{"title":"ALL CERAMICS","description":"\u003cp style=\"text-align: center;\"\u003eBrowse our complete Collection of antique ceramics from the eighteenth, nineteenth, and twentieth centuries, including Delft, early Wedgwood, and wonderfully whimsical majolica.\u003c\/p\u003e\n\u003ch4 style=\"text-align: center;\"\u003e\u003cem\u003eShaped by and for generations.\u003c\/em\u003e\u003c\/h4\u003e","products":[{"product_id":"josiah-wedgwood-creamware-transfer-printed-enamelled-plate","title":"Josiah Wedgwood Creamware Transfer Printed \u0026 Enameled Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eLate Georgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1776–1778 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis remarkable antique plate is a rare early example of a Josiah Wedgwood creamware dessert service plate from the mid-eighteenth century. The plate is transfer-printed in black and painted in emerald-green enamel by the enameller Guy Green, as evidenced by Josiah’s letter to Mr Green discussing the work of the enamellers (see The Gen). The plate has fine examples of scattered sprigs of shells, corals and seaweed­. The small spiral shell on the edge has not been found on examples seen to date. This is a hard-to-find example of this pattern on a plate with the renowned Wedgwood reticulated border.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 19.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed early marks WEDGWOOD, W and O.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIt is difficult to determine what the impressed W may represent on this plate. There is a possibility that it is an incomplete version of W \u0026amp; B as discussed by Meteyard in her seminal book on Wedgwood marks. Meteyard quotes a letter written by Wedgwood to Bentley on 22 December 1777: “Mine is against any name being upon our articles besides W. \u0026amp; B., and if you concur with me I will manage the matter with him as well as I can.” (\u003ci\u003eThe Wedgwood Handbook, A Manual for Collectors\u003c\/i\u003e, Eliza Meteyard, George Bell and Sons, 1875, p. 65)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The letter O and the number 3 ­— either separately or conjointly­ — always indicate the best period and the highest quality ware. The Sibson and Falcke collections are particularly rich in specimens thus marked. Both figure and number are always found in association with the name impressed.” (\u003ci\u003eThe Wedgwood Handbook, A Manual for Collectors\u003c\/i\u003e, Eliza Meteyard, George Bell and Sons, 1875, pp 45 and 46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in good condition with wear consistent with an antique age and use. There are slight chips to the inner rim on the front and minor marks. The back is rubbed and worn in places with errant scratching. There is evidence of earlier professional restoration to the reticulated rim. However, the transfer and enamelling are clear and complete, some may say thankfully due to the “coloured too high” enamelling (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O346512\/dish-josiah-wedgwoods-factory\/\" target=\"_blank\"\u003eexample of a similar plate\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number C.20-1945. See note above in Signatures, Markings \u0026amp; Inscriptions as this may be an \u003ca rel=\"noopener\" href=\"https:\/\/www.britishmuseum.org\/collection\/object\/H_1909-1201-455\" target=\"_blank\"\u003eexample of a Falcke plate that is marked with an “O” at the British Museum\u003c\/a\u003e, Registration Number 1909,1201.455. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn a letter to Bentley, on 5 December 1776, Wedgwood wrote: “‘The shell pattern is a first essay, the borders in particular are so too. I have wrote to Mr. Green that the groups are too large for the plates, that the green is of too common a colour upon some of the weeds \u0026amp; lies too high above the glaze. But that I think them very promising proofs \u0026amp; have desired to have the prices.’ A few days later Wedgwood adds: — \u003cspan style=\"background: yellow; mso-highlight: yellow;\"\u003e­\u003c\/span\u003e‘Yes, I make no doubt Painting and Printing may exist together. I hope we shall do both in quantities both in Table and Teaware. Many patterns cannot be Printed \u0026amp; these will employ the pencils. I had wrote to Mr. Green upon the first sight of the Shell patterns that they were coloured too high, \u0026amp; must be kept down, especially the green — Shells and weeds may be colour’d as chaste as any subjects whatever, \u0026amp; I hope we shall get into the way of it in time. But this pattern was intended chiefly for abroad, \u0026amp; foreigners in general will bear higher colouring \u0026amp; more forcible contrasts than the English.’” (\u003ci\u003eThe Life of Josiah Wedgwood Vol II\u003c\/i\u003e, Eliza Meteyard, Cornmarket Press Limited, 1970, p. 348)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324121518122,"sku":"","price":884.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Josiah-Wedgwood-Creamware-Plate-6.jpg?v=1749703208"},{"product_id":"william-duesbury-co-early-derby-vine-leaf-dish","title":"William Duesbury \u0026 Co. (Early Derby) Vine Leaf Dish","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGeorgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1760–1765 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn oval shaped early Derby dish of relief moulded soft-paste porcelain with an undulating brown rim edge made by William Duesbury in the mid-eighteenth century. The border is moulded in relief with vine leaves, stems and grapes, and the centre painted with fine delicate examples of enamelled bouquet of flowers, including pink roses (see The Gen) and scattered sprigs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis extraordinarily rare plate is an exceptional example of old Derby porcelain produced by William Duesbury I (see The Gen) prior to his purchase of the Chelsea works in 1770. Indeed, this dish may be an example of the influence of Chelsea vine dishes (of which marked examples can be found), on Duesbury for he was known to copy Chelsea and Bow styles: “During the early years of the Derby factory Duesbury was content to more or less copy the models of Chelsea or Bow.” (\u003ci\u003eOld Derby Porcelain and its Artist-Workmen\u003c\/i\u003e, Frank Hurlbutt, T. Werner Laurie Ltd, 2nd Impression, 1925, p. 28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis dish is a wonderful example of early English porcelain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 21 cm, width 17 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. The plate is unmarked as was the manner in early Derby pieces during the period of 1756–1770.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A word may also be said about earlier productions of Derby. As far as is known these, before the year 1769–1770, bore no distinguishing marks whatever. It was apparently owing to his then buying the Chelsea Factory and so the need to distinguish between the two factories’ productions that induced Duesbury to adopt the Crown and D mark. The Author believes that at least half the unmarked figures and vases, sauceboats, and other pieces attributed in these days to Chelsea, were actually made at Derby. If not, where are they? These wares were made in a great quantity between 1756 and 1770 by a factory so prosperous and successful that it absorbed Chelsea, Bow, Lambeth, and Giles’s business cannot have vanished in thin air, or even have been lost or broken.” (\u003ci\u003eOld Derby Porcelain and its Artist-Workmen\u003c\/i\u003e, Frank Hurlbutt, T. Werner Laurie Ltd, 2nd Impression, 1925, pp 17 and 18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION: \u003c\/span\u003eThe dish is in excellent condition with wear consistent with an antique age and use. There is a slight chip to the inner rim on the front and what perhaps is a manufacturing crack seen under light. There is some rubbing and loss to the enamelling, on the grapes and some leaves. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O165765\/dish-william-duesbury\/%20\" rel=\"noopener\" target=\"_blank\"\u003eexample of a similar dish\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number 414:63-1885 and Ceramics of Derbyshire 1750–1975: An Illustrated Guide, H.G. Bradley, Gilbert Bradley, 1978, p. 74.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The pink rose has always been a favourite with flower painters, especially with the Derby flower painters… One principal flower, such as a rose or poppy always sprays out beyond the others in a very graceful manner. This latter idiosyncrasy was much copied by other painters at Derby, and became almost a ‘Derby manner’.” (\u003ci\u003eOld Derby Porcelain and its Artist-Workmen\u003c\/i\u003e, Frank Hurlbutt, T. Werner Laurie Ltd, 2nd Impression, 1925, pp 63 and 65)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“William Duesbury I, owed nothing to patrons, Royal or otherwise; nothing to education or position. He was a workman pure and simple, the son of a working currier. As a boy he was apprenticed to his trade of china painting, and worked his way up, step by step, to be a small employer, then to be a manufacturer, finally to be the owner of the largest business of its kind in the whole kingdom.” (\u003ci\u003eOld Derby Porcelain and its Artist-Workmen\u003c\/i\u003e, Frank Hurlbutt, T. Werner Laurie Ltd, 2nd Impression, 1925, p. xiii)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“With honesty and enterprise as a business man, fair dealing and kindness as an employer, affectionate and loved in his family life, Duesbury brought his Porcelain Factory to the highest point of artistic and commercial success, and died in October, 1786, at the age of sixty-one years, leaving the finest porcelain business in the country to his son, Wm. Duesbury II.” (\u003ci\u003eOld Derby Porcelain and its Artist-Workmen\u003c\/i\u003e, Frank Hurlbutt, T. Werner Laurie Ltd, 2nd Impression, 1925, p. 9)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324197572650,"sku":"","price":4312.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-William-Duesbury-Derby-Dish-5.jpg?v=1749702230"},{"product_id":"wedgwood-email-ombrant-tremblay-ware-majolica-plate","title":"Wedgwood Email Ombrant ‘Tremblay Ware’ Majolica Plate","description":"\u003ch5\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1878 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare nineteenth century antique Wedgwood ribbon pattern majolica plate with a central motif showcasing the email ombrant technique created by Baron Alexis du Tremblay of Rubelles porcelain works. The term email ombrant comes from ‘ombre’ which is shadow in French and ‘email’ which is enamel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis plate truly exemplifies the best of Rubelles and Wedgwood, with all the best early Wedgwood techniques employed such as the woven basket weave pattern, ribbon pattern edge and gorgeous glaze colours, including turquoise blue and tortoiseshell. The mould for this plate is of a young man in eighteenth century dress, wearing a wig and holding a drinking glass and is likely to be Rubelles mould purchased by Wedgwood (see The Gen) as it has been seen on a French Rubelles majolica plate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e There are a group of interesting marks on the bottom of this plate. They include impressed WEDGWOOD, date code NUG, and M, A, and (Model) M 2532. The date code likely represents November 1878.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION: \u003c\/span\u003eThe plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similar plate see Victoria \u0026amp; Albert Museum, \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O1111393\/plate\/\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eAccession Number S.1269-1982\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A very different type of Wedgwood majolica was known as Email Ombrant. In Email Ombrant the design is cut into the body of clay in graduated intaglio depressions. The intaglio design is then flooded with a translucent majolica glaze. The deeper gravities form the darker areas of the design, while the shallower depressions produce highlights and outlines of figures. Baron Alexis du Tremblay of Rubelles porcelain works near Melun developed Email Ombrant and patented the technique in 1842.