Late 18th Century Delft and Faience

This Delft dish is hand-painted in fabulous, intense cobalt blue. The center shows a lovely garden with a songbird among blooming flowers and a willow tree with its branches draped over the garden. The border of the dish is filled with floral decoration and scrolling vines. The edge is painted with a traditional yellow slip...

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...

Blue and white charger with a bird on a branch. Harlingen, 1775-1800 Raamstraat pottery. painter: Pieter Ruurds The charger has a slightly raised flange and is painted in blue ...

A set of two peacock design Delft plates, and two larger Delft dishes. All hand-painted with "peacock" pattern. 2 plates marked "De Porceleyne Claeuw" Dimensions: diameter of 9" / 23cm each plate. 2 dishes are also marked, one for "De Porceleyne Claeuw" (Porcelain Claw) and the other one marked 'De drie...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue wi...

Blue and white landscape dish. Makkum, 1775-1800 Tichelaar pottery. painter: Douwe Klases Hofstra [attributed to] The dish has a wide and raised flange and is painted in blue w...

This blue and white hand-painted Dutch Delft dish was made in the Netherlands in the 18th century, circa 1780. The composition has excellent movement. The ...

Meissen charger with decoration a flower Bunches, Marcolini period Ca. 1800 This large Meissen Charger is decorated with a stylized bouquets of flower...

A blue and white Dutch Delft mantle jar hand-painted in exquisite deep cobalt blue. We see a peacock in a garden filled with flowers and ferns. The cover is similarly decorated a...

A charming Dutch Delft ginger jar of lobed form, with chinoiserie design in polychrome tin glazed enamels, 18th century, Holland. The ginger jar (missing its lid), of globular fo...

Set of 18th century Delft plate. Six from a series. One bowl of different form.

Dutch delftware charger, 1750-1800. The decoration is a stylised version of an oriental garden on 17th century Chinese porcelain. Dime...

This pair of Delft dishes was hand-painted in the Netherlands in the 18th century, circa 1780. We see a lion and the motto Nu Rust ik Veilig, "Now I Rest Safe." The lion is a symbol...

Two large French Faience dishes and two smaller from the city of Strasbourg in hand painted floral decoration. They are approximately from around...

A fine English Delft plate. Depicting a willow tree and a lotus bush side-by-side. In the Chinoiserie style. Simply a wonderful plate! Date: Mid-18th century Overall condition I...

A large Danish (or Northern German) faience charger from circa 1780 in blue and white flower decor. The decoration is inspired by, or actually exact copies of the contemporary Chine...

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...

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...

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 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 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...

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...

Jar Strasbourg France 18th century Color delft blue.

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 ...

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...

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

Antique 18th century Delft porcelain plate.

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...

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...

A French Revolution tin-glazed earthenware dish, made in Nevers, circa 1790. Showing a plump figure along side a basket of flowers beneath de l’arbre de la Liberté. The full body of...

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 ...

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...

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 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...

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...

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...

This beautiful blue and white Dutch Delft charger was hand-painted in deep cobalt blue in the factory of "The Claw" in the late 18th century, circa 1780. The decoration in the cente...

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

This group of blue and white Delft chargers has beautiful deep cobalt blue coloring. The white tin glaze is relatively uniform in its color. The sizes, colors, and designs make a h...

This group's blue and white Delft jars and vases were made in the 18th and 19th centuries. All are in excellent or very good condition, with slight edge chips invisibly restored. The...

This charming pair of hand-painted blue and white Dutch Delft bowls is decorated in two tones of cobalt blue. The decoration is delicate, elegant, and informal. At the center, we see...

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...

We are pleased to offer this group of three brightly painted blue and white Delft dishes with mustard yellow slip painted edges. Each dish shows a flower-filled garden scene. We see ...