Royal Copenhagen Denmark porcelain plate, is stamp marked, excellent condition, wire reverse for wall decor. 7" diameter, Majolica, from 1978. Mountain Figural scape, wild  More »

Royal Copenhagen Denmark porcelain plate, is stamp marked, excellent condition, wire reverse for wall decor. 7" diameter, Majolica, from 1978. Mountain Figural scape, wild animals, in gorgeous blue background with star on above, and date under.   « Less

Westminster Abbey Royal Vistas Ware From Paintings By Fabulous Artists Ridgeway Porcelain Plate. Incredible glase, stamped & incised marks, numbers. excellent aged, 7"  More »

Westminster Abbey Royal Vistas Ware From Paintings By Fabulous Artists Ridgeway Porcelain Plate. Incredible glase, stamped & incised marks, numbers. excellent aged, 7" diameter, gold border!   « Less

Ascot Service Plate By Wood and Sons England Alpine White Ironstone, a charger, in very good, aged, normal crazing. Beautiful Street Scene, colorful, floral medallions, gilt  More »

Ascot Service Plate By Wood and Sons England Alpine White Ironstone, a charger, in very good, aged, normal crazing. Beautiful Street Scene, colorful, floral medallions, gilt & green border. 10.5" diameter. Transfer, stamped print with Figure symbols.   « Less

Large Early Wedgwood Blue Portland Vase This work is of the vintage period — dating to about 1885—1920. This measures 8.5 inches tall by 6 inches  More »

Large Early Wedgwood Blue Portland Vase This work is of the vintage period — dating to about 1885—1920. This measures 8.5 inches tall by 6 inches wide. Impressed with “WEDGWOOD”, only “MADE IN ENGLAND”. The Portland vase is quite rare BUT need to have the Handles (restored) repainted and a spot of paint remove. Easily can be restore to it former beauty by a professional. Wooden Stand is included. Sold as is with no return; ask all questions before purchasing. 
Josiah Wedgwood (July 12, 1730 — January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery.

He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin.

Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (née Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it.

In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.   « Less

Wedgwood Jasperware "Dancing Hours - Neo Classical Urn" Rare Wedgwood - Flaxman "Dancing Hours - Neo Classical Urn". What a great work, stand at 8 inches high, 4.5  More »

Wedgwood Jasperware "Dancing Hours - Neo Classical Urn" Rare Wedgwood - Flaxman "Dancing Hours - Neo Classical Urn". What a great work, stand at 8 inches high, 4.5 inches wide approximate with great detailing of the relies . Unlike most works of this age the handles are present (one is repaired). Stamped WEDGWOOD and ENGLAND ONLY (predate this BEFORE 1881). Sold As-Is. Ask all questions before purchasing. Josiah Wedgwood (July 12, 1730 — January 3, 1795, born Burslem, Stoke-on-Trent) was an English potter, credited with the industrialization of the manufacture of pottery. He was a member of the Darwin — Wedgwood family, most famously including his grandson, Charles Darwin. Born the thirteenth and youngest child of Thomas Wedgwood III and Mary Wedgwood (née Stringer; d. 1766), Josiah was raised within a family of English Dissenters. He survived a childhood bout of smallpox to serve as an apprentice potter under his eldest brother Thomas Wedgwood IV. Smallpox left Josiah with a permanently weakened knee, which made him unable to work the foot pedal of a potter’s wheel. As a result, he concentrated from an early age on designing pottery rather than making it. In his early twenties, Wedgwood began working with the most renowned English pottery-maker of his day, T. Whieldon. There he began experimenting with a wide variety of pottery techniques, an experimentation that coincided with the burgeoning early industrial city of Manchester, which was nearby. Inspired, Wedgwood leased the Ivy Works in his home town of Burslem and set to work. Over the course of the next decade, his experimentation (and a considerable injection of capital from his marriage to a richly endowed distant cousin, Sarah Wedgwood) transformed the sleepy artisan works into the first true pottery factory.   « Less

