Ceramic Ceramics

Purple and yellow chinoiserie lobed dish. Delft, 1680-1690 Dimensions: diameter 34,5 cm / 13.58 in. The lobed dish is composed of eight wide lobes and...

An Italian Baroque Castelli albarllo, also known as a pharmacy or drug jar. It held 'Benedict Laxat' listed as far back as Aristotle as a medication used in by midwives. Beautifully decorated with buildings in landscapes in the free, almost impressionistic style typical of Castelli Maiolica...

A very nicely decorated Japanese Porcelain dish in Chinese style. The central scene is of a busy pagoda garden, two elegant ladies. Condition 1 chip with line. Size 317 x 50mm ...

Pair of blue and white plates with flower vases. Delft, dated 1760. Mark: LV . A pair of blue and white plates with a wide flange, pai...

Red earthenware set of tiles (3) with an abstract design surrounded by curvaceous ornaments. A charming and inspiring piece of art that can be used as a m...

This is a hard paste porcelain coffee Can by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. The piece is well potted of hard paste porcelain on a low foot with a loop handle having rounded attachments. The cup is decorated over-glaze with hand painted pattern...

Lot of seven late 18th to early 19th century Chinese Export (Qianlong Period, circa 1780) porcelain pieces in an American federal style with blue and gold motifs and armorial crest c...

Antique 18th century Chinese plate.

Pair of Delft calendar plates in blue and white garden scenarie. March and April plates. These two plates were part of a 12 plate series of calen...

A very fine antique Chinese Qing large porcelain cylindrical mug hand painted with floral designs and probably dating from the latter 18th or possibly even early 19th century. The mu...

Polychrome chinoiserie lobed dish. Delft, 1680-1690 The lobed dish is composed of nine wide lobes around a nine-fold centre and is painted with a chinoiserie decor in purple, yellow and green. Two Chinese figures in an eastern landscape are depicted in the centre, one of them carries a banner. The landscape is framed within lines and a white band. The border is decorated with a continuous landscape with two reclining and two standing Chinese figures. A lobed dish of the same shape and design in purple, blue and green is in the collection of the Victoria and Albert Museum in London. The Museum of Fine Arts in Boston, Massachusetts holds a variant in blue and yellow. In the same museum are three lobed dishes, each with twenty-seven double lobes with chinoiserie landscapes in the same colour scheme of purple, yellow and green. In the second half of the seventeenth century many lobed dishes were painted with Chinese motifs, mostly landscapes with Chinese figures. The vast majority are in blue. Two- or multi-coloured chinoiserie decorations were very fashionable during a short period of time, predominantly in the 1680s. In addition to lobed dishes, they also appear on wine jugs, beer mugs, butter pots, covered spiced-wine bowls and dishes. Some of this Delftware is still wrongly attributed to a factory in the German town of Frankfurt, and sometimes it is even considered to be English. An excavated chinoiserie butter pot in purple, green and yellow, found in a cesspit in the grounds of the Porcelain Bottle factory, proves otherwise. A beer mug with the portrait of the Dutch prince Willem III...

This is a hard paste porcelain coffee cup, by New Hall, dating to the late 18th century George 111rd period, circa 1790. The piece is well potted on a low foot with a plain loop h...

This is a beautifully hand-painted Chinese porcelain blue and white Dish from the Qing, Kangxi period, 1662-1722. The dish is finely potted with an octagonal shape using a clear w...

A most attractive vase in Rosso Antico, decorated in black basalt with Arabesque on a dimpled ground. The colour of early Rosso is quite different to the 19th century orange body.

Dutch delftware charger, 1750-1800. The decoration is a stylised version of an oriental garden on 17th century Chinese porcelain. Dime...

This is a rare first period (or Dr. Wall) Worcester Coffee Cup, with a distinctive hand painted pattern, made of porcelain and dating to the 18th century, circa 1770. The cup is well potted with a grooved loop handle This delightful early Worcester Cup...

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.

This is an early porcelain trio comprising a vertically fluted coffee can, tea cup and saucer, all in a hand painted and gilded pattern, which we attri...

A stunning Spanish or North African faience deep bowl. 18th century. Well cared for with various old rim repairs typical of the form. Red ware base. 15 1/4" diameter, 4" height. We ...

19th century Italian Majolica dish with Renaissance figures Superb highly decorated Italian Majolica plate with hand a hand painted scene of Roman mythology; The abduction of Sabine...

