Neoclassical Ceramics

A fine Wedgwood jasperware jewelry tray, beautiful neoclassical style item decorated with white antique-style scenes and an elegant laurels...

A beautiful 'sage' green and white English Wedgwood Jasperware matte stoneware vase in the Neoclassical style, England, 1973. Vase has Renaissance/Neoc...

Queens Ware is the mark on this pitcher and basin set made in England in the mid to late 1800s by Wedgwood. It is also known as creamware, a techniqu...

A set of four ceramic butterfly motif napkin rings. Fabulous for a spring table setting. Unsigned. Measures: 2.75" tall 2" wide 1" deep.

Set of 6 Wedgwood jasperware trinket trays, beautiful neoclassical style item decorated with white antique-style scenes. Jasperware, or jas...

A fine antique German porcelain bordeleau or chamber pot. By Meissen. Dating to the Marcolini period. Decorated throughout with cold-painted Streublumen floral sprays. The lid wit...

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...

Jean Baptist Stahl Pate-sur-Pate/ Phanolith neoclassical court scene charger Germany, circa 1899 An exceptional large pâte-sur-pâte/ phanol...

An antique Wedgwood Jasperware blue and white oblong jewelry dish in the Neoclassical Style, circa late-19th century, England. Piece has a ...

This is an Italian neo-classical Grand Tour ram’s head form stirrup cup. The composition is pottery with an almost bisque-like finish.

Neoclassical pitcher in blue Jasperware. Decorated with sprig molded accents and cherub scenes. The interior is glazed. There is wear to the handle with some loss of color. The pewte...

This rare and charming pair of 18th-century French creamware lions was made circa 1790. Each lion reclines atop a tall rectangular base decorated with rich cobalt-blue swags, bright yellow tassels, and vivid green trim. The forms are bold and expressive. The lions' open mouths are painted in soft pink, and their manes are rendered in vibrant yellow and lined with dark brown, lending them an animated, almost theatrical presence. The lions rest on what appear to be stylized, draped cushions, adding a sense of comfort and reality. Their wide-eyed expressions and exaggerated features give the pair a whimsical character that blends elegance with humor—a hallmark of late 18th-century French design. Unmarked but unmistakably French in style, these figures make a striking decorative statement. Whether placed on a mantel or console, they command attention and offer a playful counterpoint to more serious classical forms. Dimensions: 6.5 inches tall x 6.75 inches long x 4.5 inches wide Condition: Excellent Price: $2,300 Decoration: Painted in yellow, cobalt, green, pink, and brown with molded drapery and tassel detail Material: Creamware pottery Style: French Neoclassical with Folk Art elements Origin: France Date: Circa 1790 Key Features - Rare pair of large 18th-century creamware lion figures - Expressive hand-painted decoration with bold color contrasts - Tall bases decorated with molded and painted swags and tassels - French origin, circa 1790 - Whimsical and animated expressions add charm and visual interest Background of creamware Creamware is the name given to a type of earthenware pottery initially made from white clays from Dorset and Devonshire combined with an amount of calcined flint. Creamware was first produced in England sometime before 1740. Foremost among the pioneers of creamware in the Staffordshire Potteries was Thomas Whieldon. The young Josiah Wedgwood partnered with Thomas Whieldon from 1754 to 1759. When Wedgwood left to set up his own business, he immediately directed his efforts to developing creamware. Around the same time, in the mid-18th century, French potters developed their creamware known in France as "Faience Fine...

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

Rare B&G (Bing & Grondahl) large biscuit plate by Thorvaldsen, 1880s. In perfect condition, 1st. factory quality. Measures 29 cm.

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

This is an antique floral encrusted ewer. An Italian, ceramic decorative pouring jug, dating to the early 20th century, circa 1920. Striking Italian ewer...

Italian Neoclassical style white glazed Ceramic urn. This classic Tuscan vase is a refined decorative complement to both traditional and contemporary inter...

Wedgwood Yellow Dip Jasperware & Black Basalt Sugar & Creamer, C 1900 England, Stamped WEDGWOOD Made in England A charming set of Wedgwood Yellow Dip Jasperware Sugar & Creamer. Th...

JT Abernathy Iconic Blue Glaze Bowl This stunning piece by JT Abernathy is a beautiful example of mid-century modern craftsmanship, showcasing the artist'...

Limoges France. Biscuit child bust. Stand with dark blue glaze. Classic style. Early 20th century. Measures: 13.5 x 7 cm. In excellent condition. Stam...

A small ceramic tea or coffee saucer in white with blue trim by Michaud for American Airlines. Dimensions: 5.5" Diameter .75" Tall

Circa 1920s red clay ewer with classical figures etched and painted in black. Found in England. Unknown maker. No cracks, chips or repairs found. White blurs...

This fine ceramic butter churn or crock is in fine condition for its age. Its body is cream, with a fluted top. Two blue stripes decorate the body, all ...

Water cistern, table fountain on earthenware pedestal decorated with lambrequins and lions in blue camaieu. Lateral grip in the shape of a lion's head. Earthenware from Rouen or Lill...

JT Abernathy Iconic Blue Glaze Bowl This stunning piece by JT Abernathy is a beautiful example of mid-century modern craftsmanship, showcasing the artist'...

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 ...

Antique German Very Large Painted Porcelain Blue Gold Vase KPM German, c. 1840 Height 170cm, diameter 65cm This remarkable and very large porcelain vase was created by the renowned ...

