18th century

  • 18th Century French Blue and White Porcelain Soup Tureen Arras Circa 1780

    18th Century French Blue and White Porcelain Soup Tureen Arras Circa 1780

    $860.00

    This late 18th century French porcelain soup tureen is distinguished by the delicacy of its hand-painted cornflower decoration and the remarkable depth of its twilight blue enamel.
    The distinctive color is known to collectors as Bleu d’Arras. Small cornflower sprigs are painted with a fine brush and placed across the surface with careful spacing, giving the decoration a refined and airy clarity.
    Cornflowers were a favored naturalistic motif of the Louis XVI period, reflecting the late 18th century taste for botanical ornament.
    The tureen is beautifully shaped, with a softly domed lid and an elegant branch-form finial that echoes the naturalistic decoration.
    The rim follows a gently scalloped line, highlighted with a fine blue band that frames the creamy white porcelain ground.
    Molded handles complete the form and give the piece a strong yet graceful profile.
    The restrained placement of the decoration allows the porcelain body and the rich blue enamel to work together harmoniously, creating a composition that is both refined and visually engaging.
    This tureen was made at the Arras porcelain factory circa 1780.
    The Arras manufactory was founded in the 1770s by the Delemer sisters and operated for only about twenty years.
    During that brief period the workshop became known for elegant forms and for the distinctive blue enamel used in its decoration.
    Surviving examples are comparatively scarce, and pieces that display the characteristic Bleu d’Arras so clearly are particularly appealing to collectors.
    The underside of the tureen bears the “AR” mark together with the flying bird device used by the Arras porcelain factory.Dimensions: 10.25″ diameter x 9″ height
    Condition: Excellent, with some small original firing cracks along the outer edge of the cover
    Decoration: Hand-painted cornflower sprigs in Bleu d’Arras blue
    Material: Porcelain
    Style: Louis XVI
    Origin: Arras, France
    Date: Circa 1780

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  • Blue and White Delft Charger Made by The Claw in the Netherlands circa 1780

    Blue and White Delft Charger Made by The Claw in the Netherlands circa 1780

    $730.00

    This beautiful blue and white Dutch Delft charger was hand-painted in deep cobalt blue in the factory of “The Claw” in the late 18th century, circa 1780. The decoration in the center shows a vase filled with sunflowers and ferns. The design is reminiscent of a peacock displaying its feathers. Since the 18th century, the pattern has been known as the “Peacock” pattern. The crisp yellow of the slip-painted rim brings out the color of the cobalt blue.

    Dimensions: diameter 12.5 inches

    Condition: Excellent with small edge chips invisibly refinished

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  • Chelsea Red Anchor Porcelain Dish Mid-18th Century England 1752-1756

    Chelsea Red Anchor Porcelain Dish Mid-18th Century England 1752-1756

    $1,140.00

    The wares of the Chelsea red anchor period (1752-1758), when this dish was made, are generally thought to be the finest work produced by the factory.*
    The charm of this Chelsea soft paste porcelain dish lies in the quality of the soft paste porcelain itself, the warm white glaze, and the soft colors of the fabulous hand-painted flowers and insects. The flowers and insects are painted in exquisite soft colors, which seem to sink into the soft paste porcelain.
    The painting is at the highest level of artistry. In the center, we see a loose bouquet of scattered flower sprigs, the largest sprig with a gorgeous purple rose, and a hairy caterpillar nearby. The border has crisp flowerhead and lattice molding reserving eight small panels painted with beautiful flowers and insects, one showing a butterfly and one a butterfly next to a ladybug. Along the rim, the dish has a brown line traditional to Chelsea.
    Begun in 1743, the Chelsea porcelain factory was England’s first important porcelain manufacturer. The factory made soft paste porcelain which is different than “true” hard paste porcelain and does not require the high firing temperatures or the unique mineral ingredients needed for “true” hard paste porcelain.                                                   Soft paste originated in the attempts by European potters to replicate hard paste Chinese porcelain.
    A dish decorated similar to ours and marked with the Chelsea red anchor is in the British Museum, accession number 1940,1101.70.

