Rococo Serveware, Ceramics, Silver and Glass

This is a fabulous set of 12 Minton Dinner plates decorated with gilt vases of flowers and ribbons of raised gold jeweling. Minton made them for Da...

Pair of finest quality Old English Ellis silver plate Rococo style three-light candelabra with flame snuffer Maker- Ellis Silver Co., Birmingham (predecessors to Ellis-Barker Silv...

A Pair of 19th Century Meissen Porcelain Figures of a Man and Woman in 18th C. Attire. This pair of figures depicts a man and woman in 18th-century pastoral attire, each standing on a gilt-accented rocaille base. The woman wears a cream-colored tricorn hat with a floral accent, a fitted blue bodice with detailed buttons and ruffled cuffs, and a flowing skirt with a delicate purple floral pattern. She holds a white cloth in one hand while raising the other in an expressive gesture. Her finely painted features, softly curled hair, and light blue shoes...

A beautiful white porcelain German centerpiece plateau, in the Rococo design style, by Rosenthal, circa mid-20th century, Germany. Piece is white p...

Wonderful Large Tuscan Round Plate (Siena) from the 18th Century decorated with a battle scene. Marked Siena with the date 1527 on the wing. Italian majolica. . Diameter: 45 cm. good...

A fine pair of antique German silver cornucopia vases with cherubs, Hanau, circa 1890. The vases most likely by Friedrich Reusswig, a silversmi...

Antique silver toilet set for the Duke of Parma by Josef Carl Klinkosch Austrian, Late 19th Century Largest (mirror): Height 57cm, width 53cm, depth 4cm, depth when open 36cm Case: Height 21cm, width 60cm, depth 66cm Crafted by Josef Carl Klinkosch (Austrian, 1822-1888), the imperial silversmith to Emperor Franz Joseph (1830-1916) and Empress Sisi...

An English pink porcelain cigarette holder, in the Rococo style, by Arthur Bowker for Staffordshire, circa early-20th century, England. Piece is pink porcelain, oval, with a floral c...

This pair of large Delft jars has a traditional blue and white floral decoration painted on a white tin-glazed ground. The body of each jar features four large panels; two show a pea...

This is a beautiful set of eleven Hammersley and Company English wide rim soup bowls. They were exclusively made for Ovington Brothers in New York, which...

A timeless ruby red cut to clear etched crystal catchall by Fifth Avenue Crystal. This piece is made from 24% lead crystal and is made in Hungary. The original tag is still intact an...

This pair of Dutch Delft chargers in the "Theeboom" pattern shows a tea plant with a fan-shaped bouquet of leaves and flowers. The deep cobalt blue is fabulous! This is one of the ...

We are offering you this lovely Meissen purple Indian serving bowl. It has detailed paintings of pink flowers with some purple and gold accents ...

Meissen porcelain pot-pourri vase, Germany, 19th century.

A fine pair of Samson tole peinte & porcelain flower vases or cachepots. In the 18th Century Mennency style. In the form of porcelain urns or vases hand painted with floral motifs ...

Extraordinary wine-cooler in the form of a beautifully sculpted, gilt and polychromed Swan of impressive stature, makes certainly the conversation-piece of the party. The white paint...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style 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 later introduced by Antonio Ferretti to Italy. The 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 started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano 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, was able to 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, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

With porcelain figures from the original period of origin around 1775: Two electrified bronze lamps with gilding: a profiled pedestal in a triangular shape with beveled corners as a ...

I would like to offer you this lovely Meissen purple Indian bowl in this unusual square shape. It has detailed paintings of pink flowers with so...

Look at the gorgeous hand painted scenes on this set of English Minton luncheon or dessert plates. The miniature paintings of the wonderful landscapes are painted by an extremely tal...

Antique Limoges Porcelain Plates with Ornate Gold Gilding and Intricate Snowflake Medallion Design This breathtaking set of antique p...

A very fine, antique KPM porcelain flower encrusted fruit basket. With traditional twig form handles and feet, an openwork body, flower encrus...

20th century Peruvian silver tea and coffee set by Camusso Peru, Early 20th Century Tray: Height 5cm, width 78cm, depth 45cm Teapot on stand: Height 48cm, width 23cm, depth 21cm...