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Rubelles dessert and tablewares exhibited at the 1851 Crystal Palace Exhibition in London were awarded a gold medal and Wedgwood became interested in the process. Wedgwood was able to obtain some of the prize-winning wares, and experimented with making its own variations. In the early 1860s the modelers Rowland Morris, Thomas Greatbatch, and Hamlet Bourne were responsible for perfecting Wedgwood Tremblay ware and by 1865 pieces were sold through Thomas Goode and Company in London. In 1872 the original Rubelles molds and designs were put up for sale… Wedgwood obtained by this transaction over 2,500 molds and designs, the formulas for the Email Ombrant glazes, and the original patent, for 3,200 francs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eSeries of Tremblay dessert plates (c. 1870) have combinations of reticulated or butterfly-design borders, with centres of designs of fruit or scenic views. Some of these decorated plates are octagonal, with characteristic Wedgwood modelling around the periphery, illustrating the combination of techniques of two venerable factories. Since Wedgwood used both the original Tremblay artists, identification of French or English examples can be made only by the marks ‘WEDGWOOD’ or ‘Rubelles, S. \u0026amp; M.’ in an oval, or full mark ‘Fabrique de Rubelles (S. \u0026amp; M.) Brevet D’Invention. S.G.D.G Pat. 89, St Denis Paris’.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 78–80)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324223393834,"sku":"","price":389.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Email-Ombrant-Plate-5.jpg?v=1749703695"},{"product_id":"griffen-smith-hill-pond-lily-majolica-plate","title":"Griffen, Smith \u0026 Hill Pond Lily Majolica Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | United States\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century Victorian majolica pond lily plate. The water lily was an especially popular motif for majolica and had many incarnations at the best English makers, such as Minton. It should be little surprise that the water lily made its way to the United States when majolica mania took the US by storm in the 1870s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGriffen, Smith \u0026amp; Hill created their own version of the plate closely replicating the English models, such as those made by Adam \u0026amp; Bromley, but much more brightly coloured and mostly marked as in this fine and rare example. This plate appears as model D13 in Catalogue of Majolica, Etruscan Works, Griffen Smith \u0026amp; Co., 1884 (see The Gen). It is often referred to as the “pond lily” plate in various reference books and, whilst influenced by the English makers, Griffen, Smith \u0026amp; Hill still stayed close to home for inspiration (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThis rare plate has an especially evocative colourway, the deep blue of water accentuating the green of the lily pad leaves around a delightful white and yellow flower, and is truly reflective of the company’s distinctive and highly admired glazes (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 20.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed ‘GSH’ monogram.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“To introduce their first line of majolica, the partners decided to impress this earthenware with their initials — GSH. From that day forward, majolica history was written in Phoenixville, Pennsylvania. However, before the first batch of majolica was ready for sale, William Hill, one of the four partners in the firm, withdrew from the organisation. The 1880 census record revealed the name change when it carried the firm’s new title as Griffen, Smith and Company — Stoneware and Earthenware. The new triumvirate, the two Griffen men and David Smith, decided to keep their monogram — GSH — intact, which the firm amusingly referred to thereafter as standing for ‘good, sturdy and handsome’.” (\u003ci\u003eAmerican Majolica 1850–1900\u003c\/i\u003e, M. Charles Rebert, Wallace-Homestead Book Company, 1981, p. 31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eMajolica: American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 70.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“This publication is one of the few illustrated catalogues of majolica ever released by any manufacturer — British or American. Its eleven pages feature color images of 136 majolica models, each with its own individual letter-and-number shape designation. These identifiers can be cross-referenced with a wholesale price list that includes the corresponding pattern and shape names. The catalogue, produced by Hatch Lithographic Co., a renowned New York printer of the period, is lavishly illustrated, thoughtfully designed, and testament to Griffen, Smith \u0026amp; Co.’s ambition within the US ceramic trade.\u003cmeta charset=\"utf-8\"\u003e\n\u003ca style=\"color: rgb(17, 17, 17);\" href=\"https:\/\/exhibitions.bgc.bard.edu\/majolicamania\/marketingmajolica\/#book2_1\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCatalogue of Majolica, Etruscan Works, Griffen Smith \u0026amp; Co., Manufacturing Potters, Phoenixville, Penna. Hatch Lithographic Co., New York, New York, Before 1884, Printed pamphlet, Historical Society of the Phoenixville Area, Pennsylvania. \u003ca href=\"https:\/\/exhibitions.bgc.bard.edu\/majolicamania\/marketingmajolica\/#book2_1\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eRead this wonderful catalogue here\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Griffen, Smith \u0026amp; Co’s popular pond lily plate. Because each piece was hand-painted, few looked exactly like this portrayal in the 1884 catalog. The quality of the result depended on the skill and experience of each individual artisan. On a typical production day, a skilled master painter or decorator would provide a well-painted example of each of the different pieces as a model for the rest of the painters. These painters copied the model to the best of their abilities with varying results. One of the women who painted glaze decoration for Griffen, Smith and Company in Phoenixville, Pennsylvania recalled: ‘We each had our camel’s hair brush and the little pots of majolica paint sitting before us. We painted the ware blue in order to get a pink; deep rose changed to blue; black would turn out deep brown. I was only eleven years old when I first started working… I was the youngest of the painters and the shortest... Mr Smith didn’t want to hire me, but it was a necessity that prompted me to apply for the job. I used to do roses, carnations, and forget-me-nots’.” (\u003ci\u003eMajolica, American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder \u0026amp; Leslie Bockol, Schiffer Publishing Ltd, 1994, p. 70)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Young girls were sent out to search the lanes and roadside banks, especially along Blackrock Road near the village of Oaks. Others searched the meadowlands and woodlands for suitable subjects that might become attractive patterns. What the young girls returned with were sprays of wildflowers and buttercups, fresh oak and maple leaves, pond lilies and sunflowers, ivy tendrils and fern fronds. Each of these subjects was pressed into use and deftly modelled into Etruscan patterns.” (\u003ci\u003eAmerican Majolica 1850–1900\u003c\/i\u003e, M. Charles Rebert, Wallace-Homestead Book Company, 1981, p. 41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324246593578,"sku":"","price":773.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Griffen-Smith-Plate-5.jpg?v=1749691476"},{"product_id":"wedgwood-drabware-part-dessert-service","title":"Wedgwood Drabware Part Dessert Service","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(184, 47, 47);\"\u003e| PRICE ON APPLICATION |\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eRegency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first quarter 19th century, 1800–1825 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare early nineteenth century antique Wedgwood drabware part dessert service (see The Gen). Comprising three leaf-shaped dishes, six round plates and one oblong dish. Each piece is moulded with overlapping leaves in low relief to represent geranium leaves laid on a wickerwork plate in the highly collectable drabware glaze. The veins are enriched with fine gilt “well put on [and which has stood] admirably the test of time and wear” (see The Gen). A truly exceptional collection and highly coveted by collectors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Round plates diameter 20 cm, leaf-shaped dishes width 21.5 cm, and oblong dish length 25.5 cm, height 2 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, O and cyphers (plates); Impressed WEDGWOOD, L and cyphers (oblong dish); and Impressed WEDGWOOD, N and cyphers (leaf-shaped dishes).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The dessert service is in excellent original condition with wear commensurate with antique age and use. There is no evident restoration. The six round plates are all in excellent condition. The oblong dish has some very faint wear to the gilding. There is a slight chip to base of one of the leaf shaped dishes, two visible hairlines to another and the final dish has a slight chip to the underside of the rim.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an \u003ca rel=\"noopener\" href=\"https:\/\/www.christies.com\/en\/lot\/lot-5832783\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eexample of similar service\u003c\/a\u003e see Christie’s, 21 October 2014, Lot 14 and see a \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O150901\/dessert-plate-josiah-wedgwood-and\/\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003esimilar plate at Victoria \u0026amp; Albert Museum\u003c\/a\u003e, Accession Number 2457-1901.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eEliza Meteyard, in the \u003ci\u003eWedgwood Handbook\u003c\/i\u003e, states that: “Wedgwood did more than any other potter of his time, and as much as the potters of the present day, for the improvement of articles connected with the service of breakfast, tea and dessert”. She goes on “the beauty of form and the perfection of colour finish render the more ornamental portions of Wedgwood’s dinner and dessert services in cream-colour most desirable objects for the collector. Many of the centre pieces, fruit baskets and dishes, plates, saltcellars, mustard-pots, cream and jelly cups and spoons are perfect gems of art. It is hoped, with the advance of public culture, that this beautiful coloured ware will resume its old place on our tables, and thus supersede the ugly dead white hues of modern services. Very fine specimens of full toned cream ware were made at Etruria during the first decade of the present century, and of these there are examples in both Jermyn Street and at South Kensington.” And further on the gilt, “Much of his useful ware in dinner, dessert, tea, and coffee services was finely gilt ‘a pierced and gilt service in cream-ware was perfection. His gilding was rich, well put on, and stands admirably the test of time and wear’.” (\u003ci\u003eWedgwood Handbook: A Manual for Collectors\u003c\/i\u003e, Eliza Meteyard, George Bell \u0026amp; Sons, 1875, pp 18, 225 and 398)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The Drab can sometimes confuse collectors as it was produced in two different forms: Stoneware and as glazed earthenware. Drab tableware was introduced in 1820 as a stained earthenware. The colour was closer to brown than to the olive of Drab Stoneware. The look and feel closely resembles the Creamware of the time and shared similar composition. Drab can be referred to as a type of stained Creamware, often referred to as drab Queen’s Ware. The earliest examples are closer to brown in colour, with the same delicate lightweight feel as early Creamware. Drab tableware ceased sometime in the 1860s due to a movement towards whiter tableware.” (\u003ci\u003eWedgwood Ceramics\u003c\/i\u003e, Daniel J. Keefe III, Schiffer Publishing Limited, 2005, p. 191)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“‘Drab’ is the name given to a distinctive greenish-brown ware made by Wedgwood in two different bodies: a stoneware and a stained earthenware… The stoneware was sometimes produced as a dry body, but usually with a smear-glaze, from about 1819. A beautiful saltglazed drabware has been made in Staffordshire from about 1720. Wedgwood’s early-19th century drab body was a stained version of the white stoneware body described as ‘porcelain’ and the drab body was therefore called ‘drab porcelain’ to distinguish it from the similarly stained coloured body.” (\u003ci\u003eWedgwood, The New Illustrated Dictionary\u003c\/i\u003e, Robin Reilly, Antique Collectors Club, 1995, p. 140)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324354957354,"sku":"","price":0.