A Fine Wedgwood Pearlware Hunting Jug, Circa 1810. This ovoid jug has a cylindrical neck, a projecting lip and a ribbed ear-shaped loop handle. Bat printed on each side  More »

A Fine Wedgwood Pearlware Hunting Jug, Circa 1810. This ovoid jug has a cylindrical neck, a projecting lip and a ribbed ear-shaped loop handle. Bat printed on each side in puce is a hunting scene. ;A thin gilt band encircles the bottom as well as lining the shoulder, the top rim, spout, lip and handle. ;A gilt rosette decorates the projecting lip as well as the back of the handle in a larger version. ;Under the lip are the scrolling gilt initials "TW" framed by a circular gilt garland, minor rubbing to gilt on spout. Dimensions: 6 1/2 in high (16.5 cm) Jugs of this nature were manufactured between 1810-1820. ;The bat printing subject of a hunting scene was one of the more popular early 19th-century subjects. ;The Potteries Museum and Art Gallery in Stoke-on-Trent has a similar puce-colored jug with a matching beaker, cat. Q12/13. Marks: Impressed "WEDGWOOD" and four squares forming a square.   « Less

A LOWESTOFT PORCELAIN LOW CHELSEA CREAM BOAT, CIRCA 1770. The cream boat, of a shape known at other factories as a low Chelsea Ewer, has a scalloped raised rim and is  More »

A LOWESTOFT PORCELAIN LOW CHELSEA CREAM BOAT, CIRCA 1770. The cream boat, of a shape known at other factories as a low Chelsea Ewer, has a scalloped raised rim and is moulded with serpentine flutes terminating in leavy stems on the lower half. ; ;There is an angled loop handle with thumb-rest and flattened lower terminal. ;It is decorated with a bouquet of flowers to one side and on the other two flower heads. ;In the interior base there is a flower sprig in purple (as does the one illustrated in the Norwich Castle Museum Catalogue). Dimensions: 2 1/4 in high (5.7 cm) Reference: Lowestoft Porcelain in Norwich Castle Museum, Norfolk Museum Services, page 117, #137 & page 118 for drawing of shape. Lowestoft Porcelain in Norwich Castle Museum, Norfolk Museum Services, Vol 2, Polychrome, plate 13a & page 71 for a very similar example. For ;a Worcester example see Sandon, John. The Dictionary of Worcester Porcelain, Vol. I, 1751-1851, page104 & 105, for discussion on form and illustration.   « Less

An English Pottery Model of a House in Winter, Circa 1850.

An English Pottery Model of a House in Winter, Circa 1850.   « Less

A Coalport lustred plate with neo-classical figures, Circa 1810.

A Coalport lustred plate with neo-classical figures, Circa 1810.   « Less

A PAIR OF LARGE CHINESE EXPORT "FAMILLE-ROSE" CIRCULAR DISHES, CIRCA 1765 ; ; ; ; ;The shallow dishes are decorated with a group of peony blossoms within a  More »

A PAIR OF LARGE CHINESE EXPORT "FAMILLE-ROSE" CIRCULAR DISHES, CIRCA 1765 ; ; ; ; ;The shallow dishes are decorated with a group of peony blossoms within a leaf-shaped reserve. ;The border which forms the reserve is decorated with white prunus blossoms, and turquoise, blue and sepia bamboo leaves and bamboo shoots on a sepia spiral ground. ;The sepia leaves and bamboo are picked out in gilt. Diameter: 12 1/2" Condition: Good Period: QIANLONG (Ch''ien Lung) (1736-95) Nadler, Daniel. China to Order: Focusing on the XIXth Century and Surveying Polychrome Export Porcelain. pp. 66 for illustrated example.   « Less

A Pair of Chinese Export Famille Rose Circular Plates, Circa 1760. The plates have a central reserve in the shape of a palm leaf that is outlined in an over-glaze  More »

A Pair of Chinese Export Famille Rose Circular Plates, Circa 1760. The plates have a central reserve in the shape of a palm leaf that is outlined in an over-glaze turquoise enamel. ;A large floral spring of rose-pink peonies and other flowers lie within the reserve. ;The border is painted with numerous branches and blossoms of white prunis and brown bamboo; all against ground of sepia swirls. ;Rimmed in ocher. ''The white enamel was an important element in the famille rose palette, for it made possible the mixing of shades of opaque colors through which three-dimensional effects of modeling in the Western style could be obtained.'' (Howard and Ayers, 152). Dimensions: 9 inches diameter (22.9 cm). References: Howard, David, and John Ayers. China for the West, Vol. 1. London: Sotheby Parke Bernet Publication, 1978. Nadler, Daniel. China to Order: Focusing on the XIXth Century and Surveying Polychrome Export Porcelain. pp. 66 for illustrated example.   « Less

AN ENGLISH REGENCY PAPIER MACHE TRAY, Made By Clay, Circa 1825. This oblong tray is of Gothic shape decorated in the center with a white, seafoam green and pink floral  More »

