18th Century Decorative Objects

A very fine 18th century Dutch Delft pottery vase or jar. Of typical vasiform shape with medium and deep blue Chinoiserie landscape decoration, dot border to the top rim, and swag...

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...

Beautiful rustic 18th century hand forged iron candleholder for 3 candles. A wonderful example of primitive folk art. A perfect balance between utility and aesthetics. France, 18th c...

A very attractive, good quality, late 18th century rosewood oblong shaped tea caddy having satinwood strung mouldings and original brass hinges, with working lock and key. Constructed using attractive rosewood timber which retains a good colour and patina, the satinwood strung mouldings used on this tea caddy create a really nice contrast. Tea was a precious commodity throughout the 18th and 19th centuries and the purpose of a tea caddy was not just to preserve the and extend the life of the precious tea leaves...

Early 18th-Century Burr Walnut Longcase Clock, Circa 1705-1710. England This magnificent early 18th-century English longcase clock exemplifies exceptional craftsmanship and timeless...

Antique French portico clock is crafted in Empire style during the reign of Napoleon in the 19th century. The Empire style gives the antique clock...

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...

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved Italy, circa 1750 Weathered. Small losses and old repairs/ restorations on arms and legs. Measurement he...

Beautiful Baroque angel. Unique period piece made out of wood . Hand-carved Italy, circa 1750 Weathered. Small losses and old repairs/restorations on arms and legs. Measurement her...

Wonderful chalk/ cast stone angel head. Italy circa 1750 Weathered, small losses. Measurements include the wooden base. H:20cm W:11cm D:10cm

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

Gustavian Shaving Mirror in Mahogany – Sweden, Late 18th Century Charming small shaving mirror in mahogany (Swietenia mahagoni), made in Sweden during the late 18th century. Execut...

Amazing collection of three pewter candlesticks. They are all different and unique. France, circa 1750-1850. Weathered, dented and small losses but these imperfections help authentic...

Amazing gilded paper mache dove/ Holy spirit. Beautiful detailed. The Dove is a symbol for the Holy Spirit inspired by Jesus’s baptism. The dove has been used among many Christian de...

Amazing collection of three pewter candlesticks. They are all different and unique. France, circa 1750-1850. Weathered, dented and small losses but these imperfections help authentic...

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...

With rectangular hinged top with brass strap mounting. When open the front folds down to expose hidden compartments and wells. Case mounted the same as the lid. Side carry handles. I...

A Fine Quality George III Period, Late 18th Century, Yew Wood Tea Caddy Of Octagonal Form, Having Lift Up Lid Enclosing Two Divisions And Exceptional Floral Inlaid Deocration To Oval...

Beautiful large Baroque angel-wing with its original color and gilding. Extremely rare to find in this size. Very decorative item placed on a wooden base. Italy, circa 1750. Weathere...

A Rare Partridgewood, Late 18th Century Georgian Tea Caddy, Of Octagonal Form Having Attractive Inlaid Decoration And Hinged Lid Enclosing Two Lidded Divisions. Partridge wood is a...

An exceptional, fine and impressive antique Georgian English sterling silver and glass ladies inkstand; an addition to our ornamental silverware collection This exceptional antique George III sterling silver desk Standish has a navette shaped form onto four bracket feet. This inkstand is encompassed with an applied thread decorated border, in addition to the contemporary engraved initials 'WW'. The rim of the body of the sterling silver inkstand is ornamented with a paralleling applied reed decorated border. The internal wirework style frame of the stand is divided into three rounded supports. Each internal compartment retains the original rounded glass bottles with cut glass ornamentation in addition to impressive scalloped bases. The ink, pen/quill and pounce bottles retain the original plain silver cylindrical mounts fitted with push fit hallmarked covers. The rim of each circular cover is encircled with applied moulded borders and bears the corresponding functional pierced decorated holes. This large silver ink Standish was crafted by the renowned London silversmiths Henry Chawner. Such original ladies examples, in perfect condition, are becoming increasingly difficult to locate. Condition This antique inkstand...

Unique small pair of neoclassical wooden candleholders with their old gilding, Italy, circa 1760-1780. Weathered, small losses and old repairs. Measurement each.

Beautiful handcarved giltwoodornament depicting two birds. Italy circa 1780-1820 . Weathered and small losses Measurements individual and include the wooden base. H:28,5cm W:56cm D...

Spring loaded cylinder shaft candlestick in stamped brass on a weighted circular domed base. The candlestick top has a reticulated brass shade gallery fitted with a translucent green opaline blown glass bubble shade...

Striking elegant classical form Lovely thick lustrous patina Juxtapses with modern and contemporary interiors and collections Could be electrified as a floor standing lamp The pan wi...

Refined neoclassical clock in gilded bronze and marble base. The body consists of a classical depiction with a gilded bronze chariot and a swan's head, inside which sits a draped gir...

Presenting a fabulously rare 18c Indo-Portuguese Vargueno mini cabinet. Extremely rare, highly important and desirable colonial piece ! It is an In...

Beautiful Baroque angel-wing. Rare and very decorative item placed on a wooden base, Italy, circa 1750. Weathered. Measurement is inclusive the wooden base. H:27,5cm W:23cm D:5,5cm

Étienne-Maurice Falconet (1716-1791), "The Bather" or "The Nymph Bathing" (1757) Artistic Explanation: The Nymph Bathing is a masterpiece of 18th-century French sculpture, created...

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

These rare objets d’art feature intricately hand-cut and painted tole foliage, gracefully shaped into classical topiary forms. Adorning each piece are delicate porcelain flowers—each...