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_WedgwoodDrabwareService-10.jpg?v=1762731369"},{"product_id":"wedgwood-drabware-plate","title":"Wedgwood Drabware Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eRegency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first quarter 19th century, 1800–1825 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare early nineteenth century antique Wedgwood plate moulded in low relief with overlapping geranium leaves laid on a wickerwork plate in the highly coveted drabware glaze (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 19.8 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, O and cypher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O150901\/dessert-plate-josiah-wedgwood-and\/\" target=\"_blank\"\u003esimilarly modelled plate\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number 2457-1901. For a \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O1565825\/cup\/\" target=\"_blank\"\u003ecup made in a similar drabware colour\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number WE.3763-2014. For an example of a vase held at the Wedgwood Museum see Wedgwood, The New Illustrated Dictionary, Robin Reilly, Antique Collectors Club, 1995, p. 140.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The Drab can sometimes confuse collectors as it was produced in two different forms: Stoneware and as glazed earthenware. Drab tableware was introduced in 1820 as a stained earthenware. The colour was closer to brown than to the olive of Drab Stoneware. The look and feel closely resembles the Creamware of the time and shared similar composition. Drab can be referred to as a type of stained Creamware, often referred to as drab Queen’s Ware. The earliest examples are closer to brown in colour, with the same delicate lightweight feel as early Creamware. Drab tableware ceased sometime in the 1860s due to a movement towards whiter tableware.” (\u003ci\u003eWedgwood Ceramics,\u003c\/i\u003e Daniel J. Keefe III, Schiffer Publishing Limited, 2005, p. 191)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“‘Drab’ is the name given to a distinctive greenish-brown ware made by Wedgwood in two different bodies: a stoneware and a stained earthenware…The stoneware was sometimes produced as a dry body, but usually with a smear-glaze, from about 1819. A beautiful saltglazed drabware has been made in Staffordshire from about 1720. Wedgwood’s early-19th century drab body was a stained version of the white stoneware body described as ‘porcelain’ and the drab body was therefore called ‘drab porcelain’ to distinguish it from the similarly stained coloured body.” (\u003ci\u003eWedgwood, The New Illustrated Dictionary\u003c\/i\u003e, Robin Reilly, Antique Collectors Club, 1995, p. 140)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e“Drabware is a ‘coloured body’ — the ceramic has been coloured by mixing the clay with minerals or metal oxides so that it is coloured throughout, rather than only glazed with a surface colour. This category includes Wedgwood’s jasperware, black basalt, caneware, and the drabware. Josiah Wedgwood I made some experiments with drabware, but there is no evidence it was produced as a product during his lifetime. By 1812 there was a regular production of tea, coffee and breakfast sets in the body\" Read more about Wedgwood drabware at the \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O1733364\/teapot-josiah-wedgwood-and\/\" rel=\"noopener\" target=\"_blank\"\u003eV\u0026amp;A museum\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324379664426,"sku":"","price":881.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Drabware-Plate-4.jpg?v=1749703348"},{"product_id":"wedgwood-wickerwork-ribbon-pattern-green-yellow-majolica-plate","title":"Wedgwood Wickerwork \u0026 Ribbon Pattern Green \u0026 Yellow Majolica Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1862 \/ 1888 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique Wedgwood majolica plate moulded in low relief with a wickerwork pattern background and ribbon pattern edge produced in the mid to late nineteenth century. This plate returns to the best of early Wedgwood glazes, including green, yellow and tortoiseshell, that were first seen in Wedgwood’s early cauliflower and pineapple pieces of the eighteenth century. These colours again became popular during the emergence of the Aesthetic Movement which coincided with the craze for majolica among the Victorians (see The Gen). The sharply modelled pattern of the plate is reminiscent of design 44 Creamware Shapes which first appeared in Wedgwood’s 1774 Catalogue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eDIMENSIONS: Diameter 21 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD, date code S, U, and Q. September 1862 or September 1888.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is some light wear to the front of the plate and a faint hairline crack on the back approximately 5.5 cm. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a similarly modelled plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.clevelandart.org\/art\/2003.248\" target=\"_blank\"\u003etureen plate stand at The Cleveland Museum of Art\u003c\/a\u003e and \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/190478?ft=wedgwood\u0026amp;amp;offset=200\u0026amp;amp;rpp=40\u0026amp;amp;pos=236\" target=\"_blank\"\u003eoblong Wedgwood dish at the Met\u003c\/a\u003e, Accession Number 07.233.36. \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe green, yellow and brown lead-based glazes on Wedgwood’s eighteenth century moulded wares provided inspiration for majolica pieces made in the mid-nineteenth century. Moreover, the factory continued to use many of the shapes made in the eighteenth and early nineteenth centuries in its own majolica production. “Wedgwood majolica of the 1860s and 1870s had brightly glazed blue, green, yellow or brown backgrounds with carefully modelled motifs.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 73)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Wedgwood’s use of the green glaze at this time is of special importance to wares known as cauliflower and pineapple. Without the fine solid green which Wedgwood developed in the last months of the partnership, these wares could not have been made. The discovery of an equally essential yellow glaze is recorded 10th March 1760 as experiment 93: ‘A Tryal for yellow glaze,’ and experiment No. 100, probably in April of that year records: ‘Tryal for a full yellow Glaze’”. (\u003ci\u003eWedgwood\u003c\/i\u003e, Wolf Mankowitz, B.T. Batsford Ltd, 1953, p. 30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42324610416682,"sku":null,"price":746.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Wickerwork-Plate-7.jpg?v=1749694901"},{"product_id":"bristol-delftware-polychrome-dish-of-english-landscape","title":"Bristol Delftware Polychrome Dish of English Landscape","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eEarly \/ Mid Georgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first half of the 18th century, 1720–1760 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA fine antique eighteenth century English Bristol delftware polychrome dish of exceptionally high-quality artistic decoration (see The Gen). The scene is set in a whimsically enchanting English landscape of an exotic bird perched on a fence, surrounded by naturalistic flowers and fruit in measured, delicate abundance. Wonderfully English in style, with deftly subtle overlays of Chinoiserie influence including a willow tree, and a beautiful colour palette that is perfectly softened to allow the eye to wander the entire landscape. The dish is rimmed with a border of floral and latticed cartouches (see The Gen). A truly unique and beautiful piece of Bristol delftware.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 34.5 cm, height 6 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. The charger is unmarked as is often the case with Bristol delftware pieces from this period. The attribution of makers of Bristol delftware is difficult, however there were two known makers during the eighteenth century, Joseph Flower and Richard Frank (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The dish is in good original, unrestored condition, with wear commensurate with antique age and use. There are some chips and fritting to the rims, some pitting and hairline cracks typical for these types of pieces.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a similar dish see the Bristol earthernware dish at the Powerhouse Museum, \u003ca href=\"https:\/\/collection.powerhouse.com.au\/object\/188089\" rel=\"noopener\" target=\"_blank\"\u003eObject No. A6976\u003c\/a\u003e and also a \u003ca href=\"https:\/\/www.christies.com\/en\/lot\/lot-5323688\" rel=\"noopener\" target=\"_blank\"\u003edish with similarly coloured glazes at Christie's,\u003c\/a\u003e 11 June 2010, Lot 1218.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eFor examples of highly decorative landscape dishes, such as this, see \u003ci\u003eThe Longridge Collection of English Slipware and Delftware\u003c\/i\u003e, Volume 2, Leslie B. Grigsby, Jonathan Horne Publications London, 2000, Item D121 p. 153, Item D124 p. 155 and Item D125 p. 156.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003eTHE GEN\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e“Borders with elongated oval (usually floral) reserves against variously patterned, comparative narrow bands were inspired by edge motifs on Chinese export porcelain and are found on fragments excavated from Bristol and London and on dishes attributed to Liverpool. Delftware dishes with borders of this general pattern bear dates from the 1720s through the mid-1760s, with the greatest concentration being from the 1730s.” (\u003ci\u003eThe Longridge Collection of English Slipware and Delftware\u003c\/i\u003e, Volume 2,\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eLeslie B. Grigsby, Jonathan Horne Publications London, 2000, p.153)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e“The names of the first potters are not known, but in the early part of the last century the works belonged to Richard Frank, who employed, along with other workmen, a Thomas Patience, and a family of the name of Hope.” (\u003ci\u003eThe Ceramic Art of Great Britain\u003c\/i\u003e, Llewellynn Jewitt, J.S. Virtue \u0026amp; Co Limited, 1883, p. 209)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e“Joseph Flower, who, in 1775 lived at No. 2 on the Quay, and in 1777 removed to 3 Corn Street, where he put a sign-board, painted with ‘Flower, Potter’, in gold letters. Flower’s ware, says Mr Owen, is thinner and neater in make than most British Delft; the glaze good, and the colour clear and brilliant in tone — indeed, in no respect inferior to Dutch.” (\u003ci\u003eThe Ceramic Art of Great Britain\u003c\/i\u003e, Llewellynn Jewitt, J.S. Virtue \u0026amp; Co Limited, 1883, p. 201)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42853815320618,"sku":null,"price":5876.