Creamware Serveware, Ceramics, Silver and Glass

Green, pink and blue floral banded soup plate. Antique creamware soup plate with jewel-tone floral banding and monogram; with impressed marks for Giustiniani Naples, Italy, late 18th...

Shorthose & Heath English Creamware Basin, Yellow Wave Border, Georgian, Large Hanley, Staffordshire, circa 1795–1815 At seventeen inches across, this creamware basin makes the cas...

Derbyshire Creamware Large Leaf Dish, Overlapping Leaves in Puce, English, probably Derbyshire, Melbourne Type, Circa 1785 This large creamware dessert dish is press-molded in the f...

Neoclassical black and white creamware plate. French transfer creamware plate with "Vue des ruines du temple d’Hercule sur les bordes du Tibre" ...

French creamware Sorbonne plate. Black and white creamware transfer plate with “vue de la Sorbonne” centered by three graduated black bands and a neoclassical twist ribbon & foliate ...

English Creamware "Tortoiseshell" Glaze Tea Caddy with French Silver Cover, Circa 1770 A fine 18th-century English creamware tea caddy (or canister), produced in Staffordshire circa...

Dutch-decorated English Creamware Plate, Onse Live Vrouw Tot Kevelaar (Our Lady to Kevelaar), Circa 1765-1785. Dimensions: 10 inch diameter x 1 inch high. Kevelaer is a municipality in the district of Kleve, in North Rhine-Westphalia in Germany. It is the largest Catholic pilgrimage location within north-western Europe. More than 1 million pilgrims, mostly from Germany and the Netherlands, visit Kevelaer every year to honour the Virgin Mary. The population in 2015 was 28,311. History Kevelaer is a center of veneration and pilgrimage to Our Lady, Comforter of the Afflicted (also known as Our Lady of Consolation. According to tradition, a merchant praying in front of a cross in a field, heard a voice that told him: "Here thou shalt build me a chapel." His wife dreamt of a little chapel with a Madonna that someone had previously advised her to purchase, In 1642 a copperplate engraving, representing Our Lady of Luxembourg, was installed in a sanctuary erected the same year. It is one of the best visited Catholic pilgrimage locations in north-western Europe. The Gnadenkapelle [Chapel of Grace] has drawn pilgrims to the Lower Rhine Region from all over the world for more than 360 years. Pope John Paul II...

Neoclassical Creil creamware plate. Antique black and white soup plate "Prudence fuit au fond du vèrre" with grapevine border. Impressed and underglaze...

Set of 10 French (19th Century) black and white transfer creamware plates of historic French landmarks. (PRICED AS SET)

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ pattern. Sir William Hamilton’s Collection of Etruscan, Greek and Roman antiquities, first published in 1766 by Pierre d’Hancarville, was a landmark publication in English design. It intended to disseminate the Antique style through its engravings of Attic pottery. The catalog’s faithful reproductions of Classical vases led British potteries, including Spode, to adapt or even copy the ancient art for modern life. These Spode Greek pattern tiles reflect the major influence of Hamilton’s catalog on English Neoclassicism. The central scene was taken directly from the catalog. This tile can be dated to a narrow window of production in the Spode factory, 1806-1810. During that time, Spode used a technique known as the “Pluck and Dust” method to print in red transfer designs onto creamware. Using this method, source prints were transferred overglaze using tissue imprinted with a very faint rendition of the design outlined in sticky oil. The decorator applied the tissue to the object then carefully “plucked” or pulled it away, leaving the sticky oil design behind. Then, a finely-ground enamel color was “dusted” onto the surface, sticking to any areas that had the oil. A final firing at a low temperature in the enamel kiln made the pattern permanent. The Pluck and Dust technique improved upon bat-printing and enabled larger designers to be transferred. It was short-lived, however, as under-glaze transfer printing soon took over as the preferred method for producing transferwares. Dimensions: 5 in. x 5 in. x 1/4 in. Condition: Excellent. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

A French Neoclassical faïence transfer printed creamware plate produced by P&H Choisy, circa 1824-1836. A black transfer of an architectural image on a creamware body, depicting t...

19th century creamware drainer originally used for draining glasses. This piece is rare to source and in good condition

Rare antique English "Wedgwood" creamware (earthenware) hand painted platter with rare early impressed "WEDGWOOD" mark. Superb condition but for...

"Foliate Brilliance": Regency Creamware Covered Jug with Orange Scrollwork Circa 1820 A handsome English Creamware covered jug (or pitcher) dating to the Regency period, circa 1820...

Neale & Co. Creamware Sauce Tureen, Stand and Ladle, Puce Ruins, Hanley, Staffordshire, Circa 1780–1785 The tureen is of lobed ovoid form, molded with spiral fluting and raised on a...

Black ceramic Art Nouveau style jardinière with green distressed finish. Inside is flamed glaze and outside is natural finish. Minor chipping/scuffs. (See pics). Signed Italy.

Antique 18th century English Georgian creamware coffee pot with Chinoiserie landscape decoration in traditional Imari colors of blue and red enhanced by gilding. The baluster pot is ...