Derby Porcelain Botanical Dessert Service Including Pair of Fruit Coolers

The beautiful and stylish Derby porcelain set of six plates are painted by William Longden with fruit within a heart-shaped gilt border. The fruit depicted include grapes, plums, str...

Antique Derby Porcelain Botanical Salmon-ground Plate, Marsh Hibiscus, by John Brewer after Curtis, The Botanical Magazine, #882, 1806, circa 1815. The Derby Porcelain plate is superbly painted with a Marsh Hibiscus botanical specimen with richly gilded borders with swans and stylized flowerheads on a rich salmon ground.y gilded borders with swans and stylized flowerheads are on a rich salmon ground. The flower is named on the reverse: "Marsh Hibiscus". Diameter: 8 7/8 inches (22.5 cm) Mark: crown, crossed batons, and D mark in red, numerals 4 & 13 in yellow & green inside foot rim. John Brewer, (1764-1816) John was the elder of two brothers who both worked at Derby. Their parents were both artists and from 1762-1767 had studios in London at Rupert Street. Brewer started working at Derby in 1795. He was a talented watercolorist and had never applied his art to porcelain painting. At Derby, he painted a variety of subject matters including plant and flower painting. The Botanical Magazine is one of the oldest - and longest-published - of the British botanical...

The rare Chelsea or Chelsea Derby Porcelain plates are painted in the center with a floral bouquet panel surrounded by a mazarine-blue border and fine gilt highlights of dentil work...

Antique Derby Porcelain Botanical Salmon-ground Plate, Annual Lavetera, by John Brewer, Circa 1815. The Derby porcelain plate is boldly p...

Pair of Worcester Porcelain Covered Fruit Coolers Circa 1813. The painted waists of violets, morning glories, roses, and crabapple blossoms within a gilt border flanked by burnished...

A fine antique 19th century Derby hard paste porcelain plate. Decorated with a hand painted topographical scene to its center. The scene depicts a bucolic landscape 'Near Derby' in a gilt cartouche and surrounded by a gilt cornucopia...

Pair of English porcelain Bengal tiger pattern fruit coolers, liners and covers, chamberlain Worcester, circa 1820.

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...