Delft and Faience

A Fine 18th c Dutch polychrome painted Delft charger, decorated with vibrantly colored stylized tulips and flowers painted in manganese, green, yellow...

A rare Dutch polychrome tile picture, painted in blue, green, yellow and manganese, depicting a mantel clock with two cupids. The tiles with authentic hand-painted black numbers F1-F...

The entire surface of this blue and white Dutch Delft charger is covered in deep beautiful cobalt blue coloring. The center of the charger is filled with lovely hand-painted peonies...

Each the form of a French bombe commode, each with five cutouts on top.

Five oval maiolica dishes with pierced edge Manufacture of Pasquale Rubati Milan, 1770-1780 Three small oval dishes 10.23 in x 7.67 in (26 cm x 19.5 cm) Two large oval dishes 10.82 in x 8.85 in (27.5 x 22.5 cm) lb 3.5 (kg 1.8) State of conservation: intact The five dishes of different sizes have an oval shape, a mixtilinear edge and a molded polylobed shape with a surface enriched with a relief weave motif extending to the brim and forming a perforated basket...

We are pleased to offer this Antique blue and white Delft charger with a well-painted landscape showing a house and trees. The decoration is crisp. The scene is framed by an attracti...

Plates Pair Delft Blue and White 18th Century Holland. A pair of beautiful large delft plates decorated with blue and white flowers made during the ...

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...

This pair of Dutch Delft chargers in the "Theeboom" pattern shows a tea plant with a fan-shaped bouquet of leaves and flowers. The deep cobalt blue is fabulous! This is one of the ...

WHY WE LOVE IT: His Pekingese imperial attitude!                                                                                               In their native China, Pekingese could ...

A rare faience topped Rörstrand tea table. The dished, moulded and shaped rectangular top decorated with a harbour szene painted in shades of grey (grisaille painting), on an elegant...

Impressive, large hand painted French faience jardinière with jesters' heads as handles. Each side feature a different painted scene of putti playing in the woods inset into a backgr...

Background of Dutch Delft: The technique of making Delft was first described in writing by Gerrit Paape in "The Delft Pottery Maker," written in 1794 and dedicated to Lambertus Sande...

This pair of 18th-century Delft jars has a lovely distinctive style taken from nature. The cobalt blue designs are hand-painted. We see a young woman seated in a garden. Budding pe...

These three breathtaking Dutch Delft plates, made in the late 18th century, are truly a testament to the artistry and skill of their creators. The intricate garden scene, featuring a...

This beautiful blue and white Dutch Delft charger was hand-painted circa 1770. The center of the charger is decorated with a large cobalt blue flower. Beyond the center, we see two c...

Made in the Netherlands circa 1800 this antique blue and white Dutch Delft charger has beautiful cobalt blue coloring. The center shows a garden with tulips, peonies, and a water li...

We are pleased to offer this Dutch Delft blue and white charger showing a pair of songbirds and a vase overflowing with flowers. It is hand-painted in deep cobalt blue on a bright wh...

This pair of blue and white Dutch Delft vases was hand-painted in cobalt blue. The exquisite blue decoration features an all-around scene in the "Thousand Flowers" style of the 18th...