18th Century and Earlier Serveware, Ceramics, Silver and Glass

Very beautiful porcelain plate of the green family with dragon decoration in the 18th century. The decoration is finely executed by hand, we see a green and golden dragon, with friez...

An impressive 18th century Chinese export armorial charger. Crest in center of plate with floral sprays around the border. Decorative bands around of plate and the rim. White backgro...

Maiolica plate (tondino) Urbino district, Casteldurante or Pesaro, 1533-1555 It measures: diam. 7.48 in (19 cm), foot diam. 2.75 in (7 cm), height 1.0...

This is a beautiful chocolate cup set made by Chelsea-Derby between 1770 and 1775, which was the Rococo era. The set consists of a cup, a saucer and a cover, and is decorated in a st...

This is a charming Derby figure of a shepherdess with a garlanded lamb, made in or shortly after 1760. The figure is one half of a set called the "Garland...

The Netherlands Amsterdam Circa 1625 – 1650 A blue and white Dutch tile with a decoration of a Dutch soldier from the period of the 80 Years War. This soldier could be a member of t...

Chinese expChinese export tea set, Rockefeller pattern, covered tea pot, lidded creamer and lidded sugar urn, purchased at Sotherby's auction by previous owner. China. 18th Century....

The Netherlands Circa 1660 – 1680 A blue and white Dutch tile with the decoration of two carnations. One in the bud and one in bloom. With small oxheads as corner decoration. The t...

The Netherlands Gouda Circa 1625 – 1650 A polychrome Dutch tile with the decoration of a proud hawk with a prey, a duck?, under his paw. This t...

The Netherlands Amsterdam Circa 1625 – 1650 A blue and white Dutch tile with a decoration of a Dutch or Spanish soldier from the period of the 80 Years War. The decoration of this t...

The Netherlands Rotterdam Circa 1625 – 1650 A blue and white so-called candelabra or baluster tile with the decoration of a goat. It looks like a heavy rain cloud is on its way! Thi...

The Netherlands Circa 1620 – 1640 A polychrome Dutch tile with the decoration of an orange flamed tulip. This tile with a very large tulip was ...

The Hope Service was designed and created by the Royal Flight Worcester Company, commissioned by the Duke of Clarence and St Andrews (later King William I...

This is an absolutely fabulous antique Copeland Spode Indian tree cup and saucer. It is a spectacular example of Spode porcelain with rust and orange...

Maria Theresa Austria-Habsburg 1780 Silver Coin Letter Opener The coin is orignal and authentic minted 1780, the blade of the letter opener is sterling silver and hallmarked later a...

A fine antique 18th century Dutch Delft pottery tile. With the Biblical scene of Christ with a group of children from Matthew 19:14 in manganese decoration. The scene depicts the story from Matthew in which the disciples of Jesus attempt to stop small children from approaching him for a prayer. He rebukes them, and says "Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these". Simply a wonderful religious antique Delft pottery...

A fine 18th century Dutch Delft pottery tile in manganese. With a scene depicting the Binding of Isaac - the famous Biblical story from the book o...

Shallow circular cast brass taster dish with beaded edge on a circular pedestal base. The flaring rim is rivet mounted with a long handle pierced with a heart shape at the terminal. ...

18th Century Sevres Ornithological Pattern Plate, 1759-60 With numerous blue underglaze date, painters, gilder marks. A exquisite piece of Se...

A Dutch colour twist containing white, red and blue with trumpet shaped bowl, engraved with stars and fruiting vine.

This platter comes from a Sèvres dinner service sold to the Dutch banker Jean-Baptiste Vandernyver on 29th November 1792. The platter is marked p...

An exceptional, fine and impressive vintage Elizabeth II English sterling silver goblets; an addition to our range of wine and drink related silverware. These exceptional vintage sterling silver goblets have a flared bell shaped form supported by a plain paneled pedestal to a circular domed spreading foot. The surface of each solid silver goblet...

