18th Century Ceramics

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern No. 20, dating to the late 18th century, circa 1790. The bowl is well potted on a mid depth foot. The decoration is hand-painted using bold enamels in a charming chinoiserie figure pattern, number 20, showing a Lady with a parasol being presented a flower by a young man, all by a fence in a garden setting. The inner rim has a repeated border pattern and the inside base has a hand painted flower bud sprig which is worn and faded. This is a recorded New Hall pattern No 20. Overall a charming 18th Century Bowl...

Largest collection of Portuguese tiles in the world 18th Century Portuguese "Saint Antony" Measures: 266 cm x 210 cm Important note: This panel is with the tiles restored 18th ce...

Chinese Export Porcelain Hunt Pattern Punch Bowl. Late 18th century. Restorations. 4.75” h. x 11.25” diam.

This is a hard paste porcelain coffee can & saucer duo by New Hall, hand decorated with their Chinese figure pattern number 421, dating to the English George 3rd...

A very good Porcelain Coffee Can with a ring handle, hand decorated with an orange and gilt pattern by Worcester during the Barr period, fully marked to...

Largest collection of Portuguese tiles in the world 18th century Portuguese "Vase" Measures: 126cm x 126cm 81 tiles Important note: This panel is with the tiles restored 17th cent...

Largest collection of Portuguese tiles in the world 18th century Portuguese " Azulejos " River Scene" Measures: 200cm x 083cm 84 tiles Important Note: this panel is with the tiles...

Decorated with a chinoiserie scene of a man sitting on rocks within a landscape. Surrounded by a triple-circle center and an interlocking arc and trefoil border. The rim with 27 flut...

This is a good Chinese porcelain circular deep plate or soup bowl made for the export (Canton) market, during the middle of the 18th century, Qing-Qianlong period. The plate is well...

18th century Spanish Ceramic plate with flowers.

18th Century Spanish Ceramic Plate with Architectural Scene

A wonderful 18th century Nevers polychrome plate featuring a bird emerging from its cage.

Set of three large Italian Majolica plaques. Each of them painted with a different scenery. Italy, 18th century. Dimensions: Plaque with grouping Il...

18th century Spanish Ceramic plate with Architectural scene.

An exceptional antique Chinese Qianlong porcelain plate decorated in underglaze blue and overpainted in red and green glazes with light gilding with...

Late eighteenth century Chinese Export Porcelain handleless tea bowl and saucer referred to as "Chinese Imari". Hand decorated in iron red, underg...

This is a good, very early, rare blue and white coffee cup in the "Boy on a Buffalo" pattern, probably from the factory of Josiah Spode, stoke on Trent, Staffordshire, England, made...

Interesting collection of three Persian glazed ceramic plates with polychrome decoration. Very old, 18th century or earlier. Rather good condition, some chips and a small repa...

Two large French Faience dishes and two smaller from the city of Strasbourg in hand painted floral decoration. They are approximately from around...

This is a hard paste porcelain waste or slop bowl by New Hall in a hand painted Chinoiserie figure pattern number 20, dating to the late 18th century, Circa 1790. The bowl is well...

This is a hard paste porcelain coffee Can by New Hall, dating to the turn of the 18th century, George 111rd period, circa 1800. The piece is well potted of hard paste porcelain on a low foot with a loop handle having rounded attachments. The cup is decorated over-glaze with hand painted pattern...

This is a very good hard paste porcelain early Coffee Can or cup with a loop handle, hand decorated in the Royal Lily pattern by Worcester during the Barr p...

This is a good porcelain TRIO of a Tea Cup, Coffee Cup and saucer by the Derby factory, made during the George 111rd period, circa 1795. The pieces are well potted in the Hamilton...

This is a beautifully hand-painted Chinese porcelain Dish, dating to the middle of the 18th century, Qing, Qianlong period, circa 1750. The dish is circular, well potted, with rib...

Dutch Delft Kolf Tile. An early Dutch delft blue and white golf tile - hand painted with a Kolf scene depicting a Colf/ Kolf player. The blue image is on an off white background with...