18th century Italian hand-carved and gilded angel wing adorned with citrine and quartz crystals and mounted on a polished hematoid slab. The hand-carved angel wing was once part of a...

A Carved and Polychrome-Painted Group of the Virgin and Christ, 18th Century The modelled standing in robes holding the Christ child, on a rockwork base with a seraphim mask to the ...

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...

A beautifully sculpted Thai/ Siam Southeast Asian bronze Buddha head on a custom wood stand. The Buddha's eyes are closed in serene meditation. The piece has a wonderful feel and heft to it. Very well well crafted with a gorgeous natural organic patina acquired over age. This bust/fragment likely belonged to a larger Buddha statue...

Bronze cast with delicate serene features, very refined detailing throughout. Featuring bow-shaped mouth and downcast eyes, flanked by pendulous pierced ...

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...

This is a large and bright red and yellow lacquered wooden box, entirely decorated with prints cut and applied with the tecnique called "arte povera" . At the centre of the lid a large country landscape with figures inspired by 18th Century Venetian views that recall the themes of Arcadia. The prints come from the manufacture of Remondini Bassano, that was the most important printers in the Europe at that time. This surprising lacquered box is an elegant piece that can be useful as a jewelry case, perfect to match in any elegant home. One of the distinctive characteristics of Venetian Baroque and Rococo furniture and decorative objects is the skilful use of lacquers. Lacquer is a natural resin that was very rare in the past, imported from the East and used to create smooth and colored surfaces on furniture, ready to be finely decorated with refined floral designs or exotic animals. Venetian artisans became masters in lacquer processing which required time and patience because it was made with many steps. The Venetian style deeply influenced furniture design throughout Europe, but none reached the Venetian level in terms of beauty. The skillful use of lacquer and carvings defined Venice's unique style during the Rococo period, its Golden Age. The piece is in excellent state of maintenance and guaranteed original in every parts. The surface was only cleaned not restored and it is original. The wooden red and yellow lacquered box...

18th century Jesus Child Terracotta Sculpture an Italian Holy and devotional art polychromed figure  depicting Baby Jesus standing on an a carved and go...

Classic late 18th century silver tea caddy of oblong form, and featuring delicately hand engraved bands and swags around the sides, and ...

Pair of fine antique ginger jars, circa 1699-1714) with pierced and cased cartouches and hand painted figural landscapes. Each with a different scene yet maintaining the mountain, la...

Quite Impressive 18thc French Louis XVI Gilt Bronze Musical Cherub Baby Candelabra. Rare piece! and a lovely candelabrum.

Cast brass three spout Lucerne oil lamp on a solid brass rod threaded with a shield form finial and supported by a conical centered circular base with...

An English George III period tall case clock from the mid 18th century, with chinoiserie décor and brass face by James Hewitt of Sunderland. Created in En...

Stunning and completely original, antique oak grandfather or lantern clock, circa 1750. This very old grandfather clock is one of the tallest w...

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...

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...

18th Century Italian Baroque Santos Figure  Italy, 18th century or older An exquisite 18th-century Italian Baroque Santos figure is a fine example of religious artistry, dating back...

Italian early 18th century terracotta fragment of an face mounted on stand. Ca 1690 - 1710 Italy. Measurements with stand H 15 W 9 D 6.6 cm.

An Irish slice cut decanter with engraved rum label attributed to Cork & Co. Ireland, 1790.

A large and impressive Dutch Delft jar of octagonal shape with fluted sides, mark for Johannes Van Duijn, De Porceleyne Schotel Factory, 1764 - 1773, Delft, Holland, the Netherlands....

This is a magnificent example of a George II brass face red walnut longcase clock. The hood having and elegant broken swan-neck pediment and bras...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). Germany, circa 1740 Of rectangular...

The wares of the Chelsea red anchor period (1752-1758), when this dish was made, are generally thought to be the finest work produced by the factory...

Completely hand-crafted in 18th century Spain, this sculpture of the Virgin stands 1.5 meters / 5 feet tall and was most certainly created for devotional purposes, to be displayed in a church or chapel. Besides its impressive size this sculpture is an excellent, museum-quality example of the Spanish “Estofado” polychrome technique, developed during the Gothic period to imitate rich brocade fabrics. The finely carved “fabric” areas of the sculpture would be first covered in gesso, and then a layer of gold leaf would be applied. The gold leaf would then be painted over with various colors of tempera paints. Once dry, the painted surface would be incised or scratched away in patterns, revealing the gold beneath. The sculpture was professionally restored in 2022 by a firm that is often hired by the Spanish government to work on historic building interiors and museum pieces. The virgin was carefully cleaned, repaired and its condition stabilized. A complete and fully-illustrated restoration report will be included with purchase. Often confused with the virgin birth of Jesus, the belief that the Blessed Virgin Mary herself was conceived “immaculately” without original sin has been variously defended and debated within the Catholic Church since the pre-Middle Ages. For centuries, artists struggled to create an acceptable visual representation of this highly abstract concept, in part taking inspiration from the Book of Revelation and other scriptural sources. We see the Virgin standing on a half moon (biblically inspired, though also an ancient symbol of chastity) with her long natural hair loose down her back, another indication of purity. Both her white tunic and flowing blue mantle...

Great pair of small carved wooden candleholders with traces of beautiful silver leaf gilding. Italy, circa 1750 Weathered and small losses and old repairs. Measurements are individu...

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...

Oval porcelain vessel on a flat stand with slightly bulging walls, with two rocaille handles with asparagus bundles, the slightly outward-turned opening edge serving as a support for...