A fine and large Dresden porcelain tray or platter by Richard Klemm. With a ribbed, scalloped border and deep central well. Richly decorated with ...

Berlin KPM pedestal vaulted vase. It is hand painted on the front with a scene of Kronprinzepalais building redesigned by Johann Heinrich Strack for Prince Frederick William of Pruss...

Dutch Delft blue and white 'Peacock' plate, 18th century, with ochre rim, the center decorated in cobalt with a vase containing an arrangement of peacock feathers and flowers. The ri...

Antique Meissen 68-piece floral dinner service German, c. 1900 Largest serving dish: Height 6cm, width 52.5cm, depth 37.5cm Square salad bowl:...

Dutch Delft blue and white 'Peacock' plate, 18th century, with ochre rim, the center decorated in cobalt with a vase containing an arrangement of peacock feathers and flowers. The ri...

A Monumental Meissen Porcelain Figural Group of Apollo and the Nine Muses on Mount Parnassus. Comprised of sixteen interlocking parts. Apollo standing holding a lyre and with Pegasus besides a tree, atop a rocky outcrop detailed with foliage and waterfalls above nine goddesses: Calliope, seated and shown writing, representing eloquence and epic poetry. Clio, seated with an open book and blowing a trumpet, representing history. Erato, seated and holding a kithara, representing science and the arts Euterpe, seated and holding a flute, representing music. Melpomene, seated holding a knife and with one hand to her head, representing tragedy. Thalia, seated and holding aloft mask, representing comedy and idyllic poetry. Urania, seated with telescope and globe, representing astronomy and astrology, Polyhymnia, standing with one hand raised and holding a book, representing sacred poetry. Terpsichore, standing, representing dance. Each piece exceptionally finely detailed and painted. The base portions with rocaille edges. On a later black polished wooden base. Multiple blue crossed swords marks. Each piece titled to underside. German, Circa 1880. Mount Parnassus, is a spur of the Pindus Mountains in central Greece and was sacred to the ancient Greeks and in mythology to Apollo, the god of music and poetry and of the Sun and light. Mount Parnassus the mythical centre of poetry, music, and learning in ancient Greece was a popular theme in Barqoue and Rococo art, often substitutable with Athena’s arrival at Mount Helicon from the fifth book of Ovid’s “Metamorphoses”, where she asks the Muses to show her the new spring which gushed forth from the spot where Pegasus “with his hoof of horn opened the earth” (V, 250-260). Here, the mountain, formed from rugged rock cliffs, culminates in a plateau on which the youthful Apollo stands and plays the lyre. The Castalian spring flows from beneath Pegasus’ hoof, representing the source of inspiration and attracting the nine muses, who embody the arts and inspire creation through song, music, and dance. Mount Parnassus was created at the Meissen porcelain manufactory as a table centrepiece and an earlier version, apparently with only five muses, is listed in the inventory of the pastry shop of the Meissen manufactory manager and cabinet minister Heinrich Graf Brühl in 1753. The storage in the pastry shop of approximately 3,000 objects and dishes, including many individual parts for centrepieces, is related to their function as table decorations, replacing decorations previously made by the confectioner from perishable materials such as sugar or wax. The purpose of this table decoration was as a feast for the eyes to accompany the feast of the banquet. The sculptural figurines often depicted a particular theme, with characters drawn from theatre and opera, from classical mythology or pastoral idylls. Allegories and mythological themes, such as the glorification of fine arts, were also popular. Stylistically, Mount Parnassus fits Kändler’s style of the 1740s, and was sold by Brühl in 1762 to Frederick the Great of Prussia who used mythology as a means of self-expression and had already ordered individual figures of Apollo and the Muses as table decorations in 1744. Today it is in the Museum of Applied Arts, Frankfurt (inv. no. M.L. 41). There is another version of Mount Parnassus, from the collection of Prince Alexander Dolgorukoff, in the Hermitage in Saint Petersburg. The present version dates to the second half of the nineteenth century when there was a great revival of Kändler rococo figurines which were reissued and a “Second Rococo”. Another nineteenth century example is in the collection of the Museo Francesco Borgogna, Italy (inv. 1906, XIII, 19-20). These nineteenth century versions were made by the Meissen factory using Kändler's period models. It is recorded that a new version of Mount Parnassus, dating to the 1880s, was part of the Royal Porcelain collection in Dresden: 'In the porcelain collection there is a new version from the 1880s based on the old models, the largest group of this genre, the Parnassus, which shows the named muses all around on the lower part of the rock, each practising their own art, while on the top there is Apollo with the lyre and next to it the Castalian spring rises from the hoofbeat of Pegasus. Each figure is executed individually with its rocky background, and all the pieces are then fitted together, as we have already seen in his earlier, larger compositions. The rock pieces are finished off like a pedestal at the bottom with Rococo ornaments.' (Jean Louis Sponsel, Kabinettstücke der Meissner Porzellan-manufaktur von Johann Joachim Kändler, Leipzig, 1900, pp. 203-204). Kunst und kunsthandwerk; monatsschrift herausgegeben vom Österreichischen museum fuer kunst und industrie, Vienna, 1894, v.7 pt.1, p.133. Kari Berling, Das Meißner Porzellan und seine Geschichte. Leipzig 1900, S. 99, 187-200. Helmuth Gröger, Johann Joachim Kaendler. Dresden, 1956. Peter W Meister, Franz Adrian Dreier, Figürliche Keramik aus zwei Jahrtausenden. Kat Museum für Kunsthandwerk, Frankfurt. Frankfurt 1964, Nr. 90. Rainer Rückert, Meißener Porzellan, 1710-1810. Kat. Ausst. Bayerisches Nationalmuseum München. München 1966. Stefan Bursche, Tafelzier des Barock. München 1974, Abb. 300. "Tafelaufsatz, Der Parnass", Auswahlkatalog, Museum für Kunsthandwerk (Frankfurt am Main, Germany), 1987, pp. 86-87. Alfred Ziffer, ‘Meissener Porzellanplastik für fürstliches Interieur und Zeremoniell’, Keramos, Issue 241/242, pp. 29–52. MEISSEN The production of Meissen porcelain began in 1710 at the manufactory at Meissen...

