Recognized Dealers Pottery

English Plain Creamware Pounce Shaker or Sugar Castor, George III This English creamware pounce shaker is of baluster form, the lower body closely reeded and swelling to a plain sho...

Wedgwood Pearlware Neoclassical Cachepots and Stands, A Pair (Late 18th Century) This handsome Pair of Wedgwood Cachepots and Underdishes, dating from the Late 18th Century, repre...

George Jones Majolica Sardine box on a turquoise-blue ground, English, ca. 1870, the box molded with green acanthus leaves, with matching underplate, the lid molded and applied with ...

Wedgwood Creamware Hummingbird & Flowers Plates, Pattern No. 7961, Set of Three Etruria, Staffordshire, Dated 1868 This set of three Wedgwood creamware plates...

English Pearlware Blue Slip Teapot & Cover, Engine-Turned Fluting, Acorn Finial English, probably Staffordshire or Yorkshire, Circa 1790 This English pearlware teapot of restrained neoclassical form has a straight-sided cylindrical, or drum-shaped, body covered in a light blue slip ground, its broad upper section unadorned save for the decorative band encircling the shoulder: a checkered band of rouletting inlaid with dark brown slip, flanked by fine raised turned fillets. The lower section is distinguished by a broad band of closely spaced vertical fluting, cut on the engine-turning lathe through the blue slip to expose the pale body beneath, the flutes stopping in a neat scalloped edge against the blue above and below. The fluting is a crisp textural counterpoint to the smooth blue-slipped upper body and a quality of workmanship that speaks to the more refined end of English earthenware production of the period. Engine-turning was carried out before firing, while the clay was leather-hard, on a lathe whose cams rocked the revolving pot against a fixed cutting tool, so that a repeated pattern could be cut with mechanical regularity; where the pot had first been dipped or banded in colored slip, as here, the cut revealed the contrasting color of the body. It is a characteristic feature of the more accomplished Staffordshire and Yorkshire manufactories, among them the Leeds Pottery. The domed cover, with its broad stepped rim, repeats the engine-turned reeding in a concentric ring at the crown and is surmounted by a finely modeled applied finial in the form of a white pearlware acorn in its textured cup, resting upon naturalistic oak leaves with a twig and an empty acorn cup beside it, a motif of considerable delicacy widely employed in English ceramics of the 1780s and 1790s. The curved spout, in uncolored pearlware, is press-molded at its base with leafage in low relief, and the reeded loop handle ends in press-molded foliate terminals at both its upper and lower junctions, reinforcing the neoclassical character of the design. The flat glazed base shows the blue-green pooling characteristic of the pearlware glaze. Dimensions: Height: 6½ inches (16.5 cm) Width, handle to spout: 8½ inches (21.6 cm) Depth: 4¾ inches (12.1 cm) Marks: Unmarked. Provenance: Earle D. Vandekar of Knightsbridge Condition: Good condition, with a chip to the tip of the spout, visible in the photographs. References: T. A. Lockett and P. A. Halfpenny, eds., Creamware and Pearlware, Stoke-on-Trent: City Museum and Art Gallery, 1986. Donald Towner, Creamware, London: Faber & Faber, 1978. Peter Walton, Creamware and Other English Pottery at Temple Newsam House, Leeds, Bradford and London: Manningham Press, 1976, p. 246, pls. 1071–1072. Geoffrey A. Godden, British Pottery: An Illustrated Guide, London: Barrie & Jenkins, 1974. Philip Miller and Michael Berthoud, An Anthology of British Teapots, Broseley, Shropshire: Micawber Publications, 1985. Donald Carpentier and Jonathan Rickard, “Slip Decoration in the Age of Industrialization,” Ceramics in America 2001, Milwaukee: Chipstone Foundation, 2001, pp. 115–134. Jonathan Rickard and Donald Carpentier, “The Little Engine That Could: Adaptation of the Engine-Turning Lathe in the Pottery Industry,” Ceramics in America 2004, Milwaukee: Chipstone Foundation, 2004, pp. 78–99. Bonhams, London, 18 May 2011, lot 96: a Leeds pearlware...

English Creamware Engine-Turned Mug, Blue Slip & Green Rouletted Bands, 1815 This cylindrical pint mug is decorated entirely on the lathe, its white creamware body cut with four bro...

Set of Six English Creamware Soup Plates, Circa 1800-1830 This is a refined set of six English Creamware soup plates, dating from the early 19th century. Each plate features a clas...

