18th Century and Earlier Ceramics

Lovely rectangular earthenware tile representing a woman's face surrounded by ribbons and folliage. An exquisite antique with a lot of character that draws the eye and makes you wonder.

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Hunting Scene" Measures: 100cm x 88cm 49 tiles Important note: This panel is with the tile...

A 6 antique earthenware tiles set evoking a delicate sun-shaped figure surrounded by abstract shapes. A beautiful decorative set that can be used on a chimney or a wall - one of many...

Early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. Also separately available, please reach out t...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Panel "Battle Scene" Measures: 154cm x 100cm 77 tiles Important note: This panel is with th...

A wonderful 18th century Nevers polychrome plate featuring a bird emerging from its cage.

This exquisite Wedgwood sauceboat is crafted of tricolor jasperware, one of the firm's rarest creations. The sauceboat's classic form displays a be...

A timeless, Classic French 18th century provincial pottery / ceramic urn or pitcher with beautiful, natural time worn patina and a stunning form featuring three dramatic handles and ...

This is an antique personal tea set. A Chinese, Qing dynasty ceramic bowl and saucer set, dating to the Georgian period, circa 1800. Delightfully original set, with charming blue a...

Set of 4 early Arista y cuenca tiles made in Toledo. Tile decorated in renaissance with stylized flowers, probably made between 1550 and 1575. condition: 3 are in very good conditi...

18th century Chinese Export Famille rose tureen with lid & underplate.

Maiolica plate (tondino) Urbino district, Casteldurante or Pesaro, 1533-1555 It measures: diam. 7.48 in (19 cm), foot diam. 2.75 in (7 cm), height 1.0...

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

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 rare, large English pearlware or Staffordshire pottery cradle. Decorated with an overall basketweave pattern and blue highlights, circa 1800. Measures: Length ca. 5 5/8 in...

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...

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...

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

18th century Spanish Ceramic plate with Architectural scene.

A fine example of a German Baroque tobacco jar with original pewter lid. The rich ocher salt glaze decorated with raised floral motifs. A handsome addition for the collector of pipes...

17th century Spanish Talavera pharmacy jar in blue glazed ceramic.

17th Century Spanish Talavera pharmacy jar in blue glazed ceramic.

Immerse yourself in the artistic legacy of Catalan artist Diaz Costa with our vintage hand-painted ceramic plate artwork, circa 1960. This exquisite piece captures the essence of mid...

Large Hispano-Moorish earthenware plate, 18th century Diameter: 41 cm Good condition

This sleek, black-glaze perfume pot dates to the 5th century BC and exemplifies the elegance of Athenian ceramic production in Ancient Greece. With a gently rounded body, and flared ...

Pair of Savona platters, the serpentine floral borders around the classical scenes. Tower mark on reverse; two hanging holes.

A late 18th or early 19th century English Prattware baby's cradle in a rare large size. Decorated with an overall basket weave pattern and a yello...

This is a beautifully hand-painted Chinese porcelain Dish, dating to the middle of the 18th century, Qing, Qianlong period, circa 1750. The dish is circular, well potted, with rib...

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 rare and stunning example of neo-classical decoration on an ordinary househuld object: a teapot. The decoration is restrained yet lively, and makes excellent use of classical figur...

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

Antique Delft tin glaze charger, circa 1760-1780.   

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

This is a good porcelain TRIO of a Tea Cup, Coffee Cup and saucer by the Derby factory, made during the George 111rd period, circa 1795. The pieces are well potted in the Hamilton...

This is an early porcelain trio comprising a coffee can, tea cup and saucer, all in gilded patterns, which we attribute to Coalport, John Rose & Co., Shropshire, England, made at the...

This is an antique piece produced in Tuscany at the end of the 18th Century following the Neoclassical style, mixed to the antique craftmenships of the Tuscany artisans which used ma...

An antique Italian hand painted Savona tin glazed syrup jar inscribed AQUA DE PIANTAGNE dating from the early 18th century, the rounded earthenware jar stand...

Very nice and richly decorated plate/dish from the Edme Samson factory. Made after example of Yongzheng/Qianlong period⁠ Chinese porcelain. Condition Perfect. Size 23.5x2.8CM Diamet...

