Jasperware Buckle, Wedgwood, Matthew Boulton, Circa 1795

A broad, flat potpourri in cobalt jasper dip, with a tall pierced cover.

After the antique “Piping Faun” now in the Louvre Museum; the result of it being bought by Napoleon from the Borghese collection. The "Piping Faun" is...

Superb and exceptionally rare small jug in tricolour engine-turned diceware. This is very early jasperware, made when "cherokee clay" was still being used. This clay, sourced from America, contained kaolin, the ingredient that makes porcelain translucent. Exhibited: Wedgwood, Master Potter to the Universe, Roche Foundation, 2023. Engine turning, also known as guilloche, is a decorative technique that was commonly used on eighteenth-century pottery. The process involved cutting intricate, repetitive patterns into a metal or ceramic surface using a machine known as a rose engine...

Exceptionally rare early figure of Bacchus in black basalt. The mixed-case mark places this figure between 1780 and 1785. He is portrayed in typical style, his head garlanded with grapes and with a wine cup to his lips. Bacchus, also known as Dionysus in Greek mythology, is the enigmatic god of wine, fertility, and ritual madness. He symbolizes freedom, ecstasy, and the blurring of societal norms through his rituals and festivities. Bacchus is often depicted in myths as a deity who challenges the status quo, promoting an atmosphere where conventional rules do not apply, and his followers are liberated from their everyday constraints. Born from Zeus and the mortal Semele, Bacchus is unique among gods, bridging the divide between the divine and the human. His followers included the wild and ecstatic maenads, female devotees who often reached states of divine frenzy, and the satyrs, mischievous half-man, half-goat beings. The worship of Bacchus was marked by theatrical processions, dances, and plays, reflecting his patronage of the theater and the dramatic arts. Bacchus’s mythology...

This elegant Wedgwood charger was made in England in the late 18th century, circa 1785. Crafted from creamware, the charger features a meticulously painted geometric border composed of orange and black flowerheads set within a lattice of fine black lines. Each flowerhead is centered in a diamond-shaped cell, creating a repeating pattern that radiates rhythm and precision. The inner field is left undecorated, emphasizing the clean form and enhancing the visual impact of the border. The simplicity of the cream-colored ground paired with the precise hand-painting along the rim reflects the neoclassical restraint and balance that defined Wedgwood’s aesthetic...

Etruria, Staffordshire, late 19th/early 20th century, wheel-turned ovoid form vase shape number 1009 with white Jasper bas-relief depictions of muses, lion's masks, and draped flora,...

Etruria, Staffordshire, circa 1925, turned Wedgwood shape no. 317, stoneware with crimson Jasper dip ground, decorated with sprigged white Jasper bas-relief depictions of muses and A...

Etruria, Staffordshire, 1929-1938 , turned Wedgwood shape no. 317, stoneware with crimson Jasper dip ground, decorated with sprigged white Jasper bas-relief classical cameos, ringed ...