Late 18th Century Ceramics

Canton Famille rose 9.6 inch plate, ca. 1840, enameled with seven figures, the four males forming a band, one playing the erhu, one playing symbols, one playing the dizi (bamboo flute...

Urbino Ceramic Plate end 18th Century Ceramic plate from Urbino, King Solomon honors the Queen of Sheba, painted in multicolor, glazed, 31 cm diameter good condition

Circa 1780-1800 covered posset pot, Blue Canton, Chinese export. Double entwined handled. Porcelain. Very good condition & decoration. While the earliest pots had a spout, this form ...

Circa 1770 Delft blue & white plate. Central handled & footed basket vase overflowing with flowers, surrounded by alternating repetive floral vases & naturalistic motifs. Frits comme...

Simply painted European charger / plate / platter from the 18th century, likely Spanish. The tin-glazed, hand painted plate is decorated with blue and orange flowers surrounded by gr...

This is a good, very early, rare blue and white coffee cup in the "Boy on a Buffalo" pattern, probably from the factory of Josiah Spode, stoke on Trent, Staffordshire, England, made...

Ref: 126571 Pair of Delft tin glaze garlic neck vases. Holland Circa 1790 Measurements: H: 28.5cm (11.2") W: 12cm (4.7")

A large blue and white charger decorated with a Chinese inspired garden and fence vignette, and a repeating scroll pattern border with a brown glazed rim. An identical example is in ...

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...

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...

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...

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...

A rare Meissen Marcolini Porcelain Chinoiserie incense burner vase and cover, made for the Chinese market, circa 1800, blue cross swords and star mark, Pressnummer 58 A Museum Quality Piece. Painted in the sought after famille rose palette with sprigs of indianische Blumen and enriched in gilding, the simulated pierced body supported by four feet painted with stylized dragons, the pierced cover with a Buddhist lion finial. 10" high x 6" wide x 6" deep The shape of this piece, which appears to be unrecorded in the literature, is inspired by similar Chinese porcelain censers from the Qing Dynasty, Kangxi Period (1654-1722). An example in the Palace Museum, Beijing, is illustrated by Li Yi-hua in Qing Porcelain of Kangxi, Yongzheng and Qianlong Periods from the Palace Museum Collection, Hong Kong, 1989, pl. 65. Another in the British Museum, London (museum no. PDF, A.812) is catalogued as a perfume-holder. These porcelain examples are in turn inspired by ancient Chinese bronzes from both the Shang (1600-1046 BC) and the Zhou (1046-246 BCE) dynasties, an example of which was sold anonymously by Christie's New York, 22 March 2019, lot 1601. This chain of inspiration tracking backwards from the 19th century to antiquity provides a clear example of how ceramics, and indeed other mediums, are able to influence and motivate the works of later generations. For a Meissen porcelain snuff...

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...

This set of six plates, crafted by John Turner circa 1795, features the exquisite Imari color palette of iron red, cobalt blue, and radiant gold. The color combination creates a vibr...

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

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...

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

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 ...

Maiolica tureen Pasquale Rubati Manufacture Milan, circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 6.69 in x 11,02 x 8.26 (17 x 28 x ...

These sets of Delft Dutch plates would be a lovely addition to a dining room or would make beautiful decorations displayed on a wall or resting on a buffe...

Perfume fountain in porcelain Imari kinrandé mounted in gilt bronze from the same set of porcelain. The cup and the bowl form the base, the pot covers the perfume container...

Large & Very Fine Chinese Export Punch Bowl, with Painted & Gilt decoration in the Mandarin palette. Jingdezhen region, China ca. 1780.

Circa 1780 Chinese export "elephant & mahout" oval vegetable dish. Qing dynasty, Qianlong period. Retailed by Sarah potter conover, early label. One of ...

Pair of blue and white plaques with ships off the coast. Makkum, 1784-1800 Kingma pottery painter: Adam Sijbel The diamond-shaped plaques have a raise...

A set of four early Wedgwood creamware Neoclassical dessert dishes made circa 1780. Sir William Hamilton’s Collection of Etruscan, Greek and Roman an...

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...

Rocking cradle with child. Delft, 1750-1780 Polychrome figure of a child in a rocking cradle with open hood. The child is dressed in a yellow nightgown and sleeping cap with reddish-brown and green dots. It sits upright under a marbled blanket and holds the sides of the yellow cradle with both hands. Dimensions: length 12,5 cm / 4.92 in., width 9 cm / 3.54 in., height 11,5 cm / 4.52 in. Figures of children in a rocking cradle are generally dated to the second half of the eighteenth century. They may have been inspired by plates, made at the birth of Prince William V...

