1770s Serveware, Ceramics, Silver and Glass

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...

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...

English creamware pottery green glazed teapot and cover, Swinton, Yorkshire, circa 1770 The barrel-form creamware teapot is decorated with a dipped green glaze over an impr...

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...

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...

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...

Maiolica flower pot “a mezzaluna” decorated with tulip Pasquale Rubati Factory Milan, circa 1770. Measures: 4.7 in x 4.7 in x 8.6 in 12 cm x 12...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

English sterling silver dressing mirror with centered floral cartouche, four flanking corner winged cherubs, scrolled floral decorative...

Maiolica flower pot “a mezzaluna” decorated with trompe l’oeil Pasquale Rubati Factory Milan, circa 1770 Measures: each 4.7 in (cm 12) x 5 in (c...

Hallmarked in London in 1773 by Philip Freeman, this very handsome pair of George III period, Antique Sterling Silver Wine Coasters, feature pierced sides, bead borders, silver inser...

Antique George 111 Silver Skewer Dated 1773, Maker Charles Wright, London Heavy guage silver skewer with whip shaped handle with a lovely family crest ...

1770 Hanoverian pattern sterling silver tablespoon, London. By G.S. (listed by Wyler as unrecorded & Grimwalde has no possible maker either). Early George III period sterling. Scratc...

Small oval tray Felice Clerici Manufactory 1745-1780 Milan, Circa 1770-1780 Maiolica polychrome. Dimensions: 10.82 x 8.66 in (27.5 x 22 cm); weight 0.4...

A pair of Chinese export armorial octagonal plates, Qianlong period, Ca. 1765 18th century Diameter: 9 Inches Condition: very good with glazing slips and very minor flea bites to e...

Maiolica flower pot “a mezzaluna” decorated with garlands of flowers Pasquale Rubati Factory Milan, circa 1770 Measures: 4.7 in x 5 in x 8.8 in ...

Assortment of bottle and glass coolers in Maiolica. Pasquale Rubati manufacture Milan, circa 1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire) a - Bottle cooler 5.91 in x 5.91 in diameter (15 x 15 cm ) Weight: 1.86 lb (845 g) b - Bottle cooler 6.89 x 7.87 in diameter (17,5 x 20 cm) Weight: 2.09 lb (948 g) c - Pair of glass-cooler vases 3.94 x 3.94 in diameter (10 x 10 cm) Weight: 1.43 lb (650 g) Good state of conservation: a - some chipping from use on the edge; a - two fêlures covered on the edge; c - one has deep chippings on the edge and the other a subtle fêlure. Two Majolica factories were active in Milan in the 18th century. The first, starting from 1745, was owned by Felice Clerici; the other one by Pasquale Rubati from 1756. Rubati was in competition with Felice, whose worker he had been prior to opening his own workshop. On his death in 1796, the business was continued for a few more years by his son Carlo. Recent studies have recognized Pasquale Rubati's contribution as the creator of "Strasbourg-style" decorations with their particularly joyful depictions. This style had previously been attributed to the Lodi manufacturers. These works here, however, are a clear example of this production. The Majolica containers have different sizes, a cylindrical shape and rest on a low foot ring. The two largest are completed by handles in the shape of a zoomorphic mask with wide open jaws, while the smaller ones have handles applied with an anthropomorphic mask. All the works are characterized by elegant floral decoration. The two twin glass coolers show bunches of flowers centered around a main corolla, a rose or a peony paired...

Maiolica flower pot “a mezzaluna” with support feet decorated with little bunches of flowers Pasquale Rubati Factory Milan, circa 1770 5.5 in X ...

An exceptional, fine and impressive pair of antique Georgian Newcastle sterling silver Old English Feather Edge pattern table spoons; an addition to our silver flatware collection. These exceptional antique Georgian Newcastle sterling silver table spoons have been crafted in the Old English Feather Edge pattern. The anterior surface of each spoon stem and handle is encompassed with feather edge decoration and embellished to the terminal with a flat engraved scrolling leaf design. The handle terminal incorporates the contemporary bright cut engraved initials 'MAF'. The reverse of these Georgian spoons...

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...

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.

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...

Hallmarked in London in 1777 by William Plummer, this handsome, George III period, Antique Sterling Silver Butter Dish, is of traditional shell form, standing on 3 shell feet, and fe...

George III sterling silver mustard pot. Made by Andrew Fogelberg in London 1770. Drum-form with flat and hinged cover; leaf-capped s-scroll handle with open scroll thumb rest. Engrav...

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...

