Creamware Pottery

English Plain Creamware Pounce Shaker or Sugar Castor, George III This English creamware pounce shaker is of baluster form, the lower body closely reeded and swelling to a plain sho...

Wedgwood Creamware Egg Cup Stand with Salt and Six Egg Cups, Circa 1800–1820 The oval creamware egg stand, of shallow tray form with a raised rim, is centered with a raised open ova...

Elegant 18th-Century Staffordshire Creamware Cauliflower Milk Jug and Cover This exquisite Milk Jug and Cover is a superior example of Cauliflower Ware, a distinctive and highly col...

English Creamware Cow Creamer and Cover Staffordshire, circa 1775–1780 Glazed earthenware This whimsical yet functional vessel exemplifies the charm of 18th-century Staffordshire po...

English Creamware Quintal Finger Vase 20th Century This English creamware quintal vase—also known as a finger or tulip vase—takes the classic fan-shape...

Nature’s Jewel: A Set of Three Victorian Wedgwood Hummingbird & Flowers Plates This enchanting set of three Wedgwood creamware plates exempli...

Rural Charm: Whieldon-Type Creamware Cow Creamer Whieldon-Type Creamware Cow Creamer and Cover Circa 1770 This delightful and historically important piece is an 18th-century cow cr...

Whieldon-Type Creamware Tortoiseshell Teapot, Grape Vine Relief, Crabstock Circa 1765–1775 The Staffordshire Whieldon-type creamware teapot is of globular form, the body sprig-molde...

Set of Six English Creamware Soup Plates, Circa 1800-1830 This is a refined set of six English Creamware soup plates, dating from the early 19th century. Each plate features a clas...

Early 20th century American Art Deco earthenware or yellow ware pottery nesting bowl set. The mixing bowls’ pattern is called the picket fence design beca...

Rare Creamware Fish Scale Teapot and Cover, Attributed to Leeds, Yorkshire This rare and distinctive creamware teapot, attributed to the Leeds Pottery in Yorkshire, has a cylindric...

This is a rare Creamware pottery Chestnut Basket made by the SPODE factory, Stoke on Trent, Staffordshire, England, in the late Georgian, Regency period...

Naturalistic Whimsy: Rare Staffordshire Creamware "Cauliflower" Tea Caddy (c. 1760) An exceptional mid-18th-century Staffordshire creamware tea caddy (or tea canister), brilliantly ...

Floral Finesse: A Mid-Victorian Wedgwood Botanical Specimen Plate This elegant Wedgwood creamware plate, manufactured in 1862, serves as a stunning example of the enduring appeal of...

Neale & Co. Creamware Set of Ten Plates, Puce Feather Edge, Classical Ruins Circa 1780–1785 Each plate is circular with a shaped rim molded with a feather edge, the molded barbs picked out in puce enamel in short radiating strokes and the edge itself gilded, with unusually strong remnants of the original gilding surviving. The well is transfer-printed in puce with a classical capriccio: a ruined arch on Corinthian columns, overgrown with foliage and carrying a broken entablature, stands before a crenellated wall pierced with arched openings, with a colonnade and a second arch beyond and a distant church spire below a hill. The foreground is strewn with fallen column drums, capitals and blocks of masonry, among which two small figures rest at the right. The reverse of each plate is impressed Neale & Co. and carries an old collector's paper label inscribed in ink Neale & Co. 1778–1788, Chaffers page 704; two plates also retain the blue and silver foil retailer's label of Shreve, Crump & Low Co., Boston. Dimensions: Diameter: 8 3/4 inches (22.2 cm) Height: 1 inch (2.5 cm) Marks: Impressed Neale & Co. on the reverse of each plate, a mark used between 1778 and 1795. Provenance: Shreve, Crump & Low Co., Boston (retailer's label) Earle D. Vandekar of Knightsbridge Condition: Good antique condition. The gilding to the rims is rubbed, as is usual on creamware of this age, but strong remnants remain. References: Diana Edwards, Neale Pottery and Porcelain: Its Predecessors and Successors 1763–1820 (London: Barrie & Jenkins, 1987), p. 126, no. 100, for a large stand...

English Creamware Chinoiserie Teapot and Cover with Pierced Gallery This English creamware teapot and cover is of globular form on a spreading foot, ...

"Peace, Plenty and Independence" - An Exceptional American Market Creamware Jug, Circa 1800 A profound piece of early American history and decorative art, this large Liverpool Creamware jug was specifically produced for the burgeoning United States market around 1800. This spectacular jug perfectly encapsulates the patriotic zeal and domestic aspirations of the post-Revolutionary era. Its historical...

Antique 18th century Wedgwood creamware Rococo sea shell form dish with feathered edge and rising on three small snail feet. Measures 8 7/8" x 8" x 1 3/4". Good condition - wear and ...

Creamware knife rests, Italian, Circa 1810-1820    The two rests are of similar form with a raised scroll terminal to each end. One with pierced stylized f...

A pair of plant pots covered in marbled brown glaze emulating agate gemstone encircled with checkered rims accented in gold, made circa 1770 by Wedgwood &...

