Ceramics

This is a very beautiful hand painted dinner plate, produced by the Spode factory in the late Georgian period, Circa 1820. This is pattern number 2283, the chinoiserie decoration ...

A coffee pot and two cups with saucers Antonio Ferretti Manufacture Lodi, Circa 1765-1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire). They measure: coffee pot: 9....

The medicine man pattern and the boy in the window. pattern. This rare large punch bowl beautifully marries two of the most sought-after patterns of ...

A vintage Chinese porcelain vase probably from the 1960's in blue enamel decorated with beautiful flowers and delicate gold handpainted painted details. Signed.    We’re an exhibition space and an online destination established by the passionate art...

This is a very good sauce tureen made of ironstone (Spode's Stone China) in the Ship Pattern, No 3067, produced by the English, Spode factory early in the 19th century, George 111rd Period. The piece is well potted with two side handles. The pattern is called the Ship pattern number 3067, the chinoiserie decoration being transfer printed under-glaze, then very carefully hand-painted in bold colored enamels with additional gold gilding over-glaze. As is usual with Spode ware the standard of hand painted detail is very high. A plate in this pattern is shown on page 54 of Steven Smith's book; "Spode and Copeland" published by Schiffer. The pattern is in the Chinese taste as produced by many of the English potteries of the time, to compete directly with the large import of Canton or Chinese Export porcelain from China. The piece has a mid brown edge similar to that often seen on Chinese plates. The piece is fully marked to the base, with the earlier Spode black printed Stone-China mark...

This is an ironstone coffee can or cup in a rare shape, hand enameled in the Basket Japan pattern, made by Mason's Ironstone of Lane Delph, Staffordshire,...

Maiolica tureen Pasquale Rubati Manufacture Milan, circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 6.69 in x 11,02 x 8.26 (17 x 28 x ...

This is a good small Serving Dish made of ironstone (Spode's Stone China) in the Ship Pattern, No 3068, produced by the English, Spode factory early in the 19th century, George 111rd Period. The pattern is called the Ship pattern number 3068, the chinoiserie decoration being transfer printed under-glaze, then very carefully hand painted in bold colored enamels with additional gilding over-glaze. As is usual with Spode ware the standard of hand painted detail is very high. A plate in this pattern is shown on page 54 of Steven Smith's book; "Spode and Copeland" published by Schiffer. The pattern is in the Chinese taste as produced by many of the English potteries of the time, to compete directly with the large import of Canton or Chinese Export porcelain from China. The dish has a mid brown edge similar to that often seen on Chinese plates. It is fully marked to the base, with the earlier Spode black printed Stone-China mark...

A petite famille rose catchall trinket dish hand painted with pink and green floral motifs. Round in form, this small decorative ceramic dish will be a fabulous touch to a coffee tab...

A contemporary Chinese teaware set consisting of six cups and one teapot. Chinoiserie style white ceramic with celadon glazed interior. Dark green teapot ...

This is a beautiful bowl or soup plate produced by the Spode factory and made of ironstone pottery, which they call Stone China, in the early 19th Century, Circa 1820 The chinoiseri...

This is a good early decorative large earthenware pottery dinner plates made by Zachariah Boyle of Hanley and Stoke, England, circa 1825. The plate ...

This is a beautiful, early Tea Cup in the highly collected Water Lily pattern, made by Mason's Ironstone, England, circa 1835. This cup has one of the highly decorative and sought...

French Majolica wire basket Gien circa 1890. Chinoiserie scene with pagoda.

A pair of trumpet vases in the ‘Sumatra’ dragon pattern on a striking orange glaze with cobalt chinoiserie details, made in England by Mason's Ashworth circa 1910. The ‘Sumatra’ pattern’s bold chinoiserie aesthetic is timeless, maintaining popularity across generations. It was rereleased in 1996 to celebrate the 200th anniversary of Masons. These Masons ironstone china vases...

A cream dinner plate by Johnson Brothers England. This plate is decorated with a pink, brown, green, and blue chinoiserie design at the center and a greek key design around the edges...

This is a rare shape vase, made by Mason's Ironstone, England, in the early 19th century, late Georgian period, circa 1818. This vase has a rarely found shape and is a very early...

Set of 8 Chinoiseries Scenes lunch plates (+ 1 for free with a crack). Made of opaque porcelain, they had a principal scene showing various scenes of extreme-oriental kids playing together in several landscapes printed in pink on a white background. On the border, pink pagodas...

This is a beautiful Teapot made by Mason's Ironstone during the mid-19th century, when Mason's was owned by Ashworth Brothers, circa 1870. It has ...

This is a beautiful square plate or dish produced by the Spode factory and made of porcelain, in the early 19th Century, Circa 1815 to 1827. The dish is well potted on a low foot ...

This Ironstone pottery Platter was made by the Mason's factory at Lane Delph, Staffordshire, England and is decorated in the Red Peony & Scrolls pattern, dating to the 19th century, ...

This is a porcelain Small Dish or Saucer in the "Boy at the Door" pattern, made by Miles Mason (Mason's) dating to very early in the 19th century. The dish is well potted with verti...

Delightfully painted in soft tones of blue conveying the lightness and charm of Chinoiserie. Painted with a chinoiserie landscape scene of a large peony growing behind a fence wit...

This is an ironstone large platter or meat plate in the flying bird pattern, made by Mason's Ironstone of Lane Delph, Staffordshire, England, during the 19th century, circa 1880. ...

This is a good Ironstone Sauce Tureen, complete with lid, made by Mason's of Lane Delph, Staffordshire, England, during the early part of the 19th century, circa 1815. This tureen...

