We found 4230 price guide item(s) matching your search

A large Dutch delftware blue & white vase and cover, moulded with a foliate mirror shaped reserve and painted with a scene of lovers in a landscape, parrot with fruit from finial, painted numerals to base, 44cm high approx.

Delftware including five dwellings, plates including commemorative, Delft and a Goebel figure, Puppy Pause

A 19th century Delftware charger (a/f), 32cm

Three Staffordshire pottery money boxes modelled as houses, together with a Delftware pottery house

Delftware blue and white dish, painted with flower burst beside fence, 18th Century, diameter 34.5cms; Faience ribbed bowl with flattened rim, painted with flowers and foliage in yellow, green and blue, probably German, 18th Century, diameter 36cms. (2)

Three Liverpool delftware tiles, circa 1760-70, each printed in black by Sadler & Green with Abraham and Isaac, The Return of the Prodigal Son and The Sailor's Farewell, (a.f), each approx.13cm.square; also a Dutch Delft tile painted in manganese.

A pair of Dutch delftware blue & white vases, of flattened baluster form moulded with 'C' scroll reserves enclosing a peacock pattern motif, three bells mark, ?De Drie Klokken, 22cm high (2)

A LONDON DELFTWARE BOTTLE OR GUGLET, C1770-80 attractively painted with two Chinese figures in a landscape, 23cm h For a similar example attributed to Lambeth High Street, see Archer (M) Delftware, 1997, fig E21, p276-7. ++The lower part of the body cleanly broken out and restuck, chip on rim and small flaking but the painting particularly attractive

A pair of blue and white English Delftware earthenware wall pockets, probably Liverpool, MID 18TH CENTURY each modelled with a female mask flanked by a leafy branch and bulrushes framed by scrolls above a styr mask, one with painted numeral 4 to reverse 21.5cm high

A LIVERPOOL DELFTWARE TILE AND A BRISTOL DELFTWARE TILE, THIRD QUARTER 18TH CENTURY both painted in colours, the former with a standing bird within a leafy tendril border, the latter with a standing owl 13cm high (2)

A large Dutch Delft charger 18th century, decorated in green and red with blue highlights, with a stylized floral design, and a smaller English delftware plate painted with a peony spray in polychrome enamels, 34.5cm max. (2)

A small lobed delftware dish late 17th century, probably London, decorated with a stylized floral design echoed to the rim, 21.5cm.

A rare English delftware King of Prussia plate c.1757-60, painted in blue with a portrait of Frederick II of Prussia between the initials KP, and an early delftware lobed dish left in the white, both extensively damaged and repaired, 29.7cm max. (2) Cf. Leslie B Grigsby, The Longridge Collection, Vol. II, D56 for a similar King of Prussia plate.

A delftware flowerbrick c.1750, probably Dublin, painted in blue with simple sprays of Oriental flowers, each narrow side with a single leaf sprig, the top pierced with three rows of three holes either side of a central larger opening, minor restorations, 14cm. Provenance: from the estate of the late Peter James Rankin.

An English delftware large plate c.1725, perhaps Lambeth, decorated with a formal floral panelled design in blue, red and green, 29.2cm.

A large delftware plate 18th century, painted in polychrome enamels with tulips and chrysanthemum issuing from a two-handled basket, with insects in flight above, the rim with further insects and leaf sprays, some glaze chipping, 34cm.

A Dublin delftware plate mid 18th century, painted in blue with a Chinese landscape of a tall mountain behind a low pagoda, painted 7 to the reverse, and a large delftware dish painted with shaped stylized landscape panels, the latter broken in half and restuck, 30.5cm max. (2) Provenance: from the estate of the late Peter James Rankin.

Three blue and white plates decorated with the Broken Scroll pattern 18th century, one Chinese porcelain, one Bow porcelain and one Dublin delftware, painted with an unfurled manuscript depicting flowering peony issuing from holey rockwork, the delftware plate cracked, 22.5cm. (2) Cf. Peter Francis, Irish Delftware, pl.12 and pp.105-106 for a discussion on the influence of Bow porcelain on Dublin delftware. Provenance: from the estate of the late Peter James Rankin.