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...

Whieldon-Type Creamware Gray Tortoiseshell Octagonal Plate, Circa 1765–1775 This octagonal creamware plate is glazed, front and back, in a softly mottled gray tortoiseshell glaze, t...

Mocha Pottery Earthworm Pattern Jug, English Dipped Ware, Circa 1820 This English mocha pottery jug is decorated with two wide ocher bands of earthworm pattern, the upper band trail...

A rare antique English creamware pottery octagonal plate of Whieldon-type dating from around 1750. The lightly and finely potted plate has a deep round central reserve with a raised ...

English Creamware Engine-Turned Mug, Blue Slip & Green Rouletted Bands, 1815 This cylindrical pint mug is decorated entirely on the lathe, its white creamware body cut with four bro...

Ascending to Glory: A Monumental Liverpool Creamware Jug Celebrating Washington's Apotheosis Historical Context: From Man to Myth George Washington's...

English Creamware Gray Tortoiseshell Lead Glaze Pottery Teapot and Cover, Whieldon Type, Circa 1765. The creamware teapot and cover, of small circular f...

Gilded Botany: A Pair of Neale Creamware Oval Dishes Circa 1785-90 This elegant pair of English Creamware oval serving dishes is attributed to the renowned Neale & Co. (or Neale & W...

Creamware Punch Bowl, Sailor Jack on a Cruise and Chinoiserie Scenes, Circa 1785 England, Staffordshire or Yorkshire Circa 1780–1790 A large creamware punch bowl of deep rounded for...

Herculaneum Creamware Yellow-Ground Openwork Dessert Dishes, Pair, Liverpool Circa 1810–1815 This pair of English creamware dessert dishes, very probably made by the Herculaneum Pot...

English Creamware Large Teapot with Puce Flower Painted Decoration, Circa 1770. This elegant, large-scale creamware teapot from Staffordshire is a beaut...

Neale & Co. Creamware Armorial Dish, Arms of Grant of Grant, Sir James Grant Circa 1782 This English creamware oval dish by Neale & Co. of Hanley, Staffordshire, is painted ...

"Clouded Perfection": 18th Century English Creamware Whieldon-type Tea Bowl & Saucer A superb example of mid-18th century English pottery, this Creamware Tea Bowl and Saucer displays the distinctive "clouded" or "tortoiseshell" glazing technique associated with Thomas Whieldon and his contemporaries in Staffordshire and Yorkshire. The set features a refined cream-colored earthenware body, decorated with sponged or applied metal oxides—specifically manganese for rich browns and copper for vibrant green splashes—creating a marbled, organic surface pattern. A defining feature of this particular model is the delicate band of molded pearl beading (relief dots) that encircles the exterior rim of the cup and frames the central well of the saucer, adding a tactile and geometric contrast to the fluid glaze. Provenance: Jonathan Horne...

Wedgwood Creamware Soup Plate, Ship with Imperial Double Eagle Flag, Circa 1775–1790 The Wedgwood Queen’s ware soup plate, of the “Royal” shape with a lobed rim, is transfer-printed...

Shorthose & Heath English Creamware Basin, Yellow Wave Border, Georgian, Large Hanley, Staffordshire, circa 1795–1815 At seventeen inches across, this creamware basin makes the cas...

Derbyshire Creamware Large Leaf Dish, Overlapping Leaves in Puce, English, probably Derbyshire, Melbourne Type, Circa 1785 This large creamware dessert dish is press-molded in the f...

English Creamware "Tortoiseshell" Glaze Tea Caddy with French Silver Cover, Circa 1770 A fine 18th-century English creamware tea caddy (or canister), produced in Staffordshire circa...

Dutch-decorated English Creamware Plate, Onse Live Vrouw Tot Kevelaar (Our Lady to Kevelaar), Circa 1765-1785. Dimensions: 10 inch diameter x 1 inch high. Kevelaer is a municipality in the district of Kleve, in North Rhine-Westphalia in Germany. It is the largest Catholic pilgrimage location within north-western Europe. More than 1 million pilgrims, mostly from Germany and the Netherlands, visit Kevelaer every year to honour the Virgin Mary. The population in 2015 was 28,311. History Kevelaer is a center of veneration and pilgrimage to Our Lady, Comforter of the Afflicted (also known as Our Lady of Consolation. According to tradition, a merchant praying in front of a cross in a field, heard a voice that told him: "Here thou shalt build me a chapel." His wife dreamt of a little chapel with a Madonna that someone had previously advised her to purchase, In 1642 a copperplate engraving, representing Our Lady of Luxembourg, was installed in a sanctuary erected the same year. It is one of the best visited Catholic pilgrimage locations in north-western Europe. The Gnadenkapelle [Chapel of Grace] has drawn pilgrims to the Lower Rhine Region from all over the world for more than 360 years. Pope John Paul II...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ 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. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

Neale & Co. Creamware Sauce Tureen, Stand and Ladle, Puce Ruins, Hanley, Staffordshire, Circa 1780–1785 The tureen is of lobed ovoid form, molded with spiral fluting and raised on a...