    Dimensions: 9.5″ wide (24cm)

    Condition: Excellent

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  • Large Blue and White Porcelain Soup Tureen French 18th Century

    Large Blue and White Porcelain Soup Tureen French 18th Century

    $1,200.00

    This late 18th-century French porcelain soup tureen and stand are distinguished by the delicacy of their hand-painted cornflower decoration and the remarkable depth of their twilight blue enamel.
    The distinctive color is known to collectors as Bleu d’Arras.
    Small cornflower sprigs are painted with a fine brush and placed across the surface with careful spacing, giving the decoration a refined, airy clarity.
    The tureen is beautifully shaped in an oval form with softly molded handles and a domed lid finished with an elegant branch-form handle.
    The stand follows the same gently scalloped outline and is painted to match, creating a harmonious composition in which the creamy white porcelain ground and the rich blue enamel work together beautifully.
    The restrained placement of the decoration allows the quality of the porcelain and the depth of the blue to carry the design.
    Cornflower motifs and naturalistic branch forms were fashionable in French porcelain during the last quarter of the 18th century, reflecting the refined botanical taste of the Louis XVI period.
    The tureen’s elegant proportions and the painting’s lightness give the piece a composed, graceful presence on the table.
    This tureen and stand were made at the Arras porcelain factory of the Delemers family, circa 1780.
    The Arras manufactory operated for only about twenty years and became known for the distinctive blue enamel used in its decoration.
    Surviving examples are comparatively scarce, and pieces that clearly display the characteristic Bleu d’Arras are especially appealing to collectors.
    The underside of the tureen is marked with the letters “AR” for the Arras factory. The underside of the stand is marked “Dele AR,” identifying the Delemers family workshop.
    Dimensions: 16″ wide x 13″ deep x 9.5″ tall
    Condition: Excellent with some very light rubbing to the clear glaze on the stand
    Price: $1,460
    Decoration: Hand-painted cornflower sprigs in Bleu d’Arras blue
    Material: Porcelain
    Style: Louis XVI
    Origin: Arras, France
    Date: Circa 1780

     

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  • Two Chinese Imari Porcelain Chargers Hand-Painted Qianlong Era, Circa 1760

    Two Chinese Imari Porcelain Chargers Hand-Painted Qianlong Era, Circa 1760

    $3,700.00

    These two beautiful Chinese Imari chargers were hand-painted in the Qianlong era in the mid-18th century. Both chargers show floral designs painted in cobalt blue, iron-red, and gold. The charger showing the basket of flowers in the center is also colored with peach enamels. Each charger is a work of art.

    #1 (the charger higher up in the first image):
    This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760. Finely potted with a lovely rich, glassy white glaze, the charger is hand-painted in a vivid Imari palette of orange-red, cobalt blue, and gold. We see chrysanthemums, lotus, and peony flowers in full bloom. The exquisite orange-red decoration is detailed and outlined in gold, which gives the design a luxurious look. On the underside, we see the artemisia leaf mark painted in underglaze blue within a traditional double ring. Typical of Chinese Imari ware in this period, the charger’s underside also bears a traditional sketch of two branches of plum blossoms.

    Dimensions: 14.15″ in diameter x 1.75″ in height.

    Condition: Excellent

    Price: $1,500

    #2 (the charger lower down in the first image):
    This large Chinese porcelain charger is hand-painted in the Imari style. It dates to the Qianlong period of the Qing dynasty, circa 1760. The charger has a vivid palette of iron-red, peach, underglaze cobalt blue, and gold. In the center, we see a basket overflowing with flowers: chrysanthemums, peonies, and plum tree flowers, all in full bloom. The decoration is beautifully gilded, which gives the design a luxurious touch. The broad rim of the dish is adorned with scrolling vines, flowers, and far-away waterside views. In Chinese tradition, peonies symbolize royalty, wealth, and honor, plum tree flowers symbolize endurance, and chrysanthemums symbolize abundance and long life. Typical of the Chinese Imari ware at that time, the back of the charger bears a sketch of two branches of plum blossoms. At the center, the reverse shows the lingzhi mark in underglaze blue inside a double blue circle.

    Dimensions: 13.75″ diameter x 1.5″ height.

    Condition: Excellent

    Price: $2,200

    The price for the pair of chargers is $6,140.