Wedgwood Majolica Strawberry dish, naturalistically relief-modeled with strawberries, leaves, and blossoms, the lip with strawberry leaves and...

Wedgwood Creamware Egg Cup Stand with Salt and Six Egg Cups, Circa 1800–1820 The oval creamware egg stand, of shallow tray form with a raised rim, is centered with a raised open ova...

18th-Century Staffordshire Creamware Cauliflower Milk Jug and Cover Circa 1765 This Staffordshire creamware milk jug and cover is molded in the form of a cauliflower and dates from ...

This plant pot in colors light blue, deep brown, and cream white, exclusive for SEM, has the serial number 2022040. Both vases in the collection have been chromatically studied, in a curious contrast of pattern and materials. “Doodle” is a rough drawing made absent-mindedly. And this is how Maya Leroy’s project started, from a need to create without having to be too serious about it or overly think things while having fun. Air dry clay has proven to be an ideal medium to work independently and without firing and, funny enough, from this total freedom, Maya created an intriguing and psychedelic series which looks unlimited. Opening up to new collaborations, SEM became fascinated with this form of hand crafting with the aim of developing two special objects—created ad hoc by Maya for the milanese brand—in an unlimited series produced by the artisans of the brand’s net.One of the most interesting phenomena of the moment is, in fact, the way in which hands-on designers can bring innovations in craft ateliers, challenging and updating the existing techniques and materials, or simply questioning them and creating a real dialogue between craftsman and designer that has unexpected results. MAYA LEROY Born in 1994 to a Swedish mother and French father, Maya Eline Leroy is an artist and designer currently based in Eindhoven — The Netherlands. Expressing creativity through painting, drawing and hand-building clay. Her Doodle series is an ever expanding collection of unique, hand build and hand painted contemporary ceramics.

A green-glazed earthenware vase or planter, designed and produced by Nittsjö, Sweden, 1940s. Overall Dimensions (inches): 4" Height x 5.5" Diameter All items ship from High Point, ...

Sculptural Ceramic Vase by Gerhard Liebenthron, Germany, 1972 Description: Exceptional sculptural ceramic vase by German ceramic artist Gerhard Liebenthron, created in 1972. Charact...

Awaji Pottery plate in sancai (three color) glaze with hand incised pair of circling dragons. Meiji Period. Circa 1900. From the Danto Kiln, successor to the famous Minpei Kiln. Impr...

Regency Revival: Herculaneum Neo-Classical Greek Pattern Printed Dish ________________________________________ This is an impressive English Trans...

English Creamware Quintal Finger Vase 20th Century This English creamware quintal vase—also known as a finger or tulip vase—takes the classic fan-shape...

Menton French Majolica (Barbotine) Trompe L'oeil Wall Plaque on a turquoise ground with lemons molded in high relief, circa 1880, 8-inches diameter. Generally referred to as "Mento...

Greek Revival Dining: Set of 10 Spode "Phliasian Horseman" Soup Plates (c. 1806–1820) A fine set of 10 early 19th-century blue and white transfer-printed pottery soup plates by Spo...

English Creamware Cow Creamer and Cover Staffordshire, circa 1775–1780 Glazed earthenware This whimsical yet functional vessel exemplifies the charm of 18th-century Staffordshire po...

Engine-Turned Elegance: Staffordshire Redware Coffee Pot by Myatt, Circa 1790-1810 A substantial and finely crafted Staffordshire redware coffee pot of ovoid form, produced by the M...

(Ref: NY8532/IAMR)Sussex Pig Pottery Drinking Vessel, Jug and Cup, Belle-Vue Pottery, Rye, 1870 Circa 1870 An English Sussex Pig drinking vessel was made at the Belle-Vue Pottery i...

This mochaware mug was made to hold a quart of beer or lager. It was made in England circa 1870-1880. The dark mochaware "trees" are applied by hand (see below for the details of the...

Black Stoneware Phiale Plate by Elena Vasilantonaki Unique Dimensions: ⌀ 30 x H 10 cm (Dimensions may vary) Materials: Stoneware Available finishes: With\without handle - Black, Whit...

"Peace, Plenty and Independence" - An Exceptional American Market Creamware Jug, Circa 1800 A profound piece of early American history and decorative art, this large Liverpool Creamware jug was specifically produced for the burgeoning United States market around 1800. This spectacular jug perfectly encapsulates the patriotic zeal and domestic aspirations of the post-Revolutionary era. Its historical...

