John Moyr Smith Serveware, Ceramics, Silver and Glass

An unusual Aesthetic Movement flow glaze twin handled vase in the ‘Persian Taste’ by renowned British designer Christopher Dresser (British, 1834 – 1904) for Watcombe Torquay...

Stylish and very attractive English, early 20th century Aesthetic Movement blue glass tile. The tile depicts a raised sunflower with shaped petals and a stem on fluted circles. The t...

Grueby Faience St George and the Dragon Tile circa 1905. Vibrantly colored glazed earthenware circa 1905. Lovely period example.

A very fine and decorative Aesthetic Movement Doulton Lambeth early stoneware bowl decorated with scrolling seaweed and rosette designs by renowned artist George Tinworth and dated 1...

An unusual large English Aesthetic Movement silver plate toast or muffin rack by John Round & Son of Sheffield and dated 1887. The rack stands on four square cut corner feet adjoined...

A pair of large Victorian hand painted Minton China Works in Stoke-upon-Trent, England, English tiles based on Scott's popular Waverly Novels, designed ...

Aesthetic Movement soup tureen with ladle. Aesthetic Movement soup tureen with ladle and cover in brown, yellow and green Faisan pattern with t...

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...

Etruria, Staffordshire, c.1895, each white stoneware with burnished green jasper dip ground and three white bas-relief decorations, laurel wreath at neck, hand-decorated in sterling ...

Sterling silver Aesthetic Movement mug/cup on pedestal base, New York, Ca. 1875, Wood and Hughes - makers. Lovely etched designs on mug. Handle is in the form of a swan (its long nec...

Rare Pottery tiles with red frame Animal decor painted Excellent condition.

A rare and exceptional Doulton Lambeth art pottery beaker shaped vessel beautifully decorated with floral panels by renowned artist John Broad and dated 1880. This unusually finely m...