Three delftware blue and white tiles 18th century, one painted with a figure fishing from a bank, one with a figure kneeling with a shotgun while his dog flushes out a grouse, the last from a larger tile panel, showing a tree before a building, 12.6cm. (3)

A Delftware tea canister and cover late 17th/early 18th century, of chamfered rectangular form, painted in blue with sprays of Oriental flowers, the shoulders with simple scroll motifs, partial mark to the base, some chipping, 14cm. (2)

A polychrome delftware plate 18th century, brightly painted with bamboo and chrysanthemum beside holey rockwork, and a Delft plate painted in blue with a figure kneeling beside a basket in a garden setting, some glaze chipping, 25.3cm max. (2)

A London delftware plate mid 18th century, painted in a palette of red, yellow, green and blue with a seated Chinaman in a landscape scene, the border with a floral garland, 22.5cm. Cf. Michael Archer, Delftware, p.235, colour plate 160 for a similar example made in Lambeth. Provenance: from the estate of the late Peter James Rankin.

Three delftware plates mid 18th century, one Bristol and painted with a blue flower spray within a woolpack shaped panel on a powdered manganese ground, one also Bristol painted with a low pagoda beneath weeping willow, repeated in three panels to the rim and reserved on a manganese caillouté ground, the last painted in blue, manganese and yellow with bamboo and flowering branches issuing from rockwork, 22.7cm. (3) Provenance: from the estate of the late Peter James Rankin.

A pair of Dublin delftware plates c.1760, simply decorated with bold flower sprays in yellow, red, blue and green, numeral marks to the underside, 23.7cm. (2) Provenance: from the estate of the late Peter James Rankin.

Six English delftware tiles 18th century, two painted with vases of flowers, one with a figure seated beneath a bower in blue on a powdered manganese ground, one with a traveller in an octagonal panel, another in manganese with a fisherman in a circular panel, the last with a formal floral and foliate design, some damages, 13cm max. (6)

Three delftware punchbowls c.1730-80, one early with steep sides painted in blue, red and green with birds between flowering Oriental branches, one with a shaped rim and painted in blue with a large scaly dragon spilling over the rim to encircle the exterior, the last decorated with a standing Chinese figure, extensive damages and restoration, 27cm max. (3)

A London delftware tile mid 18th century, decorated with an octagonal panel containing buildings with a smoking chimney in an island landscape, reserved on a powdered manganese ground with floral corners, 13.2cm.

A Liverpool delftware plate mid 18th century, painted in blue with a Chinaman standing before an ornamental fence, a bird and insects in flight above, rim chips, 21.7cm.

Two Dublin delftware octagonal plates mid 18th century, both painted in blue, one with a large peony spray beside a vase of peacock feathers standing beside holey rockwork, the other with peony and bamboo, the rims with further flower sprays, painted number 8 mark to the former, 23cm max. (2) Provenance: from the estate of the late Peter James Rankin.

A delftware tulip charger c.1730-40, probably Brislington, brightly decorated in blue, green, yellow and ochre with a large tulip flanked by two smaller blooms and a row of stiff leaves, within a stylized leaf border and a sponged blue rim, damages and restoration, 32.5cm. Cf. The Victoria and Albert Museum, Accession No. C.247-1911, also Woolley and Wallis, 15th September 2015, lot 41 for a similar dish.

Six English delftware tiles mid 18th century, probably Lambeth, three Biblical and depicting the Death of Jezebel, Abraham and Isaac, and Christ appearing to Mary Magdalen, two with peasant figures in a landscape, the last with a boat in a harbour, all within a double line circle with stylized foliate motifs to each corner, some chipping, 12.8cm. (6)

A pair of Bristol delftware plates c.1760, painted in the Bowen manner, each with two ladies beneath tall sponged trees in a European landscape, 22.8cm. (2) Cf. Frank Britton, English Delftware in the Bristol Collection, pp 276-297 for a discussion of the Bowen style of painting. Provenance: from the estate of the late Peter James Rankin.

A pair of Lambeth delftware plates c.1750, the wells painted in polychrome enamels with a long-tailed bird perched on flowering branches, the powdered manganese rims with sgraffito motifs of insects and flowers highlighted in yellow enamel, some rim chips, 22.8cm. (2)

A delftware polychrome plate c.1760, probably London, painted with feathery foliage stems issuing from a hatched fence, the rim with stylized garlands issuing from a blue feathered border, 23cm.