Rare pair of 18th Century Dutch Delft Chargers, stylized blue and white floral decoration with yellow rims. 13.74” diam, 2” h.

This is a hand painted blue and white Chinese porcelain plate, dating to the second half of the 18th century, circa 1770, the Qing Qianlong dynasty. This very good condition of this...

French Faience Figural Jug the unglazed underside with the 17th-century mark "F.C", possibly Marseilles, in the form of a woman seated upon a grassy mound, polychrome painted with a ...

English Blue Ground Pottery Mocha Mug Late 18th Century The blue ground slip tankard with a white handle with leaf terminals has two bands of molded checkerboard black and white ba...

A very fine antique Chinese Qing large porcelain cylindrical mug hand painted with floral designs and probably dating from the latter 18th or possibly even early 19th century. The mu...

Assortment of dishes Lombard manufacture 1770 – 1780 Circa Maiolica polychrome decorated “a piccolo fuoco” (third fire). Two large dishes: diameter 14.76 in (37.5 cm); weight 4.5...

This is an antique personal tea set. A Chinese, Qing dynasty ceramic bowl and saucer set, dating to the Georgian period, circa 1800. Delightfully original set, with charming blue a...

A Chinese Export Porcelain saucer dish and Cup after the ‘Dame Au Parasol’ design by Cornelis Pronk (1691 – 1759) commissioned by the Dutch East India Company (Verenigde Oost-Indische Compagnie or V.O.C.) in 1737. Cornelis Pronk (1691-1759) was an accomplished painter and draftsman who was commissioned by the VOC in 1714 to provide designs for porcelain manufactured and painted in China. Decorated in underglaze-blue with ‘La Dame au Parasol...

Sick cup Pasquale Rubati Manufacture Milan, Circa 1770 - 1780 Maiolica decorated in polychrome “a piccolo fuoco” (third fire) It measures: h 2.36 x 7.4 x 7.87 (h 6 x 19 x 20 cm) ...

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...

This is a late 18th century porcelain Tea Cup and Saucer in pattern 128 by the Derby factory, Circa 1795. This is a rare Derby pattern that we have not come across or seen previou...

A very fine and rare German Nurenberg Delft style moon flask hand painted with a figure by Andreas Kordenbusch dated 1726. The lightly and finely potted earthenware flask stands rais...

This is a hard paste porcelain coffee cup, by New Hall, dating to the late 18th century George 111rd period, circa 1790. The piece is well potted on a low foot with a plain loop h...

18th century Chinese Export Famille rose tureen with lid & underplate.

Pair of antique English blue and white chinoiserie square bowls by Caughley, each one with scalloped edges with gilt borders. Unmarked, ...

This is a very fine hard paste porcelain Tea Bowl and Saucer by New Hall, dating to the 18th century, George 111rd period, circa 1785. Both pieces have 24 vertical flutes. Both pie...

A late 18th or early 19th century English Prattware baby's cradle in a rare large size. Decorated with an overall basket weave pattern and a yello...

This is an early porcelain trio comprising a vertically fluted coffee can, tea cup and saucer, all in a hand painted and gilded pattern, which we attri...

A Chinese Export Porcelain saucer dish after the ‘Dame Au Parasol’ design by Cornelis Pronk (1691 – 1759) commissioned by the Dutch East India Company (Verenigde Oost-Indische Compagnie or V.O.C.) in 1737. Cornelis Pronk (1691-1759) was an accomplished painter and draftsman who was commissioned by the VOC in 1714 to provide designs for porcelain manufactured and painted in China. Decorated in underglaze-blue, iron-red and gilt with ‘La Dame au Parasol...

A beautiful antique covered tureen in the shape of a cauliflower. This piece is very old but shows very little signs of wear for its age. This trompe l'oeil ceramic dish is in the shape of a large cauliflower in green and white. The lid or the top shows the vegetable lying on its side with tight white florets and ribbed leaves painted in shades of green. A small notch at one end is for resting the matching white ceramic ladle...

This is a good, early hand-painted English coffee can, from the late George-III period, of the late 18th Century, circa 1795, which we attribute to ...

