Ceramics

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 fine Ironstone pottery side plate made by the Mason's factory at Lane Delph, Staffordshire, England and beautifully decorated in the Small Vase, flower & Rock Pattern, full...

Baluster-shaped jug, with sparrow-beak spout and cover, for hot milk or hot water. The engine-turned decoration is particularly fine. Marked.

Circa 1920s red clay ewer with classical figures etched and painted in black. Found in England. Unknown maker. No cracks, chips or repairs found. White blurs...

This fine ceramic butter churn or crock is in fine condition for its age. Its body is cream, with a fluted top. Two blue stripes decorate the body, all ...

This is a very good, large dinner or cabinet plate by Mason's Ironstone, England in the Bandana pattern, dating to circa 1900. The plate is circular...

Neoclassical pitcher in blue Jasperware. Decorated with sprig molded accents and cherub scenes. The interior is glazed. There is wear to the handle with some loss of color. The pewte...

Bing & Grøndahl after Thorvaldsen. Antique biscuit wall plaque with putti in relief, 1870s-1880s. Measure: Diameter 32.5 cm. In excellent conditi...

This is a good set of six porcelain plates, all hand painted and gilded, attributed to the Davenport Company of Longport, Staffordshire Potteries, England, dating to the 19th century...

A delightful cream pail in black basalt, decorated with Poor Maria and Charlotte at the Tomb of Werther. The associated makes it very special indeed.

A rare Wedgwood copper dipped jasperware jug with classical figures dating from the early to mid-19th century. The ceramic jug has a copper coating over...

This is an excellent example of a porcelain Spoon Tray made by the Caughley factory, Shropshire, England. The Spoon Tray is made of porcelain and is vert...

Globular teapot in black basalt, painted with matt white, red and ice blue. Judging by the shape and general appearance, probably by Spode, in imitation of Wedgwood designs of the pe...

Antique Porcelain Plate by Ernst Wahliss Depicting The Racket Court, Hong Kong Austrian, late 19th century Dimensions: Height 2cm, diameter 2...

A beautiful chinoiserie ceramic pitcher in blue and white. This piece has a lovely craquelure finish. A floral design of birds and stylized flora and fauna are painted throughout in ...

A lovely crimson jasperware jug by Wedgwood, featuring an applied white jasper neoclassical decoration of acanthus leaves and grapes bordering the rim. ...

This is a very decorative, Imperial Stone China (ironstone), large deep plate or soup bowl by John Ridgway, dating to the William IV period of the...

A set of 10 ceramic plates by Gotham by Theodore Haviland. Each saucer is in a light cream white hue, and features a thick gold painted band around the center as well as on the inter...

This is a good ironstone (stone china) Desert Dish, in the Chinese Landscape pattern, circa 1818, which we attribute to the factory of Hicks and Meigh of Shelton, Hanley, Staffordshi...

Beautiful fine bone China teacup with gold detail, bold blue, and a hidden red rose inside the cup. This delicate ceramic piece is a lovely piece to ...

Pre 1900s porcelain ceramic oyster plate in crisp white, brown and gold. Beautiful serving piece with 5 inventions for serving oysters. Each divot is decorated a an oyster (or muscle...

Cyclicrical tea canister in engine-turned black basalt, with raised decoration. Unmarked, but the quality and finial clinch the attribution.

This is a late 19th century Mason’s ironstone large Dinner Plate in a striking heavily gilded pattern. This large plate is decorated in a bold chinoiserie pattern that is very simil...

This is a very good early Mason's Ironstone pottery desert plate or dish in the Cross Fence gilded pattern, produced by the Mason's factory at Lane Delph, Staffordshire, England, cir...

Covered bowl, perhaps for soup, in black basalt with ‘Etruscan’ encaustic painting.

Rare B&G (Bing & Grondahl) large biscuit plate by Thorvaldsen, 1880s. In perfect condition, 1st. factory quality. Measures 29 cm.

This is a rare early 19th century ironstone plate made by Stephen Folch of Church street, Stoke, Staffordshire Potteries, England between 1819 and 1829. The plate has a light grey...

An extraordinary navette, or cream boat, in black basalt with encaustic decoration. Complete with matching ladle: a rare find indeed.

This a Limoges Camille Tharaud pate sur pate blue ceramic plaque depicting a mythological figure-Sphinx who is sitting over a lion. She is holding with one hand a large cornucopia...

This is a superb Ironstone Jug or Pitcher made by the English Mason's Ironstone factory, dating to the late Georgian period, circa 1825. The jug shape and pattern colorway are both ...

These are pair of porcelain blue and white, hand gilded tea cups made by Miles Mason (Mason's), Staffordshire Potteries, England around the turn of the...