A set of eight London delftware tiles mid 18th century, painted with scenes of peasants in landscapes and figures in boats before a jetty, all within octagonal panels reserved on a powdered manganese ground with thistle head corners, some damages, 12.6cm. (8)

A pair of English delftware plates c.1740-50, Lambeth or Wincanton, each decorated in manganese with a European scene of a lady standing beside an overgrown wall, with one hand on her hip and pointing towards a house beneath a tall tree and beside a three bar gate, some glaze chipping to the rim, 22.6cm. (2)

A large English delftware charger 18th century, simply decorated with a floral spray in manganese, yellow, red and green, with four similar sprays to the rim between crossed foliate motifs, a rim crack, 34cm.

A pair of English delftware plates mid 18th century, probably London, painted in blue with a weeping willow tree and large flowering branch before an openwork fence, repeated three times to the rim, 22.5cm. (2)

An English Delftware blue and white bowl, dated 1787, of circular, pierced form with three applied masks, painted with rural views, internally 'CAU 1787', raised on three feet, 18 by 10.5cm.

MISCELLANEOUS ORNAMENTAL CERAMICS AND GLASS TO INCLUDE AN 18TH CENTURY DUTCH DELFTWARE VASE (DAMAGED), A CHINESE BLUE AND WHITE PRUNUS JAR AND COVER (COVER CHIPPED), A LANGLEY ART POTTERY JARDINIERE, COPPER LUSTREWARE, COMMEMORATIVE MUGS, ETC

A London delft blue, green and manganese commemorative plate for the balloon ascent of Vincenzo Lunardi , circa 1785, the ballon depicted ascending above buildings and trees and with a 'V' formation of birds beneath , withina swag border, 35cm diameter Cf. Michael Archer, Delftware ( V. & A. Museum 1997), p. 124 for two examples of similar plates in the collection of the Victoria and Albert Museum, South Kensington. Note: Vincenzo Lunardi (1759-1806). Pioneering ballonist born in Lucca, Tuscany, famous for his balloon flights in England and Scotland which did much to engage the public. After initial favourable acclaim he left Britain in 1786 when one of his balloon flights caused a fatality . Monuments to his various landing spots can be seen in both England and Scotland.

An 18th century Delftware blue and white charger, hand painted with blue glaze floral sprays and insects over a cream ground, 39cmD (af)

A Delftware pottery vase, ovoid form with floral decoration (a/f - restored), 19cm high

An English Delft blue and white charger, circa 1760, possibly William Griffith of Lambeth High Street pottery Note: see Dawson, A. 2010. English and Irish Delftware 1570-1840, p.248 pl.3, for an example of this design

Three boxes of assorted blue and white Delftware, comprising figures, plates, dishes, novelty windmills, bowls, mugs, candlesticks, etc. (Three boxes)

Four Dutch delftware tiles, decorated with scenes of figures and houses, mounted as a panel, 27cm square approx.

Assorted ceramics related sales catalogues and hardback reference books, mostly factory related including Spode, Masons, William Greatbatch and Staffordshire, New Hall, Bow, Longton Hall, Liverpool Herculaneum, Rockingham, Ridgway, English Delftware, and 'Coalport and Coalbrookdate Porcelains' by Geoffrey Godden limited edition numbered 526/1500 (13 volumes and 9 sale catalogues) - Part of a private owner collection

Bluey Beautiful Bluey was inspired by the diversity of Birmingham’s culture. Blue and white patterns feature in many different cultures - including Chinese porcelain, Asian temples, Delftware, Moroccan tiles and Staffordshire pottery. The timeless appeal of blue and white china ensures that Bluey will be a perfect addition to a traditional or contemporary setting.   Artist: Natalie Guy Sponsor: Harrow Green About the artist: Natalie Guy is an accomplished mosaic artist and is passionate about creating 3D works of art that have character and tell a story. Her work has been sold nationally and internationally. Natalie enjoys using unique and classical materials for her mosaic work – from traditional Italian Vitreous tiles, to hex nuts.  

