Late 18th Century Ceramics

This is a very beautiful porcelain coffee can with hand painted scenes of Butterflies and Insects which is made by Old Paris maker, Clignancourt -Manuf De Moitte , France, dating to...

Very large albarello with polychrome decoration called “al tacchiolo” of foliage with stylized flowers. Marked under the base: “N°20 Pesaro, 18th century. Fabbrica Casali Callegari ...

This is a very beautiful porcelain coffee can with hand painted scenes of floral sprigs, made by Old Paris maker, France, dating to the late 18th century, circa 1795. The coffee can...

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...

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 ...

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

A dark brown-glazed pearlware bough pot with pierced cover and applied decoration, made by Wedgwood circa 1785. The development of a whiteware body had been a goal of ceramicists ac...

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

Pearlware Wedgwood Creamware pottery Orange or Chestnut basket ,cover and stand. Very wall decorated in a underglaze blue Mared design. The basket and stand impressed under base "we...

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

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...

This is a fine quality Derby porcelain bowl in pattern number 110, fully marked with puce crown & batons and dating to 1790, George 111rd period. The puce coloured mark on this bow...

Majolica flower pot "crescent" decorated in manganese Pasquale Rubati Factory Milan, c. 1770 4.92 in x 8.66 in x 5,31 in 12.5 cm x 22 cm X 13.5 cm Weight: 2.29 lb (1039 g) State of conservation: intact with slight chipping due to use in relief parts A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...

Dutch Delft Kolf Tile. An early Dutch delft blue and white golf tile - hand painted with a Kolf scene depicting a pair of Colf/ Kolf players. The blue image is on an off white backgr...

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

Antique Savona Ceramic Albarello, 18th Century Beautiful polychrome painted majolica tree, cylindrical body with rounded shoulders from which rises a sma...

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...

This is an antique piece produced in Tuscany at the end of the 18th Century following the Rustic style. The expression of the antique craftmenships of the Tuscany artisans is well s...

A pair of French Directoire period ceramic lidded apothecary jars from the late 18th century, with hand-painted foliage motifs, labeled Tamarind and Ext. Cicutæ A:F, from the Deroche...

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 rare 9" Lambeth Delft plate: "An English Delftware tin-glazed charger attributed to the Abigail Griffith London Lambeth pothouse. Great decorative blue and white delftware- boldly ...

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

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 an antique piece produced in Tuscany at the end of the 18th Century following the Rustic style. The expression of the antique craftmenships of the Tuscany artisans is well s...

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 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...

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

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

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter l...

A 19th century French bisque porcelain figurine of a couple seated and engaged in a conversation. The figurine is marked on back and ...

This is a very good finely hand painted, porcelain coffee can (cup), probably made by Grainger of Grainger, Wood & Co., Worcester, England at the turn of the 18th century, George...

This is very good porcelain Trio of Coffee Can, Tea Cup and Saucer in a beautiful hand painted & hand gilded Regency period pattern, from the private collection of Lord and Lady ...

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...

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...

This is rare porcelain Chocolate Cup and underplate in a beautiful hand gilded pattern, from the private collection of Lord and Lady Flight Flight, made during the Flight period of W...

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...

This is rare porcelain Dish or Deep Plate in a beautiful hand gilded pattern, from the private collection of Lord and Lady Flight Flight, made during the Flight period of Worcester p...

This is a very good hard paste porcelain early Coffee Can or cup with a loop handle, hand decorated in the Royal Lily pattern by Worcester during the Barr p...

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

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern number 20, dating to the late 18th century, Circa 1790. The bowl is well...

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...

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

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 ...

18th C Chinese Export Famille rose tea pot, in the French taste, of typical form the drum shape with twisted strap handles, and straight angled s...

The Art of the Table: A Regency-Era Blue Fitzhugh Platter and Mazarin This Chinese Export porcelain set, comprising a deep oval serving platter and its ...

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 18th century European ceramic pitcher, most probably from Germany, with glazed decoration in blue colour representing flowers on a beige background. It has most probably been used...

Chinese export porcelain Fitzhugh pattern tureen, cover and underplate, 18th century. Very Unusual and rare pattern, beautifully hand painted in green enamels and 24-karat gold, havi...

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 ...

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...

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...

18th Century Slipware colander, three integrated feet, yellow slip. lots of wear. France, Circa 1760.

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 ...

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, Staffordshi...

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...

Pair of glass coolers Felice Clerici or Pasquale Rubati Factory Milan, 1745-1788 Circa Majolica polychrome decorated "a piccolo fuoco" (third fire) Dimensions of each: 5.9 in in hei...

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...

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...

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

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