Early 19th Century Pottery

An early 19th century Staffordshire transfer printed cup plate with a source print from Benjamin Franklin's "Poor Richard’s Way to Wealth.” The motto reads, “Diligence is the Mother of Good Luck. Now I have a sheep and a cow everybody bids me a good morrow.” The scene shows a man with his arm on a cow, conversing with a man on his horse tipping his hat in greeting. Sheep lie in the foreground, a house stands in the distance. A black transfer printed on a pearlware, earthenware body with a molded rim and a double daisy border. The pattern is illustrated and discussed in “Gifts for Good Children: the History of Children’s China...

Mocha Pottery banded pepper pot, circa 1810 The bulbous circular Mocha pepper pot with a broad flared shoulder with bands of brown and light blue. ...

Clews Lead-glazed Earthenware Plates with Russian Eagles, James and Ralph Clews, Cobridge, Stoke-on-Trent, Staffordshire, Eight Plates, 1830 The se...

Pearlware Prattware pottery covered Botanical tea caddy box, Cambrian Pottery, Swansea Circa 1800-20 The rectangular-shaped pearlware pottery covered footed Tea Caddy is painted...

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...

English pottery pearlware botanical plates, circa 1840     The folky painted plates have a scalloped rim. In the center of each plate is a large...

Staffordshire Pearlware Bocage figure watch holder, circa 1820. It is decorated in the round, (to the front and back.) This is a fine example of a Staffordshire pottery pearlware wat...

Bristol Pearlware covered tooth brush holder box decorated with flowers, circa 1820 The unusual oval form with a pieced cover was for two toothbrushes ...

Set of green shell-edged nested oak leaf design small dishes.  The very unusual circular pearl ware dishes with a spectacular oak leaf design within a g...

A rosso antico teapot made by Wedgwood ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. This ros...

An antique Art & Crafts scenic German Musterschutz stein offers pottery construction with landscape scene having figures, structures and inscribed "es lebe was hienieden stolzierl in...

A rare and colorful early 19th century French pot d'aisance en terre vernisse or glazed terracotta chamber pot hand made in the South of France, circa early 1800s. Having a wide rim,...

A large and exceptional early 19th century French terracotta walnut oil jug, probably from the Auvergne region, with a beautiful and vibrant green glaze, circa 1810s. Having a round ...

Various pieces in generally good condition.

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...

A rare pair of bell shaped candlesticks in rosso antico, with black decoration of ‘Boys at Play’.

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...

An ink well, mode according to Wedgwood's patent, which stopped the ink from evaporating. Made in black basalt, with a form of decoration known as 'Chinese Flowers...

Charming pair of early 19th century porcelain-lidded hot chocolate cups with matching saucers by Dihl et Guerhard, Paris. Each piece is painted ‘en gr...