A rare Dutch Delft black cow, ca. 1720 Size: L: 21 cm, H: 15 cm. Condition: Some restoration to the horns and ears. Provenance: A Dutch private collection. Signed IVL above numerals 1 and 16, for Johannes en Margaretha Van Lockhorst-Van der Gucht, De Klaauw, 1713-1740. Black Delftware is the least produced type of Dutch Delftware. Inspired by "mirror black" Chinese porcelain and Japanese lacquerwork, black Delftware forms a small but interesting part of the history of the ultimate Dutch export product from the "Golden ages". According to experts, only approximately 120 pieces of black Delftware exist, of which 65 to 70 are currently known. Black Delftware is generally situated in the first quarter of the 18th century, although two black Delftware horses dated 1695-1720 appeared in Aronson, Dutch Delftware, 2006, p. 42. One was marked LVE for Lambertus van Eenhoorn. Furthermore, it is interesting to note the existence of a pair of milking groups in Black Delftware. These were sold at Christie's, Amsterdam, Sale 2232, Lot 528, Jun. 7, 1994 and attributed to De Dobbelde Schenckan or De Metalen Pot (1690 - 1720)". Also interesting to note, is the existence of another piece of undecorated black Delftware, a plate. It was sold at Christie's Amsterdam, Nov. 9, 2004, Sale 2641, Lot 31. This makes our present example the only known black Delft cow without polychrome overpainting.

A group of 4 pieces of white Delftware, 18/19th C. H: 9 cm (the tallest)

A large German Delftware blue and white obelisk, 18th C. H: 32,5 cm, damages. For another example, see Christie's, Amsterdam, 24 June 1998, Sale 2378, Lot 330.

A Dutch Delft blue and white chinoiserie kraak style dish with an elephant, 17th C. Dia: 33,5 cm. In very good condition. Noterworthy is the small figure painted just behind the elephant. Dutch Delftware with elephants is part of a rare and sought after group, generally executed in Chinese Ming Wan-Li style. The present example shows close resemblance with examples made in Frankfurt and Haarlem, and could also originate from one of these production centers.

A Dutch Delft blue and white model of a calvary, last quarter 17th C. H: 51 cm. Attributed to Samuel van Eenhoorn, De Grieksche A, 1678-1686. The demi-lune shaped base, resting on feet, is decorated with scenes from the life of Christ on the lower part. The flat area in front of the calvary is decorated with finely executed Ruyi patterns, a clear wink to the Chinese influence on Dutch Delftware, also to be found on Islamic ceramics. The blue ground calvary is flanked by Mary, depicted standing, resting on a base showing portraits of John, and John, also standing, resting on a base showing portraits of Mary. Both figures are looking upwards at Christ hanging on the cross. The crucifix itself is of a slightly later date. It was removed from another important piece of Dutch Delftware, a regular crucifix, probably from the "De Witte Starre" workshop. An original example from which this crucifix was removed and inserted into our present piece can be found in the Philadelphia Museum collection, Accession Number 1921-3-171, a (see http://www.philamuseum.org/collections/permanent/40302.html?mulR=958926532|1). This crucifix was made at the "De Twee Scheepjes" factory, under Johannes Gaal or his widow (1707-25). The present piece shows triking similarities with a fine signed Samuel van Eenhoorn piece, depicted in Aronson, 2013, The Ivan B. Hart Collection, p.30, Cat. Nr. 18: A pair of blue and white triangular candlestick bases, Delft, ca. 1680-1685 (see http://issuu.com/artsolution/docs/cat13_masterart-optimized/12). Just like these, the demi-lune shaped base is decorated with scenes from the life of Christ. From left to right: The visit of the 3 Magi or The Circumcision, The Flight into Egypt, The Last Supper, Agony in the Garden, The Flagellation, Ecce Homo, Crucifixion. These scenes are clearly from the same painter. Two other models of calvaries are known, both in Dutch museum collections. One is in the collection of Museum Het Prinsenhof in Delft and marked WB for Dirck Witsenburg from "De Witte Starre" workshop, active 1691-1705. It was previously part of the Kolisch collection and found its way to the museum around the year 2000. This example, however, has a later crucifix inserted, probably not made in Delft. It also features a less elaborate decoration on the front of the demi-lune shaped base, depicting flowers instead of the scenes from the life of Christ. Another example is in the collection of the museum Lambert van Meerten (inv. nr. LM128), on loan from the Gemeente Musea Delft collectie. This incomplete example lacks the figures of Mary and John, and has no crucifix inserted. This example also shows the scenes from the life of Christ, and has the central demi-lune shaped panel showing Christ falling while carrying the cross. It does not show any Chinese influence, so typical for Samuel van Eenhoorn's and his Greek A workshop's production. We believe the present example on offer to be the earliest of the three examples known. The fact that all three examples don't have an original crucifix inserted, leads us to believe that these calvaries were intended to be used with a crucifix of choice.

