18th Century Delft and Faience

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

We are pleased to offer this pair of blue and white Dutch Delft dishes with lovely chinoiserie decoration, which features an image of a vase overflowing with flowers. Around the vas...

18th century blue and white Delft De Klaauw factory peacock charger.

Blue and white dragon dish. Delft, 1722-1757 The Greek A pottery Mark: AIK, period J van der Kool (1722-1757) Dish with blue and white decoration of a dragon on a dense ground of...

Near pair of 18th century English polychrome delft chargers- Measure: 13” diameter.

Strasbourg faience floral plate. Antique faience plate with large floral bouquet of pinks and blues with lobed rim and further floral sprays; with b...

18th century English polychrome delft platter.

Polychrome and gilded chinoiserie plate. Delft, 1701-1722 The Greek A pottery. Mark: APK, period of Pieter Kocx (1701-1703) or his widow Johanna van der Heul (1703-1722) The plate is slightly curved and has a narrow border. The painting is executed over the entire surface in a polychrome Imari palette. The chinoiserie decoration consists of an Oriental woman and child dancing amongst flying birds. The woman – traditionally called Long Eliza...

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

Delft Fan dish with florals motives displayed like a peacock. Signature G.V.S is for Geertruy Verstelle, a Woman Faience Manufacturer Established at Delft in...

An Italian Baroque Castelli albarllo, also known as a pharmacy or drug jar. It held 'Benedict Laxat' listed as far back as Aristotle as a medication used in by midwives. Beautifully decorated with buildings in landscapes in the free, almost impressionistic style typical of Castelli Maiolica...

This hand-painted Delft vase was produced in the Netherlands in the 1700’s. Delft is a city in the western part of the Netherlands that is world-renowned for ceramic pieces. As a home port of the Dutch East India Company, Delft was at the forefront of producing faience wares, which were influenced by imported Chinese porcelain. The prototypical Delftware has a white background with hand-painted cobalt blue imagery, though they can also be found in multi-colored or “polychrome” variations, such as ours. Our baluster form vase has a hand painted scene depicting a woman in a flowing dress walking across a field. The scene is surrounded by flowers, curled leaves, and a diapered background with flowering vine offshoots. On the opposite side of the baluster is a large flowering vine. The lid has a rural life cartouche that is painted with a scene depicting a farm overlooking a field or body of water . The handle of the lid has a similarly colored bird perched on a sinuous branch, while pecking at a berry. This particular design was seen on many delft baluster...

This is a small masterpiece of craftsmanship: The fine porcelain is designed with floral and natural scenes, rich in detail. A piece for refined collectors or useful to start a coll...

A fine 18th c Dutch Polychrome painted delft charger, decorated with vibrantly colored stylized tulips and flowers painted in manganese, green, yellow...

A set of five antique Dutch Delft dishes beautifully hand painted with manganese-based purple. The dishes show a peony plant in full bloom. The maker was Hugo Brouwer. Brouwer created the design, and each dish would have been hand-painted in his factory, The Dreye Porceleyne Flesschen, using a stencil of his design. Each dish is signed with Brouwer's H-B mark. Dimensions: diameter 9" Condition: Excellent Price: $700 for the 5 plates Background of Hugo Brouwer: Maker: Hugo Brouwer (active 1760–1788) at The Dreye Porceleyne Flesschen (The Thee Porcelain Bottles) factory. Ref: C.H. De Jonge...

Two 18th century delft earthenware vases signed VB (Pieter van den Briel 't Fortuyn, 1753-1759) In original condition, no restorations as you can see on the photo's. VB mark : Van ...

Cashmere tea pot. Delft, circa 1700 - 1710 The Metal Pot pottery. Mark: LVE, period of Lambertus van Eenhoorn (1691-1721) The ribbed tea pot has a somewhat pear-shaped body on a...

This faience soup tureen was made in the Philippe Mombaers factory in Brussels circa 1765. The cabbage tureen, its cover, and the stand are painted in ...

Elegant 18th century porcelain figurine of Giove, attribuited to Meissen. As to put in evidence the armony and beauty of colors. With certificate of authenticity.

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...

Blue and white fruit dish on stand. Delft, 1740-1760 The Porcelain Claw pottery mark: a claw and number 70. The hexagonal fruit dish and stand have scall...

Water jug and basin 1767 Lille, North of France, 1767 Lille manufactory faience Washstand set hand painted with charming French Country side scene, Decorated with a beautiful floral drawings and gold borders. Hand painted marked Lille 1767...

3 piece chinoiserie Famille rose garniture, Delft, 1730-1740 This petit feu garniture consists of a baluster vase with cover and two beaker vases. The cover has a bell-shaped knob...

An 18th century German Pewter Mounted Faience Stein Initialed "WM", circa 1790. The stein has a tin glazed finish over a white glaze and is painted with ...

With lion form finial on the domed ribbed cover, baluster form vase with polychrome decoration.

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...

Strasbourg faience floral plate. Antique faience plate with large floral bouquets and lobed rims with further floral sprays and insects; with blue u...

Italian Creamware Tromp L'oeil Tureens in the form of Ducks, Nove di Bassano, circa 1800 The fine earthenware soup tureens are from Nove di Bassano. They are tromp L'oeil in th...

A fine, diminutive, and early Dutch Delft pottery vase or jar marked for Gerrit Kam. With a stylized Chinese peony flower pattern. Bearing an underglaze blue GK monogram to the bas...

