Limited Edition Wedgwood Roses of Royalty Bowl We have a lovely Limited Edition Wedgwood Roses of Royalty Bowl measuring 8 inches diameter 4.50 inches tall. Stamped  More »

Limited Edition Wedgwood Roses of Royalty Bowl We have a lovely Limited Edition Wedgwood Roses of Royalty Bowl measuring 8 inches diameter 4.50 inches tall. Stamped WEDGWOOD, MADE IN ENGLAND and in good condition. RETIRED and have not been produced for many years. Josiah Wedgwood worked with the established potter Thomas Whieldon until 1759 when relatives leased him the Ivy House in Burslem, allowing him to start his own pottery business. The launch of the new venture was helped by his marriage to a remote cousin Sarah (also Wedgwood) who brought a sizeable dowry with her. In 1765, Wedgwood created a new earthenware form which impressed the then English Queen consort Charlotte of Mecklenburg-Strelitz who gave permission to call it "Queen's Ware"; this new form sold extremely well across Europe. The following year Wedgwood bought Etruria, a large Staffordshire estate, as both home and factory site. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and new ware types Black Basalt and Jasper Ware. Wedgwood's most famous ware is jasperware. It was created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel which is now a museum piece.. (The first jasperware colour was Portland Blue, an innovation that required experiments with more than 3,000 samples). In recognition of the importance of his pyrometer, Josiah Wedgwood was elected a member of the Royal Society in 1783. Today, the Wedgwood Prestige collection sells replicas of some of the original designs as well as modern neo-classical style jasperware.   « Less

An excellent antique cast brass beaded doorknob and matching doorplate in Sargent’s Louis XIV “Calvi” design, c. 1910. The set features a beaded,  More »

An excellent antique cast brass beaded doorknob and matching doorplate in Sargent’s Louis XIV “Calvi” design, c. 1910. The set features a beaded, oversized entry knob, and a sturdy cast brass backplate with a beaded border and a flower in each corner. The door knob takes a 3/8” spindle. The escutcheon plate is 3” wide and 10-1/2” long, and the doorknob is 2-1/2” in diameter and 2-1/4” deep. NDKS123   « Less

Rare & Early 18th Century Derby “Pair of Imari Snuff Bottles” What an impressive Rare & Early 18th Century Derby “Pair of Imari Snuff Bottles.”  More »

Rare & Early 18th Century Derby “Pair of Imari Snuff Bottles” What an impressive Rare & Early 18th Century Derby “Pair of Imari Snuff Bottles.” These bottles are 3.50 inches tall and 3 inches in diameter and is in good condition with the exception of one spot ( look at the images ) and with normal sign of use and little discoloration that can be bleached out. The Derby Porcelain Company is a porcelain manufacturer, based in Derby, England. The company, particularly known for its high-quality bone china, has produced tableware and ornamental items since approximately 1750. In 1745 André Planché, a Huguenot immigrant from Saxony, settled in Derby, where between 1747 and 1755 he made soft-paste porcelain vases and figurines. At the beginning of 1756 he formed a business partnership with William Duesbury (1725 — 1786), a porcelain painter formerly at Chelsea porcelain factory and Longton Hall, and the banker John Heath. This was the foundation of the Derby company, although production at the works at Cockpit Hill, just outside the town, had begun before then, as evidenced by a creamware jug dated 1750, also in the possession of the Victoria and Albert Museum. Planché disappeared from the scene almost at once, and the business was developed by Duesbury and Heath, and later Duesbury alone. A talented entrepreneur, Duesbury developed a new paste which contained glass frit, soaprock and calcined bone. This enabled the factory to begin producing high-quality tableware. He quickly established Derby as a leading manufacturer of dinner services and figurines by employing the best talents available for modelling and painting. Figure painting was done by Richard Askew, particularly skilled at painting cupids, and James Banford. Zachariah Boreman and John Brewer painted landscapes, still-lifes, and pastorals. Intricate floral patterns were designed and painted by William Billingsley. In 1770, Duesbury further increased the already high reputation of Derby by his acquisition of the famous Chelsea porcelain factory in London. He operated it on its original site until 1784 (the products of this period are known as “Chelsea-Derby”), when he demolished the buildings and transferred the assets, including the stock, patterns and moulds, and many of the workmen, to Derby. Again, in 1776, he acquired the remainder of the formerly prestigious Bow porcelain factory, of which he also transferred the portable elements to Derby. In 1773, Duesbury’s hard work was rewarded by King George III, who after visiting the Derby works granted him permission to incorporate the royal crown into the Derby backstamp, after which the company was known as Crown Derby. In 1786, William Duesbury died, leaving the company to his son, William Duesbury II, also a talented director, who besides keeping the reputation of the company at its height developed a number of new glazes and body types.   « Less

A fabulous antique iron five-light chandelier with shields, dating from the 1920’s. Still in its original finish, this Spanish Revival chandelier begins with a  More »

