18th Century Ceramics

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

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.

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 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 well...

A good rare Prattware pottery model of a baby's cradle. Decorated with orange and blue intersecting circles throughout the body and embellished ye...

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...

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...

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

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...

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...

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...

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

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...

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...

A rare and unusual Chinese Qianlong porcelain plate hand decorated in puce with a floral border and with small insects around a central floral design. The plate has a stained rim and has various paper labels to the base establishing its provenance. Provenance: from the Helen Espir collection of fine Chinese porcelain and originally supplied by renowned London Asian art dealers...

A Chinese Export Porcelain saucer dish and Cup after the ‘Dame Au Parasol’ design by Cornelis Pronk (1691 – 1759) commissioned by the Dutch East India Company (Verenigde Oost-Indische Compagnie or V.O.C.) in 1737. Cornelis Pronk (1691-1759) was an accomplished painter and draftsman who was commissioned by the VOC in 1714 to provide designs for porcelain manufactured and painted in China. Decorated in underglaze-blue with ‘La Dame au Parasol...

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...

A sublime Chinese celadon glazed shallow dish or charger, Qing Dynasty, mid 18th century, China. Beautifully glazed, with a carved decoration of a group of lotus, leaves, stalks and blossoms. The interior wall with radiating S-shaped lines, a motif that is repeated on the wide rim of the dish. The back undecorated. Glazed all-over with an even bright celadon glaze, with some attractive areas of crackle. Ex. Butterfield's, San Francisco. Plate stand for display...

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...

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...

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...

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 ...

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...

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 ...

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...

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

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 very fine and rare German Nurenberg Delft style moon flask hand painted with a figure by Andreas Kordenbusch dated 1726. The lightly and finely potted earthenware flask stands rais...

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...

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 ...

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...

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

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 ...

A pair of Old Paris porcelain potpourri urns circa 1790 with original lids, hand painted with genre scenes depicting 18th century life, lion mask handles, gilt decoration and a pink ...

18th century Portuguese "Vase" Measures: 130cm x 130cm 81 tiles Important note: This panel is with the tiles restored 17th century. The panel is delivered as if it were a painting ...

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...

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...

Italian, late 18th century watch holder with Father Time. The robed figure of Father Time is standing on a raised plinth with rocks and a koi fish or carp....

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. ...

Two small dishes Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome majolica They measure: diameter 7.08 in(18 cm) Weight: 0.37 lb (170 g) State of conservat...

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

With domed cover with gilt lemon finial on a conforming base with two handles.

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

With covers and liners. Marked with under glaze blue shield mark.

This is a pair of English creamware dishes from the 18th century, created around 1780. The plates display a lovely chinoiserie scene in the Meissen style, with women selecting access...

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

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 Chinese Porcelain small Jug, with unusal lid with holes in it. It is called a Sugar Caster. The lid can be attached to the jug by turning it and than you can pour either sugar or s...

Very nicely painted dish with Cuckoo in the house Period: Kangxi⁠-Yongzheng Country of origin: China⁠ The lower half of the design is well known in Holland as the “cuckoo in the hou...

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...

Coffee pot Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome maiolica It measures: 7.87 in x 6,49 x 5.11 (20 cm x 16,5 x 13); weight 1.23 lb (561 g) ...

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...

A Chinese Export Porcelain saucer dish after the ‘Dame Au Parasol’ design by Cornelis Pronk (1691 – 1759) commissioned by the Dutch East India Company (Verenigde Oost-Indische Compagnie or V.O.C.) in 1737. Cornelis Pronk (1691-1759) was an accomplished painter and draftsman who was commissioned by the VOC in 1714 to provide designs for porcelain manufactured and painted in China. Decorated in underglaze-blue, iron-red and gilt with ‘La Dame au Parasol...

Hand-Painted ceramic jug with lead lid, dated from 1762, initials G. and R. and signed at the bottom, with scenes of windmills and a house.

Two large French Faience dishes and two smaller from the city of Strasbourg in hand painted floral decoration. They are approximately from around...

Set of 4 18th Century Chinese Export Imari Porcelain Chargers in 2 sizes. (smaller pair has some repairs) 15? Diameter / 12.5? Diameter.  

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...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " Countryside Scene" Measures: 170cm x 128cm 108 tiles Important note: This panel is with th...