A rare Dutch Delft blue and white chinoiserie barrel-shaped spirit bottle, ca. 1720 H: 16 cm. Examples in Dutch Delftware are extremely rare. The shape is derived from Chinese export porcelain examples, dating back to the Kangxi period. See for example: Christie's, London South Kensington, Sale 10636, Lot 517, for "A matched pair of Chinese blue and white spirit bottles"

A pair of English Delftware chinoiserie plates, Liverpool, 18th C. Dia: 22 cm

An important Dutch Amsterdam Delftware blue and white mythological plaque, dated 1748 Amsterdam, attributed to the tile factory ‘d’Oude Prins’ (The old Prince) in the Anjeliersstraat Painter: attributed to Pieter van der Kloet or monogrammist G.V.M. Dated: 1748 The lozenge-shaped plaque has a raised rim and indented corners which are painted with flower motifs in tapered cartouches. It is finely painted with ‘the musical contest between Apollo and Marsyas’. Apollo with his lyre and the flute-playing Marsyas are sitting on rocks in the middle, between them stands a muse who holds a crown and a dagger. The dagger points to Marsyas who will lose the contest and will be skinned alive afterwards. The other muses are sitting at both sides and act as a jury. At the bottom the mythological story is bordered by a marbled plane with a cartouche containing a mirror-monogram with the letters A and M. The double rim is painted with floral motifs, linked S-shaped ribbons and half flowers, all saved on a blue ground. A group of ten lozenge-shaped plaques with indented corners are known from Amsterdam. Four of them are dated 1736, 1748, 1750 and 1751, including this plaque. The group varies in size, shape of the rim, cartouches, quality of painting and subject matter, but are most likely made in the same factory. One of the plaques has the monogram of an unknown painter G.V.M. to the backside, one other plaque is monogrammed PvK or PvdK, presumably the monogram of Pieter van der Kloet. Compared with plaques made in Delft, these plaques stand out in two ways. Stylistically they are more related to tiles, tiles pictures and shapes known to Amsterdam, than to Delft examples. Secondly, there are important differences in production techniques. Delft plaques are molded in plaster molds and fired on pins in saggars. The plaques from Amsterdam were not fired in saggars, but were standing on their sides on two small clay cylinders between rows of tiles. The back of the plaques was leaning against the rows. These production differences leave other marks on the plaques then the pin marks on Delft plaques and are important keys to establish Delft from non-Delft production. Using molds enables a Delftware pottery to produce the same shape over again, up to dozens or even hundreds, depending on how long the molds could be used. The Amsterdam plaques are all handmade and can therefore be considered as incidental products instead of regular production. Of the ten plaques one similar of same dimensions and cartouche is known in a private collection (Van Dam 1999, p. 41, fig. 11). Only the mirror-monogram is different. This plaque has also a mythological scene and is dated 1736. Eight out of ten plaques are stylistically strongly related and most likely from the same hand, most probably Pieter van der Kloet, however we cannot exclude monogrammist G.V.M. Pieter van der Kloet was the owner of the tile factory ‘d’Oude Prins’ in Amsterdam. He is known as a painter of faience, because a fully signed and 1728 dated plaque is preserved in the Amsterdam Museum (inventorynumber KA 19434). He was fifteen when he painted this plaque. More important, four drawings from his hand are also known, all fully signed and dated 1773 (2x), 1776 and 1777. These drawings – cityscapes and landscapes – show a strong resemblance with tiles, tiles pictures, plaques and other shapes that are attributed to Amsterdam. Therefore these drawings are a key and essential in attributing work to Pieter van der Kloet. Condition: A restored crack. Dimensions from side to side 38 cm x 38 cm. Literature: Jan Daniël van Dam, ‘’Delfts’ uit de provincie. Aardewerk uit Hollandse tegelfabrieken’ in: Vormen uit Vuur (1999/3-4), pp. 23-24, 32-62. Text by: Jaap Jongstra MA, ceramics specialist and researcher of tile factories in Amsterdam. With special thanks to Mr. Rainer G. Richter from the Staatliche Kunstsammlungen, Dresden.