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Bristol-Delft-Dish-7.jpg?v=1749702703"},{"product_id":"dutch-delft-dish-of-vase-with-flowers","title":"Dutch Delft Dish of Vase with Flowers","description":"\u003ch5\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca first half of the 18th century, 1700–1750 | Netherlands\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique eighteenth century Dutch Delft dish, beautifully hand painted with a floral cornucopia of a vase with flowers and foliage, surrounded by a stylish floral border. Rich and vibrant cobalt blue colour on white tin glaze (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 34.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. The dish is unmarked as is often the case with Dutch Delft pieces from this period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The dish is in good original, unrestored condition, with wear commensurate with antique age and use. There are some chips and fritting to the rim and some pitting typical for this type of piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“‘Old Delft’, properly speaking, is that faience made in Holland during the seventeenth and eighteenth centuries, covered with a heavy opaque glaze of tin, which has many tiny holes in its surface. It is very friable, and chips and scales easily, as nearly all pieces of genuine old Delft will testify.” (\u003ci\u003eThe Old China Book: Including Staffordshire, Wedgwood, Lustre, and Other English Pottery and Porcelain\u003c\/i\u003e, Moore N. Hudson, Rutland, Vt.: C.E. Tuttle Co., 1974, p. 125)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe beautiful blue and white ceramics associated with Dutch Delft, have become a national symbol and icon for the Netherlands. However, although pioneered and introduced to the world by the Dutch, and especially the city of Delft, delftware’s origins traverse a rich global path of influence. An eclectic mix of factors and influences shaped what became the Dutch Delft potteries.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIt was inspired by early Italian and Spanish majolica, and especially by the intricately detailed Chinese porcelain that was being collected by the European elite from the late sixteenth century onwards. The beautiful Chinese porcelain was decorated almost exclusively in blue and white. As the saying goes, ‘imitation is the sincerest form of flattery’, and the growth and popularity of Chinese porcelain in Europe provided fertile ground for imitators. The potteries and ceramic artists from the Dutch city of Delft proved exceptional at this. Initially imitating the Chinese designs and decorations, the Dutch Delft artists would gradually expand their creative horizons to incorporate their own designs influenced by the Dutch landscape and daily life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAlthough initially intended as a cheaper alternative for the middle classes of Europe, relative to the more expensive Chinese porcelain, Dutch Delft became extraordinarily popular and renowned as decorative objects of the finest quality in Europe, finding favour even amongst the elite and nobility of Europe and the United Kingdom. Indeed, delftware was such a sensation throughout Europe and the United Kingdom during the seventeenth and eighteenth centuries, that it was also produced in the United Kingdom and Continental Europe, each with their own unique styles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857036447786,"sku":null,"price":1328.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Dutch-Delft-Dish-2.jpg?v=1749702849"},{"product_id":"wedgwood-wickerwork-ribbon-pattern-green-ware-plate","title":"Wedgwood Wickerwork \u0026 Ribbon Pattern Green Ware Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eLate Georgian Regency\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1780–1840 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique Wedgwood plate moulded in low relief with a wickerwork pattern background and a ribbon pattern edge in the highly sought green glaze. The sharply modelled pattern of the plate is reminiscent of design 44 Creamware Shapes which first appeared in Wedgwood’s 1774 Catalogue. Unusual to find an example in a full green glaze that is so highly sought after by collectors today, some 260 years since it was invented by Josiah Wedgwood (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 21 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed WEDGWOOD and Y.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is one minor hairline crack to one of the reticulated loops. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similarly modelled plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/190478?ft=wedgwood\u0026amp;amp;offset=200\u0026amp;amp;rpp=40\u0026amp;amp;pos=236\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eoblong Wedgwood dish at the Met\u003c\/a\u003e, Accession Number 07.233.36.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“When he was at Fenton, Wedgwood made efforts to improve existing wares, and an unusual clause in his partnership agreement permitted him to keep to himself any discoveries made: he was under no obligation to reveal them to his partner or anyone else. It was at this time that he perfected a clear and bright green glaze that had been known in Tudor times and subsequently neglected. His report of the successful trial respecting the colour was recorded by him in these words: ‘A Green glaze, to be laid on Common white (or cream colour) biscuit ware. Very good — March 23, 1759’.” (Wedgwood Experiment Book, Experiment 7 records the invention of the green glaze. \u003ci\u003eWedgwood\u003c\/i\u003e, Geoffrey Wills, Spring Books, Octopus Publishing Group PLC, 1988, p. 18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“It was his development in 1759 of the green glaze, afterwards called ‘Mr Wedgwood’s green,’ which probably impelled him to leave Wheildon. The significance of this discovery was far-reaching. It permitted a piece of ware to be even self-color instead of spotted or dabbed with colour applied with a cloth; a piece with this glaze could be fired in the same oven as tortoise shell and agate wares; and either alone or in combination with yellow glaze, it permitted an entirely new range of displays that would enhance and display it.” (\u003ci\u003eWedgwood\u003c\/i\u003e, Jean Gorely, M. Barrows and Company, Inc., 1950, pp 25 and 26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“We may conclude, therefore, that the green-glazed ware was among Wedgwood’s first productions after starting on his own account, and it was first produced by him on a serious scale in 1760 in Ivy House Works.” (\u003ci\u003eWedgwood\u003c\/i\u003e, Wolf Mankowitz, B.T. Batsford Ltd, 1953, p. 30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857052536874,"sku":null,"price":767.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Greenware-Plate-7.jpg?v=1749703570"},{"product_id":"majolica-wall-pocket-of-apple-branch-and-perched-bird","title":"Majolica Wall Pocket of Apple Branch and Perched Bird","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 19\u003csup\u003eth\u003c\/sup\u003e Century | Continental\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century majolica wall pocket (see The Gen). The delightful trompe l’oeil majolica wall pocket is modelled as a branch of an apple tree, naturistically styled in high relief, with a bird perched within the branch; an exceptional example of the best of Victorian majolica.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 40 cm, Width 17 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unattributed. Impressed model number 3159 and painted maker’s marks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The wall pocket is in very good condition with wear consistent with an antique age and use. There are some minor chips in three instances to the tips of the leaves. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of \u003ca href=\"https:\/\/collection.powerhouse.com.au\/object\/180598#\u0026amp;gid=1\u0026amp;pid=1\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003esimilar majolica wall pockets\u003c\/a\u003e see the Powerhouse Museum Object No. A4293.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“… Victorian interiors were often filled with fresh-cut flowers from the garden or greenhouse, giving rise to a range of majolica vessels to hold bouquets of all shapes and sizes. These included vases, urns, baskets, and bowls, as well as flat-backed wall pockets or flower brackets, which were designed to be mounted. These receptacles were typically used for fresh flowers, small ferns, or ivy, and would be integrated into the overall decoration of a room. The cultivation of flowers and plants, flower arranging, and floriography, or deciphering the language of flowers, were considered genteel pursuits, particularly for women.” (\u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 137)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857354461226,"sku":null,"price":3496.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_MajolicaWallPocket-01.jpg?v=1762680538"},{"product_id":"onnaing-majolica-pumpkin-snail-plate","title":"Onnaing Majolica Pumpkin \u0026 Snail Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA small antique nineteenth century French majolica pumpkin and snail plate made by Onnaing cheerfully decorated in naturalistic and humorous motifs of snails encircling a pumpkin patch (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 17.8 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. There is perhaps a small indecipherable mark.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is some light wear to the front of the plate and small chip to the rim. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“La Fainencerie d’Onnaing, in northern France, produced rustic faience with naturalistic motifs from 1821 to 1838. Majolica was produced from 1870 to 1900. The pieces are somewhat lighter than those from many other potteries, reflecting a different clay formula. Clays were imported from England, Germany, and Belgium, but local clays were also included.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 184)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42857372057642,"sku":null,"price":328.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Onnaing-Majolica-Plate-5.jpg?v=1749704322"},{"product_id":"wasmuel-majolica-oyster-plate","title":"Wasmuël Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003eVictorian\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003eLate 19th century | Belgium\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eA nineteenth century antique majolica oyster plate by the Belgian majolica factory La faïencerie de Wasmuël. Decoratively modelled in high relief and coloured in browns, blues and greens with six oyster shaped wells around a central well. A beautiful oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 25.5 cm.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Possible indecipherable decorator’s marks in blue glaze.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in very good condition with wear consistent with an antique age and use. There is a minor chip to the rim which has been restored and is more evident on the back of the plate.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of this oyster plate see \u003ci\u003eMarvellous Majolica: An Easy Reference and Price Guide\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Limited, 2001, p. 131.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003eTHE GEN\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e“Whilst oysters have been eaten since ancient times, the people of the Victorian age brought their serving to the highest degree of opulence. In America in the late nineteenth century, fortunes were made, people began to travel extensively. They saw oyster related items of china and silver in the grand hotels, dining cars and steamships and had to have them in their own homes. Formal dinners of five to eighteen courses were not unusual, and a rigid etiquette dictated a different service for each course, bringing oyster plates and silver serving utensils into popularity.” (\u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 16)\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42880523993130,"sku":null,"price":797.