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...

16th century Spanish Moorish tile of the so-called ‘Arista’ technique. Good condition; some chipping to the edges, some wear to the glaze. No restorations

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 ...

Albarello wand cover with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N° 49" 18th century. Height: 15 cm incl lid, diameter ...

A large 18th century French Rouen white glazed earthenware platter with scalloped edge, hand painted with blue and red decorative banded border and a stylized fruit basket in the cen...

This beautiful and impressive Rouen earthenwear in the shape of a young bacchus seated on a blue barrel holding a bottle in his right hand and a glass in his left hand. Polychrome de...

Meissen K.H.C. Royal Saxon Court Pantry Red Dragon Charger A Meissen porcelain charger in the Red Dragon pattern marked with blue crossed swords for Me...

Experience refined craftsmanship with this captivating set of two plates by Marc Saint-Seans, originating from 1950s France. Each plate is graced with the artist's signature and stam...

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...

The ship is flying the flag of the last German Emperor of the Holy Roman Empire, Francis II, Circa 1775-1790. The rare Wedgwood creamware plate...

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

Ancient rare Kashan lustre bowl 12th century Islamic pottery art. This beautifully decorated and well cared for lustre bowl is one of the few examples still in existence. It was made in Kashan in the 12th-early 13th century, Seljuk- Atabeg period. Kashan was an important center for the production of high quality pottery and tiles. Lustre ware was among the most innovative development of Kashan potters, who mixed silver sulfides and copper oxides to create a shiny copper toned metallic sheen on the surface of glazed earthenware bowls, plates and vessels. It was an expensive and unpredictable lustre technique. Kashan lustreware pottery can be found in the collections of the British Museum and the Hermitage Museum. Literature: O. Pancaroglu. Perpetual Glory. Medieval Islamic Ceramics...

A antique English prattware model of a cockerel or rooster. With mottled decoration in ochres and yellow. The base bears an old partial D. M. ...

Antique Dutch delft ceramic tile - hand crafted - hand painted cobalt blue glaze - unsigned - Holland / Netherlands - 17th century. Contained in a professional contemporary metal ...

This is a very fine hard paste porcelain Tea Bowl and Saucer by New Hall, dating to the 18th century, George 111rd period, circa 1785. Both pieces have 24 vertical flutes. Both pie...

An 18th century Wedgwood creamware double salt cellar. The form consisting of two basket (or pail-form) bowls joined at the rim and connected by ...

Largest collection of Portuguese tiles in the world 18th century Portuguese "Troubadour" Measures: 252cm x 86 cm 108 tiles Important note: This panel is with the tiles restored 18...

Sharing with you this very nice example of 18th century Mandarin ware. Dating to around 1740. Absolutely top quality scene of the emperor and Falcon Hunt. The pictures show a round...

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 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.

This is a late 18th century porcelain Tea Cup and Saucer in pattern 128 by the Derby factory, Circa 1795. This is a rare Derby pattern that we have not come across or seen previou...

WHY WE LOVE IT: One of our absolute favorites! A pair of 18th-century creamware flower holders complete with stands and covers made in England by Neale & Co. was one of the finest 18th century English potteries. The entire composition is classically elegant. The flower holders are decorated with turquoise swags and delicately painted flowers. The tops are pierced for flower stems. The handles are made in a pair of entwined snakes painted in turquoise with bright red mouths. This flower holder could be used with the tops for individual stems or without the tops for a bouquet. All parts of the set have survived and remained together for the past 200 years. History of Creamware: Creamware is the name given to a type of earthenware pottery made from cream-colored clays from Dorset and Devonshire combined with calcined flint. Creamware was first produced in England sometime before 1740. Foremost of the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. He produced a wide variety of creamware. The young Josiah Wedgwood was in partnership with Thomas Whieldon from 1754-1759. When Wedgwood left to set up his own business, he immediately directed his efforts to develop creamware. Many of the Staffordshire Potteries, especially Neale & Co., learned from Whieldon and Wedgwood and developed their own excellent creamware products. Dated: 1795 to 1810 Hanley Staffordshire...