Vintage Limoges Bernardaud Asian Imari Pattern Porcelain Cake Handled Tray

Vintage Limoges large bowl handmade in France collectible porcelain. If you are a lover of Limoges, this bowl is the perfect addition to your collection. This beautiful bowl is hand ...

Vintage white porcelain teapot with lid and a cobalt blue stylised flower burst design on each side. Minimalist porcelain coffee pot or tea...

Vintage Limoges handmade in France collectible plate. Vintage Limoges plate or dish handmade in France, this collectible plate features a de...

Beautiful designer decorative Imari Asian wall plates from the French Parisian designer Fabienne Jouvin. The plates with irregular shapes and quite shallow with a beautiful Oriental Asian Japanese style depicting a man and woman portrait on each plate. The portrait are period Imperial style, with Japanese kimono and hair style, vivid colors on each panel of the plate depicting different Asian traditional design motifs. Colorful modern Asian motif decorative plates or shallow bowls made by Fabienne Jouvin Paris...

Alfoldi porcelain Hungary hand-painted tankard pitcher vase. Vintage retro Alfoldi porcelain large mug cup vase, with hand painted stylized traditional Hungarian motifs, tulip flowe...

Small vintage round brown leather tray hand painted in the middle with the Bald Eagle carrying the American Flag. Vintage handcrafted leather tr...

Porcelain fish service from the French brand Limoges. The service is decorated with all kinds of different images of fish. The service dates ...

Handpainted iron tray Agave design perfect as a serving tray or as an amazing vide poche.

Limoges, France. Six rare Christian Dior "Spring" porcelain dinner plates decorated with ribbon and bow. 1980s. Diameter: 27 cm. In excellent condition. Stamped.

For more than 30 years this artist has revolutionized the way of thinking about stone. Their artisan techniques are the result of careful research and deep knowledge of the subject: ...

A very fine and palatial French 19th-20th century allegorical figural cast-iron group torchere - sculpture - fountain - representing spring and the harvest, probably cast by Le Fonderies d'Art du Val d'Osne. The charming four-putti sculpture with a front standing putto holding a pole amongst wheat stalks, another putto kneeling and collecting wheat, a third one wearing a hat and picking flowers for a wreath and the fourth kneeling putto holding a bird's nest, all below an elongated classical stem with a glass globe (Electrified), circa: Paris, 1900. Overall height: 84 inches (213.4 cm). Width: 29 1/2 inches (74.9 cm). Circular base diameter: 24 inches (61 inches). Cast-iron had been in production during the 18th century but its inferior status to the more fashionable and delicate wrought-iron had generally confined its use to architectural work. By the early 19th century, however, rapid developments of the Industrial Revolution combined with the simultaneous burgeoning of a new middle class provided the impetus for a dramatic expansion in its application and in a short space of time a proliferation of iron foundries across Europe and America thrived on the production of everything from inkstands to railway stations. The use of cast-iron for garden ornament became particularly widespread at this time, as the possibilities for its mass-production at a fraction of the cost of bronze made it the material of choice for outdoor statuary...

Ten Royal Copenhagen Blue Flower Braided cake plates. Four plates in first factory quality. Six plates in second factory quality. In excellent condition. Marked. Model number: 1...

This is a wonderful antique French Limoges panelled ormolu hand-mirror, signed by the artist Joseph Meissonnier, Circa 1890. The circular frame has a pierced scrolling foliated b...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 1989. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Off The Moon N°2 cake stand by Thomas Dariel Dimensions: Diameter 30 x height 37.6 cm Materials: Tray in natural color ash veneer base and handle in plated metal coated. Also ava...

Set Of 6 Limoges Hand-Painted Details Porcelain Cabinet Plates, France, Circa 1900 D: 9.50" Limoges porcelain is hard-paste porcelain produced by factories in and around the city of Limoges, France beginning in the late 18th century, but does not refer to a particular manufacturer. By about 1830, Limoges, which was close to the areas where suitable clay was found, had replaced Paris as the main centre for private porcelain factories, although the state-owned Sèvres porcelain near Paris remained dominant at the very top of the market. Limoges has maintained this position to the present day. Limoges had strong antecedents in the production of decorative objects. The city was the most famous European centre of vitreous enamel production in the 12th century, and Limoges enamel was known as Opus de Limogia or Labor Limogiae. Limoges had also been the site of a minor industry producing plain faience earthenware since the 1730s. The manufacturing of hard-paste porcelain at Limoges was established by Turgot in 1771 following the discovery of local supplies of kaolin and a material similar to petuntse in the economically distressed area at Saint-Yrieix-la-Perche, near Limoges. The materials, which were quarried beginning in 1768, were used to produce hard-paste porcelain similar to Chinese porcelain. A manufactory at Limoges was placed under the patronage of the comte d'Artois, brother of Louis XVI, and was later purchased by the King in 1784, apparently with the idea of producing hard-paste bodies for decoration at Sèvres, although this never happened. After the French Revolution a number of private factories were established at Limoges, including Bernardaud, Haviland & Co. and Royal Limoges.

Beautiful porcelain tray, presumably from the French brand Limoges. The serving tray is decorated with a narrow black edge and beautiful gold-coloured accents. On the back are visibl...

Created exclusively by House of Fabergé and Limoges porcelain France, we are proud to offer this fabulous, limited edition, hand painted, with gilt...

Herend Porcelain "Printemps pattern" tureen with handles, Hungary Herend Hungary hand painted Porcelain Printemps pattern with lemon on top of the lid, floral decor of tulip and r...

This unique set of eight porcelain enamel cake plates includes one large serving plate and seven small plates. Each plate is marked ‘France’ on ...

A stunning antique porcelain urn shaped twin handled vase and cover decorated in an Imari pattern by Copeland, England and dating from the early 2...

Unique, early 20th century porcelain tray in amazing condition. This good size and oval shape Art Deco serving tray is in excellent condition. It will look terrific on top of a cred...