Creamware Furniture

An 18th century Wedgwood creamware double salt cellar. The form consisting of two basket (or pail-form) bowls joined at the rim and connected by ...

18th-century Staffordshire Creamware Cauliflower Creamer Jug, Probably by William Greatbach/ Josiah Wedgwood Lead-glazed earthenware, Circa 1765 The creamware creamer jug has a bal...

Set of eight Wedgwood creamware plates. Eight large creamware decorated dinner plates with a bold hand-painted floral border in orange and gre...

Green, pink and blue floral banded plate. Antique creamware plate with jewel-tone floral banding and monogram; with impressed marks for Giusti...

A fine Wedgwood creamware lidded sauce tureen and stand attributed to Alfred Powell and dating from the early 20th century and probably Art Deco period. ...

A good quality Leeds Pottery creamware figure group depicting Venus and Cupid with a large fish believed to date from the latter 19th century. The molded figure group stands raised on a square shaped base and is well modelled with nice detail with Venus dressed...

An assembled pair of Wedgwood cress or strawberry dishes, Two Piece; Footed Pierced Dish with Stand. Late 18th c. This would have been used to serve watercress or strawberries after ...

This pair of 18th-century English creamware wall pockets is hand-painted in the neoclassical style. Made at Leeds Pottery around 1790, they feature decorative designs in green, blue, and light brown. The molded decoration is raised and showcases a putti (a cherubic figure) holding a flaming brazier, symbolizing winter, with a quiver by his side. The corresponding wall pocket represents autumn, depicting a putti drinking from a jug, also with a quiver at his side. An identical pair can be found in the collection of The V&A Museum, with item numbers 414:1166-1885 and 414:1166/A-1885. Both pieces were acquired by The V&A Museum from Lady Charlotte...

A French Neoclassical faïence transfer printed creamware plate produced by Montereau, Creil, circa 1824-1836. A black transfer of an architectural image on a creamware body, depicting Le Palais Royal...

A French faïence transfer printed creamware “assiette parlante” or talking plate, produced by P&H Choisy, Seine, France – circa 1824-1836. A black tr...

Cupid neoclassical Creil creamware plate. Antique black and white soup plate "L'Amour la punit de son indiference" with grapevine border. Impressed and...

A fine antique English soft paste porcelain or creamware plate. With a blue willow underglaze blue transfer decoration. Attributed to L...

A French Neoclassical faïence transfer printed creamware plate produced by P&H Choisy, circa 1824-1836. A black transfer of an architectural image on a creamware body, depicting t...

This exceptional creamware shell shaped dish has a lovely yellow ground decorated with brown chrysanthemums, scrolling vines, and golden leaves. The...

The Liverpool creamware openwork dishes were made at the Herculaneum factory. The charming dishes have an outer band of openwork attached to a bask...

Massive English Creamware Pottery Yellow & Botanical Basin, John Shorthose, Shorthose & Heath, 1795-1815 The massive English creamware deep basin has a plain creamware center with ...

The large 18th century Neale & Co. creamware sauce tureen, cover, stand and ladle are each decorated in puce transfer with figures amongst classical ruins. The rims also with a painted shell-edge puce border highlighted with the strong remnants of original gilding. Dimensions: 7 inches high x 10 1/2 inches wide x 7 1/4 inches; The under dish...

Pair Wedgwood creamware floral banded sauceboats. Pair of English creamware sauceboats with green leafy band with flowers in purple, magenta, yellow and as...

A French faïence neoclassical transfer printed plate from Creil ét Montereau, circa 1820-1830. A black transfer of an architectural image on a creamware body, depicting the École ...

This is a pair of English creamware dishes from the 18th century, created around 1780. The plates display a lovely chinoiserie scene in the Meissen style, with women selecting access...

A French faïence transfer printed creamware “assiette parlante” or talking plate, produced by P&H Choisy, Seine, France – circa 1824-1836. The title,...

Set of four Wedgwood Directoire pattern yellow banded cream cups and saucers. Cups and saucers in the Directoire pattern and style with characteristic handles of the post Revolutionary six year period of the French Directory...

Majestic Beast: English Creamware Lion with Whieldon Glaze This exceptional English Creamware Pottery Model of a Seated Lion, dating to circa 1765–85, is a fine example of the highl...

A French Neoclassical faïence transfer printed creamware plate produced by P&H Choisy, circa 1824-1836. A black transfer of an architectural image on a creamware body, depicting the Temple de Gloire...

Amazing in design and execution, this Art Deco compote features three charming birds supporting a polychromed fruit bowl or sculpture. This bowl, acquired in a collectors home in Bel...

Rare 18th century Whieldon-type creamware pottery cow, circa 1765. The rare press-moulded cow stands on a flat slab base with lobed edges. The cow is s...