Grey Stoneware Pinakio Plate by Elena Vasilantonaki Unique Dimensions: ⌀ 34 x H 10 cm (Dimensions may vary) Materials: Stoneware Available finishes: With\without handles - Black, Whi...

Spode Greek Pattern Blue Printed Pearlware Oval Tazza, Neoclassical This oval footed tazza is of pearlware printed in underglaze blue in Spode's Greek ...

Naturalistic Whimsy: Rare Staffordshire Creamware "Cauliflower" Tea Caddy (c. 1760) An exceptional mid-18th-century Staffordshire creamware tea caddy (or tea canister), brilliantly ...

English Pearlware Blue Slip Coffee Pot & Cover, Staffordshire or Yorkshire Circa 1790 This handsome English pearlware coffee pot and cover, of ba...

Conchological Rarity: Wedgwood Pearlware Nautilus Sauce Tureen & Stand, Circa 1790 A superb and rare late 18th-century Wedgwood pearlware sauce tureen, cover, and stand, brilliantly...

Whieldon-Type Creamware Tortoiseshell Teapot, Grape Vine Relief, Crabstock Circa 1765–1775 The Staffordshire Whieldon-type creamware teapot is of globular form, the body sprig-molde...

 English Pearlware Blue and White Six-Compartment Tray, Angry Lion Pattern Circa 1815–20 This unusual pearlware tray offers six chances to admire one of the great rarities of Engli...

Blue and white floral pottery covered pil and cover, Vera pottery, circa 1900-1930. The cylindrical pail with exterior knob handles has a reeded lowe...

Classical Elegance: A Set of Four Spode ‘Greek Pattern’ Openwork Dessert Plates Staffordshire, England, Early 19th Century This exquisite set of four dessert plates represents the h...

Set of four silver-plated alpaca serving bowls designed by Gio Ponti for Fratelli Calderoni, Milan, Italy, circa 1950. Characterized by their elegant rounded forms, integrated loop h...

19th century late Georgian blue spode hot chocolate cup with cover and saucer, decorated with gilt highlights, and embossed white floral motif on a ...

Wedgwood Creamware Botanical Specimen Plate with Pink Flowers Dated 1862 This Wedgwood creamware plate is painted in the central well with a botanical specimen, a slender flowering ...

Victorian Staffordshire Cow & Milkmaid Group, Circa 1860 A charming and narrative Victorian Staffordshire pottery figure group, dating from circa 1860. This model captures a classi...

A very lovely Kangxi Chinese porcelain ginger jar with hand-painted, blue overglaze decoration with "one hundred treasures" motif. Jar has original p...

Pearlware Blue and White Chinoiserie Shell-Edge Oval Dish, Probably Leeds Circa 1790 This large oval pearlware dish is painted in underglaze blue with a lively chinoiserie scene, a ...

Rural Charm: Whieldon-Type Creamware Cow Creamer Whieldon-Type Creamware Cow Creamer and Cover Circa 1770 This delightful and historically important piece is an 18th-century cow cr...

Monumental David Cressey Phoenix-1 for Architectural Pottery Planter in unglazed stoneware Unglazed with clean factory drill hole (pitchered)

Ascending to Glory: A Monumental Liverpool Creamware Jug Celebrating Washington's Apotheosis Historical Context: From Man to Myth George Washington's...

Yorkshire Elegance: Rare Green Glazed Creamware Teapot Swinton, Circa 1770 A superb late 18th-century English creamware teapot and cover, produced by the Swinton Pottery (the prec...

Rare Creamware Fish Scale Teapot and Cover, Attributed to Leeds, Yorkshire This rare and distinctive creamware teapot, attributed to the Leeds Pottery in Yorkshire, has a cylindric...

This handsome pair of green-glazed earthenware dishes is molded in the form of overlapping vine leaves, a large leaf laid over two smaller ones, with deeply serrated edges, crisply m...