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  • Large 18th Century Chinese Imari Porcelain Charger, Circa 1760

    Large 18th Century Chinese Imari Porcelain Charger, Circa 1760

    $2,200.00

    This gorgeous Chinese porcelain charger, hand-painted in the Imari style, dates back to the Qianlong period of the Qing dynasty, circa 1760.
    It features a vibrant color palette of iron-red, peach, underglaze cobalt blue, and gold.
    In the center of the charger, a basket overflows with flowers, including chrysanthemums, peonies, and plum tree blossoms, all in full bloom. The decoration is beautifully gilded, adding a luxurious touch to the design.
    The broad rim of the dish is adorned with scrolling vines, flowers, and distant views of a waterside landscape.
    In Chinese tradition, peonies symbolize royalty, wealth, and honor; plum tree flowers signify endurance; and chrysanthemums represent abundance and long life.
    Together, they embody the deep appreciation for beauty, resilience, and prosperity that is central to Chinese cultural heritage.
    Marks: Typical of the Chinese Imari ware of the 18th century, the back of the charger bears a sketch of two branches of plum blossoms.
    At the center, the reverse shows the lingzhi mark in underglaze blue inside a double blue circle.
    Dimensions: 13.75″ diameter x 1.5″ height
    Condition: Excellent with very slight rubbing to the gilt
    Price: $2,200
    Background of Chinese Imari porcelains:
    In the late 17th century, Japanese potters in Arita first made export porcelains with elaborate gilt designs to cater to European consumers. As the wares were shipped abroad from the port of Imari, this category of brilliantly enameled porcelain was conventionally known as “Imari ware.” From the early 18th century, Chinese artisans followed the Japanese example and manufactured similar Imari-style porcelain products identified by connoisseurs as “Chinese Imari ware.”
    Our refined charger is an excellent example of mature Chinese Imari Porcelain for the West.

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  • Blue and White Delft Charger Made Netherlands circa 1770 Chinoiserie Decoration

    Blue and White Delft Charger Made Netherlands circa 1770 Chinoiserie Decoration

    $800.00

    This blue and white Dutch Delft charger shows a chinoiserie scene in a lovely naive style. The chinoiserie scene in the center of the charger includes three unique viewpoints. On one side, we see a flower and buds in a vase. On the other side, we see stacks of water with pagodas at the water’s edge. The third image is a pair of mountains sketched below the two scenes. Seeing the three viewpoints at the same time is exciting.

    Dimensions: 13.5″ x 2.25″ height

    Condition: Excellent with slight edge frits invisibly restored

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  • Large 18th Century Chinese Imari Porcelain Charger Qianlong Era Circa 1760

    Large 18th Century Chinese Imari Porcelain Charger Qianlong Era Circa 1760

    $1,500.00

    This large Chinese Imari porcelain charger dates to the Qianlong period of the Qing dynasty, circa 1760.
    It is finely crafted with a beautiful, glossy white glaze and hand-painted in a vibrant Imari color palette of orange-red, cobalt blue, and gold.
    The design features blooming chrysanthemums, lotus, and peony flowers
    The exquisite orange-red decoration is detailed and outlined in gold, which gives the design a luxurious look.
    On the underside, we see the artemisia leaf mark painted in underglaze blue within a traditional double ring.
    Typical of Chinese Imari ware in this period, the charger’s underside also bears a traditional sketch of two branches of plum blossoms.
    Dimensions: 14.15″ in diameter x 1.75″ in height
    Condition: Very good with a single fine 2″glaze line on the back that doesn’t go through (the line is too fine to show in photography)
    Price: $1,500
    Background of Chinese Imari porcelains: In the late 17th century, Japanese potters in Arita first made export porcelains with elaborate gilt designs to cater to European consumers.
    This category of brilliantly enameled porcelain, shipped from the port of Imari, was known as “Imari ware.”
    From the early 18th century, Chinese artisans followed the Japanese example and manufactured similar Imari-style porcelain products, which connoisseurs identified as “Chinese Imari ware.”

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  • Antique Dutch Delft Garniture Five Pieces Hand Painted Circa 1860-1870

