Neoclassical Serveware, Ceramics, Silver and Glass

An elegant French centerpiece from the Napoleon III period, crafted during the late 19th century, circa 1870–1890. This refined decorative object exemplifies the eclectic taste and l...

A charming Pre midcentury pitcher, American clear glass, circa late 1930s-early 1940s. The Scotty dog glass collectible craze began when President Franklin D. Roosevelt’s Scottish Te...

George III sterling silver teapot. Made by Hester Bateman in London in 1780. Oval body with straight diagonal spout and capped and high-looping stained-wood handle; cover hinged and ...

Presented is a "Surrender of Cornwallis" blue-glazed transferware plate. The plate was issued as part of a series of George Washington Bicentenary Memorial Plates in 1932, celebratin...

Two pairs of maiolica baskets Antonio Ferretti Manufacture Lodi, circa 1770-1790 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: A) Height 3.54 x 6.69 x 9.84 in (9 x 17 x 25 cm); B) Height 3.93 x 7.48 x 11.02 in (10 x 19 x 28 cm). Total weight 4.85 lb (2.200 kg) State of conservation: A) One of the smaller baskets has some areas of restoration, the other slight chipping from use; B) One of the larger baskets is intact and the other shows a clearly glued break. The mold with which the baskets were forged simulates a wicker weave. The two larger works have high, vertical walls, with branch-shaped handles penetrating the weave. The painted decorations, small polychrome flowers applied only externally, highlight the points where the weaves intersect. The decision to leave the center of the basket devoid of decoration is highly unusual, but given the size and complexity of the shape, as well as the quality of the enamel, it is possible to hypothesize that it represents a precise choice in manufacturing or for a particular client. The two smaller baskets have small, twisted handles and, on the outside, reproduce more decisively the characteristic wicker weave, obtained through thin molded lines. The interior exhibits a rich, typical decoration of naturalistic flowers: a bunch centered around a main flower and secondary stems accompanied by small “semis”. The exterior of these works is also adorned with small little flowers where the weaves intersect. The size and morphological characteristics of the baskets confirm their attribution to the Lodi factory of Antonio Ferretti between 1770 and 1790, during its most successful period; by this point his original reworking of the "Strasbourg" decoration, known as "old Lodi", had achieved great fame even outside Italy. This decorative choice represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and which Antonio Ferretti introduced in Italy. This production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family had started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, could commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables...

Unique vintage European blown glass , Mercury I glass , skillfully painted winter landscape on a purple background.

Royal Copenhagen Blue Fluted Half Lace teacups with saucers, set of 4, 1980s. Set of 4 teacups with matching saucers in the Blue Fluted Half Lace pattern. Classic fluted forms with ...

French Neoclassical Silver Oil Lamp. Antique French sterling silver oil lamp of neoclassical form with leaf and bead detailing on raised pedes...

Chariots of the Gods: A Herculaneum Neo-classical ‘Greek Pattern’ Dish Liverpool, England, Early 19th Century This impressive oval dish is a maste...

A heavy round cinched waist sterling silver napkin ring with heavy beaded ends, circa 1900-1920. Substantial applied silver beaded borders at top and bottom, script engraving. 1.7...

An elegant and rare pair of Meissen serving dishes from the Marcolini period. The pair of legume dishes is made of the finest porcelain. Under each saucer we find the Meissen manufac...

A refined example of mid-20th century American luxury, this Tiffany & Co. sterling silver tray embodies understated elegance and timeless craftsmanship. Designed with a finely execut...

This sophisticated 63-piece dinnerware service by the legendary English maker Minton features the celebrated "Henley" pattern. Renowned for their superior fine bone china, this set s...

Embossed and engraved silver coffee pot Antonio Garavaglia Milan, Circa 1830 It measures 16.92 in (43 cm) in height and weighs 3.35 lb (1.520 gr) State of conservation: very good The large silver coffee pot has a round mouthpiece with a marked everted rim on which a pagoda lid rests; this is surmounted by a cock-shaped knob with a border decorated with small pods...

Very Large Antique Sèvres Porcelain French Pâte-Sur-Pâte Vase Stand French, 1897 Vase: Height 102cm, diameter 40cm Stand: Height 51cm, diameter 40cm Overall: Height 153cm, diameter ...

Neoclassical Creil creamware plate. Antique black and white soup plate from "An de Rome" series, "Fierte de Popillius" with grapevine border. Underglaz...

Beautiful English Wedgwood Jasperware ashtray or key holder/vide poche in “Wedgwood Blue” features a repeating motif of white, high relief acanthus ...

