Late 19th Century Ceramics

A good and finely decorated Aesthetic Movement stoneware jug decorated with fan shape and floral designs by John Pollard Seddon and dating from around 1880. The jug stands on a round...

Large 19th century French pottery vine pitcher with grapes. Pottery from Normandy.  

French Majolica green & yellow leaves plate circa 1880.

A majolica game pie dish made by Minton & Co. in 1874. The dish takes the form of a wicker basket and is covered with oak leaves, acorns, vines,...

An exceptional and finely made Aesthetic Movement Doulton Lambeth stoneware ewer with geometric and stylized leaf patterning by renowned artist Edith D Lupton and dated 1875. An earl...

19th century Majolica Mallard Duck Plate Hippolyte Boulenger Choisy le Roi, circa 1890. The manufacture of Choisy le Roi was one of the most important man...

A nicely decorated Japanese Meiji Period Imari charger, late 19th century, Japan. The porcelain charger featuring a design of a hoho bird, or phoenix, per...

Majolica plate two parakeets on a blue background with oranges signed Salins, circa 1890.    

An exceptional and rare Doulton Burslem Luscian ware tear drop shaped vase handpainted by renowned miniature and historical artist Leslie Johnson dating between 1891 and 1902. The ta...

Late 19th century English majolica oyster plate with pink and turquoise wells, a blue center for lemon wedges and a brown background.

Large white ceramic apothecary-herbalist jar with cobalt blue decorations, to contain Thistle in a neoclassical style. The handle of the lid is in the shape of an acorn, on the sides...

This late 19th century glazed earthenware mug was crafted in the studios of Cincinnati Ohio's renowned Rookwood Pottery Company and has a traditional form with an ear-shaped handle having a thumb rest. The exterior of the piece is finished in standard glaze and features hand painted decoration executed by highly regarded artist William Purcell McDonald (1864-1931). The decor has an appealing wine harvest theme consisting of grape vines that snake across the surface. The vines are studded with leaves in various shades of green along with two dangling clusters of plump reddish grapes. McDonald's application of paint is slightly raised in places giving the image a dimensional quality. The mug is further ornamented with an ornate silver overlay manufactured by Gorham. The silver decoration covers the handle and rim and includes a series of large etched foliate scrolls and flowers that extend across the body. There is also an eye-catching latticed area that provides a strong visual contrast with the gentle curving motifs found on the other parts of the silver overlay. The underside of the mug has an impressed RP mark along with shape 422 and the letter W. It also carries the incised initials of the artist - W. P. McD - and the letter L. The underside of the silver foot rim is stamped Gorham Manufacturing Co. along with a hand engraved mark reading S 1274 S. This highly collectible Rookwood silver...

A Minton pottery tile designed by Christopher Dresser in 1873. This tile, designed by Christopher Dresser and made in 1873, exemplifies the Aesthetic Movement ethos of the home as...

Pair of glazed ceramic flower vases by Delphin Massier, France, circa 1890.

A seated near pair of late 19th century opposing Staffordshire Lions, textured coats and very well painted in traditional colours. These are of great quality and finely decorated. ...

Set of five knife rests signed Desvres, circa 1890. Colorful with coat of arms and acanthus leaves.

A set of 11 bread and butter plates by Copeland for Spode. This set features 11 round plates with a yellow, blue, and green floral pattern on a cream background. A basketweave design...

19Thc yellow ware mocha blue seaweed pattern mixing bowl in pristine condition.

Cantagalli Armorial Vase, Ulisse Cantagalli (1839-1901) During the 19th century Renaissance-Revival period the Cantagalli Maiolica and Ceramic Fac...

