Catalog: Antiques: Decorative Art: Ceramics (123)

A “Salopian” pearlware coffee service: nine cups and saucers, coffee pot, cream jug and slop bowl. Transfer printed decoration and underglaze painting in yellow, light red, blue and green of flower borders and a romantic view of a farm house with cows, meadows and wanderers. The cups of generous bute shape with "London” handles, and inside each cup a very small cottage is to be admired. There is a blueish tone to the white glaze...

Ten creamware dinner plates, transfer printed in puce with a cottage, a farmboy and cattle within a lace border, the outer rim with hand painted vine leaves, also in puce (one vine wreath partly in orange). From Herculaneum in Liverpool c 1810, all with the impressed mark of the pottery as a straight line, in the style of Wedgwood, the name of the pottery also competing with Wedgwood’s Etruria. Diameter "10 / 25.5 cm. Condition: all fine except for a hairline to one of the plates.

A pair of oval dishes with godrooned borders, soft paste / pâte tendre, creamy white with decoration of flowers in underglaze blue. Made c 1780 in Tournai, then France and now Belgium. Ronda was the most popular Tournai pattern, produced all through the 19th century till 1891 when the manufactory closed down. Width "10 ½ / 26.5 cm. Condition: firing crack and two little nicks to underside of rim of one dish (cf. pics).

A rare solid jasperware child's teapot, the reliefs designed by Lady Templetown. Around 1790, unmarked, by Wedgwood, Adams or Turner. To one side a scene of a young mother reading a book, slippers on her feet, her little daughter playing with a doll. The other side shows Poor Maria with her dog, Maria being a character from a popular novel of the period. The teapot might also have been produced as a solitaire, for one person only. Height including lid "3 ½/ 9 cm, width "6/ 15 cm...

Six footed little cups, tasses à glace / sorbet or ice cream cups in the model used by Sèvres from c 1750 up till around 1800. Because of their sparse decoration the cups go well with more richly decorated porcelain. Slight variation in the gilt and molding of the handles, and in height: four of the cups "2 ½ / 6.3 cm and two 6.5 cm. All probably from around 1780. Marks: LL interlaced - four in over-glaze blue, one in red under crown and with LF and one in gold with HP...

Six English New Hall coffee cups and saucers with painted decoration of single roses. Wishbone or London handles, c 1820. Numbers painted to base: 925 and 923 (all cups are of the same pattern). Height of cups: 3" / 7,5 cm, diam. of saucers: 5 1/2" / 14 cm. Condition: fine.An extra cup and saucer to go with the others (optional), secured hairline to the saucer

Eight dinner plates transfer printed in blue with the Wild Rose border and Nuneham Courtenay pattern, early to mid-19th century. The park at Nuneham House near the Thames was designed by Capability Brown. Many early Victorian potteries produced this pattern and the backstamps reveal a palette of potteries: four plates by Samuel Moore & Co in Tyne & Wear, impressed flowerhead mark for Swansea in Wales, impressed and underglaze blue mark of Bell Cook & Co, Phoenix pottery in Newcastle...

Chinese export dish or flattened bowl, Yongzheng c 1730. Enameled decoration of birds, flowering peony and a garden rock in the Famille rose palette with some accents in gilt. Diameter 8 2/3 " / 22 cm, height 1 1/3 "/ 3.3 cm. Condition: two hairlines and an old repair with rivets (= without any adhesives or other additions).

Teacups – six plus one - and saucers from Staffordshire with moulded borders, made of porcelain around 1825 and possibly by H & R Daniels. The pattern is numbered 766 and consists of little blue flowers or leaves growing from meandering sprouts in green, with minimal red shoots from them. Measures: height of cups "2/ 5.7 cm, diameter "4/ 10.5 cm and of saucers"6/ 15 cm. The seventh cup with a slightly different handle and no border moulding. Condition of all pieces: fine.

An oval and domed porcelain plaque with enamelled flowers in a gilt and Bleu Céleste framework. The ”heavenly blue” colour was a speciality for Sevres in the 18th century and revived in the 19th during the reign of Napoléon III. The gilt flower wreath is tooled, to show the texture of the little flower petals, and the large flower motif is excellently painted. The plaque was made in the late 19th century and probably intended for an ormolu wall sconce...

Five Delft polychrome wall plates in the Peacock pattern, a stylized mix of flowers and feathers very much “en vogue” in Delft of the 18th century. They all have a claw mark in under-glaze blue to the base, for De Klauw, the legendary Delft faience manufacture of the period. However, the Peacock pattern saw a renewed popularity around 1900 when these plates were probably made. Diameter "8/ 20 cm. Condition: fine.

Punch bowl, a mid 19th century copy of the Chinese bowls made for the European market a hundred years earlier. The exterior dark blue and gilt with birds and vases in Famille Rose enamels in reserves, the interior with scattered flowers. Unmarked but most certainly made by Samson of Paris c 1880. Many of Samson’s Chinese Export models derive from a large collection of Chinese porcelain held by French industrialist Ernest Grandidier now to be seen in the Musée Guimet...

A Staffordshire redware teapot, c 1770, with sprigged Chinoiserie decoration of a pavillion and arcades. Impressed apocryphal seal mark of Thomas Barker, Fenton. No lid. Height "4½/ 11,2 cm, width "7¾/ 19 cm. Condition: fine.

A pair of octagonal dessert plates by Copeland, the edges dented and gilt. Japanised, “Aesthetic” decoration of brambles or blackberries, transfer printed and hand painted with some gilt over part of the withered leaves and berries. Diameter "9/ 22.8 cm. The back with the impressed curved mark used by Copeland from 1860 to 1880, and N80, probably for November 1880. Condition: fine.

Yellow Shell, part tea service: a slop bowl and a dish, three cups and two saucers. This very popular folk art or naïve style pattern was produced in more than one Staffordshire kiln in the early 19th century, among them Ridgway & Sons and Machin. The pattern number used by Machin was 208, a number that can be seen on the back of the slop bowl. The diameter of the slop bowl is "6/ 15,5 cm and of the saucers appr. "5½ - 5¾ / 14,5 / 13,5 - 14.5 cm. Condition: minor star crack to the dish (cf...

A French lavishly decorated urn-shaped vase with handles, c 1850 in Rococo Revival style. The foot and bowl in the classical manner have been made separately and are joined by brass and iron parts (extra photos transmitted on demand). The abundant decoration on front and back is matched by the brilliant blue of the undecorated sides. The style and standard of the design and decoration of this unmarked vase is typical of the production of Jacob Petit (1796-1865). Height: 27 cm...

Copeland Spode: six small blue and white cups and saucers and a milk jug, a part toy tea service. All transfer-printed in the Italian pattern, early 20th century. Height of the little jug:/ "1 ¾ / 4,3 cm, of the cups: 2 ¼"/5,5 cm, diam. of saucers: 4"/10,5 cm. All marked Copeland Spode´s Italian England. Condition: one saucer with a discreet star crack, otherwise fine.

Two exquisitely enameled Höchst coffee cups, one with a rose and the other with a tulip. The porcelain manufacture of Höchst near Frankfurt am Main was founded in 1746, and the two coffee cups were made around 1765. Underglaze blue wheel mark to both, and brown rims. Height "2/ 5 cm, diameter "2 ¾ / 7.1-7.3 cm. Condition: fine.