A circular cream round commemorative plate of President Nixon. Reads Richard M. Nixon 37th President. Gold detail around the edges, with the image of P...

This is a rare early 19th century ironstone desert plate made by Stephen Folch of Church street, Stoke, Staffordshire Potteries, England between 1819 and 1829. The plate or Dish/b...

An exquisite and quite rare pair of 19th century English, Staffordshire, Jasperware blue ground Wedgwood vases with neoclassical subjects on rounded plinths, stylistically attributed...

A pretty porcelain white saucer with blue and gold detail by Noritake. This beautiful plate has a painted blue and gold rim with sprays of flowers in varying hues of blue at the center. Two gold decorative flourishes adorn the dish in between the blue bouquets. Bottom Reads: Noritake China...

A striking antique porcelain saucer from the Sichuan Province in China. This lovely piece depicts still life scenes of mountains and botanica...

This is a good Mason’s ironstone large dinner plate produced at the time when Mason's was owned and controlled by George L Ashworth and Brothers after the bankruptcy of C J Mason in ...

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...

Wedgwood, England. Three bowls/dishes and a flowerpot in black, green and blue stoneware with classicist scenes in white. Early 20th century. The flower...

This is a beautiful plate in the Bow Pot pattern, produced by the Spode factory and made of a type of earthenware pottery called Pearl-ware, in the early 19th century, circa 1820. ...

The origin of Sargadelos Ceramics goes back to the early 19th century in Spain's northern province of Galicia. Industrialist Antonio Raimundo Ibáñez had already established a thriving metalworks foundry in the rural Santiago de Sargadelos parish, when in 1806 he expanded his business into chinaware manufacturing when conflicts with Great Britain ceased the importation of the popular, bright white “Bristol...

This is a beautiful bowl or deep plate produced by the Spode factory and made of a type of a pottery called Pearl-ware, in the early 19th Century. The pattern is called "Chinese Flo...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

This is a very attractive Mason's Ironstone large Dish made during the mid-19th century, when Mason's was owned by Ashworth Brothers, circa 1865. The dish has a good Chinoiserie pat...

A fantastic antique floral ceramic dish, begging to be displayed at a chic dinner party. A floral bouquet of pink and green takes center stage at the middle on a crisp white backgrou...

Pair of vases by Antonietta Mazzotti Emaldi, 2018, Glazed earthenware (majolica) and 24ct gold, entirely handmade, unique pieces. Antonietta Mazzotti (Faenza, Italy 1950) attended the Istituto d’Arte per la Ceramica in Faenza and opened her first workshop in her hometown taking part in group and solo exhibitions at international level. In 1976 she has transformed the neo-gothic greenhouse of Villa Emaldi in her workshop. Antonietta Mazzotti has worked for some of the most important international museums and has received several important recognitions worldwide. Her works have been featured in major Italian magazines of interior design and she has acquired international visibility being featured in major international press publications, such as The New York Times. She still lives and works at Villa Emaldi in Faenza where she continues her research on historical decor...

Beautiful round figural and floral motif serving dish of Joséphine Bonaparte by famed porcelain maker PM & M Bavaria, Germany. Round in form, the d...

This is a lovely set of FOUR bowls or deep plates by Mason's Ironstone, England in the Chinese Dragon pattern, dating to the late 19th century, circa...

Royal Copenhagen relief by Thorvaldsen, 'day', biscuit. Late 1800s. Diameter: 26 cm. In perfect condition. 1st. factory quality.

A ceramic Crecent shaped dish with hand painted green, red and gold decorations. A lovely piece with felt pads at the bottom for protection of surfaces. Dimensions: 6.75" wide ...

Maiolica tureen “allo struzzo” (ostrich decoration) Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780 Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26) lb 4.78 (kg 2.17) State of conservation, a felûre consolidated inside with slight edge chipping restored. In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati. Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories. This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles. The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem. The lid is ribbed with a pear-shaped knob on top. The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...

Small blue and white decorative plate or saucer by Jonson Brothers. Circular in shape with pinched edges, this plate depicts a scene of Carisbrooke Castle England in 1792.

This is a miniature Mason's ironstone cup in the Japan basket pattern which we date to circa 1825. Miniature or toy items of Masons ironstone are rare...

Pair of antique English blue and white chinoiserie square bowls by Caughley, each one with scalloped edges with gilt borders. Unmarked, ...

This is a lovely set of four large bowls or deep plates by Mason's Ironstone, England in the Chinese Dragon pattern, dating to the late 19th century, circa 1900. The plates or bow...

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter lb 4 (kg 1.8) State of conserva...

Pair of ceramic planters. Attributed to Sarreguemines. France, late 19th century. Planters dimensions: 42 cm diameter, 36 cm height. Bases...

Chinese export platter. Mille fleur pattern.