1770s Decorative Objects

A fabulous investment quality antique George III Flame mahogany & gilt bronze eight day movement tall case grandfather clock, by Robert & Peter Higgs & David Evans, made for the Span...

A fine example of an English tall clock with japanned case by clockmaker Phillip Avenell of Farnum (d. 1783). Avenell was part of the renowned and p...

A very good 18th century early George III 8 day tall carved oak case grandfather clock, Gulielmus (William) Dickinson & George Brownless, of Staindrop Village, County Durham, England...

A fabulous investment quality antique George III Flame mahogany & gilt bronze eight day movement tall case grandfather clock, by Robert & Peter Higgs & David Evans, made for the Span...

A very good 18th century early George III 8 day tall carved oak case grandfather clock, Gulielmus (William) Dickinson & George Brownless, of Staindrop Village, County Durham, England...

Wedgwood Creamware Wine Rinsers, A pair of rare Wedgwood creamware "Cuvettes" each with leaf-scrolled handles. Measures: Height 3 7/8 inches x 5 1/8 inches wide x 3 1/2 inches diam...

Hand Wrought Lock Box. Beautiful patina. Painted inside with date, which is after the original creation date. Box W 13.25 x D 10 x H 10 in. Key L 4 in.

A superb Chinese Export porcelain 'famille-rose' hunt motif punch bowl. Qing Dynasty, Qianlong period(1735-1795) painted with two large landscape cartouches with Hunting scenes, the...

English Creamware Large Openwork Covered Jar, Probably Leeds Pottery, Circa 1780 The large and rare covered reticulated creamware jar has twisted ribbon intertwined handles and a artichoke knob It is of a shaped circular shape. The cover and the body have bands of cut openwork. Dimensions: 10-1/2 inches high x 9 inches wide (26.67cm high x 22.86cm wide). Provenance: Private Collection, John Howard Antiques...

A finely bronze fire-gilded ormolu mantel clock set with matching candelabras. Rich ornate with typical Louis XVI mounts, floral garlands, scr...

Bottle cooler Manufacture Joseph Hannong Strasbourg, France, circa 1771 Maiolica polychrome decorated “a piccolo fuoco” (third fire) It measures 7.40 in in height x 9.64 in diam...

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 fine example of an English tall clock with japanned case by clockmaker Phillip Avenell of Farnum (d. 1783). Avenell was part of the renowned and p...

This exquisite 18th-century Chinese export porcelain bowl was hand-painted during the Qianlong era, circa 1770, using colored enamels in the Famille Rose palette. Pink peonies in ful...

Carl Malmsten “Tidlösa” Longcase clock in Birch and Masur birch. Case signed Malmstens Verkstadsskola 1977, Carpenter Master Artur Jönsson, clock marked Westerstrands Sweden.

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...

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...

Set of Three 18th Century Hand-Made Brass Candlesticks were designed to be functional yet attractive as they would remain in plain view all day, and only be utilized at night. Back in the days before electric lighting, candles were worth their weight in silver, as the process to make them was still laborious hand-labor, and the wax itself wasn't inexpensive. Many of our trunks from this period had separate cabinets inside the locked trunk...

Chinese Export Porcelain Maiden Lotus Candlesticks, A Pair, Circa 1765 The pair of Chinese maiden candlesticks are each in the form of a Chinese m...

Georgian Battersea enamel box from the 18th century. A beautiful fine antique English Battersea Bilston table snuff box created in the district...

18th Century Porcelain Trompe-L'oeil Asparagus Spears Tureen, Probably German porcelain probably Thuringian Circa 1770-1800 The porcelain ...

This is a rather rare pair of porcelain figures made by Derby around 1770. The pair was called the "Boy and Girl in Turkish Costumes", numbered 63 in Derby's factory list. They depic...

This 18th-century Worcester Porcelain chestnut basket is beautifully decorated with hand-painted polychrome enamels. The interior features a stunning spray of hand-painted flowers, ...

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...

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...

A rare, incredible and large antique Chinese carved mother of pearl mounted tea caddy with armorial for MacPherson and dating from circa...

Swedish black lacquered and gilt Chinoiserie tall case clock with arched decorative floral hood, flanking finials, turned bulbous columns, ormolu and steel engraved face, figural flo...

Puce and yellow painted marks, Lacking date mark, painters' marks Charles Buteux, gilder’s mark for Jean Chauvaux.

Chinese Export Porcelain Large Five-piece Famille Rose Garniture of Vases, Circa 1775-80 The Chinese Export porcelain flattened baluster vases and covers are of a large size with ra...

Pair of Large Chinese Famille Rose Vases, circa 1770

Monumental 18th Century Venetian Grotto Frame, created circa 1780 in Italy. This frame is impressive as an decorative element or the encasement for a treasured painting, mirror or im...

Fantastic Swedish Gustavian longcase clock. The case is a Stockholm work from around 1770/1780. It is lacquered and gilded with rich wood-carved details of, among other things, garla...

William Taylor lived 1738 till 1801. Beautiful case with unusual fret carved sides of case. The carved broken arched pediment with carved rosettes and trailing vine, reverse glass pa...

An exceptional, fine and impressive antique Georgian English 22k yellow gold toothpick case / holder with mirror - boxed; an addition to our ornamental ...

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...

Oval snuff box in three tones of gold. The hinged lid is decorated with an intricate scale pattern surrounded by a frieze of roses, ribbons, and pink, green and white gold leaves. Th...