A very fine quality set of 12 antique sterling silver tea, coffee or dessert spoons. Stunning design and craftsmanship. The handles have sophisticated Art Nouveau Pattern different decor, flowers, vine leaves, bunch of grapes, foliage, decor dahlias. Presented in its original box. Prestigious silversmith: A La Gerbe...

A 19th C. Meissen Porcelain Figural Group of Musician Lovers seated on a Sofa with a Pug Dog, After J.J. Kandler. The piece depicts a man and a woman seated on an ornate sofa, each engaged in a musical performance. The woman is elegantly attired in a gown adorned with delicate floral motifs, playing a lute, while the man is dressed in fine blue and gold attire, playing a flute. Their facial expressions reflect concentration and grace as they engage in a shared musical moment. The intricate detailing in their clothing, including the delicate folds of the fabric and the fine detailing of the lace and ribbons, the 24k Gold...

The Konigliche Porcelain Manufactur of the 18th Century was finaced by Friedrich II. The fabrication of porcelain was stricktly controlled as far as productivity as well as quality w...

Assortment of dishes Lombard manufacture 1770 – 1780 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...

A Pair Of Meissen Porcelain Mythological Figural groups, of 'Neptune and Thetis' and 'The Triumphal Procession of Amphitrite'. 'Neptune and Thetis' modelled with the god of the sea ...

18th century Italian pottery fountain presumably for an apothecary. Liguria white star mark. Splendid mascaron spout to frighten away evil...

20th century Spanish silver Rococo style tea and coffee service, Spanish, 20th century Kettle on stand: Height 44cm, width 23cm, depth 16cm Milk jug: Height 12cm, width 13cm, depth 9cm Comprising of a solid silver tray, teapot, coffee pot, sugar bowl, milk jug, strainer, and large kettle...

An incredible and truly monumental 19th century Meissen Porcelain Covered urn emblematic of autumn. This is one of the most incredible and sp...

This pair of blue and white Delft plates were hand painted circa 1800 in the Netherlands. At the center of this lovely pair of dishes is a traditional Dutch Delft view of a garden in...

A rare and true rococo fantasy coffee pot. Fire-gilded vermeil, gilt silver, repousse with mannerist detailing including lobes, garlands, grotesque masques, scrolls, and rocaille. Ma...