Made by Clignancourt Porcelain**, a factory with royal patronage in France in the 18th century, this set of dishes is painted in the most exquisite raspberry color, decorated with go...

French sterling silver Fish slice Finely pierced flowers, engraved dolphin and an ebonized handle Handle with a dolphin entwined. Origin France first quarter 19th century, Paris ...

Polychrome dish with a village view. The Netherlands, 1700-1750 The dish has a spreading, slightly raised rim and is painted in blue, purple, yellow and green with a simplified vil...

This is a very charming pair of porcelain figures of a stag and a doe, probably cast by Derby in about 1760 and decorated by Bloor Derby in 1820. The figures are a simple white porce...

"Ho Ho boy" Chinese porcelain. Period Kang-Hsi Second half of the 17th century.  

Silver mustard pot / Antique sterling sliver seasoning pot Antique sterling silver mustard / glass lined seasoning pot 1919 Beautifully crafted ant...

18th Century Höchst Porcelain Group 'Wild Boar with Dogs' Blue Hoechst Six -Spoke Wheel Mark used 1746 - 1796 Model attributed to Laurentius Russin...

Coffee cup in porcelain of sevres, from the 18th century Beautiful 18th century coffee cup in Sèvres porcelain. Dimensions: H:6.5cm, D: 11cm.

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

A fine Derby porcelain sauce tureen and stand c.1795-1800. Of navette shape, finely decorated with a blue band with gilding and the crest of the E...

Exceptional 18th century Imari lobed dish. The centre painted with a vase of flowers and a bonsai tree. Surrounded by a double circle border and three large vignettes of a fenced garden with trees and flowers and stylised floral vignettes interposed. The reverse with four double scroll repeats. Painted in tones of iron red, blue and green. In original condition. In exceptional condition with very little wear. Measures: diameter 31cm., 12 1/4", height 5cm., 2" Provenance : Private collection with two plates of similar quality Imari is the European name for Japanese porcelain wares made in the town of Arita and exported from the port of Imari, in Western Japan. The dynastic change and the instability of China in the mid-17th century created a gap in the porcelain market, which became increasingly international throughout the century. Arita developed into a prominent centre for porcelain due to its proximity to Izumiyama, an area rich in kaolin. Although the Arita kilns...

A fine antique 18th century Dutch Delft plate. With painted floral decoration throughout in orange, purple, blue, and yellow. Simply a wonderfu...

With fluted decoration in the Feuille de choux (cabbage leaf) pattern. Each leaf meticulously painted with a floral bouquet, the center painted with a musical score...

A fine antique English porcelain teapot trivet. Attributed to New Hall. In a diamond-shaped form. With a single red & black...

A wonderful set of four antique Dutch ‘Delft’ style manganese tiles hand decorated with biblical scenes probably originating from Rotterdam and dating f...

We are delighted to offer this magnificent matched set of Georgian solid silver dishes, all fully gilt in a rich gold tone and remaining in great condition. This set of 12 dishes is of exactly identical design and size, comprised of seven dishes by William Stroud, London 1811; two by Andrew Fogelberg & Stephen Gilbert...

A set of four early Wedgwood creamware Neoclassical dessert dishes made circa 1780. Sir William Hamilton’s Collection of Etruscan, Greek and Roman an...

This is a very rare and impressive complete set of large figures called The Four Elements, made by the Bow Porcelain factory in about 1765. It consists of Ceres representing Earth, V...

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 ...

This Wedgwood creamware round platter or charger was made in 18th century England circa 1785. The border is decorated with a traditional neoclassical design of iron-red flower heads...

A fine antique English porcelain dish or plate. By New Hall. With an eye-catching gilt rim that alternates between panels of iron-red underglaze countryside and gilt geometric ...

This is a beautiful oval dish or stand made by Flight in Worcester probably around the year 1785. The dish is decorated with a mazarine and gilt rim and has beautiful hand painted fl...

Circa 1780 Chinese export "elephant & mahout" oval vegetable dish. Qing dynasty, Qianlong period. Retailed by Sarah potter conover, early label. One of ...