An exceptional, fine and impressive set of four antique Georgian Newcastle sterling silver Old English pattern table/serving spoons; an addition to our silver flatware collection These exceptional antique Georgian Newcastle sterling silver spoons have been crafted in the Old English pattern. The anterior surface of each serving/table spoon handle terminal incorporates the contemporary engraved initial 'P'. The reverse of each 18th century spoon is embellished with single drop heel, in addition to a pip to the handle terminal. These exceptional Georgian set of spoons, crafted by the renowned silversmiths John Langlands I & John Robertson I in 1778, have deeply struck hallmarks and are the finest examples of their type you could hope to acquire. Condition These antique Georgian silver spoons...

Heading : Worcester porcelain Queen's pattern coffee cup and saucer Date : c1775 Period : George II Marks :Pseudo fret square Origin : Worcester, England Colour : Polychrome Pattern...

An exceptional, fine and impressive antique Georgian Newcastle sterling silver meat skewer/letter opener; an addition to our diverse 18th century flatware ...

Hallmarked in London in 1773 by William Justis, this handsome, George III period, Antique, Sterling Silver Cream Pail, features a swing handle, and ribbed detailing. The cream pail...

Oval bowl with peasant scene, Nymphenburg, c. 1775, pressed mark Rautenschild, incised 6, painting attributed to Joseph Kaltner.

Heading : Worcester porcelain Queen's pattern coffee cup and saucer Date : c1775 Period : George II Marks :Pseudo fret square Origin : Worcester, England Colour : Polychrome Pattern...

Oval with covers and attached under tray painted overall with floral sprays and gilded details. From a Bellevue Ave Newport RI estate.

Heading : Fluted Worcester porcelain trio Date : 1765-80 Period : George III Marks : Square seal mark to all Origin : Worcester, England Colour : Polychrome Pattern : Dragons in comp...

Heading : Worcester porcelain blue scale leaf dish Date : c1775 Period : George III Marks : Pseudo fret square Origin : Worcester, England Colour : Polychrome Pattern : Blue scale m...

Figures of a Jewish Peddler and his Wife, Derby, England, Circa 1770 This pair of Derby ware figures, dating from around 1760, represent an increasingly...

Worcester teapot, painted underglaze in ‘The Waiting Chinaman’ pattern, filled out with scattered sprays of flowers, the knop modelled as a flower. Blue crescent mark, c. 1770

Antique silver argyle (argyll) gravy jug in the classic straight-sided George III style featuring a traditional and elegant swan-neck spout and pull-off cover. The handle is fruitwoo...

With hallmarks. Set made in silver in its color and glass composed of two jugs with handle, elongated neck and peak, and body of circular base, with the faceted exterior, an oval tr...

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...

An Indian Club shaped decanter, decorated with wheel-cut interlocking circles and spire finial. Very much in the English style.

Heading : First Period Worceste rporcelain Kempthorne pattern trio Date : c1770 Period : George III Marks : Pseudo fret Origin : Worcester, England Colour : Polychrome - imari Patte...

Heading : First Period Worcester porcelain Kempthorne pattern trio Date : c1770 Period : George III Marks : Pseudo fret Origin : Worcester, England Colour : Polychrome - imari Patte...

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...

Heading : A very fine claret jug with inset medallions Date : 1760-1790 Origin : Bohemia, Southern Germany Colour : Clear Body : A vesica cut with two inset ruby glass zwischengold m...

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 ...

This extremely rare and fine garniture of George III neo classical baskets were made in London in 1778 by Philip Freeman. The Baskets all stand on a square pedestal foot which is pierced with horizontal pails and roundels, as well as being engraved with prick dot designs. The Classical vase shaped main bodies are also pierced with horizontal pails and roundels and the front of each piece displays a disc cartouche engraved with a contemporary Crest. The rim and swing handle, instead of being decorated with beading, are unusually engraved with various prick dot and bright cut bands, including stylised flower heads. Each basket is in excellent condition, has a blue glass liner and is fully marked in the foot. The baskets are of a very rare decorative design and Philip Freeman was known for producing unusual baskets and pails, although his work does not survive in great quantity. These are also unusual in that they stand on a pierced foot, echoing the designs on the main body. The smaller baskets would have been used for cream and the larger ones for sugar, however it is extremely rare to find a garniture. They are almost always found singly or in pairs, in sizes. A very rare Classical garniture of outstanding quality. Measures: Height of the sugar basket, to the rim: 5.4 inches, 13.5cm. Height of the cream basket...

The tea caddy is oval in form and the sides of the main body and edge of the cover, are engraved with bright-cut and scratch engraved bands. The front of the caddy displays a contemp...