A French faïence mid-18th century oval-shaped soup tureen from Bordeaux with floral decor. Created in Southwestern France during the reign of King Louis XV, this soup tureen features...

German Faience Pewter-mounted Tankard, Probably Thuringia, circa 1750 A tin-glazed earthenware tankard with polychrome decoration and pewter cover. The tankard depicts a Turkish horseman with a saber held high over his head with trees and rockwork to either side painted in unusual colors. The inside of the pewter cover with stamped touchmark of a hand-held pair of scales below initials CM. On top of the cover are the initials JAS over 1798. Dimensions: 7 inches high (with cover 9 1/2 inches) x 4 inches x 6 1/2 inches Reference: Catherine Sawinski, the Assistant Curator of Earlier European Art at the Milwaukee Art...

A large late 18th century delft earthenware shallow bowl or dish, decorated in blue, with a handwritten Dutch motto in the center. Rough translation: "He who sees through his own hea...

A Chinese Kangxi blue-and-white porcelain 'Herring' dish Qianlong period, third quarter of the 18th century With two mirrored herring against plain fond, surrounded by floral b...

A boldly decorated delft charger mid-18th century probably Dutch depicting a hanging lantern or planter with flowers and a blue decorated border.

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...

18th C Spanish Talavera De La Reina Pitcher Jar Bucaro Botijo Centerpiece Rustic. A large late 18th-early 19th century glazed ceramic pitcher jar ...

Three late 18th century polychrome glazed Delft pottery vases, two of baluster form, one of trumpet form, each with a central cartouche depicting a lands...

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...

A good, antique English delft plate. Likely Lambeth with deep blue chinoiserie decoration and a sawtooth border. A fine early example with stro...

This 9.25" faience pewter-mounted tankard from the 3rd quarter of the 18th century is cylindrical in form with a handle mounted in pewter. The place of origin is probably Nurnberg, G...

Antique 18th century Delft porcelain plate.

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

A wonderful antique Soupière et son Couvercle en Faience (French faience Tureen and Cover). Dating to the early 18th century, this very rare form is decorated in the Moustiers sty...

We are pleased to offer this pair of Dutch Delft blue and white chargers decorated in the center with an image of a delicate vase filled with chrysanthemums and peonies. The design in the center of the charger is derived from Chinese decoration, where auspicious flowers were put in bamboo baskets as attractive interior decorative elements. The border of the charger is adorned with four floral panels, which alternate with four cobalt blue panels with fish-net patterns. The edge of each charger is painted with orange slip...

This set of three Dutch delft chargers in the "Theeboom" pattern shows a tea plant with a fan-shaped bouquet of leaves and flowers. This is one of the most beautiful designs hand-p...

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

Strasbourg faience floral plate. Antique faience plate with large floral bouquets and lobed rims with further floral sprays and insects; with blue u...

A French revolution tin-glazed earthenware dish, made in Nevers, circa 1790. Showing a yellow battlement often thought to be the Bastille, the image of the tower represents the defen...

A French Revolution tin-glazed earthenware dish, showing crossed French flags with a Phrygian cap on an épée, the symbol for Liberty. La Convention, meaning The Agreement, is written...

Fine quality English late 18th century faience planter or pot, with accompanying small porcelain stand. The hand painted image depicts a young couple handsomely dressed in bright col...

A French faience Louis XV style lavabo from Moustiers. The urn is in three parts that attach to a walnut plaque and the shallow basin rests on a walnut wall bracket. Hand-painted in ...

Cartouche-shaped with a lady standing beside a fence on a terrace amongst blossom sprays and peonies with an acrobatic bird and insect flying overhead. The border in moulded relief w...

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...

The inside centre decorated with the inscription, “Great Yarmouth 1744”, surrounding the blazon of the arms of the town (three lions passant guardant in...

Flemish scenes of activity on the river with sailing barges, fishermen and cranes. Within flowerhead borders, second half of the 18th century. In a modern giltwood frame with the rem...

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...

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

The inside centre decorated with the inscription, “Thomas and Mary Bingham In Yarmouth 1742”, inside a medallion. The rim decorated with six artemisia leaf reserves, with trellis borders interposed. The rim brown. Restoration to a rim glaze chip. Decorated in blue on a white glaze. Probably Dutch, second quarter of the 18th century. Provenance: Thomas Bingham was christened in Great Yarmouth, Norfolk, on November 14, 1697. Thomas Bingham married Mary Dent at Woodbridge in Suffolk on 24th August, 1721. Thomas and Mary Bingham had a daughter Ann christened in Yarmouth on December 17, 1727. Thomas Bingham was buried in Great Yarmouth on July 6, 1774. Thomas, a son of Thomas and Mary Bingham, was christened in St. John Maddermarket, Norwich, on December 3, 1775. In the Universal British Directory of 1793-8, Woodbridge is described as a maritime town situated near the River Deben on the turnpike road leading from London to Yarmouth. It is about 77 miles from London and as Great Yarmouth is 123 miles from London, the distance by road between the two places is about 50 miles. The River Deben, on which the town is situated, is stated to have been navigable up to the town where there were two quays. There is no-one named Bingham listed in Woodbridge in the entry for the town in the Universal British Directory. In the printed Freemen of Yarmouth, a John Bingham is the only entry under the surname. He became a freeman in 1721, having been an apprentice of John Cooper. There is no mention of the surname in the three volume Perlustration of Great Yarmouth by C J Palmer...