A beautiful pair of Sevres Style cream cups, in the form of gilded Swans.

An excellent cider mug with oak leaf decoration, and a silver rim, most likely Sheffield plate.

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

Polychrome chinoiserie bowl. Delft, 1710-1730 This polychrome bowl stands on a high foot and has three extra feet. The two angular handles are ver...

Scandinavian green ceramic bowl serie Aluminia Marselis designed by Nils Thorsson for Royal Copenaghen, Denmark, 1950s.

18th century Portuguese "Vase" Measures: 126cm x 126cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a pain...

This large, beautiful and bold blue and white platter is Japanese Imari from the Edo period (18th century). This impressive early porcelain Imari ware is saturated in rich cobalt blue underglaze hand painted in an unusual cross pattern. It features four round medallions of lotus flowers and landscape vinettes and finishes in blue rimmed scalloped edges. A hand painted leaf design is repeated on the underside. Condition: Very good condition especially for it's age. One tiny chip is touched up. Nice wear and firing stilt marks on back. Measurements: 16" diameter x 2" depth Weight: 6 lbs. Experience and expertise - Clune Art And Antiques Studio.

An Iznik pottery dish made in the first half of the 17th century and decorated with chrysanthemums and tulips. The rim features the rock and wave pattern. Under the direction of O...

A most attractive and unusual teapot in black basalt, moulded with basket-weave decoration and interlocking arches. Exhibited: Wedgwood, Master Potter to the Universe, Roche Foundat...

Maiolica puerperal cup Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures: 4.3 x 6.8 x 5.3 in (11 x 17,5 x 13,5 cm) Weight: 0.78 lb (358 g) State of conservation: some closed pass-through fêlures on the cup, barely visible on the outside. Some use chips on the edge of the lid, two of which are more marked. From about the mid-sixteenth century, the puerperal soup tureen or puerperal cup became one of the most popular wedding gifts in central Italy. As an auspicious symbol, it replaced the birth table (“desco da parto”) which, on the occasion of high-ranking marriages, from the thirteenth century, had been painted by famous artists, especially in Tuscany. In France this same tureen is called "écuelle de mariée", as it is given to spouses as a sign of fertility. During the eighteenth century this custom spread even outside Italy to all social levels. Depending on availability and rank, it was made of different materials: precious metals, maiolica, porcelain, glass, pewter, etc. Beginning in the mid-twentieth century, the custom of this symbolic homage gradually disappeared, although famous designers such as Gio Ponti and Giuseppe Gariboldi, even as recently as the 1940s, revisited a model of a small puerperal soup bowl for the Ginori and, also in Italy in 1940, in a national competition for young potters, one of the themes of the test was indeed a modern model of a puerperal cup as an auspicious gift. This particular cup was also called a "service cup" or "puerperal vase" or "stuffed cup" - the windows were sealed with straw to prevent drafts of air for women in labor. In the eighteenth century the line of the puerpera cup was simplified, so much so that it took the form of a small tureen with two handles - the typical broth cup...

Assortment of dishes Lombard manufacture 1770 – 1780 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...

These are Four Delft ceramic wall tiles mounted on a modern wood frame, all with a blue and white hand painted flower pattern, made in the Netherlands during the 17th century, circa ...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern No. 20, dating to the late 18th century, circa 1790. The bowl is well potted on a mid depth foot. The decoration is hand-painted using bold enamels in a charming chinoiserie figure pattern, number 20, showing a Lady with a parasol being presented a flower by a young man, all by a fence in a garden setting. The inner rim has a repeated border pattern and the inside base has a hand painted flower bud sprig which is worn and faded. This is a recorded New Hall pattern No 20. Overall a charming 18th Century Bowl...

Lovely set of 5 antique earthenware tiles with an elegant pheasant surrrounnded by nature. Strong symbol of luck, imperial bird, the pheasant is associated with immortality and was often used as sepulchral symbol in early Christian art...