    Antique Dutch Delft Garniture Five Pieces Hand Painted Circa 1860-1870

    $2,100.00

    This charming Dutch Delft garniture comprises the traditional five pieces: two beaker vases and three baluster-form jars with covers.
    Made in the mid to late 19th century, it reflects the enduring Delft tradition and the 19th-century revival of 18th-century pastoral decoration.
    Each piece is hand-painted with a romantic countryside scene showing a shepherdess seated beneath a large tree, her sheep grazing in a meadow that stretches toward a church steeple and distant castle.
    The artist used a harmonious palette of two blues, green, yellow, iron red, and manganese to create a warm and atmospheric composition.
    Each scene is framed within a molded cartouche painted in bright yellow and manganese with floral accents at the top and base.
    The reverse sides display leafy branches and blossoms, providing decorative continuity throughout the set.
    Each cover bears a painted yellow flower and is surmounted by a lion finial—a traditional Delft emblem that remained popular throughout the 19th century.
    Several pieces are marked HB in blue on the underside.
    Dimensions:  The covered vases are 15″ tall x 7″ wide x 4.25″ deep at the base.
    The open vases are 10″ tall x 5.5″ wide x 3.75″ deep at the base.
    Condition: Excellent
    Price: $2,100
    Decoration: Hand-painted pastoral scenes within molded polychrome cartouches
    Material: Tin-glazed earthenware
    Style: Dutch Delft Revival
    Origin: Netherlands
    Date: Circa 1860–1870
         Notable Details:
    • Traditional five-piece garniture: three covered jars and two beaker vases
    • Hand-painted pastoral scenes with shepherdess, church, and castle
    • Vibrant 19th-century Delft color palette with yellow, manganese, and red
    • Molded cartouches with floral accents and detailed reverse decoration
    • Lion finials typical of Delft revival pieces from the late 19th century
    • Several pieces marked HB in blue beneath the base

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  • Pair French Mennecy Porcelain Jars, Hand Painted, 18th Century

    Pair French Mennecy Porcelain Jars, Hand Painted, 18th Century

    $600.00

    This pair of soft-paste porcelain pomade jars was made at Mennecy in the mid eighteenth century, around 1765.
    These are rare survivors from one of France’s earliest porcelain factories, and they retain the delicacy and charm that earned Mennecy its remarkable reputation among aristocratic households.
    Jars of this type were intended for an elegant dressing table, placed among perfumes, powders, and small personal luxuries belonging to an aristocratic lady.

    The bodies are formed in a gently spiraling fluted shape that catches the light with quiet movement, a hallmark of Mennecy’s refined modeling.
    Each jar is hand-painted with garden flowers in soft pastel tones, including the distinctive purple rose that appears on both the body and the cover.
    The painting is fresh and luminous, with the light touch characteristic of Mennecy’s best floral decorators.
    Each cover rises to a charming strawberry finial modeled with surprising naturalism, a whimsical detail that enlivens the restrained elegance of the form.
    As expected for Mennecy, the rims are painted in a warm pinkish purple rather than gilded, since gilding was reserved exclusively for Sèvres by royal privilege.
    Both pieces bear the incised “DV” mark on the underside, identifying the Duc de Villeroy’s factory.
    Dimensions: height 3.75 inches, diameter 2.35 inches
    Condition: Excellent
    Decoration: Hand-painted flowers in pastel tones with strawberry finials
    Material: Soft-paste porcelain
    Style: French mid-eighteenth century
    Origin: Mennecy, France
    Date: Circa 1765

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  • Pair Meissen Style Creamware Dishes 18th Century England Hand Painted C-1780

    Pair Meissen Style Creamware Dishes 18th Century England Hand Painted C-1780

    $420.00

    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 accessories.
    The two elegantly dressed women are in conversation. A young child holding a pinwheel looks up and points towards a group of chimes while an older boy stands close by. At the far right, we see another boy seated with a parrot on his arm.
    Dimensions: 9.5 inches diameter
    Condition: Excellent
    For an image and further discussion, see English Ceramic Circle Transactions, Volume 33, 2023, pp. 133-135, plate 60.
    History of creamware:
    Creamware, a type of earthenware with a light-colored body, was first created in the 1760s by Josiah Wedgwood, an English potter. Wedgwood marketed this new product as Queensware after Queen Charlotte ordered a set. Gradually, creamware became more popular, and other English potters began producing it as well. It soon replaced saltglaze stoneware as the preferred dinnerware for everyone except the high aristocracy, who likely used a service of Chinese export porcelain dishes.

     

    This is a pair of English creamware dishes from the 18th century, created around 1780. The plates display a lovely chinoiserie scene with women selecting accessories. The scene depicts two elegantly dressed women in conversation, a young child holding a pinwheel, looking up and pointing towards a group of chimes, and an older boy standing nearby. At the far right, we see another boy seated with a parrot on his arm.
    Dimensions: 9.5 inches diameter
    Condition: Excellent
    For an image and further discussion, see English Ceramic Circle Transactions Volume 33 2023, pgs 133-135, plate 60.