A creamware plate, with transfer printed decoration. From a service probably ordered to commemorate the wedding of John Peter and Ann Du Port, of Guernsey. The plate is of plain cre...

A very fine and unusual English Worcester First or Dr Wall Period porcelain bowl with molded shape with finely applied gilded and blue designs dating b...

This is a stunning porcelain figure of Neptune with a dolphin standing on a sea shell, made by Derby around the year 1785. The figure is in beautiful original condition. We have one other Neptune figure from 1765, please see separate listing. The Derby Porcelain factory has its roots in the late 1740s, when Andrew Planché, a Walloon Huguenot refugee, started making simple porcelain toys shaped like animals in his back yard. In 1756 Staffordshire enameller...

"Peace, Plenty and Independence" Liverpool Transfer Decorated Creamware Jug, Circa 1800 The "Peace, Plenty and Independence" Liverpool transfer decorated creamware jug has a black transfer print on one side depicting a spread wing eagle perched atop a cannon flanked by symbols of Peace and Plenty with the other side with the "Farmer's Arms," the front with "Samuel & Rachel Hayne.s" within a wreath above four lines of verse, inspired by Cupid's Lessons, reading, "My love is Fix'd, I cannot range,I like my choice,Too well to change". a second stanza not shown read " Long may we live, Happy may we be, Blest with content, And from misfortune be". Dimensions: 10 1/8 inch height x 9 inches wide x 6 1/4 inches deep. The print of an eagle with its wings spread standing on a cannon above a medallion containing the words, “PEACE, PLENTY, and INDEPENDENCE.” This is flanked by two allegorical figures. The figure on the left represents “plenty” holding a cornucopia, while the one on the right represents “peace” using her torch to set fire to instruments of war. The New York Historical...

Coffee pot Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome maiolica It measures: 7.87 in x 6,49 x 5.11 (20 cm x 16,5 x 13); weight 1.23 lb (561 g) ...

An attractive pair of Meissen Tischchenmuster tea cups and saucers. Hand painted florals the central area of the cup and to the center of the saucers. Meissen marks to the underside,...

A fine pair of English porcelain shaped bowls or dishes. By Caughley. In a heart-form or shield shape. Decorated throughout with painted cobalt blue and gilt floral devices....

Wedgwood Nautilus sauce Tureen, cover & stand with Rare Yellow Color, Circa 1790 The Wedgwood pearlware pottery sauce tureen, cover & stand is pa...

This is a rare and beautiful figure of Venus with two doves, made by the bow porcelain factory between 1756 and 1764. We see Venus standing holding her robe with one hand, a flower p...

Set of 4 18th Century Chinese Export Imari Porcelain Chargers in 2 sizes. (smaller pair has some repairs) 15? Diameter / 12.5? Diameter.  

18th Century Dutch Delft Manganese Tiles Pictures of Rearing Horses, Rotterdam, Circa 1780 The pair of framed manganese six-tile pictures each depict a...