This plant pot in colors olive oil and pale pink, exclusive for SEM, has the serial number 2022041. This one, together with the 2022040. Both vases in the collection have been chromatically studied, in a curious contrast of pattern and materials. “Doodle” is a rough drawing made absent-mindedly. And this is how Maya Leroy’s project started, from a need to create without having to be too serious about it or overly think things while having fun. Air dry clay has proven to be an ideal medium to work independently and without firing and, funny enough, from this total freedom, Maya created an intriguing and psychedelic series which looks unlimited. Opening up to new collaborations, SEM became fascinated with this form of hand crafting with the aim of developing two special objects—created ad hoc by Maya for the milanese brand—in an unlimited series produced by the artisans of the brand’s net.One of the most interesting phenomena of the moment is, in fact, the way in which hands-on designers can bring innovations in craft ateliers, challenging and updating the existing techniques and materials, or simply questioning them and creating a real dialogue between craftsman and designer that has unexpected results. MAYA LEROY Born in 1994 to a Swedish mother and French father, Maya Eline Leroy is an artist and designer currently based in Eindhoven — The Netherlands. Expressing creativity through painting, drawing and hand-building clay. Her Doodle series is an ever expanding collection of unique, hand build and hand painted contemporary ceramics.

English Creamware Chinoiserie Teapot and Cover with Pierced Gallery This English creamware teapot and cover is of globular form on a spreading foot, ...

Antique Italian Creamware Pierced Knife Rests with Scroll Ends, Italian, possibly Naples Circa 1810–1820 The two knife rests are of Italian creamware, poss...

Prattware Pearlware Pottery Plaque, Two Recumbent Lions, Relief-Molded, English Circa 1800–1820 The oval pearlware plaque is press-molded in high relief with two recumbent lions lyi...

"Isolated N.11" Stoneware Vase by Raquel Vidal and Pedro Paz One of a Kind Dimensions: D 22 x H 30.5 cm Materials: Hand sculpted, Stoneware with grog Waterproof insert is required w...

Boston State House Historical Blue Staffordshire Plates, Pair, Rogers, 1825 Circa 1825 A pair of the most beloved of all American historical Staff...

"Garden Whimsy": American Etruscan Majolica Cauliflower Teapot Griffen, Smith & Hill, Circa 1879. A delightful and highly collectible example of A...

Yellow Slip-Ground Pearlware Mug with Reserved Heart Circa 1800 This cylindrical pearlware mug is dipped in a warm yellow slip ground between green-glaz...

Staffordshire Salt-Glazed Stoneware King of Prussia Teapot, Frederick the Great English, Circa 1760 This globular teapot and cover is a fine example of Staffordshire white salt-glaz...

This pair of Spode shell-shaped dishes was made in England around 1820 and decorated in the classic iron-red and blue palette associated with Imari decoration. The lively color combination immediately gives the pair decorative authority, while the sculptural shell form adds movement and visual interest. The printed design shows a stylized garden scene with blue rockwork, flowering peonies and chrysanthemums in orange, and bamboo rising behind the flowers. The limited palette of red and blue keeps the composition clear and balanced, with the strong blue elements anchoring the design and the warm orange flowers providing contrast. Spode was one of the most important English pottery manufacturers of the early nineteenth century and played a central role in adapting Asian decorative traditions for the English market. The red and blue color scheme reflects the long influence of Japanese Imari porcelains that began arriving in Europe during the seventeenth century. The molded shell form enhances the design by creating gentle curves that catch the light across the surface, adding dimension to the printed decoration. Dishes of this shape were often used for serving desserts or sweetmeats and were also valued for display. Dimensions: 10 inches long x 8.5 inches wide x 2 inches deep Condition: Excellent Price: $280 for the pair Decoration: Iron red and blue Imari...

Studio Pottery Double Fish Dish, La Funente, Dated 2003 The large stoneware Studio Pottery dish depicts two fish within demi-lune panels. The dish was made using enamel and a sgraf...

Spode Blue and White Greek Pattern Hot Water Dishes, Zeus in His Chariot, Pair Stoke-on-Trent, Staffordshire Circa 1806–1815 This pair of Spode pearlware hot water dishes is printed...

English Creamware Mocha Mug, Ochre Slip Ground, Banded, Circa 1790–1810 Staffordshire, circa 1790–1810 Georgian minimalism in a tankard: an early creamware mocha mug dressed head t...

Autumnal Amber: A Set of Four Nested Pearlware Dishes This charming set of four graduated and nested pearlware serving dishes represents a sophisticated fusion of decorative fashion...

English Pearlware Encrusted Pebbled Bough Pots, Pair, Impressed BW, Circa 1800 Circa 1795–1810 This pair of English pearlware bough pots is decorated with a rare encrusted or "pebbl...