Early 19th c Gaudy Welch Personalised Commemorative Birthday Mug "George Taylor"

Early 19th c French Faience Earthenware Seated Figure From Les Islettes Factory Which Was Founded in 1764 Near Reims in Northern France. Rep...

A fine 18th c Dutch Polychrome painted delft charger, decorated with vibrantly colored stylized tulips and flowers painted in manganese, green, yellow...

A Fine 18th c Dutch polychrome painted Delft charger, decorated with vibrantly colored stylized tulips and flowers painted in manganese, green, yellow...

English Regency decoupage box, early 19th century. This box was made by using the decorative finish of decoupage. The box is covered in cut-out images of...

A French pottery mug from the 19th century, with yellow, green and rust glaze. Created in France during the 19th century, this pottery mug features a cylindrical curving body showcas...

A French Terracotta Pottery water jug with some glazing near the top. Great color and it weighs 9 Lbs. Dimensions are 15" high by 10" diameter. Circa 1820-1840. In Good condition wi...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Zeus in His Chariot’ 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. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

This is an early Majolica pottery Plate with a bird perched in the branches of a climbing plant. We date this plate to the early 19th Century, p...