A fabulous and pristine set of twelve neoclassical style 19th century Meissen Porcelain plates hand painted with putti, fruit, garland, and heavenly scenes. The center of each plate ...

Circa 1750 Delft blue & white deep serving dish or fruit bowl. By P. VanderStrom's pottery de vergulde Blompot (The Golden Flower Pot). Simply decorated in the peacock feather fan in...

An elegant French 19th century Neo-Classical st. Ormolu and Mirror centerpiece/tray. The wonderful oval tray is raised by four toupie shaped Ormolu supports. The outer sides and inne...

A beautiful collectible plate by Wedgwood. This is the perfect piece for the true southerner. This decorative plate or vide poche would make a fantastic catchall. The motif is dedicated to the state of Georgia. The center bears the State Seal in an applied cream and says State of Georgia 1776. Around the rim, are applied cream stars. A well designed room is all in the details. And this small decorative...

A fine antique 18th Century English porcelain shaped bowl. By the Derby Porcelain Manufacturing Company. The oval bowl with shaped sides having a turquoise border and gilt banding ...

Very nice nice Caviar Set. Original boxes. Very good condition probably never used.

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 ...

Neoclassical, sterling silver child's mug/cup, Gorham Mfg. Co, Providence, Rhode Island, circa 1860. Handle is decorated with a neoclassical woman's head. Interior is lightly gilded....

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...

This is an incredible assembled service for 48 in the Spode Trade Winds pattern in red. The pattern has always had a big presense in homes by the sea and in sailing families, a tra...

A fine pair of antique Russian ormolu and amethyst cut-glass compotes, 19th century. This pair of navette-shaped bowls cut with lozenge pattern and flanke...

A set of two antique sterling silver spreaders in the “Kings” pattern from J.E.Caldwell Jewelers in Philadelphia, circa 1890 - 1900. The well respected Caldwell & Company Jewelers ...

Neoclassical Creil creamware plate. Antique black and white soup plate "Naissance de Romulus et de Remus" with grapevine border. Impressed and undergla...

Porcelain coffee cup and saucer made in France in the 1920s by Société des Anciens Établissements A. Hache & Cie, Paris and Vierzon, for Ambassadeurs Deauville Casino. This delicate ...

Cupid neoclassical Creil creamware plate. Antique black and white soup plate "L'amour et l'Himen l'entrainent à leur autel" with grapevine border. Impr...

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/...

Gilt Decorated Plate With Nymph Fairy and Swan Figure. Naples Real Fabbrica Ferdinandea white porcelain painted and gilt decorated saucer dish with L...

A fine antique neoclassical porcelain serving tray. By Coalport. Painted en grisaille with classical medallions reserved against a gilt-vermicule ground. The border having a sa...

Sterling silver New York City souvenir spoon by Tiffany & Co. Late 19th-early 20th century. Featuring the Brooklyn Bridge. Obverse monogram "JMK". Clear, exceptional detail typic...

Three beautiful bone china gloss white glazed shells by Wedgwood. The shell designs were part of the "Nautilus Collection" and the pieces were made in England. The half shell measure...

A charming set of four vintage white ceramic corn-on-the-cob holders, each shaped like an ear of corn with finely molded kernels and husks. These sculptural dishes are both functional and delightfully nostalgic—perfect for elevating summer entertaining with a playful, Americana twist. Originally popularized in mid-20th-century American serveware, corn dishes...

Made of solid silver, both silver pieces are fully marked, 800 silver with the maker's mark. This substantial and beautifully-crafted neoclassical centrepiece was made in the 1920s and will look perfect on a hall/lobby table or in the dining room. The large silver tray is mounted on a wooden base and secured with brackets. The outside rail has a tube border with scallop shells. The polished surface of the silver tray is in very fine condition for its age and gives a good mirror to the light. The design motif is continued on the silver collar which slips over a copper liner. The copper liner-basket is cut to an exact outline and fit so that a floral arrangement can be executed elsewhere and then dropped into position. For convenience, this item comes with a cut crystal vase saint Louis of suitable height and shape which sits inside the copper lining. The crystal vase may be 'associated', it cannot be verified that it was originally supplied with the rest of the set, but it is of the right period and style. The Brussels firm of Wolfers Freres...

Neoclassical Creil creamware plate. Antique black and white plate "Battaile de Fontenal Année 841" with medallions border. Impressed markings for Creil...

Two neoclassical style Russian cut glass and ormolu vases, Russian, 20th century Dimensions: Height 37cm, width 20cm, depth 13.5cm Each vase has an ...

This set of 8 Baccarat goblets are the early amazing pattern "Vallee" made by Baccarat late 19th, early 20th century. They are the rarest example of ...

