18th Century and Earlier Ceramics

This is a beautifully hand painted large Chinese export bowl from the mid 18th century, Qing dynasty, Qianlong period, 1736-1795. We date thi...

Superb Rouen Wyvern platter ("à la Guivre") from 18th century France. Exquisite and rare museum quality piece. Decorations of a parrot carrying a branch, butterflies, an aquatic land...

Delft charger, possibly Liverpool, painted in blue with a butterfly, floral sprays and sprigs, 18th Century. diam. 13.375 in.

Stoneware bowl, enameled; Made in syria Circa 15th and Earlier. Green and Yellow colors. Hand painted Pottery.

A very good Porcelain Coffee Can with a ring handle, hand decorated with an orange and gilt pattern by Worcester during the Barr period, fully marked to...

Delft charger, London, painted in blue with a house in a stylized landscape, 18th Century. diam. 14.25 in.

A pair of Yongzheng period famille rose plates, Chinese, 1722-1735. Fine example with qilins among peonies. Some rubbing of the gilding & enamels. Mid-Qing dynasty for export. Minor ...

This is a beautifully hand painted example of a Chinese porcelain 18th Century plate, which we date to the Qing, Yongzheng period (1723-1735) or v...

This is a very good condition hand-painted Chinese Export porcelain plate, in a typical hand painted pattern and dating to the second half of the 18th Century, Qing Qianlong period, ...

One set of six Leeds Creamware Reticulated Plates, 18th century, pierced with diamonds, dots and lozenges, along with molded beadwork diameter 9 ...

A Safavid blue and white pottery dish, of shallow circular form decorated in underglaze blue with scattered rocky outcrops, within a panelled ri...

Proskau Faience Tompe L'oeil Jug in the form of a Parrot, Circa 1770. The European tin-glazed earthenware tromp l'oeil jug is in the form of a parrot with a removable head forming...

Six maiolica “ambrogette” (tiles) Rampini manufactory, painter probably Siro Antonio Africa Pavia, 1693-1704 a) 6.88 x 5.51 in (17.5 x 14 cm); 0.55 lb (252 g) b) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) c) 6.88 x 5.70 in (17.5 x 14.5 cm); 0.54 lb (245 g) d) 6.81 x 5.51 in (17.3 x 14 cm); 0.50 lb (230 g) e) 6.88 x 5.51 in (17.5 x 14 cm); 0.50 lb (229 g) f) 7.08 x 5.70 in (18 x 14.5 cm); 0.51 lb (233 g) State of conservation: intact. These six ”maiolica fina” small “ambrogette” belong to a family of ceramic works considered among the finest produced between the 17th and 18th centuries. For a long time, this type of maiolica was attributed to the Venetian village of Angarano, but later it was definitively attributed to the pottery factories in Pavia. A fundamental study ascribed this production specifically to Pavia through an analysis of Lombard collections and a comparison with archaeological remains found near the two main manufacturing sites in the city. (E. Pelizzoni - M. Forni - S. Nepoti, La maiolica di Pavia tra Seicento e Settecento, Milano 1997). The six small oval tiles have rounded edges and are decorated with a historiated motif. They were created using high-fired polychrome technique, with a predominance of cool tones and a dominance of gray and blue, interspersed with manganese, citrine yellow, orange-yellow, and green. The six small “ambrogette” are characterized by the same stylistic features, with a similar decorative design. The first tile (a) depicts a female figure, holding a stiletto and sitting near a pedestal supporting a relief-decorated baluster vase. Behind her, a child is holding a chalice, while through the arches of a portico, a glimpse of a mountainous landscape can be seen in the background. The female figure could possibly be Lucretia, an example of virtue in ancient Roman culture. In the second “ambrogetta” b), the Biblical episode of Judith and Holofernes is depicted through canonical iconography: the decapitated body of Holofernes lies on the bed in the background, while the protagonist, Judith, is seen placing his head into a sack held by a maidservant. Through an archway a shining slice of the moon gives the perception of nighttime. Surprisingly, within the narrative, there is the presence of a basin in the shape of a large shell, closely resembling the products of Pavia's factories. The third small plaque (c) depicts a female figure standing on a plinth and framed by an architectural arch with a vast mountainous landscape in the background. The woman, with her breasts exposed, is accompanied by two children: one approaching her as if wanting to be picked up, and the other seated with an apple in his hand. The protagonist lends herself to different interpretations: perhaps she represents Rea Silvia with the two twin founders of Rome, or perhaps she is an allegory for the Pietà, a common theme depicted on maiolica. In the fourth tile (d), three characters are depicted near a column. The main figure is an old man with a sad expression, holding a cup, while a woman, wearing a turban on her head, also holds a cup in her right hand and a pitcher in her left. A second woman with her hair bound holds another pitcher behind the old man: at his feet a traveller's bag can be seen, along with some apples and a slice of cheese on a rectangular base. It is likely the sad Biblical episode of Lot and his daughters...

