Copeland Porcelain Cat and Cream Churn Vase

A large and stunning Danish Royal Copenhagen porcelain sculptural figure of a Puma by renowned animal artist Khud Kyhn (Danish, 1880-1969) conc...

A fine quality vintage Danish porcelain model of seated Siamese cat by renowned and sought after makers Royal Copenhagen and dating from around 1980. The large, seated cat is beautif...

An extremely rare and probably unique, tall grotesque figural ewer or spoon/ladle warmer by Robert Wallace Martin for the Martin Brothers dated 1880. The stoneware ewer is of tall cy...

An unusual and rare Martin Brothers tribute vase by A G Sangwell, but recorded by the collector as A E Sangwell the owner of a hardware shop at 25 Featherstone Road (confirmed throug...

Very nice vintage ceramic pitcher with a cat shape rolling his eyes up. Large dimension. (small scratches on the ears) Good general condition.

A fine French faience wall pocket / vase. By Geo Martel, founder of the Gaëtan Level ceramics factory in Desvres starting circa 1900. In the form of a cat climbing with floral mark...

Unusual piece unique from the danish ceramist Bjerre. A dark brown glazed ceramic cat that is intended as a vase/decorative object but also can be used as a decanter. It is signed Bj...

Staffordshire, England, circa 1745 – 1760 This charming and unusual figure depicts a seated cat, its body marbled in tones of buff, grey, and warm brown, the patterns flowing like fur beneath a translucent salt glaze. From the crown of its head rises a small candleholder—an enchanting, functional variation that transforms the cat into a decorative light for the Georgian home. The salt-glazed surface has a gentle satin sheen, enlivened by a cobalt wash brushed across the ears and shoulders, a subtle touch of colour that draws the eye. The figure is compact and beautifully balanced, exuding both humor and grace: a work of wit and craftsmanship meant to charm and amuse as much as to illuminate. As a pair, this cat with candleholder and its companion cat carrying a mouse form a dialogue of light and life—one playful, one practical—representing the Staffordshire potters’ genius for turning everyday subjects into artful curiosities. Attribution and Significance Within the history of English ceramics, agateware animals represent the marriage of experimentation and domestic charm. They were objects of conversation—proof of a potter’s technical mastery and a household’s refinement. This cat, with its delicate candleholder, captures that artistic playfulness and innovation. The glaze’s clarity, the elegant pose, and the subtle marbling make it not only an artifact of mid-18th-century Staffordshire but also a small masterpiece of whimsy and craft. Scholarly Analysis and Authentication The figure is made from laminated clays of contrasting colors, known as laid agate, a technique perfected in Staffordshire workshops during the 1740s and 1750s. Strata of buff, pale grey, and iron-bearing brown clay were rolled together, pressed into a two-part mold, and luted along the spine before firing. The cat’s body thus shows true through-body marbling: the veining continues through the thickness of the clay, not merely applied on the surface. The candle socket, made from a single buff clay rather than agate, was luted to the head before glazing. This practical choice prevented distortion during firing and was a typical workshop economy seen in other mid-18th-century functional animal forms. The piece was salt-glazed in a wood- or coal-fired kiln into which common salt was introduced near peak temperature. Sodium vapor combined with the silica of the clay to form a thin, glassy coating. Here, the glaze is smooth and even, suggesting the cat was fired within a protective sagger. The underside of the figure is open, revealing the pressed-clay interior. Two or three minute stilt contacts are visible on the bottom ledge, confirming that the figure rested on kiln props during firing rather than being supported from beneath a closed base. The cobalt wash was brushed under the glaze before firing. It fuses permanently into the surface, creating soft haloes of blue wholly consistent with decoration on salt-glazed figures from the Whieldon circle circa 1750-1760. Later 19th-century reproductions employ overpainted enamels that sit atop the glaze. The open underside, authentic stratified body, integrated socket, and original cobalt staining collectively identify this as a genuine product of Staffordshire’s mid-18th-century agateware tradition, most plausibly from the orbit of Thomas Whieldon at Fenton Vivian or a closely related potter. The measured height, modelling, and marbling correspond closely to examples in the Burnap Collection (nos.. 362–363, Nelson-Atkins Museum) and Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Provenance / Condition: Current Condition: Excellent, with one ear repaired at the tip and restoration at the top of the candleholder; the glaze remains bright and continuous across the body and socket. References: Burnap Collection, English Pottery 1675–1825, nos. 362–363. Sotheby’s (2015) — “A Staffordshire agateware cat-form candlestick, circa 1755. Christie’s, London 2010, lot 82. 1stDibs “Staffordshire Agateware Pottery Saltglaze Figure of a Cat,” item ref LU95812370442 Price: $4,482.16 Chipstone Foundation, Marbled Agateware: Techniques and Identification, 2005. Henry Sandon, Staffordshire Pottery, 1970, pp. 52–54. John Howard Antiques, Antique Agateware...