A pair of Asian inspired table vases on brass stands, unbranded. Hand painted porcelain with a Chinoiserie design of foliate & floral in shades of white, blue & salmon colors, and a ...

A rare Meissen Marcolini Porcelain Chinoiserie incense burner vase and cover, made for the Chinese market, circa 1800, blue cross swords and star mark, Pressnummer 58 A Museum Quality Piece. Painted in the sought after famille rose palette with sprigs of indianische Blumen and enriched in gilding, the simulated pierced body supported by four feet painted with stylized dragons, the pierced cover with a Buddhist lion finial. 10" high x 6" wide x 6" deep The shape of this piece, which appears to be unrecorded in the literature, is inspired by similar Chinese porcelain censers from the Qing Dynasty, Kangxi Period (1654-1722). An example in the Palace Museum, Beijing, is illustrated by Li Yi-hua in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, pl. 65. Another in the British Museum, London (museum no. PDF, A.812) is catalogued as a perfume-holder. These porcelain examples are in turn inspired by ancient Chinese bronzes from both the Shang (1600-1046 BC) and the Zhou (1046-246 BCE) dynasties, an example of which was sold anonymously by Christie's New York, 22 March 2019, lot 1601. This chain of inspiration tracking backwards from the 19th century to antiquity provides a clear example of how ceramics, and indeed other mediums, are able to influence and motivate the works of later generations. For a Meissen porcelain snuff...

This is a beautiful Ironstone Sauce Tureen, complete with lid, made by Mason's of Lane Delph, Staffordshire, England, during the early part of the 19th century, circa 1820. This t...

This is a hand-painted Mason's ironstone jug or pitcher, in the Table and Flower Pot gilded pattern, from their earliest George 3rd period...

This is a beautiful very large Platter or Meat Plate by Copeland (formerly Spode) in a very decorative hand painted Chinese figure pattern, dating to the turn of the late 19th Centur...

Set of six enamel ceramic dishes by Longwy, France, mid-19th century.

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. two red bands around the top. the base decorated with...

This is an ironstone tall Vase in the blue Hawthorne and fence and bowl pattern, made by Mason's Ironstone of Lane Delph, Staffordshire, England, during the first half of the 19th ce...

This is a rare coffee cup and saucer in ‘The Traveller’ or ‘One Legged Duck’ blue transfer printed, hand gilded pattern by John Turner & family, of Lane End, Longton, Staffordshire. ...

This is a mid-19th century Mason’s patent ironstone Dinner Plate produced at the time when Mason's was owned and controlled by George L Ashworth after the bankruptcy of C J Mason in ...

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. French faience salt. Oval shape with a leafy sprig in...

Two maiolica flower pots Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire) The...

This is a porcelain Saucer Dish or Bowl in the "Boy at the Door" pattern, made by Miles Mason (Mason's) dating to very early in the 19th century. This d...

Rare surviving small piece of early tableware. Suitable for everyday use as a charming piece of history for the dining table. The oval centre painted with a large berry and leafy ...

A set of four pretty scalloped chinoiserie dishes. Each dish is slightly bowl-shaped and would be fabulous if used as a lemon dish at a place setting, or as...

This is a very beautiful English coffee can, all hand painted and gilded, made by Copeland China and with a factory printed mark to the base, dating...

This is an ironstone duo of a coffee can or cup and saucer in a rare shape, hand enameled in the Bandana pattern, made by Mason's Ironstone of Lane Del...

Potiche in ceramic, 19th century Elegant vase in ceramic with a triangular base, faceted, richly decorated with floral motifs, and depicting Bacchus crowned by grapes at the three c...

This is a hard paste porcelain coffee can & saucer duo by New Hall, hand decorated with their Chinese figure pattern number 421, dating to the English George 3rd...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

Circa 1820 Stephen Folch dinner set in Bamboo & Basket pattern with Royal Arms mark, Circa 1825 Each piece has a light grey-blue glaze and has been beautifully and carefully hand-...

This is a hand-painted Mason's ironstone side plate, in the Table and Flower pot gilded pattern, from their earliest George 3rd period, circa 1818.  This plate is well painted in the Chinoiserie pattern called the Table and Flower Pot pattern...

Fabulous piece of late 19th century Satsuma depicting the 5 warriors in excellent antique condition with no issues to speak of. Finely detailed. interior. Have not cleaned the unders...

This is a very beautiful hand painted dinner plate, produced by the Spode factory in the late Georgian period, Circa 1820. This is pattern number 2283, the chinoiserie decoration ...

A small ceramic decorative chinoiserie plate. Decorated in a bright blue, this plate features chrysanthemums in yellow, red, and pink among lush green leaves. A hanger has been appli...

This is a very early and decorative set of six matching Mason's Ironstone side plates, all in the Scroll Landscape and Prunus pattern and dating to the ...

Italian Castelli majolica bases, Circa 1800. This pair of bases for large vases are a typical example of the high quality manufacturing of the Caste...

Set of 4 blue and white saucer plates. Each plate features a painted scene of a pagoda, set atop a hill surrounded by flora and fauna. Birds ...

A monumental size ceramic hen tureen in green, red, yellow, pink, and blue. This beautiful chinoiserie decorative bird tureen will be a beautiful addition ...

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 is a good ironstone pottery jug or pitcher made by Mason's, of Lane Delph, Staffordshire, England, circa 1840. The shape, pattern and base markings are all rare. This jug ha...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

with rococo panel and hand-painted flower spray in the oriental style (c 1880) Handmade and hand-glazed in brilliant coloured Emameld flowers details. ...