Porcelain Wine Coolers

This exceptional piece was crafted in Italy around 1954, reflecting the mid-20th century Italian flair for decorative and functional ceramics. The wine cooler features an oval form d...

Two Danish Royal Copenhagen Flora Danica Porcelain Wine Coolers Danish, 20th Century Height 16cm, diameter 18cm These 20th century wine coolers come from the Flora Danica dinner s...

A large pair of continental 19th-20th century porcelain cachepot vases, Planters or Wine Coolers, each decorated with mountain and lakefront scenes with horse drawn carriages and a p...

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

An elegant pair of French 19th century Louis XVI st. Porcelaine de Paris and Gilt wine buckets/urns. Each wonderful rafraichissoir is raised on a square Porcelain base with Gilt band...

Pair of gilt bronze mounted 'Sevres' porcelain wine coolers, circa 1880.

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...

Porcelain champagne bucket, with French texture and silver frame, Minerva stamp. France, CIRCA 1910.

Franz Collection Papillon Butterfly Porcelain Ornamental Wine Cooler Vase. Circa Early 21st Century, Pre-owned. Measurements: 11.25" H x 6" W x 6" D.

Decorated with floral sprouts.

Late 19th century English porcelain with silver plate covered top ice with exterior floral design details. The ice bucket is in great condition min...

English Coalport Imari Champaign Cooler with Lid and Paw Feet, ca. 1810

Meissen wine / champagne cooler in hand-painted porcelain with flowers and gold edge. Handles are modelled as branches. Early 20th century. Me...

Pair of porcelain glass-coolers with painted medallions and gilded ornaments on a turquoise blue background, mounted on a gilt bronze base, in the style of the Manufacture of Sèvres....

Kula Winecooler & Vase in Dusky Pink Glazed Porcelain by Frau Caze Dimensions: Ø 12,5 x H 21 cm. Materials: Glazed porcelain. KULA provides the necessary coolness when it comes to c...

Gustavsberg, large "Granit" champagne cooler in white porcelain. For magnum bottle. Mid-20th century. Marked. In very good condition, insignificant chip at rim, see photos. Dimensio...

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...