A fabulous antique iron five-light chandelier with shields, dating from the 1920’s. Still in its original finish, this Spanish Revival chandelier begins with a beautifully detailed loop finial, with a body formed of five wrought iron bands. The bands are connected at the middle of the chandelier by crests surrounded with hammered leaves and volutes. Below, five chandelier arms support cast iron bobeches. The chandelier finishes in a diamond-shaped finial with a leaf in the center. This light fixture is in excellent condition; it has been professionally rewired and comes with all the necessary attachments for modern installation. The chandelier body measures 17” wide and 21” tall, and the fixture is 35-1/2” long overall. NC1150-RW   « Less

Outstanding Vista Alegre-Mottahedeh Lowestoft Floral Vase Here we are offering a Outstanding Vista Alegre-Mottahedeh Lowestoft Floral Vase marked, as many shown. The  More »

Outstanding Vista Alegre-Mottahedeh Lowestoft Floral Vase Here we are offering a Outstanding Vista Alegre-Mottahedeh Lowestoft Floral Vase marked, as many shown. The Vase measures 9 inches high and 3.75 inches widest and 3.25 inch deep. The vase is in good condition. During the second half of the 18th century a factory in Crown Street produced soft-paste porcelain ware. Items still exist, and there are collections at the museum in Nicholas Everett Park, Oulton Broad, and at the Castle Museum, Norwich. The factory produced experimental wares in 1756 and first advertised their porcelain in 1760.Lowestoft collectors divide the factory's products into three distinct periods, Early Lowestoft circa 1756 to 1761, Middle-Period circa 1761 to 1768 and Late-Period circa 1768 to the closure of the factory in 1799. During the early period wares decorated with Chinese-inspired scenes (Chinoiserie) in underglaze blue were produced. This type of decoration continued throughout the life of the factory but scenes were gradually simplified. Overglaze colors were used from about 1765.   « Less

Charming Edme Samson “Lowestoft Ink Well” What a great find, a French porcelain ink stand by the famous Paris firm of Samson & Company. Rare and outstanding  More »

Charming Edme Samson “Lowestoft Ink Well” What a great find, a French porcelain ink stand by the famous Paris firm of Samson & Company. Rare and outstanding example of the Lowestoft Pattern with hand decorated enamel pattern often called “Chinese Lowestoft” and heavy gold trim. Marked on bottom as shown with typical pseudo-oriental style painted symbol and a gold crown. This is from the period 1859—1870 or earlier. This lovely Desk item measures about 4.25 inches diameter with the insert (no lid) and height is about 1.50 inches to top of inkwell. This was found in very good, condition with some wear to gold trim and enamel from normal use. Samson began his career by making service and set piece replacements in the late 1830's. In 1845 he opened the ceramics firm Samson, Edmé et Cie at 7, Rue Vendôme (later Rue Béranger) in Paris, with the intention of supplying reproductions of ceramics on display in museums and private collections. The factory was moved to Montreuil, Seine-Saint-Denis in 1864 by Samson's son, Emile Samson (1837—1913). The firm either drew inspiration from other factories, or directly copied their pieces. Designs from the factories of Meissen, Serves, Chelsea, and Derby were among the reproductions Samson, Edmé et Cie produced, along with designs copied from and all the major factories of England, France and Germany. During the eighteenth century, the market for fine china was considerable and Sampson's firm reproduced ceramics in a breadth of styles including the faience and majolica types of Italian pottery, Persian style dishes, Hispano-Moresque pottery (a blending of Islamic and European motifs, produced during the 13th to 15th centuries), plates in the Fitz Hugh pattern, as well as plates designed by his fellow Frenchmen, Bernard Palissy. Another frequent style copied by the Samson firm was the famille rose and famille verte styles produced in China between 1720 and 1790. Imari wares, named for the Japanese port where a type of richly decorated porcelain made at Arita was shipped, were also copied by Samson.   « Less

Lovely Augarten Wein Floral Vase A lovely Augarten Wein “Floral Vase” signed as shown and stands at 4 inches tall and 3.5 inches diameter, in good condition.  More »

Lovely Augarten Wein Floral Vase A lovely Augarten Wein “Floral Vase” signed as shown and stands at 4 inches tall and 3.5 inches diameter, in good condition. Great example of the Austrian Porcelain. Wien is Austrian for “Vienna,” and there are at least two porcelain companies sometimes known simply as Wien. This web site will address two: Augarten Wien and Wien Keram “Wien” translates as “Vienna”, the capital city of Austria. The porcelain factory at Augarten in Vienna has been in production for almost 300 years. Austria began producing porcelain under the grant of the Austrian royal family. Because of their imperial sponsorship, the factory has been referred to by some collectors as “Royal Vienna”. Porcelain produced by the “Vienna Imperial State Manufactory” began using the mark of the Striped Shield, the coat of arms of the Babenberg family. The shield is referred to as the “beehive” mark because it looks like and old fashioned European beehive with a crown, seen above left. The factory was nationalized but is still located in the Augarten Palace, a former imperial hunting lodge. The Augarten Wien factory conducts tours and sells its production at their gift shop and through dealers worldwide. Augarten Wien produced several horse figurines sculpted by Professor Albin Dobrich (the Spanish Riding School series), Karin Jarl-Sakellarios (rearing Lipizzaner), Robert Ullman (Wild Defiance, Shying Horse, fighting stallions), and Professor Herbert Schwaz (rearing Arabian).   « Less