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Wasmuel-1-2.jpg?v=1749704591"},{"product_id":"victoria-pottery-company-majolica-oyster-plate","title":"Victoria Pottery Company Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1882–1889 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceedingly rare piece of antique nineteenth century majolica by the short-lived firm the Victoria Pottery Company (see The Gen). This marked example of an oyster plate with exceptional moulding and majolica glazes with six brown oyster shaped wells around a turquoise central well, all on a green seaweed and shell background. The plate is as decorative on the underside with finely mottled brown, green and turquoise glaze, just beautiful. One for the collectors!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 24 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed mark of the Victoria Pottery Company mark: VPC within a triangle shape with two swords to the left and right and an additional unknown mark of a capitalised I.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use; there is some light crazing mostly in the centre well and an old slight chip to a conch shell. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similar plate see the \u003ca rel=\"noopener\" href=\"https:\/\/www.majolicasociety.com\/victoria-pottery\/\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eMajolica International Society\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Victoria Pottery Company was established by partners James Robinson, Edward James Leadbeater \u0026amp; Robert Leason in Stoke-on-Trent in 1882. The following year Robert Leason left the business and notice of the departure was published in the \u003ci\u003eLondon Gazette\u003c\/i\u003e on 6 November 1883. Robinson and Leadbeater continued the business for a further six years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn \u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900\u003c\/i\u003e Jewitt states “The works of this company, in Lonsdale Street, were established in 1882 by Messrs. Robinson, Leadbeater \u0026amp; Leason for the manufacture of the higher classes of majolica and ivory or cream-coloured earthenware. In these, they produced all the usual varieties of useful and ornamental goods; the dessert services, game-pie dishes and other articles were of more than average excellence. The firm was of a very short duration.” (\u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900, \u003c\/i\u003eGeoffrey A. Godden, Arco Publishing Company, 1972, p. 136)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42938701414442,"sku":null,"price":2429.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Victoria-Pottery-Company-1.jpg?v=1752124129"},{"product_id":"sarreguemines-majolica-seaweed-and-shell-oyster-plate","title":"Sarreguemines Majolica Seaweed and Shell Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1920 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA highly coveted and collected antique French majolica oyster plate by Sarreguemines (see The Gen). Beautifully modelled and coloured in light blush brown, blues and greens with six oyster shaped wells around a central well. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Marked Sarreguemines France, impressed 2209 BG.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is some crazing which is expected for a plate of this age. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eMajolica: American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 12 and \u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 42.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA small pottery was established in Sarreguemines in 1778. “In the early 1860s Sarreguemines added majolica to its production. Sarreguemines majolica was brilliantly glazed and spectacular.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 180)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Majolica wares also offer us today a glimpse into the fascinations, humors, and culinary delights of the Victorian era. The increasingly varied Victorian diet is well represented in majolica dish forms. The passion for oysters, for example, more readily available at the market place with improvements in transportation technology, is evident in majolica oyster plates fashioned as replicas of the food itself. For a Victorian diner eating from majolica, if the food was unidentifiable, the dish could reveal in no uncertain terms what was set upon it.” (\u003ci\u003eMajolica: American and European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 8)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42938762919978,"sku":null,"price":481.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Sarraguemines-6.jpg?v=1752125579"},{"product_id":"luneville-keller-and-guerin-majolica-oyster-plate","title":"Luneville Keller and Guerin Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and highly covetable antique nineteenth century French majolica oyster plate made at Luneville by Keller and Guerin. Coloured in beautiful naturalistic greens (see The Gen) with six green oyster shaped wells, and a seaweed and rope edge. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 43.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cstrong\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Jacques Chambrette established the first faience pottery factory in the town of Luneville, France, in 1728. The artistry and quality of ware produced at the Luneville plant was high from the start, and the company’s ware was much sought after by the local elite. The staffs’ efforts were rewarded in 1748 by the Duke of Lorraine, who granted the Luneville plant the patent title ‘Manufacture Royale de Faience’. The firm of Keller and Guerin (c. 1790–1892) produced a small amount of majolica at the historic Luneville works. The majolica used brilliant colors, heavy in blues and greens.” (\u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 131)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A formal evening meal often began with a soup course or with oysters on the half shell, which were served on specially designed plates. A wide range of wares was manufactured to present this ubiquitous shellfish at the table, from ceramic representations of wooden oyster barrels to stands for open shells. Most majolica oyster plates feature between five and seven wells for the oysters and a central well for sauce or a lemon.” (\u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 114)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42939339800618,"sku":null,"price":989.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-Luneville-6.jpg?v=1752129739"},{"product_id":"victoria-pottery-company-majolica-strawberry-basket","title":"Victoria Pottery Company Majolica Strawberry Basket","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1882–1889 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceedingly rare piece of antique nineteenth century majolica by the short-lived firm the Victoria Pottery Company (see The Gen). This basket is a fine example of the work from this firm. It is beautifully moulded and glazed and the decoration leans heavily towards the examples seen in George Jones strawberry pieces. A brown basketweave basket is heavily decorated with strawberry blossoms and leaves all the way round meeting in the centre of each handle with a bunch of just blushingly ripe strawberries (see The Gen). One for the collectors!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 32 cm, Height 14.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Marked with an X.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The basket is in very good condition with wear consistent with antique age and use. There is crazing mostly in the inner centre turquoise glaze. There has been professional restoration to some leaves in the centre just below the handles and there are some slight chips to these leaves, perhaps also restoration to the handle but this is difficult to discern. There is also some staining to the base. Otherwise, it is in remarkable condition for its age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of a similarly styled strawberry basket by Victoria Pottery Company see the very interesting article on the pottery at \u003ca href=\"https:\/\/etruscanmajolica.blogspot.com\/2016\/11\/the-elusive-majolica-of-victoria-pottery.html\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eGlazed and Confused.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe Victoria Pottery Company was established by partners James Robinson, Edward James Leadbeater \u0026amp; Robert Leason in Stoke-on-Trent in 1882. The following year Robert Leason left the business and notice of the departure was published in the \u003ci\u003eLondon Gazette\u003c\/i\u003e on 6 November 1883. Robinson and Leadbeater continued the business for a further six years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn \u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900\u003c\/i\u003e Jewitt states “The works of this company, in Lonsdale Street, were established in 1882 by Messrs. Robinson, Leadbeater \u0026amp; Leason for the manufacture of the higher classes of majolica and ivory or cream-coloured earthenware. In these, they produced all the usual varieties of useful and ornamental goods; the dessert services, game-pie dishes and other articles were of more than average excellence. The firm was of a very short duration.” (\u003ci\u003eJewitt’s Ceramic Art of Britain 1800–1900, \u003c\/i\u003eGeoffrey A. Godden, Arco Publishing Company, 1972, p. 136)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Strawberries! The hothouse trend created a secondary craze for strawberries — home grown, with any luck. Tableware created specifically for serving the fruit was manufactured in many elegant styles, generally decorated with painted or molded strawberry plants.” (\u003ci\u003eMajolica: American \u0026amp; European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Company, 1994, p. 20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42939480637482,"sku":null,"price":3793.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Victoria-Pottery-Company-1.jpg?v=1752221612"},{"product_id":"wedgwood-argenta-majolica-gipsy-strawberry-set","title":"Wedgwood Argenta Majolica ‘Gipsy’ Strawberry Set","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1878–81 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and charming nineteenth century antique Wedgwood Argenta majolica (see The Gen) dessert service with a large oval dish, creamer, sugar and 12 individual plates. A whimsically decorated service illustrated in the Josiah Wedgwood \u0026amp; Sons pattern book and called the Gipsy Strawberry Set. It was said to evoke fashionable straw hats with ribbons and flowers and was reminiscent of the hats worn by girls drawn by Kate Greenaway, a popular nineteenth century illustrator; hence it is sometimes referred to as the Kate Greenaway pattern.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS: Largest oval dish is approximately 33 cm in length and the smaller serving plates are 18 cm\u003c\/span\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood, registration diamond and a range of impressed letters including SYH, R \u0026amp; M amongst others and painted marks Pattern Number 2821 17. The set is marked with pattern number 2821 and in the Wedgwood Majolica Pattern Book it is called the Gipsy Strawberry Set, Argenta.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The set is in very good condition with wear consistent with antique age and use and some crazing and discoloration throughout. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of this set and the illustrated entry from Josiah Wedgwood \u0026amp; Sons Pattern book ca. 1879 see \u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 122.