{"title":"18th CENTURY CERAMICS","description":"\u003cp\u003eThe Ceramics Dresser includes superb pieces of antique eighteenth century ceramics, delftware and creamware from some of the best English makers including Chelsea, Derby and Wedgwood.\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":"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":"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":"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\/the-ceramics-dresser-18th-century.oembed","provider":"Georgegen","version":"1.0","type":"link"}