AN ENGLISH REGENCY PAPIER MACHE TRAY, Made By Clay, Circa 1825. This oblong tray is of Gothic shape decorated in the center with a white, seafoam green and pink floral bouquet, and outlined with a wide border of richly gilded foliage and scroll work; all on a black ground. ;Minor wear to back and old chip on rim. Dimensions: 26 3/4 in x 20 1/4 in (67.9 cm x 51.4 cm) Marks: Impressed Clay King St Covt. Garden ;A form of Papier-Mache appears to have been utilized by the Chinese in the later Ming dynasty, but as indicated by its name, compressed and harden pulped paper was first prepared by French craftsmen in the mid-18th century. But the Papier-Mache industry was spectacularly and firmly established on a large commercial scale in 1772 by the patent of Henry Clay of 19 Newhall Street, Birmingham. ;Clay''s patent was for the production of large panels of compressed paper, varnished and stoved, which could then be converted into parts of coaches, sedan-chairs, doors, screens, tables, waiters and trays, by cutting, sawing and screwing. ;The basic material used was not pulped waste paper as in France but a specially compounded rag paper (mostly of linen or cotton and without any wool) of a spongy nature and resembling greyish-green blotting paper. ;Placed on a flat oiled metal or wooden base, these sheets of paper were surface dressed with an adhesive made of glue, flour and tree resin, and built up one on the other with continuous heavy pressure until a panel of some 10 layers had been achieved. ;This, when dry, was tremendously hard and strong and when buffed off with powered abrasive was surface colored, mainly black or crimson, and given a fine coating of an asphaltum-linseed oil varnish, and then stove-enameled at a moderate temperature. ;A highly lustrous surface was thus acquired that could be decorated in a great variety of different styles. Clay used the simple name of paper panels for these agglomerates and by the turn of the century was employing some 300 workpeople, trays being the main output. ;In 1802 Henry Clay, who had become prosperous very rapidly, removed his business entirely to King Street, Covent Garden, London. ;He died in 1812, but his associates continued under the name of Clay and Co. until at least 1860. During the final 35-40 years trays in very large numbers were produced in the Covent Garden workshop, being finely painted in oil-based colors with designs of flower, landscapes, classical , biblical and historical scenes, birds, coat-of-arms, etc., often with brilliant crimson, green and blue backgrounds. ;Many of these were quite expensive and were sold at prices ranging from 6 to 15 pounds. ;They were soundly constructed of strong materials carefully stove-enameled and as a result a goodly number have survived to present times almost undamaged. ;Many are marked on the reverse side -- Clay impressed. (John and Simcox, 125). References: John, W. D. and Jacqueline Simcox. English Decorated Trays (1550-1850). ;Bath: Harding & Curtis Ltd., 1964.   « Less

AN ENGLISH POTTERY WHIELDON-TYPE TORTOISE-SHELL TEAPOT. CIRCA 1770. ; ; ; ; ;The teapot has a creamware body with tortoise-shell glaze in brown. The handle is made in  More »

AN ENGLISH POTTERY WHIELDON-TYPE TORTOISE-SHELL TEAPOT. CIRCA 1770. ; ; ; ; ;The teapot has a creamware body with tortoise-shell glaze in brown. The handle is made in the form of crabstock, while the finial on the cover is in the shape of a bird. The entire body and spout are covered with applied vine decoration. ;The teapot stands on three feet. A small hairline in glaze under handle & chip to tip of spout. Height: 4 1/2" (11 /2 cm)   « Less

Large Chinese Export Famille Rose Circular Dish, Circa 1760. The dish has a central reserve in the shape of a palm leaf that is outlined in an over-glaze turquoise  More »

Large Chinese Export Famille Rose Circular Dish, Circa 1760. The dish has a central reserve in the shape of a palm leaf that is outlined in an over-glaze turquoise enamel. ;A large floral spring of rose-pink peonies and other flowers lie within the reserve. ;The border is painted with numerous branches and blossoms of white prunis and brown bamboo; all against ground of sepia swirls. ;Rimmed in ocher. The white enamel was an important element in the famille rose palette, for it made possible the mixing of shades of opaque colors through which three-dimensional effects of modeling in the Western style could be obtained.'' (Howard and Ayers, 152). Diameter: 12 1/2" Condition: perfect. References: Howard, David, and John Ayers. China for the West, Vol. 1. London: Sotheby Parke Bernet Publication, 1978. Nadler, Daniel. China to Order: Focusing on the XIXth Century and Surveying Polychrome Export Porcelain. pp. 66 for illustrated example.   « Less

A FLIGHT, BARR & BARR PORCELAIN ARMORIAL PLATE, CREST OF THE PULLAR FAMILY, CIRCA 1830. This plate is part of dessert service painted with the crest of Pullar - a  More »

A FLIGHT, BARR & BARR PORCELAIN ARMORIAL PLATE, CREST OF THE PULLAR FAMILY, CIRCA 1830. This plate is part of dessert service painted with the crest of Pullar - a falcon standing on an ermine-lined puce cap - on a buff ground within salmon-ground border accented with gilt vermiculi and within gilt bands. ;The interlining maze or jigsaw-like pattern was a long, tiring job to do and most likely was done by young gilders. ;This shape is typical of the period. Dimensions: 8 1/2 in diameter (21.6 cm) References: For more pieces of this service see, Sandon, Henry. Flight and Barr Worcester Porcelain, 1783-1840. Woodbridge, Suffolk: Antique Collectors'' Club, 1992 (1978), plate 176.   « Less