Rare “Pair of Dragon Export Chinese Bowls” This is what we believe to be Rare “Pair of Dragon Century Export Chinese Bowls” each measuring 6.25  More »

Rare “Pair of Dragon Export Chinese Bowls” This is what we believe to be Rare “Pair of Dragon Century Export Chinese Bowls” each measuring 6.25 inches diameter and 1.75 inch deep in good condition and unsigned. Wares from the 16th century include Kraak porcelain, Yixing stonewares , Blanc-de-Chine, Blue and white porcelain, Famille verte, noire, jaune and rose, Chinese Imari, Armorial wares and Canton porcelain. Chinese export porcelain is generally decorative, but without the symbolic significance of wares produced for the home market. With the exception of the rare Huashi soft paste wares, Chinese porcelain is hard paste made using china clay and Chinese porcelain stone, baidunzi. While rim chips and hairline cracks are common, pieces tend not to stain. Chinese wares are usually thinner than Japanese and do not have the Japanese stilt marks. In the 16th century, Portuguese traders began importing late Ming dynasty Blue and white porcelain porcelains to Europe, resulting in the growth of the Kraak porcelain trade (named after the Portuguese ships called carracks in which it was transported). In 1602 and 1604, two Portuguese carracks, the San Yago and Santa Catarina, were captured by the Dutch and their cargos, which included thousands of items of porcelain, were auctioned, igniting a European mania for porcelain. Buyers included the Kings of England and France. Many European nations then established trading companies in the Far East, the most important being the Dutch East India Company or VOC. The trade continued until the mid-17th century when civil wars caused by the fall of the Ming dynasty in 1644 disrupted suppliers and the European traders turned to Japan. As valuable and highly-prized possessions, pieces of Chinese export porcelain appeared in many seventeenth-century Dutch paintings. The illustration (right) shows a painting by Jan Treck that includes two Kraak-style bowls, probably late Ming, the one in the foreground being of a type called by the Dutch klapmuts. The blue pigment used by the artist has faded badly since the picture was painted. Under the Kangxi reign (1662—1722) the Chinese porcelain industry at Jingdezhen was reorganised and the export trade was soon flourishing again. Chinese export porcelain from the late 17th century included Blue and white and Famille verte wares (and occasionally Famille noire and jaune). Wares included garnitures of vases, dishes, teawares, ewers, and other useful wares, figure models, animals and birds. Blanc-de-Chine porcelains and Yixing stonewares arrived in Europe giving inspiration to many of the European potters. For the potters of Jingdezhen the manufacture of porcelain wares for the European export market presented new difficulties. Writing from the city in 1712 the French Jesuit missionary Père Francois Xavier d’Entrecolles records that “…the porcelain that is sent to Europe is made after new models that are often eccentric and difficult to reproduce; for the least defect they are refused by the merchants, and so they remain in the hands of the potters, who cannot sell them to the Chinese, for they do not like such pieces”.   « Less

Early “Niagara Fall & Native Indian” Sterling Souvenir Spoon What a great Early “Niagara Fall & Native Indian Sterling Silver Souvenir Spoon” Very  More »

Early “Niagara Fall & Native Indian” Sterling Souvenir Spoon What a great Early “Niagara Fall & Native Indian Sterling Silver Souvenir Spoon” Very fine detailed engraving in the bowl of the spoon , antique marked American Sterling. The spoon measure 4.50 inches” long and all have a “ Sterling AND Thomas Tugby” Hallmark on back. It is in fine condition. Photos show the early American Silver spoon well (bright and dark areas are reflections of the room while being photographed).   « Less

A stunning antique cast bronze exterior doorknob set in Russell and Erwin’s “Courtenay” design, patent dated 1890, with a signed R&E “Improved  More »

A stunning antique cast bronze exterior doorknob set in Russell and Erwin’s “Courtenay” design, patent dated 1890, with a signed R&E “Improved Columbia Lock.” The doorknob features an eye-catching fourfold design with a beaded center; the plate showcases exquisite casting with bead-and-reel trim, flowers, and acanthus leaves. The entire set has a gorgeous patina. This entry set includes a pair of doorknobs with the connecting spindle, a lock, doorplate, and doorknob escutcheon. The door knobs are 2-1/4” in diameter and 2-3/8” deep; the plate is 11-5/8” by 2-5/8”; and the rosette is 2-3/16” in diameter. The lock has a faceplate 1-1/4” by 6-1/2”, with an approx. 2-7/8” backset. NDKS128-RW   « Less