Neoclassical Pottery

This vase is in Porcelain., the colors are grey and brown. It has been done circa 1970, in Portugal by S.I.A witch is a famous editor. It is signed.

Greek Revival Dining: Set of 10 Spode "Phliasian Horseman" Soup Plates (c. 1806–1820) A fine set of 10 early 19th-century blue and white transfer-printed pottery soup plates by Spo...

Regency Spode neo-Classical Greek pattern blue rectangular dessert dishes, Four figures in battle, Early 19th century The Spode Greek pattern pott...

Barlaston, Staffordshire, 1988, each solid black jasper moulded body bolted on respective base and plinth, white jasper bas- and haut-relief decoration applied throughout, white jasp...

Wedgwood's Etruria factory, Staffordshire, 1786. Green Jasper dip on solid white Jasper ware ground, with finely tooled, applied white Jasper bas-relief. White figural Pegasus surmou...

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 ...

This is a good Jasperware stoneware small Blue and white vase, made by Wedgwood, England and dating to the 19th Century. The vase has a classical baluster shape tapering into the n...

Etruria, Staffordshire, c.1780, thrown in four parts and bolted to a plinth built of five small slabs, decorated by molded handles with horned returns to high relief goats’ masks with drapery festoons, circular seal at bolt impressed “WEDGWOOD & BENTLEY: ETRURIA,” 18 in. Provenance: Dr. Ellis F. Rubin & Suzanne Borow Rubin. Exhibited at the Mint Museum in Charlotte, NC in 2020 and illustrated in “Classic Black: The Basalt Sculptures of Wedgwood...

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 &...

Spode Neo-classical Greek pattern blue printed hot water dishes, Zeus in his Chariot, A pair, Early 19th century (We have five in all-two pairs and a single) The Spode pottery...

Spode neo-classical Greek pattern blue openwork dessert plates, Ceres with a Priestess, Four plates (4) Early 19th century From a large collection of Greek pattern Spode- more pi...

Regency Revival: Herculaneum Neo-Classical Greek Pattern Printed Dish ________________________________________ This is an impressive English Trans...

British and American, 19th/early 20th century, fifteen Wedgwood solid blue jasper ware two inch medallions, each depicting an individual horse in a unique pose, modeled by Edward Bir...

19th century Large sponge ware crock with minor hairline crack. Sold as is.

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...

Barlaston, Staffordshire, c.2002, each with solid green capitals and branches suspended by a seated white figure on a blue plinth decorated with white bas-relief meander, embossed in...

A Wedgwood rosso antico coffee pot made ca. 1810. The pot's red body is accentuated by black basalt details in the Egyptian Revival style. Developed by Josiah Wedgwood in the 1760s, rosso antico famously exhibits the Egyptian Revival style that became popular in the early 19th century during Napoleon...

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...

Etruria, Staffordshire, c. 1790, octagonal wafer-thin white jasper with green jasper dip framing, lilac ground boarder with white jasper floral meander, central decoration with blue ...

This striking Wedgwood crimson dip bas-relief covered jug features an applied white jasper neoclassical decoration of grapevines bordering the rim. De...

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, c.1790, white jasper pierced grid, molded green body ornamented with bas-relief figure of Venus and alternating urns of flowers within molded arches, high-rel...

Etruria, Staffordshire, England, late 18th century, each white jasper ware with black jasper dip on either side, white bas-relief decoration depicting a classical maiden, impressed "...

Etruria, Staffordshire, circa 1785, chalky solid buff-green jasper ware rectangular molded body, applied and finely undercut white jasper bas- and haut-relief decoration depicting cu...

This is a 19th century English neo-classical style staffordshire biscuit jar. It is marked and in very good antique condition.

Circa 1920s red clay ewer with classical figures etched and painted in black. Found in England. Unknown maker. No cracks, chips or repairs found. White blurs...

Rare 19th C Spongeware Slop Bucket with Handle

These vases is Ceramic., the color is between brown and Pink. It has been done circa 1970, in France. These has been given by the artist's wife to the precedent owner.

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...

Barlaston, Staffordshire, 1973, molded, stepped, oval form with bas-relief depiction of a horse cowering from an imposing lion, impressed "WEDGWOOD" recto, "WEDGWOOD/MADE IN ENGLAND/...

Josiah Wedgwood's own factory, Etruria, made these two trays in the Potteries region of England -- Stoke-on-Trent, in Staffordshire. They are white stoneware with olive green jasper ...

Etruria, Stoke-on-Trent, Staffordshire, England, 1910-1932, turned Wedgwood shape no. 317, stoneware with olive green Jasper dip ground, decorated with sprigged white Jasper bas-reli...

Etruria, Staffordshire, c.1790, lilac dip white jasper body with vertical engine-turned stripes, ornamented with molded strips of green jasper strapwork, bolted to base with nut ceme...