Coffee pot Antonio Maria Coppellotti Manufacture Lodi, Circa 1740 High fire polychrome maiolica It measures: 7.87 in x 6,49 x 5.11 (20 cm x 16,5 x 13); weight 1.23 lb (561 g) ...

Very nicely painted dish with Cuckoo in the house Period: Kangxi⁠-Yongzheng Country of origin: China⁠ The lower half of the design is well known in Holland as the “cuckoo in the hou...

An antique Staffordshire pearlware coffee pot and cover hand-painted in coloured enamels with floral designs. This elegant and lightly potted coff...

Quality pair of 18th Century Chinese plates, having a quality pair of 18th century Chinese plates decorated with flowers in wonderful red, blue, gold and white colours. D. 1780

A Chinese Porcelain teapot. Qianlong period Fantastic and highly detailed decoration in Grisaille/Encre de Chine Painted with ‘The Valentine Pattern’. Two doves perched on a quiver ...

Maiolica sugar bowl Antonio Ferretti Manufacture Lodi, Circa 1770-1780 Maiolica polychrome decorated “a piccolo fuoco” (third fire). It measures 3.54 x 4.52 x 3.54 in (9 x 11,5 x 9 cm) Weight: 0.394 lb (0.179 kg) State of conservation: small and slight chips on the edges. The small sugar bowl has a swollen and ribbed body resting on a flat base. The cap-shaped lid follows the rib of the container and is topped with a small knob in the shape of a two-colored fruit. The sugar bowl is painted “a piccolo fuoco” (third fire) with the characteristic floral motif of bunches and isolated semis. An example which closely corresponds to this one is kept at the Civic Museum in Lodi (G. Gregorietti, Maioliche di Lodi, Milano e Pavia, Catalogo della Mostra, Milano, 1964 n. 137). This decorative style represented a strong point of the Lodi factory, which established itself thanks to the vivid nature of the colors made possible by the introduction of a new technique perfected by Paul Hannong in Strasbourg and later introduced by Antonio Ferretti to Italy. The production process, called “piccolo fuoco” (third fire), allowed the use of a greater number of colors than in the past; in particular, the purple of Cassius, a red made from gold chloride, was introduced. Its use allowed for many more tones and shades, from pink to purple. The Ferretti family started their maiolica manufacturing business in Lodi in 1725. The forefather Simpliciano started the business by purchasing an ancient furnace in 1725 and, indeed, we have evidence of the full activity of the furnaces starting from April of the same year (Novasconi-Ferrari-Corvi, 1964, p. 26 n. 4). Simpliciano started a production of excellence also thanks to the ownership of clay quarries in Stradella, not far from Pavia. The production was so successful that in 1726 a decree of the Turin Chamber came to prohibit the importation of foreign ceramics, especially from Lodi, to protect internal production (G. Lise, La ceramica a Lodi, Lodi 1981, p. 59). In its initial stages, the manufacture produced maolicas painted with the “a gran fuoco” (double fire) technique, often in turquoise monochrome, with ornamentation derived from compositional modules in vogue in Rouen in France. This was also thanks to the collaboration of painters like Giorgio Giacinto Rossetti, who placed his name on the best specimens next to the initials of the factory. In 1748 Simpliciano made his will (Gelmini, 1995, p. 30) appointing his son Giuseppe Antonio (known as Antonio) as universal heir. After 1750, when Simpliciano passed away, Antonio was directly involved in the maiolica factory, increasing its fortunes and achieving a reputation on a European level. Particularly important was the aforementioned introduction in 1760 of the innovative “a piccolo fuoco” (third fire) processing, which, expanding the ornamental repertoire with Saxon-inspired floral themes, was able to commercially compete with the German porcelains that had one of its most renowned offerings in the naturalistic Deutsche Blumen. Antonio Ferretti understood and promoted this technique and this decoration, proposing it in a fresher and more corrective version, less linked to botanical tables, both with or without contour lines, as well as in purple or green monochrome. After efforts to introduce more industrial production techniques to the sector succeeded, even the Ferretti manufacture, in the last decade of the eighteenth century, started heading towards decline despite its attempts to adapt production to neoclassical tastes. In 1796 the Napoleonic battle for the conquest of the Lodi bridge over the Adda definitively compromised the furnaces. Production resumed, albeit in a rather stunted manner, until Antonio's death on 29 December 1810. (M. L. Gelmini, pp. 28-30, 38, 43 sgg., 130-136 (for Simpliciano); pp. 31 sgg., 45-47, 142-192 (for Antonio). Bibliography G. Gregorietti, Maioliche di Lodi Milano e Pavia Catalogo della Mostra, Milano, 1964 n. 137; C. Baroni, Storia delle ceramiche nel Lodigiano, in Archivio storico per la città e i comuni del circondario e della diocesi di Lodi, XXXIV (1915), pp. 118, 124, 142; XXXV (1916), pp. 5-8; C. Baroni, La maiolica antica di Lodi, in Archivio storico lombardo, LVIII (1931), pp. 453-455; L. Ciboldi, La maiolica lodigiana, in Archivio storico lodigiano, LXXX (1953), pp. 25 sgg.; S. Levy, Maioliche settecentesche lombarde e venete, Milano 1962, pp. 17 sgg.; A. Novasconi - S. Ferrari - S. Corvi, La ceramica lodigiana, Lodi 1964, ad Indicem; Maioliche di Lodi, Milano e Pavia (catal.), Milano 1964, p. 17; O. Ferrari - G. Scavizzi, Maioliche italiane del Seicento e del Settecento, Milano 1965, pp. 26 sgg.; G. C. Sciolla, Lodi. Museo civico, Bologna 1977, pp. 69-85 passim; G. Lise, La ceramica a Lodi, Lodi 1981; M. Vitali, in Storia dell'arte ceramica...