Acquareccia plate Patanazzi workshop Urbino, last quarter of the 16th century It measures diameter 17.12 in; foot diameter 11.53 in; height 1.88 in (43.5 cm; 29.3 cm; 4.8 cm). Weight State of conservation: wear and a few small minimal detachments of enamel, chipping on the raised areas, peeling of enamel at the brim on the back. This large, shallow basin is equipped with a wide and convex well. It is umbonate with a contoured center. The brim, short and flat, is enclosed in a double rounded and barely raised edge. The basin has a flat base without rims; it has a slightly concave center in correspondence to the well. The shape takes inspiration from the basins associated with the metal forged amphora pourers that traditionally adorned the credenza. These were used from the Middle Ages to wash hands during banquets. Two or three people washed their hands in the same basin and it was considered an honor to wash one’s hands with an illustrious person. The decoration is arranged in concentric bands with, in the center of the umbo, an unidentified shield on a blue background: an oval banded in gold with a blue head, a gold star and a field with a burning pitcher. Rings of faux pods separate the center from a series of grotesque motifs of small birds and masks. These go around the basin and are, in fact, faithfully repeated on the brim. The main decoration develops inside the flounce of the basin, which sees alternating symmetrical figures of winged harpies and chimeras. The ornamentation, outlined in orange, green and blue, stands out against the white enamel background. This decorative style, defined since the Renaissance as “grottesche” or “raffaellesche”, refers to the decorations introduced after the discovery of the paintings of the Domus Aurea towards the end of the fifteenth century. The discovery of Nero's palace, buried inside Colle Oppio by damnatio memoriae, occurred by chance when a young Roman, in 1480, fell into a large crack which had opened in the ground on the hill, thus finding himself in a cave with walls covered with painted figures. The great artists present in the papal city, including Pinturicchio, Ghirlandaio, Raffaello, immediately visited these caves. The decorations found there soon became a decorative subject of immense success: the term grotesque , with the meaning of “unusual,” “caricatured,” or “monstrous,” was later commented by Vasari in 1550 as “una spezie di pittura licenziose e ridicole molto”( “a very licentious and ridiculous kind of painting”). The decorations “a grottesche” also widely circulated in ceramic factories, through the use of engravings, variously interpreted according to the creativity of the artists or the requests of the client. Our basin is reflected in similar artifacts produced at the end of the sixteenth century by the factories of the Urbino district. See the series of basins preserved in the main French museums, among which the closest in morphology is that of the Campana collection of the Louvre (Inv. OA1496); this however has a more complex figure decoration, while the decoration of our specimen is sober and with a watercolor style. The style, sure in its execution, approaches decorative results still close to the works produced around the middle of the sixteenth century by the Fontana workshop. The decoration is closely linked to their taste, which later finds its natural outlet, through the work of Antonio, also in the Patanazzi workshop. Studies show the contiguity between the two workshops due to the kinship and collaboration between the masters Orazio Fontana and Antonio Patanazzi, both trained in the workshop of Guido Fontana il Durantino. It is therefore almost natural that their works, often created according to similar typologies and under the aegis of the same commissions, are not always easily distinguishable, so much so that the presence of historiated or “grottesche” works by Orazio is documented and preserved in Antonio Patanazzi's workshop. Given that the studies have always emphasized the collaboration between several hands in the context of the shops, it is known that the most ancient “grottesche” works thus far known, can be dated from 1560, when the Fontana shop created the so-called Servizio Spagnolo (Spanish Service) and how, from that moment on, this ornamentation became one of the most requested by high-ranking clients. We remember the works created for the Granduchi di Toscana, when Flaminio Fontana along with his uncle Orazio supplied ceramics to Florence, and, later, other commissions of considerable importance: those for the service of the Duchi d’Este or for the Messina Farmacia of Roccavaldina, associated with the Patanazzi workshop when, now after 1580, Antonio Patanazzi began to sign his own work. Thus, in our basin, the presence of masks hanging from garlands, a theme of more ancient memory, is associated in the work with more advanced stylistic motifs, such as the hatching of the chimeras and harpies. These are found here on the front with the wings painted in two ornate ways. In addition, the theme of the birds on the edge completes the decoration along the thin brim and can be seen as representing an early style typical of the Urbino district during a period of activity and collaboration between the two workshops. Later, a more “doll-like” decorative choice, typical of the end of the century and the beginning of the seventeenth century, characterized the period of the Patanazzi workshop under the direction of Francesco. Bibliography: Philippe Morel, Il funzionamento simbolico e la critica delle grottesche nella seconda metà del Cinquecento, in: Marcello Fagiolo, (a cura di), Roma e...

The first popular use of the heart shape as a symbol of love is often attributed to the importance of courtly romance in late-medieval life. At a time when chivalrous knights and damsels in distress made for romantic tales, tokens of love were deeply significant and very popular This creamware heart-shaped dish...