Dutch-decorated English Creamware Plate, Onse Live Vrouw Tot Kevelaar (Our Lady to Kevelaar), Circa 1765-1785. Dimensions: 10 inch diameter x 1 inch high. Kevelaer is a municipality in the district of Kleve, in North Rhine-Westphalia in Germany. It is the largest Catholic pilgrimage location within north-western Europe. More than 1 million pilgrims, mostly from Germany and the Netherlands, visit Kevelaer every year to honour the Virgin Mary. The population in 2015 was 28,311. History Kevelaer is a center of veneration and pilgrimage to Our Lady, Comforter of the Afflicted (also known as Our Lady of Consolation. According to tradition, a merchant praying in front of a cross in a field, heard a voice that told him: "Here thou shalt build me a chapel." His wife dreamt of a little chapel with a Madonna that someone had previously advised her to purchase, In 1642 a copperplate engraving, representing Our Lady of Luxembourg, was installed in a sanctuary erected the same year. It is one of the best visited Catholic pilgrimage locations in north-western Europe. The Gnadenkapelle [Chapel of Grace] has drawn pilgrims to the Lower Rhine Region from all over the world for more than 360 years. Pope John Paul II...

Pair blue and white swan sauce boats. . Neoclassical cream-ware lidded sauce boats with under-plates and original ladle, all with blue and white border...

A creamware column candle stick lamp, mid-20th Century. 6 ½ inches wide 28 ¼ inches tall to finial; shade 13 ½ inches wide

The Neale & Co. puce-colored shell-edge plates are each decorated in a purple transfer with figures in the foreground amongst a landscape of Classic ruins. The rims, also with a feathered puce (purple) border, are highlighted with unusually strong remnants of the original gilding. Each is impressed with the Neale & Co. mark on the reverse. Marks: The impressed Neale & Co. mark was only used between 1778 and 1795. Reference: Neale Pottery & Porcelain: Its Predecessors and Successors 1763-1820, Diana Edwards, page 126, #100 for a large stand...

Creamware English pottery pair of botanical 18th-century dishes, Neale Pottery. The oval dishes are a rich creamy color painted in the interior with a rose stem with an open rose...

Pair of neoclassical transfer printed creamware plates with departmental maps of two regions in France, Doubs and the Haute Pyrenees. Impressed mark for Choisy Le Roi. France, first ...

A set of four early Wedgwood creamware Neoclassical dessert dishes made circa 1780. Sir William Hamilton’s Collection of Etruscan, Greek and Roman an...

Pair Wedgwood creamware floral banded sauceboats. Pair English creamware sauceboats with green leafy band with flowers in purple, magenta, yellow and asp...

Neoclassical black and white creamware plate. French transfer creamware plate with "Vue des ruines du temple d’Hercule sur les bordes du Tibre" ...

Mocha Pottery Earthworm Jug, circa 1820 The mocha pottery jug has two wide ocher bands each with an earthworm design. The top with a looping design and the lower one with a wavy ...

Creamware Armorial Dish, Possibly Melbourne, Arms of Grant, Circa 1800. The large dish with a puce band on the border and a central coat of arms and a crest to the upper border. Th...

Creamware knife rests, Italian, Circa 1810-1820    The two rests are of similar form with a raised scroll terminal to each end. One with pierced stylized f...

Neoclassical Creil creamware plate. Antique black and white soup plate "Reproche l'Amour sur son indiférencel" with grapevine border. Underglaze markin...

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

Pair large Wedgwood creamware serving plates. Pair Wedgwood creamware serving plates with blue band and gilt rim. Impressed mark "Wedgwood" with underglaze blue 1039 W. England, circ...

Continental, 20th century. A traditional creamware basket with pierced body. The bowl is mounted with an engraved ormolu mount. Marked to underside.

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...

For your consideration is this fine pair of 1980s hand-glazed ceramic lamps by Casual Lamps of California. The ceramic bases are in great condition and f...

A Neoclassical red transferware tile made by Spode 1806-1810, with the ‘Refreshments for Phliasian Horseman’ 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. Slight chip to the upper left corner measuring approximately 0.9 cm. in length. Provenance: The Collection of Nancy and Andrew Ramage Jonathan Horne...

Derbyshire Creamware Leaf Dish, Circa 1785. The large Derbyshire creamware dish with a naturalistically molded body in the form of two overlapping leaves with painted puce flower...

"Foliate Brilliance": Regency Creamware Covered Jug with Orange Scrollwork Circa 1820 A handsome English Creamware covered jug (or pitcher) dating to the Regency period, circa 1820...

This large creamware tray or platter is made by Wedgwood depicting everything "Punch". Transfer outlines of whimsical 19th century characters are hand-painted in polychrome enamels w...

Marked Minerva on the verso.

Rare antique English Yorkshire or Staffordshire creamware pierced basket with intricate reticulated body. Lovely color no damage or repairs.

Great patina on this xl spanish creamware vase ... can be used indoors as well as outdoors.