Sevres Creamware Figures Emblematic of Four Seasons, Modeled after/by Bachelier  France, 19th Century  Three are marked with the interlaced L mark, one is numbered 260, and two have ...

A beautiful collectible plate by Wedgwood. This is the perfect piece for the true southerner. This decorative plate or vide poche would make a fantastic catchall. The motif is dedicated to the state of Georgia. The center bears the State Seal in an applied cream and says State of Georgia 1776. Around the rim, are applied cream stars. A well designed room is all in the details. And this small decorative...

Bing and Grøndahl after Thorvaldsen. Antique biscuit wall plaque with putti and swan in relief. 1870s / 80s. Measures: 15.5 x 12 cm. In excel...

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...

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...

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 a Limoges Camille Tharaud pate sur pate blue ceramic plaque depicting a mythological figure-Sphinx who is sitting over a lion. She is holding with one hand a large cornucopia...

Antique B&G (Bing & Grondahl) bisque plate after Thorvaldsen. In perfect condition, 1st. factory quality. Measures: 32 cm. Late 19 century.

A lovely crimson jasperware jug by Wedgwood, featuring an applied white jasper neoclassical decoration of acanthus leaves and grapes bordering the rim. ...

A fine pair of Meissen porcelain busts modelled as fine ladies in Elizabethan and late 18 century costume, Marie Antoinette and Elisabeth I, circa 1870 (crossed sword in blue undergl...

Large Iznik Armorial Crest of 'Chambers of Deputies' Charger, Special Order Signed 'Spacial Made Byn. Elfide,' this work is honorific and dates from the late 20th century. Large Iznik-style Armorial Crest of the 'Chambers of Deputies' Charger, a rare and exceptional special order piece from the late 20th century. This honorific sculpture commemorates the First Constitutional Era (1876–1878), making it a meaningful addition to any collection of historical memorabilia or decorative art. Measuring 16 inches in diameter and 2 inches high, this exquisite crest features a scalloped border adorned with large stylized Rumi patterns, reflecting the intricate beauty of traditional Iznik craftsmanship. Surrounding the central design is a second border of stylized raised coral tulips...

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

Three beautiful bone china gloss white glazed shells by Wedgwood. The shell designs were part of the "Nautilus Collection" and the pieces were made in England. The half shell measure...

Pair of ceramic planters. Attributed to Sarreguemines. France, late 19th century. Planters dimensions: 42 cm diameter, 36 cm height. Bases...

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

Late Baroque pottery jug made and decorated with high temperature glazes over a white slip of tin. These motifs are combined with enameled decorations in relief obtained mold. The typology of the piece combines Italian jug with handle ovoid belly and vertical bow, with the peak jug typically Spanish, characterized by the outgoing peak of the mouth. Decorations reveal the oriental influence, with large floral bouquets arranged asymmetrically and complex landscapes with architecture and palm trees, which remove some figures, such as totally Western. The reasons appear pincelados in manganese black, and colored with ocher, blue, green and red, mainly enamels. Aragon ceramic least a century old will be characterized by a strong own, combined with the influences of personality Talavera and Catalonia. You will have three main centers: Teruel, Muel and Villafeliche, the first two with tradition since the 16th century, and the third created in the late 17th century. The Villafeliche will generally be very popular ceramics...

Wedgwood, England. Three bowls/dishes and a flowerpot in black, green and blue stoneware with classicist scenes in white. Early 20th century. The flower...

Covered bowl, perhaps for soup, in black basalt with ‘Etruscan’ encaustic painting.

DUDSON BROTHERS - Antique black and white Jasperware ceramic pitcher or creamer - featuring three Neoclassical draped figures between fretwork columns and a leaf border to the top ri...

Pair of candlesticks made at Vallauris, France, 1940s. Ceramic. Representation of braided candlesticks, Classic design from this period of the 40s. Very close to the work of Jérome M...

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...

An excellent cider mug with oak leaf decoration, and a silver rim, most likely Sheffield plate.

Cyclicrical tea canister in engine-turned black basalt, with raised decoration. Unmarked, but the quality and finial clinch the attribution.

A traditional English hunting plate by Barratts of Staffordshire England. This round ceramic plate will be a fabulous accent to a gallery wall. It is gl...

A very nice set of 3 earthenware plates from Creil-Montereau Terre de Feu, from the series of Musical Subjects, representing 3 famous operas with various characters illustrating the ...

Beautiful fine bone China teacup with gold detail, bold blue, and a hidden red rose inside the cup. This delicate ceramic piece is a lovely piece to ...

MINTONS - Washington pattern - twin handled cobalt blue and silver gilt decorated porcelain soup bowl and saucer - back stamp on the base of each piece - England - circa 1950's. Goo...

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...

A set of six ceramic cream color divided plates by Secla. This wonderful set of Portuguese plates will be a fabulous touch at your next dinner party. Eac...

Beautiful floral plate with scalloped edges. The piece features roses and other flora throughout and gold designs around the rim and in center. The bottom reads: Gold Castle made in Occupied Japan...

Prattware compote, circa 1860, English. Marked No. 123. Prattware is lead-glazed earthenware produced in English from the 1790s thru much of the 19th century. Creamware body decorate...

John Middleton English Redware Neoclassical Style Humidor, circa 1900. Exemplifies the distinguished blend of classical design and functional craftsma...

Rare 19th C Spongeware Slop Bucket with Handle