Nymphenburg Colored "Woman Playing a Box Guitar" Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One  More »

Nymphenburg Colored "Woman Playing a Box Guitar" Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One of four each signed as featured with the Crest and the factory mark. Quite a rare find in excellent condition. This treasure is 4 inches tall and 2 inches at the base. Good condition. THESE WORKS RETAILS IN THE $ 2,000.00 TO $3,000.00 RETAIL RANGE The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value. After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today. Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style. In 1822 Friedrich von Garner, the fashionable architect, was appointed artistic director of the factory. In the middle of the 19th century its financial position deteriorated to the extent that in 1856 all artistic production was halted and it was decide to privatize the factory. It was leased out for the first time in 1862 and its focus shifted to the production of technical, medical and sanitary porcelain goods. In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed.   « Less

Nymphenburg Color "The Smoker with His Pipe" Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One of  More »

Nymphenburg Color "The Smoker with His Pipe" Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One of four each signed as featured with the Crest and the factory mark. Quite a rare find in excellent condition. This treasure is 6 inches tall and 2 inches at the base. Good condition. THESE WORKS RETAILS IN THE $ 2,000.00 TO $3,000.00 RETAIL RANGE The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value. After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today. Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style. In 1822 Friedrich von Garner, the fashionable architect, was appointed artistic director of the factory. In the middle of the 19th century its financial position deteriorated to the extent that in 1856 all artistic production was halted and it was decide to privatize the factory. It was leased out for the first time in 1862 and its focus shifted to the production of technical, medical and sanitary porcelain goods. In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed.   « Less

Nymphenburg Color Chinoiserie The Fruit Picker Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One of  More »

Nymphenburg Color Chinoiserie The Fruit Picker Here is an impressive Rare Hand Colored “Nymphenburg - Frankenthal Bustelli Chinoiserie Figurine”, One of four each signed as featured with the Crest and the factory mark. Quite a rare find in excellent condition. This treasure is 4.5 inches tall and 1.5 inches at the base. Good condition. THESE WORKS RETAILS IN THE $ 2,000.00 TO $3,000.00 RETAIL RANGE The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value. After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today. Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style. In 1822 Friedrich von Garner, the fashionable architect, was appointed artistic director of the factory. In the middle of the 19th century its financial position deteriorated to the extent that in 1856 all artistic production was halted and it was decide to privatize the factory. It was leased out for the first time in 1862 and its focus shifted to the production of technical, medical and sanitary porcelain goods. In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed.   « Less

Nymphenburg Porcelain Soup Tureen in the Rococo Style in Cumberland Pattern Here we have an outstanding, Nymphenburg porcelain soup tureen in the Rococo Style in the  More »