English Blue Ground Pottery Mocha Mug Late 18th Century The blue ground slip tankard with a white handle with leaf terminals has two bands of molded checkerboard black and white ba...

This is a hand painted blue and white Chinese porcelain plate, dating to the second half of the 18th century, circa 1770, Qing dynasty. The plate is well potted, and has been hand...

A large and highly impressive antique salt glazed Bellarmine dating from the 17th or early 18th century. The stoneware Bellarmine stands on a narro...

This is a beautifully hand painted Chinese Export porcelain Plate or Bowl from the Qing, Kangxi period, 1662-1722, fully marked to the base with the Kang...

18th century Continental, most likely French, Faience Earthenware Serving Bowl with fluted sides; hand painted vignette of a chinoiserie character with an umbrella flanked by images...

Peut-être 15e-17e s. objet de fouille du Niger (Afrique), belle engobe en argile rouge avec bandes incisées, col haut se terminant par une lèvre évasée, bel exemplaire. Bel objet décoratif...

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...

Crafted by Wedgwood, this exquisite and rare assembled coffee cup and saucer set are comprised of the firm’s famous pale “Wedgwood blue” jasperware so prized by collectors and connoi...

This is a hand painted Chinese export bowl from the late 18th century, Qing dynasty, Qianlong period, 1736-1795. We date this piece to...

Dr. Wall Worcester oval dish, this first period Dr. Wall dish has a scalloped shape, the rim is gilt along with gilt decoration in the body, below the rim is a cobalt blue border, ...

This pair of blue and white porcelain saucers was made by Caughley in England circa 1785. Painted in underglaze blue, they show a lovely chinoiserie scene of a mother and son in a lu...

A lovely pair of Chinese export famille rose enameled porcelain armorial plates, mid 18th century, China. The plates of unusual octagonal form with scalloped corners. The center of ...

This is a hand-painted Chinese Export Kraak porcelain blue and white Side Plate or Dish, which we date to the Ming, Wanli period,( 1573-1620 ), dating to the early 17th Century. T...

This is a beautifully hand painted Chinese Export porcelain Plate from the Qing, Kangxi period, (1662-1722), circa 1700. The plate is of large dinner plate size with a 10 inch di...

This is a very old interesting provincial Chinese stoneware Celadon Jar, probably Longquan, with fluted or ribbed decoration, which we date to the Ming Dynasty, between the 14th and 16th Centuries. The Jar has an interesting circular baluster shape with an open everted rim and low foot. It has been decorated with moulded vertical flutes or ribs to its lower half. The base is concave and fairly deep. The Jar has a mossy-olive green colour having a celadon glaze which runs from the base to the upper rim as it would have been glazed upside down, with some glaze around the top section of the inner rim. Unglazed parts fire to a terracotta brown colour at the rim, lower body and the foot rim. The piece is unmarked but for similar pieces see the superb book: Chinese Ceramics by He Li published by Thames & Hudson, 1996; pages 164 to 184. NOTES Longquan is a city in South west China. These wares were produced over a long time period from 959 to 1550; which covers the Northern Song...

Meissen teapot decorated with countryside and riverside scenes populated by traveling figures and framed by raised and gilt foliage designs against a pastel green background embellished with floral motifs and raised foliage designs. Spout and handle feature gilt accents and foliage designs and the lid is finished with a floral design in high relief and two scenes of figures in the countryside. Marked on underside with blue crossed swords hallmark. Provenance: Collection of Martin and Helene Schwalberg, owners of The Meissen Shop founded on June 23, 1978, on Worth Ave...

Chinese Export Porcelain Hunt Pattern Punch Bowl. Late 18th century. Restorations. 4.75” h. x 11.25” diam.

Blue and white bowl Delft, 1690-1710 The bowl is painted on the outside with a continuous garland of flowers under a scroll border. The inside is boldly painted with a flying bird u...

A gorgeous pair of 18th century Chinese Export porcelain plates decorated in stunning famille rose enamels, Yongzheng Period, circa 1730, China. The small plates decorated in bright and bold famille rose enamels, with pink dominating the color palette. The center of the plates featuring large floral sprays featuring magnolia and peony blossoms among other flowering plants. The rims of the plates with alternating half blossoms of pink magnolia and pink lotus against a dense diaper ground. Gilt painted ribbons scroll around the rim and down the cavetto, holding peaches and Daosit emblems, including castanets, a flute, a drum, and a ruyi scepter...

