1770s Serveware, Ceramics, Silver and Glass

A very fine antique English 18th century sterling silver swing handle cake basket, by Richard Morton, Sheffield, 1778. Richard Morton is regarded as one of the most important silvers...

Pearlware Wedgwood Creamware pottery Orange or Chestnut basket ,cover and stand. Very wall decorated in a underglaze blue Mared design. The basket and stand impressed under base "we...

A fine & elegant antique George III Sterling Silver pint mug or tankard by Jacob Marsh, London 1770. The tankard of very pleasing plain baluster form, with an inverted rim and raise...

Coppia Di Piatti In Maiolica italiana XVIII secolo Con Decoro Al Garofano Manifattura Ferniani Faenza dipinti in policromia, nei toni del blu, bruno, giallo, rosso, arancio e verde. ...

First Period Worcester Underglaze Blue Porcelain Pine Cone Pattern Dinner Plates, A Set of Twelve, Circa 1770. From a collection of Pine Cone pieces including a soup tureen and stan...

Maiolica pitcher Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 8.66 x 8.66 x 4.33 in (22 x 22 x 11 ...

A Worcester Blind Earl porcelain plate made circa 1770 with beautifully enamelled decoration of butterflies and insects among raised leaf and rose...

An exquisite set of four George III silver oval two handled oval sauce tureens and covers. Of Oval bombe form on four rocaille capped scroll feet, with ovolo cast borders and handles...

This hard to find ensemble consists of a uniquely configured 18th century Georgian night cupboard circa 1770, and a six piece Victorian Mason's Ironstone toiletry set for washing and toiletry needs, circa 1835. The washstand conveniently accommodates all of the pieces from the Mason's set in their appropriate compartments as if it was specifically made for the grouping (see images). The Georgian washstand...

A Rare 18th Century Meissen Porcelain Marcolini Period Watteau Covered Potpourri. This rare Meissen porcelain potpourri vase, dating ...

A very fine and important pair of heavy Irish silver sauce boats of typical form. The body heavily embossed and chased with floral and foliage desig...

Hallmarked in London in 1773 by John Kentenber, this handsome, George III period, Antique Sterling Silver Tankard, is plain in style, featuring reed borders throughout and a dome top...

Circa 1770 Delft blue & white plate. Central handled & footed basket vase overflowing with flowers, surrounded by alternating repetive floral vases & natura...

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...

Teatime Elegance: Chinese Export Famille Rose Teapot Stand ________________________________________ This charming Chinese Export Porcelain Teapot Stand i...

A stunning antique Worcester porcelain Dr Wall period twin handled blue and white painted chestnut basket stand dating from around 1770. The shaped oval stand ...

A magnificent, fine and impressive set of 12 antique Georgian English sterling silver plates made by Paul Storr; an addition to our range of collectable dining silverware This magnificent set of 12 antique George III sterling silver plates has a plain circular form. The raised border is embellished with an impressive bright cut engraved crest of an arm in armour embowed, holding in the hand a scythe in bend Dexter. Each antique plate is ornamented with a fine and impressive gadroon decorated border to the rim. The circular well of each plate is plain and unembellished. The underside of each plate retains the silversmith’s centre punch mark. These exceptional Georgian plates were crafted by one of the most famous and revered London silversmiths Paul Storr. The surface of each plate has a fine color and patination. Patination or patina is a subtle coloration or tarnish which forms on the surface of some metals, produced by oxidation or other chemical processes. A good patina proffers an aesthetically pleasing look. Condition These antique silver Paul Storr...

Marked: Thomas Pitts, London 1771. Arms: Carson Impaling Parker.

This First Period Worcester Cup and Saucer is decorated in a delicate floral pattern. Green leaves and flowers are hand-painted in orange, purple, and underglaze blue, which is outli...

Antique solid silver mate cup from the late 18th century, crafted in the Colonial style. This finely made piece reflects the traditional silverwork of the period, with an elegant and...