This is a small antique mortar and pestle duo. An English, ceramic and beech cooking or apothecary aid, dating to the late Victorian period, circa 1890. Pleasingly substantial with classic kitchen appeal Displaying a desirable aged patina with light signs of use Naturally finished ceramic with crisp white hues and chamfered edges Quality turned beech handle to pestle shows fine grain interest Larger bowl engraved with maker's mark for S. Maw, Son & Thompson of London This is a charming antique mortar and pestle duo with a neatly stacking shape and delightfully tactile pestle. As useful today as they were over 100 years ago, this duo will also make fine display items upon a kitchen work top...

19th century, French clock In the Chinoiserie style. An 8 day pendulum movement that bell strikes on the hour and half hour. Chinese porcelain body in the Kang His style by Samson. T...

Best example I've ever had. Folk Art Sussex pottery pig jug and cup, from the Belle-Vue Pottery, Rye, UK, circa 1870. This Sussex pig from the Bell...

This earthenware is showing a rabbit on a turtle. This is a French work, attributed to famous designer and maker Emile Galle. Circa end of 19th century.

Enamel ceramic vase signed Eugène Victor Collinot Toujours. France, circa 1870.

Set of 4 small jars with lid for pharmacy-herbalist's shop in white ceramic with cobalt blue inscriptions, to contain Juniper, Willow, Gentian, Brown seaweed of neoclassical taste wi...

Pair of Glazed Ceramic butterflies planters by Delphin Massier. France, circa 1890. Signed Delphin Massier Vallauris. Art Nouveau period.

Pair of Antique Vieux Paris Porcelain lamps, circa 1880.

Set of five large apothecary-herbalist jars in white ceramic with cobalt blue decorations, to contain Mallow, Lobelia, Vervain, Rue, Burdock of neoclassical taste. The handle of the ...

Set of five large apothecary-herbalist jars in white ceramic with cobalt blue writing, to contain Dioica, Nettle (Urtica Dioica), Aromatic Calamus (Acorus calamus), Raspberry (Rubus ...

This splendid antique dessert service is impressive both for its beautiful design and its prestigious maker, Royal Crown Derby Porcelain, which was appointed the official royal porcelain manufacturer to Queen Victoria of England...

A Beautiful Late 19th Biscuit Group Entitled “Le Nid” Modeled as two children fast asleep atop an upholstered armchair. Signed Croisy on the base. Croisy was a pupil of Toussaint,...

French Majolica Camel-form Lidded Box, St. Amand, circa 1870 The French majolica box is in the form of a seated, naturalistically colored, camel on a raised mottled green ground. On its back is a loaded pack filled with different packed goods. The top section is removable to reveal a square-shaped hollow interior in light blue. Mark: on the base is an impressed "St Ad" Dimensions: 8 inches high x 10 inches long x 5 inches deep; (20.32cm high x 25.40cm x 12.7cm) Provenance: New York Private Collection, Jesse Davis Antiques...

An Imari charger, 17 1/2" dia. Wonderful movement in the decoration from the swirling panels to the doves in the blossoming branches of a tree; centered by a leaf star with rosette c...

This beautiful porcelain huqqa (or hookah) is of Continental, possibly Russian, origin and was created in the late 19th Century. The item is finely painted and decorated with photo-r...

Holdcroft Majolica umbrella stand, English, circa 1875.

Bing & Grøndahl after Thorvaldsen. Antique biscuit wall plaque with angels in relief. 1870/80s. Diameter: 32.0 cm. In great condition. Marked. Firs...

19th century French ornithological ceramic charger by Montereau B et Cie, depicting two perched songbirds. In very good condition.

Ott & Brewer Aesthetic Blanc de Chine Pitcher Trenton, New Jersey, circa 1880s An exquisite Ott & Brewer Aesthetic Blanc de Chine Pitcher, a remarkable example of 19th-century artis...

19th Century plate made in England by Wedgwood, the pattern, part of the Fan collection is called Argenta Chicago. It has a turquoise center surrounded by a star pattern and fans. ...

A pair of late 19th Century English Minton Majolica oyster plates with six oyster wells and a large well for crackers surrounding a center well for sauce. Luminous cream and pink gla...

