Neoclassical Ceramics

Royal Copenhagen, biscuit sculpture after Berthel Thorvaldsen. Portrait of Berthel Thorvaldsen. Approx. 1870s. Marked. First factory quality. In excellent condition, burning cra...

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...

A set of 10 ceramic plates by Gotham by Theodore Haviland. Each saucer is in a light cream white hue, and features a thick gold painted band around the center as well as on the inter...

Antique large biscuit figure of semi-nude woman in classical style. Measures: 37 x 11 cm. Unstamped. In very good condition.

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...

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...

Royal Copenhagen relief by Thorvaldsen, 'day', biscuit. Late 1800s. Diameter: 26 cm. In perfect condition. 1st. factory quality.

A circular cream round commemorative plate of President Nixon. Reads Richard M. Nixon 37th President. Gold detail around the edges, with the image of P...

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...

Bing and Grøndahl after Thorvaldsen. Antique biscuit wall plaque. 1870s / 80s. Measures: 17.5 x 11.5 cm. In excellent condition. Stamped. 1st f...

A crisp white ceramic gravy boat with Veterans Administration 1930 in blue marked on the front. This piece is by Shenango China and is a well-known make...

J. Bromley for B&G "American Drummer Boy, 1st Maryland, circa 1776". A B&G bisquit figurine. No. 698/750. Measures: Height 38 c...

Antique B&G (Bing & Grondahl) Rare biscuit figure. Measures: 20 cm. x 11 cm. 1st. factory quality, in perfect condition. Marked, late 19th century.

Large ceramic amphora with handles, made and painted entirely by hand, central Italy production, year 2009. The decoration on the vase is a reproduction of a painting by Francois Bou...

B&G / Bing & Grondahl Bisque figure after Thorvaldsen, circa 1870. In good condition. Stamped: B & G Eneret (indistinct) Measures: 19 x 15.5 cm.

Pair of small coffee pots. Manufacture of Pasquale Rubati Milan, 1770 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). a) height 7.87 x 5.51 x 3.93 in (20 x 14 x ...

The decoration of ceramics in blue tones on a white background was common in Europe as far back as the 17th century (Dutch and English pieces, works in Talavera de la Reina in Spain,...

This huqqa (or hookah) is a wonderful item which is crafted from porcelain and finely hand painted and parcel gilt. The huqqa was created in the late 19th century, most likely in Rus...

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

Designed by Gianni Versace for Rosenthal Studio Line, these "Le Voyage De Marco Polo" service platters or charger plates features beautiful and detaile...

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...

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...

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

An unusual trio of jardinière and cache-pots, in the Sevres style, hand-painted with love scenes after Watteau on one side whilst the other side is decorated with flower panels. Each...