Yorkshire Elegance: Rare Green Glazed Creamware Teapot Swinton, Circa 1770 A superb late 18th-century English creamware teapot and cover, produced by the Swinton Pottery (the prec...

Chinese export porcelain Imari Tureen and cover, Circa 1780 The Chinese Export porcelain tureen and cover are painted in the Imari palette. The body and cover are painted in underglaze blue and iron-red with ducks on a pond surrounded by water lilies . The unusual handles are in the form of upturned water lily pods. The finial is shaped as a closed flower with leaves and the rim of the tureen and the edge of the cover have an undulating design. Dimensions: 9 inches high x 13 1/2 inches wide x 9 3/4 inches deep. Provenance: Chinese Porcelain Company...

An exceptional, fine and impressive set of six antique Georgian sterling silver Hanoverian pattern picture back teaspoons - boxed; an addition to our silver cutlery and flatware coll...

Circa 1770 George III period cellarette on stand, English. Octagonal form with molded base edge over intergral base. Solid mahogany with line inlay edging of boxwood; the top with ex...

A pair of plant pots covered in marbled brown glaze emulating agate gemstone encircled with checkered rims accented in gold, made circa 1770 by Wedgwood &...

Chinese Export Famille Rose 'Flower Basket' Dish Qianlong Period, Circa 1765 This vibrant and beautifully painted dish is a quintessential example of the fine porcelain produced in ...

Scrolls and Blossoms: A Rare Chinese Export Blue & White Dish This large, attractive Chinese Export Porcelain Dish, dating to Circa 1770, is distinguished by its unusual and rarely ...

Maiolica tureen Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 9.05 x 12.59 x 9.05 in (23 x 32 x 23 cm) ...

Coffee assortment with “barbotine” decoration Manufacture of Pasquale Rubati or Felice Clerici Milan, 1770- 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). ...

An 18th Century Worcester Porcelain Shell Centrepiece, circa 1770, naturalistically modelled as six shells on a base of smaller shells and coral, painted with flower sprays within pi...

Irish sterling silver sauce boat featuring lion heads tapering into paw feet, a scalloped edge, a graceful handle. Marked with the symbol of Ireland and the harp fineness symbol. The...

"Liège Silver Oil And Vinegar Set From The 18th Century, Jean-baptiste Dehaye, 1772" Fine 18th-century oil and vinegar stand in solid silver and cut crystal, made in Liège in 1772, f...

This blue and white charger was hand painted at De Porcelene Bijl* "The Axe" circa 1770. The center of the charger is filled with a lovely flowering plant. We see flowers in full blo...

Two antique Meissen plates in pierced porcelain with hand painted floral motifs. Museum Quality. Dated 1773-1814. Measures: 23 cm. In very good condition. Stamped: Marcolini.

Antique Meissen compote in openwork porcelain with hand-painted flowers, insects and gold decoration. Marcolini period 1774-1814. Museum quality. M...

A pair 18th Century Worcester Porcelain Shell Centrepieces, circa 1770, each modelled as six shells on a base of smaller shells and coral, painted with...

Maiolica tureen Pasquale Rubati Manufacture Milan, circa 1770 - 1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 6.69 in x 11,02 x 8.26 (17 x 28 x ...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style 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 later introduced by Antonio Ferretti to Italy. The 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 started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano 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, was able to 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, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

English Creamware Cow Creamer and Cover Staffordshire, circa 1775–1780 Glazed earthenware This whimsical yet functional vessel exemplifies the charm of 18th-century Staffordshire po...

Offers are welcome. Museum quality antique sterling silver epergne by famous English silversmith Thomas Pitts, 18th century. Eperge is handmade and has nine reticulated baskets tha...

Two maiolica pharmacy flasks Milan, Felice Clerici Manufacture, 1770-1780 They each measure 9.44 in (24 cm) in height x 6.10 in (15.5 cm) in diameter l...

Possibly by Hester Bateman, sterling silver basket bowl from 1770 (Georgian era), beautifully executed with pierced motifs, the center displaying an unidentified coat of arms. It mea...