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Argenta ware, first made in 1878, was the last important majolica Wedgwood designed. In contrast to the vibrant color of earlier Victorian majolica, Argenta patterns were displayed on white or pale backgrounds. The backgrounds of some Argenta patterns were also glazed in rich majolica colors such as turquoise or, rarely, cobalt. Just as Thomas Whieldon and Josiah Wedgwood felt that their market, surfeited with tortoiseshell and agate ware, was ready for the brilliant clarity of the green-glazed earthenware, in 1878 the Wedgwood firm again anticipated new directions. Charles Backhoffner, Wedgwood’s London manager, reported that at the Paris exhibition of 1878 little majolica was displayed in the English and French sections. He advised Wedgwood to change its decorative style in color, shape, and design; to modernize and modify to gain a new market. Perhaps this change was also brought about in part by the recent retirement and death in 1876 of Emile Lessore, a much more classical artist. The result was a new style of decoration — incorporating flowers, animals, birds, and oriental and marine motifs — that was in keeping with the Aesthetic Movement.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA graceful, whimsical example of Argenta ware is the Kate Greenaway pattern (1881), characterized by backgrounds simulating the plaited straw of the storybook illustrator’s famous hat.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 81 and 82)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42943247056938,"sku":null,"price":2354.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Dessert-Service-01.jpg?v=1752215442"},{"product_id":"wedgwood-majolica-heron-plate","title":"Wedgwood Majolica Heron Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca August 1871 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA nineteenth century antique Wedgwood heron majolica plate with a pierced rim simulating basketweave, designed by one of the most significant potters of the nineteenth century Joseph Theodore Deck (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 23 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood AWZ.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use and some light crazing. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eMajolica Pottery\u003c\/i\u003e, Mariann Katz-Marks, Collectors Books, 1989, p. 57.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Joseph Theodore Deck (1823–1891), an important Wedgwood designer and modeler, worked at Etruria from the late 1860s to the 1870s. He was responsible for the series of dessert plates with reticulated borders surrounding low-relief designs of birds in natural settings (c. 1870) … an artist-potter born in Alsace, he had worked as a designer and modeler at Wedgwood from the late 1860s into the 1870s. In France in the 1870s he experimented with various glaze techniques and produced tin-enamelled faience. At the 1878 Paris exhibition he was one of three French exhibitors to win a gold medal for art pottery.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, pp 85, 188)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42948074045482,"sku":null,"price":936.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Wedgwood-Theodore-Deck-Plate-6.jpg?v=1752377826"},{"product_id":"majolica-oyster-plate","title":"Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1880–1890 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA rare and exceptional antique nineteenth century French majolica oyster plate. Beautifully modelled and coloured in naturalistic browns, sea blues and yellow with six oyster shaped wells and a central lemon sauce well. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.3 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed 693 and marked N. Unknown maker.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 131.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Majolica ware offer us today a glimpse into the fascinations, humors, and culinary delights of the Victorian era. The increasingly varied Victorian diet is well represented in majolica dish forms. The passion for oysters, for example, more readily available at the market place with improvements in transportation technology, is evident in majolica oyster plates fashioned as replicas of the food itself. For a Victorian diner eating from majolica, if the food was unidentifiable, the dish could reveal in no uncertain terms what was set upon it.” (\u003ci\u003eMajolica: American and European Wares\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing Co, 1994, p. 8)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42948094885930,"sku":null,"price":782.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Majolica-Oyster-Plate-7.jpg?v=1752380130"},{"product_id":"george-jones-majolica-rooster-teapot","title":"George Jones Majolica Rooster Teapot","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(184, 47, 47);\"\u003e| PRICE ON APPLICATION |\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1875 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptionally rare piece of George Jones majolica (see The Gen) in the form of a white rooster teapot. Occasionally these teapots are found in a brown glaze but very rarely white. The teapot is an exemplary example of the best of George Jones majolica.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eThe rooster is in an animated pose, crouching and crowing with a wide-open beak which forms the spout. The cox comb and wattle are picked out in red and there is great detailing in the modelling of the feathers. In true whimsy, that George Jones majolica is renowned for, the upswept tail feathers form the handle and finally it sits on an oval base in signature mottled green and brown glazes (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Width 29 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. Not all pieces of George Jones were marked. “The company marks and the British registry mark were on the undersurface of some, but not all, Jones pieces.” \u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 101. There is a BADA authentication sticker on the base.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The teapot is in excellent condition, wear consistent with an antique age and use. There is no evident restoration. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For an example of this \u003ca href=\"https:\/\/www.christies.com\/en\/lot\/lot-3993646\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eextremely rare teapot in white glaze\u003c\/a\u003e see Christie’s, 29 October 2002, Lot 197. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eBook references for examples of the still rare, but more readily found, teapot in a brown colourway can be found in \u003ci\u003eMajolica: British, Continental and America Wares, 1851–191\u003c\/i\u003e5, Victoria Bergensen, Barrie \u0026amp; Jenkins Ltd, 1989, p. 77; and \u003ci\u003eMajolica\u003c\/i\u003e, Nicholas M. Dawes, Crown Publishers, 1990, p. 121; and \u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 93.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGeorge Jones was known as an exceptional maker of quality majolica wares in the league of Minton and Wedgwood. However, what set him apart from the other potters was that he almost exclusively produced majolica wares with over 70 percent of his production in 1875 being ‘true majolica’. His talent was such that he exhibited at all the International Expositions held in the 19th Century including Paris (1867), London (1871), Vienna (1873) and Sydney (1876). George Jones was born in 1824 and died in 1893. He was apprenticed to Minton’s in the early 1850s. He established his own firm in 1861 and it ran until 1951, almost 90 years. George Jones was inspired perhaps by his son Horace, who studied at the South Kensington Art School, to be more creative in his designs and Horace worked as a designer and modeller from the mid 1870s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The versatility of George Jones’s designers is evident in the many whimsical models produced in majolica, which represent an inspired Victorian culture, unaffected at the conception stage by traditional or imposed guidelines upon design. These include the models that evoke a pun, the source of great amusement for Victorians ‘at home,’ notably the delightful ‘Punch’ bowl. Along with whimsy, George Jones’s majolica excels in the depiction of naturalistic motifs, especially common British birds, which have perhaps never found more sympathetic treatment in the history of decorative earthenware.” (\u003ci\u003eMajolica\u003c\/i\u003e, Nicholas M. Dawes, Crown Publishers, 1990, p. 115)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"mso-layout-grid-align: none; text-autospace: none;\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42952432648234,"sku":null,"price":0.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen_TheCeramicsDresser_GeorgeJonesMajolicaTeapot-5.jpg?v=1762680898"},{"product_id":"ilmenau-thuringian-porcelain-asparagus-box-cover","title":"Ilmenau Thuringian Porcelain Asparagus Box \u0026 Cover","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eLate Georgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1792–1800 | Germany\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique eighteenth century porcelain asparagus box and cover. Beautifully and naturalistically modelled as a bundle of colourful asparagus tied with a blue ribbon. A wonderful representation of the magnificent fascination and creativity that embodied trompe-l'oeil ceramics in the eighteenth century (see The Gen). Delightfully coloured in hues of purple\/pink, green, cream and blue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn contrast to many similar pieces of this type from the period, the maker can be identified due to the mark under the cover. The asparagus box and cover were made between 1792–1800 by Friedrich Christian Nonne at Ilmenau (see The Gen). The years from 1792 to 1808 when Nonne leased the factory have been described as the most successful period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 16 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS: \u003c\/span\u003eUnder the cover, marked with script ‘i’ in underglaze blue. This mark was used between 1792 and around 1800, introduced by Fredrich Christian Nonne as the first mark for this factory. For a reference to the mark see \u003ci\u003eThe Concise Encyclopedia of Continental Pottery and Porcelain\u003c\/i\u003e, Reginald G. Haggar, Hawthorn Books Inc., 1960, p. 233.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION: \u003c\/span\u003eThe box is in very good condition with wear consistent with an antique age and use. There are a couple of firing cracks from manufacture inside the box. Some minor enamel loss where the lid has rubbed but this is not evident when the box is closed. There is a reglue to the bow on top of the lid and a chip to the lid as is often found on these items.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of \u003ca rel=\"noopener\" href=\"https:\/\/www.sothebys.com\/en\/auctions\/ecatalogue\/2006\/property-from-the-collections-of-hanns-and-elisabeth-weinberg-and-the-antique-company-of-new-york-n08277\/lot.642.html\" target=\"_blank\"\u003esimilar asparagus box\u003c\/a\u003e see Sotheby’s, 10 November 2006, Lot 642.