Purple and white plaque with figures in a landscape. Utrecht, circa 1760. Mark: Le J Lozenge-shaped purple and white plaque with a conversing couple in a landscape. In the foreground a man and a women with a bare bosom sit on a river bank, behind them stands a tree leaning to the left. A church tower and some houses are depicted on the other bank and a boat sails on the water. The molded and raised rim is painted with a continuous branch of leaves, the back is glazed white. The woman with bare bosom shows that a pastoral scene is depicted. The man and woman are possibly shepherds, although their characteristic staff and sheep are lacking. Pastoral literature enjoyed considerable popularity in the seventeenth and eighteenth centuries and themes from it were frequently used for paintings, drawings and prints. The painter must have taken such a print as a model. The Le J signature is probably of the tile painter and has not yet been identified. Besides the mass production of tiles, the tile factories in Utrecht in the eighteenth and the first half of the nineteenth centuries also manufactured other items on a small scale such as plaques, tobacco boxes, tea-stoves and shoes. Plaques form the largest part of this incidental production, and can clearly be distinguished stylistically and technically from Delft examples. Stylistically they are related more to tiles from Utrecht. The layered structure of the foreground with rocks and low shrubbery is derived from tiles with landscape, shepherd and biblical decors. The same also applies to the (leaning) tree, a typical Utrecht feature. The spiral cloud motifs are painted on Utrecht tiles as well. There are also important differences in production techniques. Delft plaques...

18th century Portuguese "Vases" Measures: 312 cm x 210 cm Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a painting ...

A large 18th century French Rouen white glazed cul noir earthenware platter with scalloped edge, hand-painted with blue decorative banded border and a fruit basket in the center. Rob...

18th Century Portuguese " Angels " Measures: 84 cm x 70 cm 30 Tiles. Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a...

Biblical plaque with Moses and the bronze snake in blue and white and yellow. Delft, 1740-1760. The lozenge-shaped plaque has a molded and raised rim made up of scalloped ribbons alternating with shells. The plaque is painted with the biblical theme of Moses and the bronze snake. The painting is executed in blue, with only the bronze snake on the pole and three poisonous snakes on the ground accentuated in yellow. In the foreground the Numbers bible book reference ‘Num. 21 Vs 9’ is reserved in a small cartouche. The biblical story is at both sides bordered on either side by floral ornamentation and shells. The scalloped ribbons are painted with foliate scrolls. Two holes for suspension are pierced just below the upper shell. The reverse is glazed. In the story of the Old Testament, Moses led the Israelites out of Egypt...

18th century Portuguese "Knight" Measures: 98 cm x 112cm 56 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a pa...

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

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.

This is a good, early hand-painted English coffee can, from the late George-III period, of the late 18th Century, circa 1795, which we attribute to ...

The molded dog is sitting on a rectangular base and has its head raised and turned, and his snout opened. He wears a red-dotted collar. The dog is painted in blue, the stand in blue ...

18th century Portuguese " Angels " Measures: 364 cm x 252 cm 439 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...

A Superb Meissen Marcolini tulip in a tub, Circa 1780. Fine quality Meissen porcelain model of a flowerpot, modelled as cylindrical tub enhanced in gilt with 2 mythological masks on...

An assembled pair of Wedgwood cress or strawberry dishes, Two Piece; Footed Pierced Dish with Stand. Late 18th c. This would have been used to serve watercress or strawberries after ...

A pair of Japanese decorative ceramic plates, made in Arita for export market circa 17-18th century. The cabinet-display dishes feature lotus-petal gilt rim and a lavish tricolor ene...

A rare and utterly charming English Staffordshire blue and white glazed ceramic dog whistle. Showing the pooch standing alert with tail up and ears pricked...

18th century Portuguese "Spring " Measures: 112 cm x 89 cm 48 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were a ...

18th century polychrome Delft oil and vinegar stand in Imari flower decorations.

Blue and white chinoiserie plaque. Delft, 1740-1760. This octagonal plaque has a thin, straight, upright rim with indented accolade-shaped corner...

18th century Portuguese "Troubadour " Measures: 140cm x 108 cm 80 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it wer...

Late eighteenth century Chinese Export Porcelain handleless tea bowl and saucer referred to as "Chinese Imari". Hand decorated in iron red, underg...

Blue and white chinoiserie plaque. Delft, 1740-1760. The oval blue and white plaque has a molded rim with four raised, oval cartouches. At the to...

This elegant antique jar was hand-crafted in Spain circa 1760; round in shape with narrow base and neck, the vessel features a rolled rim at the top accented with a mustard color gla...

18th century Portuguese "Citywide " Measures: 168cm x 126 cm 108 tiles Important note: This panel is with the tiles restored 18th century. The panel is delivered as if it were...