French Faience Figural Jug the unglazed underside with the 17th-century mark "F.C", possibly Marseilles, in the form of a woman seated upon a grassy mound, polychrome painted with a ...

Pair of blue and white chinoiserie lobed dishes. Delft, 1680-1700 Dimensions: diameter 30 cm / 11.81 in each. The lobed dishes are composed of eight wide and twisted lobes and are p...

A fine antique Islamic pottery fragment. Perfect for the Kunstkammer or curio cabinet. Mounted on a wooden plinth. Bearing stickers to...

This is a good Chinese porcelain circular deep plate or soup bowl made for the export (Canton) market, during the middle of the 18th century, Qing-Qianlong period. The plate is we...

Rare pair of 18th Century Dutch Delft Chargers, stylized blue and white floral decoration with yellow rims. 13.74” diam, 2” h.

A fascinating Japanese coffee pot and collectors item by Samson Paris. Material: Ceramic, porcelain Style: Japanese, Oriental, Antique, Baroque Ori...

Pair of 18th century East India Company famille rose porcelain plates with a polychrome and gilded decor of flowers and chrysanthemums. Minor enamel w...

3-part core piece consisting of coffee pot, teapot and milk jug made of Terre de Namur ceramics. Terre de Namur The fine black faience is a particular product of Namur, Belgium, lat...

English Delft polychrome Delft Charger, having a parrot and other whimsical details, 18th century.

Tin Glazed Earthenware with vivid green and manganese brown decoration on buff clay with a clear lead glaze. Orvieto, Early 15th Century Circa 1420. Similar Example Found in The Louv...

French Faience Figural Jug the unglazed underside with the 17th-century mark "F.C", possibly Marseilles, in the form of a woman seated upon a grassy mound, polychrome painted with a ...

A rare 18th century Davenport platter, gilded with monogram, impress mark "Salopian" to the underside. From the Colonel James Reeter Collection.

Polychrome dish with a village view. The Netherlands, 1700-1750 The dish has a spreading, slightly raised rim and is painted in blue, purple, yellow and green with a simplified vil...

Three Chelsea-Derby porcelain pieces, circa 1775. Central urn cartouche flanked by musical instruments having a cobalt border and gilt accents. The two serving pieces with of scallop...

This is a beautifully hand painted Chinese Export porcelain Plate from the Qing, Kangxi period, (1662-1722), circa 1700. The plate is of large dinner plate size with a 10 inch di...

Pair of 18th century East India Company famille rose porcelain plates with a polychrome and gilded decor of basket, flowers and bamboos. Minor enamel ...

Set of five 19th century Hand painted delft vases including 3 Lidded Urns, also known as a garniture, elevate the blue & white art form to a special place, all having been hand-paint...

A small black ceramic figural stirrup vessel from Moche culture circa. 100-500 AD, located in nowadays Northern Coast of Peru. The hollow pot with the stirrup handle was sensitively molded and the surface burnished. The seated figure has his arms folded in front of his chest. He has prominently protruding ears and an expressive face. Provenance Available to the buyer: From an American collection. For a black burnished stirrup bottle, see item 1976.287.8, 64.228.35 in the collection of Metropolitan Musuem of Art, NYC. Many black portrait stirrup bottles are in the collection of Larco Musuem, Lima...

Nice hand painted Porcelain charger in the Imari palette using underglaze cobalt bleu and iron red. Japan, Edo period, late 18th century.

A Chinese export butter tub, made in the mid 18th century, salvaged from the Hatcher Porcelain Cargoes. Salvaged from the bottom of the South China Sea by Captain Michael Hatcher...

A fine, very large, 18th century English creamware pottery charger or wall plate. With a raised feather edge border. Simply a great antique English pottery...

Rare Rouen plate with beautiful blue decoration. France, circa 1750 Good condition.

This is a beautifully hand-painted Chinese Export porcelain blue and white, large deep plate or dish which we date to the Qing, early 18th Century, Yongzheng period, Circa 1730. The...

Rarely ewer in mixed clay from the Orleans factory of Grammont Ainé(1764-1832) End of the 18th century, around 1790 Very beautiful & rare zoomorphic ewer in earthenware mixed with ...

Pair of Chinese Jun ware bowls, Yuan dynasty (circa 1250-1400): Large Jun Yao, purple splashed stone ware bowl Yuan Dynasty, China. Well potted, on a neatly cu...

An 18th century Chinese Porcelain Famille Rose Mandarin 3-Piece vase Garniture Set. A status symbol between the 17th and 19th centuries, most garniture sets have by now been damaged ...