Antique Majolica ceramic cheese keeper by George Jones English, circa 1870 Measures: Height 30cm, width 23cm, depth 23cm This delightful cheese kee...

Théodore Deck ( 1823-1891) Impressive polychromed circular faience charger with hand-painted enameled design of a wader among water lilies and reeds. Impressed Uppercase Mark Th.Dec...

Meissen's “Count Brühl’s Tailor on a Goat” is widely regarded as one of the most iconic masterpieces produced by the renowned porcelain manufacture...

Drink tea in the traditional Chinese custom or add to your blue and white collection. This set of 6 blue and white cups are made of fine Chinese po...

An exquisite and quite rare pair of 19th century English, Staffordshire, Jasperware blue ground Wedgwood vases with neoclassical subjects on rounded plinths, stylistically attributed...

This beautiful huqqa (or hookah), an instrument used for smoking—is a highly collectable antique piece. It created in the late 19th century, most likely in Russia. The huqqa is finely decorated with depictions of Qajar kings, suggesting that it was created for the Persian market. The huqqa features a bell-shaped base with a ribbed cylindrical top. This is covered by a cup-shaped feature on a knopped stem. The huqqa is crafted from porcelain which is white and finely decorated with deep blue stylised vines, leaves and flowers. Half-length portraits of the 19th century Persian kings, Naser al-Din Shah and Mozaffar al-Din Shah, ornament the huqqa’s base...

The jug has been manufactured in China in late 19th century, it features intricate hand-painted traditional Chinese motifs designs in shades of blue on a white background. The vase it's in original conditions with signs of use and age. it was mostly used by workers in the fields because the thick terracotta kept the water cool for all the day. A late 19th century white and blue ceramic Chinese jug...

This outstanding hand painted 19th century French ceramic charger was made by Hautin Boulenger & Cie at Creil & Montereau. The highly detailed Aesthetic Movement charger features polychrome decoration depicting a Japanese quail perched in a flowering cherry tree bearing vivid green foliage. The bird's gaze is fixed on a colorful butterfly with intricately patterned wings which is located off to one side. The image is set on a gilt ground which bears a series of repeating raised gilt motifs. The charger's shoulder is finished in cobalt blue with stylized gilt hearts separated by light blue floral and foliate elements. The 4lb 11oz charger bears an impressed mark used by Creil et Montereau between 1876-1884. The foot rim is not pierced. This beautifully executed hand painted French charger...

Set of Four Majolica Monkey Graduated Pitchers, 8 to 10.5 ins., English, c. 1880. Book reference: Marilyn G. Karmason and Joan B. Stake, Majolica:...

Charming Majolica vase with a rooster and hen against a trunk signed Delphin Massier, circa 1890. Reference / A similar example of this piece page 83 "Barbotines de la Cote d 'Azur"...

This massive Japanese Arita plate was made in Hizen, circa 1890-1910s, at the end of Meiji period by a potter named Takeshige Yoshisuke who was active in A...