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTrompe l’oeil, which from French to English literally translates as to ‘fool the eye’, became the inspiration for the most wondrous genre of pottery in the eighteenth century, that of Trompe l’oeil ceramics. The ‘Age of Enlightenment’ during the seventeenth and eighteenth centuries saw exchange of goods and ideas, and the exploration of the world on a scale never seen before. It was a period of wonderful discovery, with new animal and botanical discoveries, and an array of worldly exotic goods finding their way to Britain and the European continent for the first time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eFor the British and European elite of the eighteenth century, dinner parties were an extravagant event. A theatrical performance intended to thoroughly delight, and especially, impress, their chosen guests. The worldly delights new discoveries had brought home provided one element of dinner party entertainment; the other talking point was provided by the fantastical Trompe l’oeil dinner ware. The naturalistic detail and fantastical nature of these objects, especially by candlelight, was intended to spark conversation, humour and wonder at the dinner table. Guests would handle and enjoy the amazing detail and craftsmanship of tureens modelled as a chicken, rabbit, or exotic bird, a box modelled as asparagus, or a sugar bowl disguised as a watermelon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eOne can only imagine just how wondrous these dinner parties must have been those several hundred years ago, for even today, handling and enjoying a piece of Trompe l’oeil ceramic is a truly captivating experience. Perhaps the final word should go to Mrs Carter writing to her friend Miss Talbot on December 20, 1765: “I have been busy contriving a dinner for a dozen people, which is always a very serious consideration for me … Most folks consider first, I suppose, how dinner will eat; but my first and last thought is, how it will look.” (\u003ci\u003eA Series of Letters Between Mrs Elizabeth Carter and Miss Catherine Talbot From the Year 1741 to 177\u003c\/i\u003e0, In Four Volumes. Vol. III, F.C. and J. Rivington, 1800, p. 132)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Ilmenau, Thuringia, Germany. Christian Zacharias Grabner founded a hard paste porcelain factory in 1777 after obtaining a concession from Duke Karl August of Weimar but it did not flourish and, in 1782 the Duke took over. Gotthelf Greiner took the factory lease for six years in 1786 and cleared the factory debt, but did not continue after the lease expired. Christian Nonne took it over in 1792 and, in 1808 bought it outright.” (\u003ci\u003eThe Concise Encyclopedia of Continental Pottery and Porcelain\u003c\/i\u003e, Reginald G. Haggar, Hawthorn Books Inc., 1960, p. 230)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A significant part of French majolica manufactories in eastern France, consisted of trompe l’oeil asparagus plates and serving cradles. The reason for this may be the German fondness for asparagus; Germans are the world’s leading consumers of the delicacy.” (\u003ci\u003eMajolica: A Complete History and Illustrated Survey\u003c\/i\u003e, Marilyn G. Karmason with Joan B. Stacke, Harry N. Abrams Inc., 1989, p. 180)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963307102250,"sku":null,"price":2896.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-IlmenauThuringianPorcelainAsparagusBox-2.jpg?v=1752892116"},{"product_id":"prattware-bacchus-pan-jug","title":"Prattware Bacchus \u0026 Pan Jug","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eLate Georgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1790–1800 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA superb example of an antique eighteenth century late Georgian relief moulded Prattware jug depicting Bacchus and Pan (see The Gen), with a dolphin head spout and chained monkey handle. Bacchus is wearing a brown panther robe and grapevine garland on his head and is seated on his beloved wine barrel covered in grapes and fruit whilst grasping the tail of the dolphin and on his opposite shoulder stands a monkey. On the reverse we find the figure of Pan, holding his goblet and shepherd’s pipe with forest owl by his side. Both Bacchus and Pan have overindulged in wine as depicted in the ruddy glow of their cheeks! The enamel colours on this jug are vivid and truly exceptional with well-chosen hints of almost rosy wine red!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Height to rim of jug 29 cm, maximum height 32 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked. There are remnants of a BADA sticker.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The jug is in good original condition with wear commensurate with antique age and use. There are some losses and flaking to the green enamel which may be a later addition. There are firing cracks inside the jug and chips to the base.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O149613\/jug-unknown\/\" target=\"_blank\"\u003eexample of a similar jug\u003c\/a\u003e see Victoria \u0026amp; Albert Museum, Accession Number C.32-1930.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Bacchus (Dionysus), the god of wine, was the son of Jupiter and Semele, daughter of Cadmus of Thebes. He was especially the god of animal life and vegetation. He represented not only the intoxicating power of wine but its social and beneficent influences, and was looked upon as a promoter of civilization, a law-giver and lover of peace. His forehead was crowned with leaves of ivy. He rode upon a tiger, the panther, or the lynx, or was drawn by them in a car. His worshipers were called Bacchanals or Bacchantes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003ePan, the son of Mercury and a wood-nymph or Dryad. He was the god of woods and fields, of flocks and shepherds. He dwelt in caves, wandered mountains and in valleys, amused himself with the chase, led dances of the Dryads, and made love to them. But his suit was frequently of no avail, for though good-natured he was not prepossessing: his hoofs and horns did not enhance his comeliness. He was fond of music and was himself the inventor of the syrinx, or shepherd’s pipe, which he played in a masterly manner. Like other gods who dwelt in forests, he was dreaded by those whose occupations caused them to pass through woods by night; for gloom and loneliness oppress and appal the mind.\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eHence sudden unreasonable fright was ascribed to Pan and called a Panic terror.” (\u003ci\u003eThe Classical Myths in English Literature and Art\u003c\/i\u003e, Charles Mills Gayley, Gin and Company, 1911, pp 44 and 45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963329876010,"sku":null,"price":1089.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-PrattwareBacchus_PanJug-3.jpg?v=1752893352"},{"product_id":"exceptionally-rare-near-pair-of-melbourne-pottery-derbyshire-creamware-plates","title":"Near Pair of Melbourne Pottery (Derbyshire) Creamware Plates","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGeorgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1760–1770 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA near pair of exceptionally rare antique Georgian eighteenth century creamware dessert plates from the short-lived Melbourne Pottery (see The Gen). The plates have a circular shape and a scalloped and fluted rim with alternate flutes pierced with a regular openwork pattern. The plates are a deep cream colour, enamelled in green monochrome and outlined in black with a floral spray in the centre and scattered floral sprays around the rim. The design of each plate is unique in the placement and painting of the floral sprays due to their hand painted nature.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 19.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unmarked.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plates are in very good condition with wear consistent with an antique age and use. There is some slight staining and minor marks to each and one has some faint hairlines visible on the reverse. The transfer and enamelling are clear and complete, as is the very fine openwork pattern on the rims. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a similar plate see Ceramics of Derbyshire 1750–1975: An Illustrated Guide, H.G. Bradley, Gilbert Bradley, 1978, p. 268, also an impressive tureen and plate pictured on the back cover of Creamware, Donald Towner, Faber and Faber, 1978, a \u003ca rel=\"noopener\" href=\"https:\/\/www.bonhams.com\/auction\/20953\/lot\/148\/various-items-of-enamelled-creamware-of-melbourne-type-circa-1770-80\/\" target=\"_blank\"\u003egroup lot of 'Melbourne type' creamware\u003c\/a\u003e at Bonhams, and also a plate at \u003ca rel=\"noopener\" href=\"https:\/\/collections.vam.ac.uk\/item\/O278894\/plate-plate\/\" target=\"_blank\"\u003eVictoria \u0026amp; Albert Museum, Accession Number 957-1868.\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“During recent years the discovery of a large quantity of creamware shards near Melbourne, a small Derbyshire town close to the Leicestershire border, has established that the wares produced there were of superior quality and the pottery was one of considerable importance though probably not large.” (\u003ci\u003eCreamware\u003c\/i\u003e, Donald Towner, Faber and Faber, 1978, p. 105)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Of even more recent date is our knowledge of Melbourne Pottery. Situated some eight miles south of Derby, its site was discovered accidentally and a large number of creamware and other shards were found, which formed the basis for establishing its wares in general. The Melbourne Pottery seems to have been started about 1760, and as far as creamware is concerned, come to an end about 1780. Melbourne creamware is usually distinctive in design and high quality.” (\u003ci\u003eCeramics of Derbyshire 1750–1975: An Illustrated Guide\u003c\/i\u003e, H.G. Bradley, Gilbert Bradley, 1978, p. 240)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963351437354,"sku":null,"price":3215.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-MelbournePottery_Derbyshire_CreamwarePlates-6.jpg?v=1768116935"},{"product_id":"rouen-faience-two-handled-tureen-and-cover","title":"Rouen Faience Two-Handled Tureen and Cover","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca second half of the 18th century, 1750–1760 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique eighteenth century Rouen faience oblong form tureen with polychrome decoration of flowers, leaves and insects, including a large butterfly, on base white glaze with a bluish or greenish tint. The domed lid is highly decorated with asymmetrical ‘a la corne’ decoration (see The Gen) and the tureen is topped by a green artichoke vegetable-form finial. The base is decorated with flowers and insects as are the handles. The polychrome decoration includes blue, yellow, green, iron red and purple-brown glazes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e An N mark is painted in green on the underside of the base. Unknown maker.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Length 29 cm, Width 21 cm, and Height to top of finial 15 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e Very good condition, wear consistent with an antique age and use. Some slight rubbing to the lid and base and kiln pitting to the reverse of the lid and base. No evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For examples of similar ‘a la corne’ decoration to the tureen \u003ca href=\"https:\/\/www.britishmuseum.org\/collection\/object\/H_1975-0402-1\" rel=\"noopener\" target=\"_blank\"\u003esee the dish at The British Museum\u003c\/a\u003e, Registration Number 1975,0402.1 and also see the \u003ca href=\"https:\/\/collections.vam.ac.uk\/item\/O341947\/dish-rouen-pottery-factory\/%20\" rel=\"noopener\" target=\"_blank\"\u003eplate at the Victoria \u0026amp; Albert Museum\u003c\/a\u003e, Accession Number C.799-1925. For an example of a similar tureen see A History and Description of The Old French Faience, M.L. Solon, Cassell and Company Limited, 1903, p. 87.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The ‘décor a la corne’ or cornucopia theme of decoration (here a double cornucopia) is one of the most popular of those used at Rouen. From the horn of plenty with its curling tip issue brown branches covered with red and blue carnations, still faintly reminiscent of the East. A frieze of small arches emphasise the molded rim.” (\u003ci\u003eWorld of Ceramics: An Illustrated History\u003c\/i\u003e, Robert J. Charleston (ed.), Hamlyn Publishing Group, 1990, p. 186)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963416121386,"sku":null,"price":2111.