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  • Large Antique Salt Glazed Stoneware Charger England Circa 1765

    Large Antique Salt Glazed Stoneware Charger England Circa 1765

    $650.00

    This is a substantial and confident example of mid-18th century English salt-glazed stoneware, combining scale, historical documentation, and distinguished provenance in a form that remains quietly powerful today.
    This large antique salt glazed stoneware charger was made in Staffordshire, England, circa 1765, at the height of England’s great white salt-glaze tradition.
    At fifteen inches in diameter, it has the scale and presence associated with upper table service, yet its beauty lies in its restraint.
    The broad, luminous well rises gently to a crisply molded border of lobed and gadrooned ornament, press-formed with confidence and precision. The surface has the soft sheen distinctive of true salt glazing, a subtle orange-peel texture that catches the light and gives life to the otherwise pure white field.
    The design is cataloged at Colonial Williamsburg as Pattern E1 (CWE 1937-211,33), and an excavated example of this form is illustrated in J. Skerry  and S J Hood, Salt-Glazed Stoneware in Early America, p. 231.
    Such chargers, plates, and dishes were press-molded and salt-fired in Staffordshire potteries from the mid-1740s through the end of the 18th century.
    They were prized in both England and the American colonies for their clean, refined appearance and their durability.
    Before the widespread adoption of creamware, this white stoneware represented a genuine transformation in the look of the dining table. Its cool, architectural clarity suited the emerging Georgian taste for order and symmetry.
    The charger carries a paper label on the reverse reading “The Collection of Sir Samuel Hoare,” adding provenance to an already desirable object.
    Pieces of this size and condition, with documented parallels and collection history, are increasingly difficult to find.
    The generous diameter makes it especially versatile for display, whether mounted, centered on a table, or layered with related stoneware forms.
    Diameter: 15 inches
    Condition: Excellent, with very small original firing flaws consistent with 18th-century manufacture
    Price: $650
    Decoration: Lobed and gadrooned molded rim, plain well
    Material: Salt glazed stoneware
    Style: Mid-18th Century Georgian
    Origin: Staffordshire, England
    Date: Circa 1765
    Notable Details:
    Large 15-inch scale, ideal for display
    Crisp press-molded gadrooned border
    Documented Colonial Williamsburg pattern (E1)
    Published parallel in Janine E. Skerry and Suzanne Findlen Hood  “Salt-Glazed Stoneware in Early America”
    Provenance label from the Collection of Sir Samuel Hoare
    This is a substantial and confident example of mid-18th century English salt-glazed stoneware, combining scale, historical documentation, and distinguished provenance in a form that remains quietly powerful today.

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  • 18th Century Sevres Porcelain Bottle Cooler Hand-Painted France 1773-1782

    18th Century Sevres Porcelain Bottle Cooler Hand-Painted France 1773-1782

    $2,200.00

    Sèvres was the royal factory of Louis XV and Louis XVI, Kings of France from 1715-1793. The Sèvres factory was known to have the best painters and gilders in 18th century France. This stunning Sèvres 18th century double bottle cooler was hand-painted with exquisite sprigs of spring flowers (see images). The underside is marked in underglaze blue with the Sèvres intertwined “L” and the letter “L” for painter’s mark for Michel-Louis Chavereaux, who was active at Sèvres from 1773-1782. The decoration is delicate, and the modeling and gilding are exceptional.

    The cooler measures 12.5″ (31.75 cm) across the handles x 5.75″ (14.6 cm) deep x 4.75″ (12 cm) in height.

    Condition: Excellent

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  • 18th Century Italian Doccia Porcelain Dinner Service

    18th Century Italian Doccia Porcelain Dinner Service

    $4,000.00

    A dinner service comprising six dinner dishes and six soup dishes made by the Doccia Porcelain Manufactory, circa 1750.

    Italy was the site of Europe’s first porcelain production: in Florence between 1575 and 1587 under the patronage of Francesco I de’ Medici. The Doccia Porcelain Manufactory, founded nearly 200 years later, continued the tradition of Italian porcelain with a hard-paste body that was later glazed with a tin glaze. This dinner set is decorated with the al tulipano motif, a design that is one of the most prevalent in Doccia wares. The central flower is not a tulip but an interpretation of the peonies used in the Chinese Famille Rose porcelain.