This pair of Dutch Delft chargers in the "Theeboom" pattern shows a tea plant with a fan-shaped bouquet of leaves and flowers. The deep cobalt blue is fabulous! This is one of the ...

18th century mahogany longcase clock by John Wood of Grantham (known to be working from 1753-1797) an imposing mahogany clock wi...

Derby Porcelain Shaped Vase with May Blossom Decoration, circa 1770-1775 The four-sided shaped Baluster vase and cover with square-shaped neck and foot is designed with a design of multiple applied tightly packed May blossoms or Mayflowers (Schneeballen) with yellow stamen and a tint of aqua blue to the edge of each flower while the ground behind has a light purple wash creating a stunning effect after the Meissen Schneeballen...

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...

A fine library bust from the Wedgwood & Bentley period, exhibiting the fineness and quality that make this early Wedgwood so very desirable. Homer, often regarded as the greatest of...

Japanese Emperor Shōwa Period Kiyomizu-Ware Vase, 18th Century Emperor Shōwa Period - from 1926 to 1989/1990 DIMENSIONS Height: 9 inches diame...

This solid agateware cat was hand-crafted in Staffordshire, England, around 1770 from laminated salt-glazed stoneware. An exceptional example of 18th-century English ceramics, it co...

Antique Meissen figure in hand-painted porcelain. Boy playing the flute. Marcolini period 1774-1814. Measures: 20 x 9 cm. In excellent condition. Stamped.

These truly exceptional and rare antique Louis XVI period vases have been sculpted from agate, a precious and highly sought-after stone. The vases are set on square agate bases with gilt bronze laurel wreath socles. The burgundy and claret agate bodies of the vases are mounted with gilt bronze acanthus leaf ornamentation, and twin lion masks joined by draped swags above. The lids of the vases are mounted with gilt bronze, surmounted by pine cone finials. The vases' design is attributed to the late 18th century, French clockmaker Martin Baffert. Baffert worked with a number of Parisian bronziers including Jean-Nicholas Fremont, Nicolas-Guillaume Jourdan and Francois-Robert Leguel, who assisted in the creation of his designs. This pair of vases is very similar to another pair of vases which Baffert designed, which form part of a clock garniture currently in the Rothschild collection at Waddesdon Manor. The Rothschild vases...

The four beautiful models, called Bozettis, portray the four elements fire, water, earth and air. They are of good quality and wonderfully fine carved with a love for details. For ex...

A magnificent, fine and impressive pair of antique George III English cast sterling silver candlesticks made by Edmund Vincent; an addition of our ornamental silverware collection These magnificent antique George III cast sterling silver candlesticks have a baluster shaped form with a waisted knopped stem onto a shaped base. The waisted capitals of these exceptional antique silver candlesticks are embellished with gadroon decorated borders. The capitals are fitted with the original hallmarked detachable sconces ornamented with six-shell ornamentation, in addition to further gadroon decoration to the curvilinear-shaped rim. The upper portion of the waisted shaped column features a shaped knop embellished with six shell designs, reflecting the decoration to the sconce. The waisted column is further ornamented with fluted decoration, in a swirl design, with a gadroon decorated knop to the lower portion The shaped bases of these Georgian silver candle holders are embellished with a swept fluted upper portion to six large shell designs, alternating with convex oval bead motifs. The decoration to each base incorporates a bright cut engraved crest of the bust of a man in profile couped at the shoulders. The shaped rim of each candlestick features an impressive gadroon decorated border. These magnificent candlesticks feature a stunning and ornate variation of six-shell decoration and are the finest of their type you could hope to acquire. Condition These antique 1700...

Italian oval oil on board gilt carved wood portrait of a gentleman in the original floral and berry frame, 18th century.

Cirac 1970. We offer this Wrought Iron Candle Holder in Brutalist Giacometti Style. Fantastic Patina.

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...

Antique 18th Century English enamel table clock, exuding charm, its delicate white enamel adorned with floral motifs and romantic scenes. Made in a miniature form of a grandfather cl...

This large Dutch Delft charger was hand-painted at the De Witte Starre* factory in Haarlem circa 1770. The cobalt blue decoration is arranged in petal-like panels radiating from a ce...

18th Century French walnut wine cooler / planter, the shaped structure having intricate carving around all sides consisting of various foliage, ribbons and gardening tools, having th...

Pair of French porcelain wine coolers sevres, circa 1776. Painted by Etienne Evans and gilded by Francois Baudouin.

Rare English pendulum clock, original and eighteenth-century period with chinoiserie decorations, in good condition, working mechanism, an object of great decorative impact and uniqu...

A rare and exceptional Georgian English South Staffordshire Bilston enamel patch box ion the form of a tricorn hat and dating from around 1770. The small box has a small round hinged...

A George III later scarlet japanned long case clock, Thomas Moore, Ipswich. The arched hood surmounted by brass finials of wing spread eagles above a glazed door opening to a twelve ...

With the Worcester crescent mark.

A rare pair of 18th Century Dutch Delft cows, blue and white, made in the De Twee Scheepjes (The Two Little Ships) factory, circa 1780. 24 cm (9 inches) lo...

18th century walnut brass dial grandfather clock, the bonnet has a beautiful broken arch swan neck pediment with brass rosettes , reeded keystone and inlaid urn finial. The brass dial with round plaque reading "James Park , Kilmalcolm'' ( according to Brian Loomes...

Each with deep brown patinated surface and in the form of a column from the composite order which combines the volutes of the ionic order with the foliate capital of the Corinthian; ...