Neoclassical Creil creamware plate. Antique black and white plate "Naissance de Romulus et de Remus" with grapevine border. Impressed and underglaze ma...

A Wonderful Neoclassical German 800 Sterling Silver Cachepot / Planter / Centerpiece By LAZARUS POSEN, With Silver Plated Insert Liner

Irish Georgian Silver Bowl, Matthew West, Dublin, C.1770. The bowl of circular form on three shell knuckle turned feet; the body embossed with neo classical festoon decoration center...

This is a sterling 925 rectangular serving tray. It has fluted edge and its border is adorned with a bas-relief garland of leaves. Below the t...

Neoclassical white porcelain salt dish. A fine transitional Louis XVI Wallendorf white porcelain salt in perfect condition, Germany, circa 1780. Dimension: 4...

Pair of American Biwn glass antique vine bittles in an unusual shape with corks.

Assortment of 4 dishes with braided rim Antonio Ferretti Manufacture Lodi, circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). Measures: 14 x 10 in (35.5 x 25.5 cm); 12.2 x 8.39 in (31 x 21.3 cm); 10.4 x 9.65 in (26.5 x 24.5 cm); 10.8 x 9.61 in (27.5 x 24.4 cm). Weight: 4.4 lb (1.998 kg) State of conservation: some chips due to use on the edges and on the parts in relief. The four different dishes have a foot with a low lip from which extends a wide, flat, slanted rim resembling a basket weave. The small handles are painted green: they resemble wickerwork in the two oval dishes and take the form of a sinuous branch in the round ones. The third fire decoration is inspired by the naturalistic floral botanical patterns on the ceramics produced by the Hannong family in Strasbourg. Here the pattern is defined by the rapidity and subtlety of the brushstrokes and the result is particularly tasteful, characterized by compositional intelligence and pictorial expertise. A main corolla, either a wild or garden rose, is set slightly off center in each well. From this extends a thin stem holding a small secondary bud and there are small field florets dotting the composition to lend volume to the delicate bunch of flowers. On the brim, small polychrome flowers add color to the weave, accompanied by lanceolate leaves of a very intense green. There exist few and very rare examples for comparison with this morphology: a round plate - entirely consistent with those in question - has been dated to around 1775 (S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, tav. 200). Two other dishes with a basket rim, but with parallel striped brim decoration, were exhibited in the 1995 exhibition on Lodi ceramics; the attribution to the Lombard town near Milan is therefore almost exclusively derived from the decoration called "alla rosa contornata" or "alla vecchia Lodi" and constitutes one of the most popular decorations during the eighteenth century. (M. L. Gelmini, in Maioliche lodigiane del '700 (cat. mostra Lodi), Milano 1995, pp. 31 p. 162-163 nn. 181-182). This decorative choice represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and which Antonio Ferretti introduced in Italy. This production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family had started their Maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano had started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano had started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the Maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, could commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables...

Turquoise is in! This set of 12 hand painted and artist signed dessert plates are presented with a piecrust border, trimmed in gold and highlighted with a band of turquoise enamel. T...

A large American silver spirit flask, by Tiffany & Co., circa 1880, Edward C Moore era, one side chased with hunting scenes, the reverse with cartouche on...

Tricolor jasperware was one of Wedgwood’s most celebrated innovations, and this exquisitely rare vase is an extraordinary example of this wondrous ...

Introduce a touch of early 20th-century elegance to your collection with this sterling silver two-handled decorative piece/vase, crafted in the United States by Richards M Woods & Co...

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...

Set of 10 Minton's Stanhope plates, England, circa 1900. The Stanhope pattern features a fruit and floral border and center design with a blue and gold palette. There is a raised bas...

This elegant pair of vintage wine coasters exemplifies the refined craftsmanship and sophisticated design typical of early to mid-20th-century decorative tableware. Fashioned from gl...

Tea service Santsuma set Japanese game Immortals Style (Dragon Ware) Hand painted Japanese Origin Circa 1900 porcelain material Very good condition (some n...

Royal Copenhagen Blue Fluted Half Lace, model 1/631 Salad bowl, 1980s. Large and decorative salad bowl in the Blue Fluted Half Lace porcelain series. Crafted in fluted porcelain with...

Presenting the exquisite Tiffany Studios New York Arts & Crafts Bronze Dore Gold Dish Bowl, Model 1708. This round catch-all plate exemplifies the timeless craftsmanship and elegance...

Royal Copenhagen Blue Fluted Plain, model 1/11. Dish, 1920s. Classic round dish in the “Blue Fluted Plain” porcelain series, hand-painted in cobalt blue on a fluted body. The simple,...