Late 18th Century Ceramics

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...

Antique Delft tin glaze charger, circa 1760-1780.   

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 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...

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 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...

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...

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...

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...

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 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...

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 ...

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...

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

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 ...

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

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...

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...

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....

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 ...

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). 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...

Chinese export Blue Fitzhugh very large porcelain blue Fitzhugh oval platter and Mazarin, Late 18th-early 19th century. The remarkably large serving di...

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

Maiolica flower pot “a mezzaluna” decorated with tulip Pasquale Rubati Factory Milan, circa 1770. Measures: 4.7 in x 4.7 in x 8.6 in 12 cm x 12...

Assortment of 12 elements with polychrome and gold decoration Pasquale Rubati Factory Milan, circa 1770- 1790. Two oval trays 10.62 in x 8.58 in (27 x 21.8 cm) Two dishes with perforated brim diameter 10.43 in (26.5 cm) Eight round dishes 9.37 in (23.8 cm) lb 10.14 (kg 4.6) State of conservation: very good, except for light chips with color drops at the edges, a greater one in a round dish. This rare set of dishes has great decorative impact and confirms the undisputed artistic ability of Pasquale Rubati's productions during the period of his greatest success. It also attests to the taste of the great Milanese commissions of the eighteenth century. Pasquale Rubati, a refined painter, opened his own factory in Milan in 1756, in competition with Felice Clerici...

A most attractive and unusual teapot in black basalt, moulded with basket-weave decoration and interlocking arches. Exhibited: Wedgwood, Master Potter ...

Maiolica flower pot “a mezzaluna” with support feet decorated with little bunches of flowers Pasquale Rubati Factory Milan, circa 1770 5.5 in X ...

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

Assortment of bottle and glass coolers in Maiolica. Pasquale Rubati manufacture Milan, circa 1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire) a - Bottle cooler 5.91 in x 5.91 in diameter (15 x 15 cm ) Weight: 1.86 lb (845 g) b - Bottle cooler 6.89 x 7.87 in diameter (17,5 x 20 cm) Weight: 2.09 lb (948 g) c - Pair of glass-cooler vases 3.94 x 3.94 in diameter (10 x 10 cm) Weight: 1.43 lb (650 g) Good state of conservation: a - some chipping from use on the edge; a - two fêlures covered on the edge; c - one has deep chippings on the edge and the other a subtle fêlure. Two Majolica factories were active in Milan in the 18th century. The first, starting from 1745, was owned by Felice Clerici; the other one by Pasquale Rubati from 1756. Rubati was in competition with Felice, whose worker he had been prior to opening his own workshop. On his death in 1796, the business was continued for a few more years by his son Carlo. Recent studies have recognized Pasquale Rubati's contribution as the creator of "Strasbourg-style" decorations with their particularly joyful depictions. This style had previously been attributed to the Lodi manufacturers. These works here, however, are a clear example of this production. The Majolica containers have different sizes, a cylindrical shape and rest on a low foot ring. The two largest are completed by handles in the shape of a zoomorphic mask with wide open jaws, while the smaller ones have handles applied with an anthropomorphic mask. All the works are characterized by elegant floral decoration. The two twin glass coolers show bunches of flowers centered around a main corolla, a rose or a peony paired...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

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

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

Maiolica flower pot “a mezzaluna” decorated with garlands of flowers Pasquale Rubati Factory Milan, circa 1770 Measures: 4.7 in x 5 in x 8.8 in ...

Globular teapot in black basalt, painted with matt white, red and ice blue. Judging by the shape and general appearance, probably by Spode, in imitation of Wedgwood designs of the pe...

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...

Rare antique English Yorkshire or Staffordshire creamware pierced basket with intricate reticulated body. Lovely color no damage or repairs.

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

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 ...

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.

With mask spout the sides moulded with upright leaves and painted with insects, foliated capped handle.

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...

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...

An extraordinary navette, or cream boat, in black basalt with encaustic decoration. Complete with matching ladle: a rare find indeed.