Pearlware Tableware

A well-made set of napkin rings cast in brass and featuring motifs of a knife, a fork and a spoon. Made in Scandinavia during the 1960s and origina...

Napkin Holder, Vienna, 1960s Original condition.

Brass Napkin Holder vienna around 1920s Brass polished and stove enameled

This finely crafted antique napkin ring is made from 800-grade silver, dating to approximately circa 1900, it showcases exquisite border detailing, adding refined sophistication to t...

Set of 6 natural capiz shell round placemat chargers with brass rims and natural cork bottoms. Made by hand in the Phillipine islands.

Uplift your table with this stunning handwoven rattan napkin holder. Finely crafted by expert artisans, this piece showcases the classical technique of weaving in a modern way. From ...

Vintage Scandinavian Brass Napkin Holders, 1970s. Set of 16. Set of 16 Danish napkin rings in patinated solid brass. Adds beauty and warmth to any table setting.

This is a very good example of an English George III period, porcelain, coffee can, made by Spode in the early 19th century, circa 1810. The can is nominally straight sided and ha...

English Victorian silver plate napkin ring with kangaroo figure

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...

This is a good stone China (Ironstone pottery) Small Dish or Bowl / Saucer, hand painted in the tobacco leaf pattern, number 2061, made by the Spode factory in the early 19th century...

A fine antique porcelain cup and saucer. In the Pseudo-Tobacco Leaf pattern, mimicking the Chinese Export pattern of the late 18th ...