a band of pierced decorated vertical pales accented with four foliate motifs. The basket is further ornamented with two bands of pierced evolute scrolling decoration with a scallop and circular motif decorated border. The upper rim and foot of the basket are encircled with applied bead decorated borders. This George III sterling silver basket is fitted with an applied bead decorated swing handle. The well of the basket is embellished with a bright cut engraved crest depicting out of a ducal coronet a wolf's head. The foot of the basket is encompassed with horizontal pierced pale decoration incorporating circular motifs. This antique silver basket with handle...

Exceptional pair of Antique English boxwood Gobelets-Bekers, 18 th Century, ca 1780, from the A.J. Levi Collection, nr 830 a & nr 830 b, the wood has an exquisite patina and warm ...

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 gorgeous original patina, this jar features the characteristic charcoal-colored hand streaking typical of 18th and 19th century pottery from Calanda, as well as Classic sun symbols...

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...

Fine example of Adam-style, neoclassical design incorporated into a finely made silver basket by premier female silversmith, Hester Bateman. The basket is hand-pierced and engraved a...

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...

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...

Rare antique English Yorkshire or Staffordshire creamware pierced basket with intricate reticulated body. Lovely color no damage or repairs.

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...

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...

Provenance: The Private Collection of Mario Buatta Mario loved flowers, and he loved beautifully painted flowers on porcelain. This pair of Ludwigsburg dishes was made in Germany cir...

Pitcher ‘cantaros’ from Calanda, Aragon-Zaragoza area of Spain. A rare piece from a Private collection, circa 1750. Other examples can be seen in the Museo de Zaragoza. With gorgeou...

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: $700 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...

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...

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

With the Worcester crescent mark.

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...

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...

Oval with handles and a pale green with central panel of a floral still life. Serrated edge with overall gilded details.

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...

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

This exquisite late 18th-century dish features several elements that make it so full of life. First is the splendid hand-painted goldwork. This gilding enlivens the dish with its ha...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Painted with a bird perched on flo...

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

We are pleased to offer this pair of Dutch Delft blue and white chargers decorated in the center with an image of a delicate vase filled with chrysanthemums and peonies. The design in the center of the charger is derived from Chinese decoration, where auspicious flowers were put in bamboo baskets as attractive interior decorative elements. The border of the charger is adorned with four floral panels, which alternate with four cobalt blue panels with fish-net patterns. The edge of each charger is painted with orange slip...

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

A wooden farmers bowl produced in Sweden, 1772. Signed by the artist initials "L.L.S" and dated.  

This set of three Dutch delft chargers in the "Theeboom" pattern shows a tea plant with a fan-shaped bouquet of leaves and flowers. This is one of the most beautiful designs hand-p...

Painted with Oriental flowers in reserve panels with gilt edge and molded with a spray of rose leaves and buds. With fretted square Worcester mark. "The moulded pattern on this dish takes its name from the blind Earl of Coventry...

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...

First Period Worcester porcelain large pair of openwork fruit baskets, Printed "Pine Cone" pattern, Circa 1770-1775. The large reticulated bask...

A dessert dish, in the shape of a shell, and decorated in the Sevres manner.