English Chippendale mahogany octagonal cellarette with locking hinged top, fitted copper removable interior with handles, original molded brass ba...

Majolica flower pot "crescent" decorated in manganese Pasquale Rubati Factory Milan, c. 1770 4.92 in x 8.66 in x 5,31 in 12.5 cm x 22 cm X 13.5 cm Weight: 2.29 lb (1039 g) State of conservation: intact with slight chipping due to use in relief parts A rare example of a flower pot "a mezzaluna" produced by the manufactory of the refined painter Pasquale Rubati, who opened a factory in Milan in 1756 to compete with Felice Clerici...

A fine and impressive, unusual provincial made antique Georgian English sterling silver sauceboat / gravy boat made by Robert Pinkney; part of our Newcastle silverware collection. T...

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 exceptional antique 18th century English sterling silver drum mustard pot; an addition to our silver cruets / condiments collection. This exceptional antique George III sterling silver mustard pot has a plain drum form with applied borders to the upper rim. The body of this large antique Georgian silver mustard pot...

Hallmarked in London in 1772 by Thomas Chawner, this handsome, George III period, Antique Sterling Silver Soup Ladle, is in 'Old English' pattern. The soup ladle measures 4"(10cm) ta...

Hallmarked in Newcastle in 1772 by David Crawford, this handsome, George III period, Antique sterling silver tankard, has a tucked in shape, and a domed top. ...

Hallmarked in London in 1772 by John Carter II, this very handsome pair of George III period, Antique Sterling Silver Sauce Boats, feature gadroon borders, pedestal bases, and engrav...

Hallmarked in London in 1773 by Charles Wright, this striking, antique George III, sterling silver cup and cover, features reed detailed loop handles and applied acanthus decoration. The cup bears an original engraved coat of arms for John Frederick Sackville, 3rd Duke of Dorset...

Delicately enameled with turquoise garlands draped through hanging gilt rings beneath a royal blue and gilt border. Each piece with a neoclassical vase painted in grisaille and light...

Hallmarked in London in 1779 by John Wakelin & William Taylor, this very handsome, George III period, Antique Sterling Silver Entree Dish, is round in shape, and plain in design, with reed detailing and an engraved crest to the lid. The entree dish measures 3.75"(9.5cm) tall, by 10.5"(26.5cm) in diameter, and weighs 37 troy ounces. The crest is that of the Hamilton Family, and most likely that of John Hamilton, 1st Baronet Hamilton of Marlborough House.

Hallmarked in London in 1772 by Hannam & Crouch, this exceptional, George III, antique sterling silver salver, features a shaped gadroon border, an engraved crest to the centre, and ...

Each painted with landscape roundels flanked by flower sprays within a narrow blue and gilt border, comprising: a fluted barrel-shaped teapot and cover and a hexagonal fluted stand; a covered sugar and another hexagonal fluted teapot...

Antique solid silver mate cup from the late 18th century, crafted in the Colonial style. This finely made piece reflects the traditional silverwork of the period, with an elegant and...

Antique solid silver mate cup from the late 18th century, crafted in the Colonial style. This finely made piece reflects the traditional silverwork of the period, with an elegant and...

A fine and scarce early English porcelain tea bowl and saucer painted with dry blue floral patterning by acclaimed makers Worcester and dating to the Dr Wall period 1770 – 75. The te...

This rare and beautiful George III Jug stands on a circular domed spreading foot which is chased with floral garlands. The main body is also chased with the same designs, bolder and ...

Derby Porcelain Shaped Vase with May Blossom Decoration, circa 1770-1775 The four-sided shaped Baluster vase and cover with square-shaped neck and foot is designed with a design of multiple applied tightly packed May blossoms or Mayflowers (Schneeballen) with yellow stamen and a tint of aqua blue to the edge of each flower while the ground behind has a light purple wash creating a stunning effect after the Meissen Schneeballen...