Maiolica tureen “allo struzzo” (ostrich decoration) Milan, Felice Clerici or Pasquale Rubati factory, circa 1750-1780 Measures: 9.25 in x 12.79 in x 10.23 in (cm 23.5 x cm 32.5 x cm 26) lb 4.78 (kg 2.17) State of conservation, a felûre consolidated inside with slight edge chipping restored. In Milan in the 18th century two Majolica warehouses were opened, the first, by Felice Clerici, in 1745, the second in 1756 by Pasquale Rubati. Traditionally this type of decoration has been attributed to the Pasquale Rubati factory. In reality the motif “allo struzzo”, one of the clearest examples of how the taste for chinoiserie met with considerable success during the 18th century, had been produced, in specimens of greater or lesser quality, by both Milanese manufactories. This Maiolica tureen has a swollen and ribbed oval bowl, rests on an extroflexed foot and shows stirrup handles. The tri-color ornament, in the typical tones of Japanese "Imari" decorations, shows an idealized oriental landscape that develops around a perforated rock and has a willow tree with long lance-shaped leaves framing the long-legged bird figure. The ornamentation is enhanced by decorative elements such as butterflies, small florets and a vase with a thin flowery stem. The lid is ribbed with a pear-shaped knob on top. The decoration was called in the Milanese manufactories "allo struzzo" (ostrich decoration) and this refers to the oriental figure Xian He or the crane, symbol of longevity, here losing its symbolic value. It is hypothesized that among some 16th century engravings...

This Jacquot pot is made of polychromed earthenware big fire. This is a French work from the city of Lille. Mid-18th century.

Beautiful German faience jug from one of the Northern German factories.

A antique English prattware model of a cockerel or rooster. With mottled decoration in ochres and yellow. The base bears an old partial D. M. ...

Very interesting 18th century Spanish ceramic wine or oil storage jar with wonderful olive green glaze with raised leaf and floral design ...

This is an antique piece produced in Tuscany at the end of the 18th Century following the Neoclassical style, mixed to the antique craftmenships of the Tuscany artisans which used ma...

Sharing with you this lovely, probably Yongzheng period, dish in Famille Rose palette. A very unusual Pronk Dame au parasol version. Pink with rare overglaze blue and black. I thin...

This is an antique piece produced in Tuscany at the end of the 18th Century following the Rustic style. The expression of the antique craftmenships of the Tuscany artisans is well s...