A rare Dutch Amsterdam Delftware blue and white biblical plaque A Dutch delftware blue and white biblical plaque Amsterdam, attributed to the tile factory ‘d’Oude Prins’ (The old Prince) in the Anjeliersstraat Painter: Pieter van der Kloet 1740-1750 Provenance: a private collection from Spain The lozenge-shaped plaque has a raised rim and indented corners which are painted with flower motifs in tapered cartouches. It is finely painted with ‘Christ and the women of Samaria’. The woman is standing to the left of Christ and holds a bucket in her left hand. On the background the disciples return from the city of Sighar. The design is based on an engraving from the Historiae Sacrae by Nicolaes Visscher, circa 1650, which in turn was based on an engraving by Mattheüs Merian. The biblical story is framed within a Régence style cartouche with S-shaped ribbons, filled with trellis diaper and foliate. A group of ten lozenge-shaped plaques with indented corners are known from Amsterdam. Four of them are dated 1736, 1748, 1750 and 1751. The group varies in size, shape of the rim, cartouches, quality of painting and subject matter, but are most likely made in the same factory. One of the plaques has the monogram of an unknown painter G.V.M. to the backside, one other plaque is monogrammed PvK or PvdK, presumable the monogram of Pieter van der Kloet. Compared with plaques made in Delft, these plaques stand out in two ways. Stylistically they are more related to tiles, tiles pictures and shapes known to Amsterdam, then to Delft examples. Secondly, there are important differences in production techniques. Delft plaques are molded in plaster molds and fired on pins in saggars. The plaques from Amsterdam were not fired in saggars, but were standing on their sides on two small clay cylinders between rows of tiles. The back of the plaques was leaning against the rows. These production differences leave other marks on the plaques then the pin marks on Delft plaques and are important keys to establish Delft from non-Delft production. Using molds enables a Delftware pottery to produce the same shape over again, up to dozens or even hundreds, depending on how long the molds could be used. The Amsterdam plaques are all handmade and can therefore be considered as incidental products instead of regular production. Of the ten plaques one similar of same dimensions and cartouche is known in the collection of the Princessehof Museum at Leeuwarden (inventory number OKS 2010-033). This plaque is also decorated with a biblical scene depicting ‘Christ and the women of Zebedee’. Both plaques are painted by Pieter van der Kloet. Pieter van der Kloet was the owner of the tile factory ‘d’Oude Prins’ in Amsterdam. He is known as a painter of faience, because a fully signed and 1728 dated plaque is preserved in the Amsterdam Museum (inventorynumber KA 19434). He was fifteen when he painted this plaque. More important, four drawings from his hand are also known, all fully signed and dated 1773 (2x), 1776 and 1777. These drawings – cityscapes and landscapes – show a strong resemblance with tiles, tiles pictures, plaques and other shapes that are attributed to Amsterdam. Therefore these drawings are a key and essential in attributing work to Pieter van der Kloet. The cloud motifs on the current plaque and the Leeuwarden example are so closely related if not in part identical with the ones on the drawings. On that ground alone the plaques can be attributed to Pieter van der Kloet. Condition: one hairline crack. Dimensions from side to side 32 cm x 32 cm. Literature: Jan Daniël van Dam, ‘’Delfts’ uit de provincie. Aardewerk uit Hollandse tegelfabrieken’ in: Vormen uit Vuur (1999/3-4), pp. 23-24, 32-62. Text by: Jaap Jongstra MA, ceramics specialist and researcher of tile factories in Amsterdam. With special thanks to Mr. Rainer G. Richter from the Staatliche Kunstsammlungen, Dresden.

A large Frisian Delftware Makkum fish strainer, 19th C. Dia: 44 cm

A large Dutch Delftware Frisian tile mural with a flower vase, 18th C. Ca. 78 x 39 cm. 3 tiles broken.

A Nürnberg blue and white Delftware salt cellar, 18th C. H: 8 cm