An impressive Antique French Silver Centrepiece Bowl in a ornate Rococo style design standing on 4 shaped feet. This unusual Silver Basket has a hinged asymmetrical handle. The Rococ...

This is a very charming pair of porcelain figures of a stag and a doe, probably cast by Derby in about 1760 and decorated by Bloor Derby in 1820. The figures are a simple white porce...

An important pair of Meissen Porcelain Groups depicting "Alexander The Great Concurring India". Modeled with Alexander the great's three warriors/soldiers riding on caparisoned eleph...

Large, decorative porcelain group, "The noble game of chess". German porcelain manufacturer. Undamaged.

An antique English silver George II kettle with original stand and lamp, chased and embossed in the Rococo style. The lid has a flush hinge and the ke...

Magnificient and exceptional centrepiece in white majolica with polychromes flowers and branches produced around 1740 - 1770 by the ancient Pasquale Antonibon Manufacture based in N...

A handsome English round serving or drinks tray of fine Sheffield plate silver, featuring two opposing handles and a stylish pattern of grape clusters and leaves around the pierced c...

The entire surface of this blue and white Dutch Delft charger is covered in deep beautiful cobalt blue coloring. The center of the charger is filled with lovely hand-painted peonies...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. Parti...

A coffee pot and two cups with saucers Antonio Ferretti Manufacture Lodi, Circa 1765-1770 Maiolica polychrome decorated “a piccolo fuoco” (third fire). They measure: coffee pot: 9....

This late 18th-century French soup tureen is decorated with an elegant design of delicate cornflower sprigs. The color of the porcelain body is creamy white. The cornflower sprigs, handles, and border edging are decorated with beautiful deep twilight blue enamel. The makers of Arras porcelain specialized in porcelain painted in this entrancing blue called "Bleu d'Arras." The combination of the creamy white ground and the blue decoration is splendid! Natural forms like the tree branch handle and the blue cornflower decorations were the height of French fashion in the last quarter of the 18th century. This tureen was made at the Arras porcelain factory circa 1780. Dimensions:10.25" diameter x 9" height Condition: Excellent, with some small original firing cracks along the outer edge of the cover (see image #3). Price: $1,400 The underside of the tureen is marked with the letters "AR" and the flying bird symbol of the Arras factory. On 1stdibs, we also have listed a round tureen made by Arras Porcelain: Item Reference LU866530122692. Background of Arras Porcelain: The Arras Porcelain Manufactory was started in the 1770s by the family Delemers. They were a family of four sisters...

This is a rare Lobmeyr complete punch set comprised of a hand-blown lidded and footed punchbowl with 12 matching punch cups. This exquisite example has optic rib internal decoration ...

A Fine 18th c Dutch polychrome painted Delft charger, decorated with vibrantly colored stylized tulips and flowers painted in manganese, green, yellow...

Shaped snuffbox in 925/1000 sterling silver gold plated with perforated, embossed and hand-engraved lid, with fine oval miniature cm. 3.2 x 4.5 hand painted in tempera on vegetable i...

A 19th century Meissen porcelain 'Elements' ewer emblematic of air. Blue crossed swords mark. The present ewer, representing water, i...

A circa 1880 masterpiece of a young couple feeding doves. This is a superb example of a 19th century unmarked Sèvres hand painted porcelain plaque. Signed by the artist R. Deniau. Th...

A fine pair of 18th century Sèvres soft paste porcelain Bottle Coolers (Seaux à bouteille). The Etruscan shaped coolers, each with two loop handles, finely decorated with a turquoise...

Large French 19th Century Louis XVI Style Bronze Ormolu Presentoir Centerpiece. High quality French 19th century Louis XVI style bronze ormolu presentoir centerpiece. Raised on th...

Large Dutch Delft cabinet plate - Delftware plate Material: Delft, earthenware , pottery, tin glaze Design: De Lampetkan Producer: De Lampetkan also known as De Porceleyne Lampetk...

A very fine and exquisitely hand painted French porcelain cabinet plate with a scene titled Grande Cascade du Bois de Boulogne made by Lahoche et Pannier...

Royal Dux. Rococo couple in hand painted porcelain, 1940s. Stamped. In very good condition. The woman measures: 21 x 13 cm. The man measures: 22 x 9 cm.