    Dimensions:
    – Soup dishes: 9 1/4 in. diameter x 1 1/2 in. height (23.1 cm diameter x 3.8 cm height)
    – Dinner dishes: 9 1/4 in. diameter x 1 in. height (23.1 cm diameter x 2.4 cm height)

    Condition: Excellent. Light wear to enamels throughout commensurate with age and use. Faint use marks visible on some dishes. One dinner plate with chip to underside of rim measuring 1 cm.

    Note: 1 dinner dish and 2 soup dishes are not transparent, a characteristic of porcelain. These 3 dishes are porcelain with a tin glaze which makes them opaque and dates them to 1790-1800.

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  • Blue and White Delft Charger Hand-Painted, Netherlands, 18th Century, Circa 1760

    Blue and White Delft Charger Hand-Painted, Netherlands, 18th Century, Circa 1760

    $945.00

    The entire surface of this beautiful blue and white Dutch Delft charger is covered in deep cobalt blue coloring. The center of the charger is filled with hand-painted peonies; while the wide border is painted with a net-like pattern of peonies, leaves, and scrolling vines. This charger was made in the Netherlands in the mid-18th century, circa 1760.

    Dimensions: 12″ diameter

    Condition: Excellent

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  • Antique Delft Purple Floral Plates Hand Painted 18th Century Set of 5

    Antique Delft Purple Floral Plates Hand Painted 18th Century Set of 5

    $450.00

    This set of five antique Dutch Delft plates is hand-painted in a rich purple derived from manganese, the color softly glowing against the pale tin-glazed ground.
    At the center of each plate stands a flowering peony, its blossoms fully open, the composition framed by delicate floral sprigs and a rhythmic border along the rim.
    The restrained palette and confident brushwork create a striking harmony between form and decoration.
    The design was created by Hugo Brouwer, active from 1760 to 1788, who worked at De Drie Porceleyne Flesschen in Delft. Brouwer developed the pattern, and the plates were executed in his factory using a stencil to guide the composition, then completed by hand.
    Each example in the set bears Brouwer’s H B mark, confirming authorship. C. H. de Jonge, in Delft Ceramics, notes on page 126 that Hugo Brouwer signed his work with his initials, HB, and the mark is illustrated on page 157.
    A fruit dish by Brouwer is held in the collection of The Metropolitan Museum of Art, accession number 94.4.341.
    The peony, long associated with prosperity and abundance, is rendered here with lively line and confident shading.
    The purple tone, achieved through manganese oxide, was especially admired in the eighteenth century for its depth and subtle tonal variation. This set offers an opportunity to acquire five cohesive works directly tied to a documented Delft master.
    Dimensions: Diameter 9 inches
    Condition: Excellent
    Decoration: Hand-painted purple floral peony design with border sprigs
    Material: Tin-glazed earthenware
    Style: 18th Century Dutch Delft
    Origin: Delft, The Netherlands
    Date: Circa 1760 to 1788

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  • Antique Blue and Gold Pair of English Porcelain Dishes Regency Period, c-1790

    Antique Blue and Gold Pair of English Porcelain Dishes Regency Period, c-1790

    $480.00

    This pair of English late 18th-century porcelain dishes is hand-painted in blue and gold with geometric and floral patterns on the border. The gold is the thing with this pair of dishes. It is fabulous! The gold-work jumps off the porcelain-especially the gold dots inside the blue enamel painting and the gilded vine curling around the blue line.

    Dimensions: 8.5″ diameter

    Condition: Excellent

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  • Antique Blue and White Porcelain Dish Hand-Painted England 18th Century

    Antique Blue and White Porcelain Dish Hand-Painted England 18th Century

    $220.00

    This exquisite late 18th-century dish features several elements that make it so full of life. First is the splendid hand-painted goldwork. This gilding enlivens the dish with its hand-painted golden vines, leaves, and edge. Additionally, the lovely fluting across the entire wide rim makes the design dance in the light. The delicate blue flowers coupled with the six blue lines add to the dishes’ beautiful sense of movement. The underside of the dish is marked with the Caughley “S” mark (For Salopian)

    Dimensions: 8.25″ diameter

    Condition: Excellent with the very, very slightest wear to the gilt

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  • Pair of Antique Blue and White Delft Plates or Dishes

    Pair of Antique Blue and White Delft Plates or Dishes

    $1,080.00
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  • Pair of Chinese Export Famille Rose Dessert Plates