Rocking cradle with child. Delft, 1750-1780 White figure of a child in a rocking cradle with open hood. It sits upright under a blanket and holds the sides of the cradle with both hands. Dimensions: length 13,5 cm / 5.31 in., width 9 cm / 3.54 in., height 11,5 cm / 4.52 in. Figures of children in a rocking cradle are generally dated to the second half of the eighteenth century. They may have been inspired by plates, made at the birth of Prince William V in 1748, depicting a child in a cradle. At the time, the rocking cradles with children may also have been initially intended as an expression of support for the House of Orange. Separately, they were perfect gifts for a married couple to wish them a child-rich marriage. Nice condition, some minor glaze damage, as to be expected with antique delftware.

This is a good Chinese porcelain plate or dish with a blue and white, hand painted river scene, which we date to the Qing dynasty, late 18th century. The dish or plate is fairly h...

Two maiolica flower pots Antonio Ferretti Manufacture Lodi, Circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire) The...

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...

Black basalt, with rope handle and encaustic decoration of lines & anthemion, in imitation of early Greek pottery. Early encaustic examples are rar...

This is a rare coffee cup and saucer in ‘The Traveller’ or ‘One Legged Duck’ blue transfer printed, hand gilded pattern by John Turner & family, of Lane End, Longton, Staffordshire. ...

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...

The dish has a wide, slightly raised rim and is painted in blue in the centre with a Dutch water landscape within a polygonal yellow band. The well and border are painted in polychro...

This is a very beautiful porcelain coffee can with a hand painted scene of Notre-Dame Cathedral, made by Paris, France, dating to the late 18th century, circa 1795. The coffee can is broadly cylindrical tapering slightly to the base, with a ring handle having an inner spur. This is a very finely hand painted coffee can with a view of Notre-Dame Cathedral in Paris, all in many different coloured enamels. The view even shows various figures in the foreground, all set in a rectangular thick gilded border, against a lovely lemon yellow ground. with further hand painted gold gilded rims and outer handle. Overall a very distinctive, beautifully decorated coffee can. NOTES Notre-Dame de Paris, often simply referred to as Notre-Dame, is a medieval Catholic cathedral and is the most famous of the Gothic cathedrals from the middle ages, situated on the Île de la Cité, in the 4th arrondissement of Paris. The Roman Catholic cathedral, dedicated to the Virgin Mary, is considered one of the finest examples of French Gothic architecture. Notre-Dame was built on the ruins of two earlier churches, which were themselves predated by a Gallo-Roman temple dedicated to Jupiter. The cathedral was initiated by Maurice de Sully, bishop of Paris, who about 1160 conceived the idea of converting into a single building, on a larger scale, the ruins of the two earlier basilicas. The foundation stone was laid by Pope Alexander III in 1163, and the high altar...

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.

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...

An exceptionally rare pair of Triton candlesticks, in black basalt with gold lustre. The design is copied from Wedgwood, who took it from Sir Willi...

Blue and white charger with a bird on a branch. Harlingen, 1775-1800 Raamstraat pottery. painter: Pieter Ruurds The charger has a slightly raised flange and is painted in blue ...

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...

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...

This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760.   Finely potted with a lovely rich, glassy white glaze, the charger is hand-p...

This is a pair of English creamware dishes from the 18th century, created around 1785. The plates display a lovely chinoiserie scene with women selecting accessories. The scene depic...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue wi...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue w...

This is a hard paste porcelain Tea Bowl and Saucer by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. Both pieces are decorated over-glaze with ...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, 1770 circa It measures: 4.7 in (cm 12) X 5 in (...

This is a hard paste porcelain coffee can & saucer duo by New Hall, hand decorated with their Chinese figure pattern number 421, dating to the English George 3rd...

A set of two peacock design Delft plates, and two larger Delft dishes. All hand-painted with "peacock" pattern. 2 plates marked "De Porceleyne Claeuw" Dimensions: diameter of 9" / 23cm each plate. 2 dishes are also marked, one for "De Porceleyne Claeuw" (Porcelain Claw) and the other one marked 'De drie...

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...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

Chinese Export American market, blue & white 'star' boarder armorial platters China for American Market, Circa 1790s A rare and unique example of...

Coffee assortment with “barbotine” decoration Manufacture of Pasquale Rubati or Felice Clerici Milan, 1770- 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). ...

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 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...