Nymphenburg Porcelain Soup Tureen in the Rococo Style in Cumberland Pattern Here we have an outstanding, Nymphenburg porcelain soup tureen in the Rococo Style in the Cumberland shape. This is first designed circa 1750 by Franz Anton Bustelli and Joseph Zachenberger. The Rococo form features the asymmetrical shape and curves typical of the period. Decorated with elaborate naturalistic designs, the Rococo service exemplifies the great elegance and style of 18th Century Europe. As the first “Electoral Court Service,” the floral decoration used in the dinnerware was a suitable replacement for fresh flowers, which had a tendency to wilt, and were frowned upon at court. Replaced by the end of the 18th Century with another service, the Cumberland dinnerware experienced a revival in 1913 when used at the wedding for the son of the Duke of Cumberland. The work was first commissioned for the great Grand father, who was Prince William (William Augustus) (26 April 1721 — 31 October 1765), was a younger son of George II of Great Britain and Caroline of Ansbach, and Duke of Cumberland from 1726. He is generally best remembered for his role in putting down the Jacobite Rising at the Battle of Culloden in 1746, and as such is also known as "Butcher" Cumberland. After Culloden, he went on to enjoy a successful military career, but following the Convention of Klosterzeven in 1757, he never held active military command, and switched his attentions to politics and horse-racing. A new one of this (still in production) retails for approximately $42,000.00 and is in perfect condition. The $42,000.00 figure is based upon the same form and size, with only slightly different hand painted decoration, available to view and verify on line at: http://www.trocadero.com/BlutsteinBrondino/items/1060618/item1060618store.html The Tureen measures approximately 9 1/4” height, 9 3/4” width and 14 1/2” length. A small chip in the lid was restored professionally. See photos before (photo 7 & 8)and after(photo 9 & 10). A professional restoration was completed by a SE Florida Professional restorer known for restorations at the Viscaya Museum and Gardens in Miami, and other historical sites. This is offered “as is” and with no return. Please ask all questions before buying. This rococo service from the period of Franz Anton Bustelli was the first "Electoral Court Service" by Porzellan Manufaktur Nymphenburg. Because fresh flowers were frowned upon as table decoration – they could wilt during the meal – Joseph Zächenberger created a colourful and festive design with flower bouquets, single flowers, butterflies and insects framed by fine golden edging in 1765. At the end of the 18th century, it was replaced as the court service with the Bavarian Court Service by Dominikus Auliczek. But it experienced a renaissance in 1913 when the service was reproduced as an extensive table service at the wedding of Ernst August, Duke of Brunswick and Lüneburg, the son the last Duke of Cumberland, with Viktoria Luise, the daughter of the last German Kaiser, Wilhelm II. Cumberland bears the world's most complex flower design that is today still realized on porcelain: painters require up to three weeks to complete a single plate. The Nymphenburg Porcelain Manufactory (in German: Porzellanmanufaktur Nymphenburg), manufacturer of Nymphenburg porcelain, is situated in the Nymphenburg Palace in Munich, capital of Bavaria, and since the mid-eighteenth century has been manufacturing porcelain of high artistic value. After his accession in 1745 Maximilian III Joseph, Prince-Elector of Bavaria, commanded the establishment of manufacturing companies in order to bail out the state finances. From 1747 attempts were made to manufacture porcelain and at the end of that year the former Neudeck Castle in the area now the Munich suburb of Au-Haidhausen was made available for that purpose. Up to 1754 the experiments were a miserable failure and lost considerable amounts of money, but in that year the efforts to manufacture porcelain finally began to succeed. In 1755 the factory received its first commission from the Bavarian court and in 1756 came the first success in painting the porcelain in color. The management of the jurist and entrepreneur Count Sigmund von Haimhausen from 1758 ensured that the factory was placed on a sound commercial footing. By 1761 it had moved to the Nymphenburg Palace, where it still is today. Among the great artists who followed Bustelli were Dominikus Auliczek the elder (1734—1804) and Johann Peter Melchior. A great promoter of the works was Ludwig I who gave them many commissions. Particular favorites were dinner services with copies of famous paintings or with Bavarian landscapes in an antique style. In 1887 Albert Bäuml (1855—1929) took a lease of the factory. His aim was to regain the previous high artistic level of the factory’s products: it was Bäuml, for example, who “rediscovered” Bustelli. This aim was realized at around the turn of the 19th and 20th centuries and besides historical copies, elegant Jugendstil ceramics were developed. The Nymphenburg Palace also accommodates the Nymphenburg Porcelain Museum (the Bäuml Collection). Guided tours through the factory can be arranged by prior appointment. Nymphenburg Palace is known to have been the working place of artists and sculptors like Hanns Goebl. Tuttle, Karmer and Franz Anton Bustelli.   « Less

Hand Painted Lenwile China Ardalt Japan Verithin Figurines, pair of gorgeous white Asian Motif Musician. excellent condition, stamped, labels. 5.5" h. x 3" w. Noted on the  More »

Hand Painted Lenwile China Ardalt Japan Verithin Figurines, pair of gorgeous white Asian Motif Musician. excellent condition, stamped, labels. 5.5" h. x 3" w. Noted on the label numbered 8069.   « Less