    Pair of Chinese Export Famille Rose Dessert Plates

    $460.00
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  • Bird Engravings on Paper Audubon Style by Francois-Nicolas Martinet Group #3 Priced Individually

    Bird Engravings on Paper Audubon Style by Francois-Nicolas Martinet Group #3 Priced Individually

    $165.00
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  • Chinese Export Porcelain Plate with Judgement of Paris Scene Circa 1750

    Chinese Export Porcelain Plate with Judgement of Paris Scene Circa 1750

    $420.00

    A rare Chinese export porcelain plate showing the Judgement of Paris. The delicately painted figures derive from a painting by Jean Paul Rubens.
    Made during the Qianlong Reign, circa 1750, the plate shows the goddesses Venus, Minerva, and Juno on one side and Paris on the other side. Charged by Jupiter to pick the most beautiful of the three, Paris selects Venus and awards her the golden apple. The scene shows Rubens’ version of idealized feminine beauty.
    The rim of the plate is decorated with a rose-red flower band.

    Dimensions: 9 inches diameter

    Condition: Excellent

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  • Two Pairs of Antique Le Nove Porcelain Statues Provenace The Metropolitan Museum

    Two Pairs of Antique Le Nove Porcelain Statues Provenace The Metropolitan Museum

    $1,400.00

    The Metropolitan Museum  has this same pair of figures in its collection, “Accession # 06.381 Credit line R. Fund”
    This exceptional pair of 18th-century Italian porcelain courting couples was made by the renowned Le Nove Manufactory, 1781-1785.
    The figures embody the grace and romanticism of late 18th-century European art.
    The figures are crafted from the distinctive grey-tinted porcelain for which Le Nove became famous.
    This porcelain was a hallmark of their production from the mid-18th century through the very early 19th century (the factory operated in Basano from 1765 to 1810).
    Similar pieces by Le Nove are in prestigious collections, including the Metropolitan Museum of Art in New York (Accession Number: 06.381).
    Description of the Figures:
    Each group depicts a tender courting scene.
    In both compositions, the man extends an arm toward the woman, whose gaze conveys love and admiration. He smiles warmly in return.
    The figures are richly detailed, showcasing the virtuoso modeling and animated drapery that are hallmarks of Le Nove’s work.
    The glossy finish elevates the exquisite craftsmanship, giving the figures a radiant appearance.
    Dimensions: 6.75 inches tall x 3.5 inches wide x 3.25 inches deep (each figure).
    Condition: Excellent, with no visible flaws or repairs.

     

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  • Ten Large Crystal Champagne Flutes Hand-Blown Antique Glass England Circa 1820

    Ten Large Crystal Champagne Flutes Hand-Blown Antique Glass England Circa 1820

    $1,600.00

         This is a remarkable set of ten hand-blown English crystal champagne flutes, made in the early 19th century, circa 1820, each standing an impressive 8.5 inches tall—an exceptional height for the period and for this refined form.
    They are crafted of clear English flint glass, the prized material perfected in Georgian England for its unmatched brilliance and clarity, designed to imitate the pure sparkle of rock crystal.
    The clarity of the glass, together with its satisfying weight, exemplifies the very qualities that made flint glass the standard for luxury tableware in the early 1800s.
    Each glass was individually blown and features a graceful, funnel-shaped bowl that tapers elegantly to a slender, tubular stem, rising from a wide, circular foot.
    The form is beautifully balanced, the extended profile giving the flutes a sense of quiet grandeur and poise.
    When held to the light, the faint optical rippling within the glass reveals the subtle variations of freehand craftsmanship, each piece slightly unique in proportion and movement.
    The feet retain the original pontil scars, clear evidence of their hand-blown creation and a mark of authenticity cherished by collectors.
    Despite their age, the glasses remain in excellent condition.
    They ring with a bright tone when touched—a hallmark of fine flint glass—and their thin rims and narrow bowls still serve their original purpose superbly, preserving the effervescence of champagne with elegance and restraint.
    In hand, they feel both substantial and refined, evoking the tactile pleasure and visual purity of English glassmaking at its height during the Georgian era.
    Whether raised in a toast or displayed as part of a fine collection, this rare set of tall flutes captures the enduring artistry of early 19th-century English glass.
    Dimensions: 8.5 inches tall x 3.75 inches in diameter at base and rim
    Condition: Excellent
    Price: $1,600
    Material: Clear hand-blown English flint glass
    Style: Georgian
    Origin: England
    Date: Early 19th century
    Notable Details:
    Set of ten large early 19th-century champagne flutes
    Clear flint glass with brilliant clarity and subtle weight
    Hand-blown with elegant funnel bowls and slender tubular stems
    Visible pontil scars attesting to traditional freehand craftsmanship
    Rare and impressive 8.5-inch height for the form and period
    An exemplary example of Georgian English glassmaking artistry