FAPG 20247D John Bennett (1840-1907), New York Plaque with pink and blue phlox, circa 1881-1882 Earthenware, painted and glazed Measures: 14 7/8 in. diameter, 1 13/16 in. high Signed and inscribed (on the back): J B[monogram] ENNETT / E 24 NY. / MC [or] CM If the Herter Brothers was the most distinguished and successful cabinet making and decorating firm in New York in the 1870s-1880s, the transplanted Englishman John Bennett was probably the most gifted ceramicist working in New York in the Aesthetic period. (Bennett was included in The Metropolitan Museum of Art’s landmark exhibition, In pursuit of beauty: Americans and the Aesthetic Movement, in 1986–87, and Alice Cooney Frelinghuysen’s chapter, “Aesthetic Forms in Ceramics and Glass,” pp. 216–19, significantly informs this essay). Born in England, the son of a potter who worked in the Staffordshire district, Bennett came under the influence of John Sparkes, head of London’s Lambeth School of Art. Soon thereafter, he was hired by Henry Doulton of the eponymous firm to teach artisans there the new art of underglaze faience decoration, which was part of a revival of the sixteenth-century interest in hand-painted ceramics. A number of Bennett’s works for Doulton were shown in the Doulton display at the Centennial Exposition in Philadelphia in 1876, and the considerable success enjoyed by Bennett and Doulton from an American audience undoubtedly played an important role in Bennett’s decision to leave Doulton and England and set up shop in New York in 1877. By the next year, he had already established a studio in New York, where he produced his own pottery in the tradition of the Arts & Crafts innovators, William Morris and William De Morgan, and also taught classes at the new Society of Decorative Art to the growing band of women who had taken up china painting, both professionally and avocationally. Bennett’s pottery developed a very serious following among students and collectors, and was offered for sale at such leading retail establishments as Tiffany & Company in New York. Typically, his work was brilliantly colored, with carefully drawn naturalistic flowers against a monochromatic background. Bennett’s fully developed American work, particularly pieces of larger scale, is exceedingly rare, as he worked in New York only from 1877 to 1883, in which year he withdrew to a farm in rural West Orange, New Jersey, where his production continued on a limited basis. He remained listed as a ceramicist there until 1889. While in New York City, Bennett maintained a studio at 412 East 24th Street. The present charger, boldly featuring pink and blue phlox, is signed by Bennett, and is inscribed “E 24 NY,” indicating its manufacture during Bennett’s time in New York. Although it is not dated, this piece is closely related stylistically to various dated pieces from 1881–82, which would place its production toward the end of Bennett’s New York years. Although we do not know whether Bennett worked out of this 24th Street studio from the outset, he was indeed working there by 1879 when he made (and signed, inscribed, and dated) a charger with white and red flowers now in the collection of the Art Institute of Chicago, which specifically points to “412 East 24 / NY” (acc. no. 1998.317). Additionally, the U.S. Census of 1880 lists Bennett as a ceramicist located at that same address, married to Mary Bennett with whom he had had six children. There are several other examples from Bennett’s time in New York City, which also give his studio address on East 24th Street, including a covered jar in cadmium yellow with indigo and green flowers made in 1881; an undated footed vase with lilac...

Emile Gallé for St. Clement, Nancy. Antique bowl with a handle on three feet in hand painted faience with a coat of arms. 1870s-1880s. Measures: 15.5 x 5 cm. In excellent condition.

Stunning Art Nouveau/ Arts & Crafts tile panel from the superb firm, Craven Dunnill, & Co., Ltd, Jackfield Salop, England, circa 1905, in a bright celadon. This quantity original jug...

Dessert set for 12 people "Le Parisien" by Creil & montereau. 12 different exquisite scenes of children playing with fruits. It is stamped on the back with Creil & Montereau marks and Le Parisien identification. Le Parisien is the story of a little boy discovering country life, designed by the French artist and painter Antoine-Albert Richard (1845-1921) named "Froment-Richard". He designed several sets for the French Creil & Montereau manufacture, but "Le Parisien" is the most famous with a brown rim enhanced with groups of three petals and ex. The dinner set depicts a fantastic and humorous universe. Wonderfully decorated all the characters' clothes are exquisitely detailed, they play with vegetables, fruits, meat, and fish. Dessert plate patterns : 1. Grapes 2. Flower and angels 3. Cassis 4. Blackberries 5. Heart plate...

Large Majolica asparagus plate signed Keller et Guerin Luneville, circa 1880. This plate exist in different colors and sizes.

A small round ceramic plate with a pink and green floral design around the edges. The center of the plate is a crisp white glazed ceramic with slight cracquelure. The edges feature hand painted pink roses with green foliage. A raised pattern of dots accents at the outer most edge of the rim. (Moriage style...

A fabulous antique ceramic crock in blue and cream with a lid. This rare serving dish features a wide-body and the original lid. The side of the ...