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-RouenFaienceTwo-HandledTureenandCover-3.jpg?v=1752896417"},{"product_id":"wedgwood-majolica-strawberry-dessert-plates","title":"Wedgwood Majolica Strawberry Dessert Plates","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1934 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn exceptional set of six Wedgwood majolica vine leaf and strawberry pattern plates in extraordinary condition for their age. Exhibiting the whimsy of all the best majolica these plates are moulded with blossoming strawberries, grapes and leaves on a yellow ground with brown vine rims. These are some of last of the fine majolica made by the great maker (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 22.5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Impressed Wedgwood, Made in England, 9U34, E.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plates are in excellent condition with wear consistent with an antique age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e: \u003c\/span\u003eFor an example of similar plate see \u003ci\u003eVictorian Majolica\u003c\/i\u003e, Leslie Bockol, Schiffer Publishing Limited, 1996, p. 126.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Unfortunately, the Pattern Books end in 1888, so although we know that Wedgwood majolica continued until 1910, we know relatively little about the wares. A great number of salads were made, and they continued their emphasis on garden and observatory-related items, as did most manufacturers of the period. The story did not end there, however, for as late as 1947 a Wedgwood Catalogue offered ‘Coloured Vine and Strawberry’ plates.” (\u003ci\u003eMajolica: British, Continental and America Wares, 1851–1915\u003c\/i\u003e, Victoria Bergensen, Barrie \u0026amp; Jenkins Ltd, 1989, p. 52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963465895978,"sku":null,"price":1922.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-WedgwoodMajolicaYellowVine_StrawberryDessertService-1.jpg?v=1752897618"},{"product_id":"set-of-majolica-heron-plates","title":"Set of Majolica Heron Plates","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1900 | Unknown\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA set of eight antique late nineteenth century majolica plates decorated with a heron and its chick set amongst reeds. The heron was a popular motif inspired by the nineteenth century craze for Japonisme and all the great majolica makers made many different items celebrating the heron; this unknown maker was as inspired to celebrate nature in the form of these plates (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 19 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Unattributed. Impressed number 120.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plates are in overall very good condition with wear consistent with an antique age and use.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a heron plate by Wedgwood see \u003ci\u003eMajolica Pottery\u003c\/i\u003e, Mariann Katz-Marks, Collectors Books, 1989, p. 57.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“Some majolica objects for the home were more decorative than functional. By the 1870s, for example, the fashion for all things Japanese pervaded interior design, and near-life-size majolica depictions of birds, such as herons, cranes, storks, and peacocks rendered in a style similar to Japanese bronzes of the period, were thought to epitomize the ideal of beauty. Minton and Holdcroft, among other firms, created them to adorn entrance halls and conservatories. Bold and colorful, they also appealed to the nineteenth-century taste and enthusiasm for objects inspired by nature.” (\u003ci\u003eMajolica Mania: Transatlantic Pottery in England and the United States\u003c\/i\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre and Yale University Press, 2021, p. 137)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963788333098,"sku":null,"price":1273.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-MajolicaHeronPlates-2.jpg?v=1752910066"},{"product_id":"wedgwood-majolica-fish-head-plate","title":"Wedgwood Majolica Fish Head Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eVictorian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1872 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique nineteenth century majolica fish head oyster or escargot plate by Wedgwood (see The Gen). A truly beautiful small plate glazed in Wedgwood’s exceptional majolica glazes with six unusual and fanciful fish head shaped wells around a central well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 18 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Impressed Wedgwood IAA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with antique age and use and some light crazing. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES: For examples of similar plates in this pattern from Wedgwood see \u003ca href=\"https:\/\/etruscanmajolica.blogspot.com\/2010\/08\/majolica-spotlight-wedgwood-oyster.html\" rel=\"noopener\" style=\"color: rgb(17, 17, 17);\" target=\"_blank\"\u003eGlazed \u0026amp; Confused\u003c\/a\u003e blog. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The company entered the majolica market in 1862. Wedgwood had struggled with a financial downturn in the 1850s which had made Francis Wedgwood resistant to exploring new ideas and developing new patterns or wares during that decade. However, with the introduction of his three sons into the firm in the 1860s, that attitude changed. His oldest son, Godfrey, is credited with the introduction of majolica, along with other new and innovative designs, into the Wedgwood production line.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eIn 1877, Llewellynn Jewett wrote on Wedgwood, ‘The aim of the firm is, always has been, to produce the best, most artistic, and most pleasingingly effective designs, and to adapt them to ordinary purposes, so that they may become the everyday surroundings of the artisan as well as the educated man of taste.’” (\u003ci\u003eCollecting Oyster Plates\u003c\/i\u003e, Jeffrey B. Snyder, Schiffer Publishing, 2002, p. 34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963825721386,"sku":null,"price":896.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Wedgwood-Oyster-Plate-6.jpg?v=1752911158"},{"product_id":"gien-majolica-oyster-plate","title":"Gien Majolica Oyster Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1941–1960 | France\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eA majolica oyster plate by Gien (see The Gen). Beautifully coloured in turquoise glaze with six oyster shaped wells around a central well. An oyster plate as popular today as it was when it was first made (see The Gen).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e Diameter 24 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS\u003c\/span\u003e: Marked Gien France.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e The plate is in excellent condition with wear consistent with vintage age and use. There is no evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eREFERENCES\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003e:\u003c\/span\u003e For an example of a similar plate see \u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 36.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“The Gien Faience Factory (La Faiencerie de Gien) was established in 1821, producing faience and porcelain wares. The firm began manufacturing majolica in 1864. By 1866 the firm employed over a thousand individuals and could produce roughly 50,000 plates a day.” (\u003ci\u003eOyster Plates\u003c\/i\u003e, Vivian \u0026amp; Jim Karsnitz, Schiffer Publishing Limited, 1993, p. 36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“A formal evening meal often began with a soup course or with oysters on the half shell, which were served on specially designed plates. A wide range of wares was manufactured to present this ubiquitous shellfish at the table, from ceramic representations of wooden oyster barrels to stands for open shells. Most majolica oyster plates feature between five and seven wells for the oysters and a central well for sauce or a lemon.” (\u003ci\u003eMajolica: Transatlantic Pottery in England and the United States, 1850–1915\u003c\/i\u003e, Susan Webber (ed.), Bard Centre, 2020, p. 114)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963848331306,"sku":null,"price":262.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Gien-Majolica-Oyster-Plate-4.jpg?v=1752911934"},{"product_id":"chelsea-porcelain-botanical-dessert-plate","title":"Chelsea Porcelain Botanical Dessert Plate","description":"\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(184, 47, 47);\"\u003e| PRICE ON APPLICATION |\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eGeorgian\u003c\/span\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cbr\u003e\u003c\/h5\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eCirca 1755 | England\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eAn antique eighteenth century Chelsea porcelain botanical dessert plate boldly painted in the distinctive style of these exceptional and rare early plates. In this example we find cucumbers, asparagus, cherries and strawberries beautifully painted with a simple brown line border which runs around the edge of the plate. Arguably Chelsea porcelain botanical plates are some of the most attractive and desirable pieces of early English porcelain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eSIGNATURES, MARKINGS \u0026amp; INSCRIPTIONS:\u003c\/span\u003e Painted small brown anchor mark (see The Gen), ground foot rim, stilt marks, and BADA sticker. When viewed against the light the plate shows the characteristic ‘moons’ found in Chelsea porcelain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eDIMENSIONS:\u003c\/span\u003e\u003cstrong\u003e \u003c\/strong\u003eDiameter 21.2 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cspan style=\"mso-fareast-font-family: 'Times New Roman'; mso-fareast-theme-font: major-fareast;\"\u003eCONDITION:\u003c\/span\u003e Excellent condition, wear consistent with an antique age and use. No evident restoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eREFERENCES: For an example of a similar plate see The Illustrated Guide to British Porcelain, Geoffrey A. Godden, Barrie \u0026amp; Jenkins, 1980, p. 128 and \u003ca rel=\"noopener\" href=\"https:\/\/www.sothebys.com\/en\/auctions\/ecatalogue\/2005\/important-english-furniture-ceramics-and-decorations-n08119\/lot.345.html\" target=\"_blank\"\u003eSotheby’s, October 2005, Lot 345\u003c\/a\u003e. \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e\n\u003ch5 class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003eTHE GEN\u003c\/span\u003e\u003c\/h5\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e“While there is no separate ‘brown-anchor’ period, it must be stated that the anchor device quite often appears painted in this colour on wares of the so-called red anchor period and even into the 1760s. This was probably nothing more than a matter of convenience, as the brush (termed a ‘pencil’ in the ceramic industry) was ready charged with this pigment, the liner having painted the border in this colour as the last decorating operation. It will be observed that the brown anchor normally only appears on flat-wares having the brown line-edge.” (\u003ci\u003eThe Illustrated Guide to British Porcelain\u003c\/i\u003e, Geoffrey A. Godden, Barrie \u0026amp; Jenkins, 1980, p. 119)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"color: rgb(17, 17, 17);\"\u003e\u003cmeta charset=\"utf-8\"\u003e~~~~~~~~~~~\u003c\/span\u003e\u003c\/p\u003e","brand":"Georgegen","offers":[{"title":"Default Title","offer_id":42963997163562,"sku":null,"price":0.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0613\/8478\/5962\/files\/Georgegen-Ceramics-Dresser-Chelsea-Botantical-Plate-6.jpg?v=1752913498"}],"url":"https:\/\/www.georgegen.com.au\/collections\/all-ceramics.oembed","provider":"Georgegen","version":"1.0","type":"link"}