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  • Pair Antique Creamware Wall Pockets Late 18th Century

    Pair Antique Creamware Wall Pockets Late 18th Century

    $800.00
    An identical pair can be found in the collection of The V&A Museum, with item numbers 414:1166-1885 and 414:1166/A-1885.** (See image of the unpainted wall pocket).
    This pair of 18th-century English creamware wall pockets are hand-painted with Putti. Each Putti is depicted with arrows and a quiver.
    They are connected to Cupid and love.
    Made at Leeds Pottery around 1790, they are hand-painted in green, blue, and light brown.
    One holding a flaming brazier, symbolizing winter, with a quiver by his side, symbolizing love.
    The corresponding wall pocket, also with a quiver at his side, represents autumn, depicting Cupid drinking from a jug,
    **An identical pair can be found in the collection of The V&A Museum, with item numbers 414:1166-1885 and 414:1166/A-1885. Both pieces were acquired by The V&A Museum from Lady Charlotte Schreiber’s collection (1812-1895), an English aristocrat known for her patronage of the arts and her impressive collection of English porcelain and pottery.
    Dimensions: 10″ tall x 6″ wide x 2.5″ deep”
    Condition: Excellent
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  • French Porcelain Soup Tureen and Stand Clignancourt 18th Century Royal Patronage

    French Porcelain Soup Tureen and Stand Clignancourt 18th Century Royal Patronage

    $1,400.00

    This large Clignancourt porcelain soup tureen and stand was produced under the royal patronage of Philippe de France, Duke of Orléans, brother of King Louis XVI.
    At court, he was known simply as “Monsieur,” and the factory mark ( M ) used during this period reflects that royal association.
    Porcelain from the Clignancourt manufactory was intended for aristocratic households and displays the restrained elegance characteristic of late eighteenth-century French porcelain.
    The tureen is beautifully hand-painted with delicate cornflower sprigs and garlands.
    The blue and red blossoms, known in France as barbeau, appear in scattered sprigs across the body while a continuous garland of cornflowers and foliage encircles the rim of the tureen and the border of the stand.
    Cornflower decoration was closely associated with Queen Marie Antoinette.
    She admired it for its natural simplicity and freshness.
    The tureen is large and elegantly proportioned.
    Crisp scroll handles rise from the sides of the tureen, and the domed cover is crowned by a finely modeled finial.
    Complete eighteenth-century French porcelain tureens with their original stands are increasingly difficult to find, and this example combines refined decoration with strong decorative presence.
    Dimensions: 17″ wide x 13″ deep x 12.5″ high
    Condition: Excellent
    Decoration: Hand-painted cornflower sprigs and garlands with gilt borders
    Material: Soft-paste porcelain
    Style: Louis XVI
    Origin: Paris, France
    Date: Circa 1780

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  • 18th Century Blue and White Delft Large Plate Hand Painted Decoration

    18th Century Blue and White Delft Large Plate Hand Painted Decoration

    $450.00

    This early eighteenth century Dutch Delft large plate is painted in cobalt blue with a charming garden scene showing a seated lady beside a flowering plant in a pot.
    The painter worked with a direct and expressive hand, giving the figure and foliage a lively, almost whimsical character that is especially appealing in early Delft decoration.
    The composition sits within a series of concentric rings that guide the eye toward the central scene. Around the rim, a repeating border of arched cobalt brushstrokes forms a rhythmic pattern that frames the image and strengthens the overall design.
    The cobalt blue varies slightly in tone across the tin-glazed surface, creating depth and movement typical of hand-painted Dutch Delft from the early eighteenth century. Plates of this type were often made for display, where the bold blue decoration could be easily appreciated on a wall or dresser.
    Dimensions: diameter 11.25 inches
    Condition: Invisible restoration to tiny edge chips
    Price: $450
    Decoration: Hand-painted cobalt blue garden scene with geometric border
    Material: Tin-glazed earthenware (Delft faience)
    Style: Dutch Delft, Baroque period
    Origin: Delft, The Netherlands
    Date: Circa 1720

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