Decorative Ceramics and Plates

An array of intricately designed ceramic plates depicting mythological scenes, vibrant colors, and elaborate motifs reflecting European craftsmanship.

For a long time; Deruta (ceramic family; Ca 1500-); 1 PO. 16th century (1501-00-00-1550-00-00);

BOL DE TALAVERA, Siglo XVII, MUSEU DE LA CERÁMICA, BARCELONA.

. Dish of porcelain, painted on the glaze in blue, red, pink, green, yellow, black and gold. On the front an allegorical representation of the fire element with different gods under whom Jupiter, Vulcanus, Venus and a number of Amors in a landscape at a building; Venus is in a car on a cloud. The show is based on a print by Antoine Herisset (1685-1769) to a painting by Francesco Albani (1578-1669). The performance is from a series of four, the other elements are water, air and earth. On the underside an old label with 'to Painting by Francesco Albani. British Museum '. A crack in the wall. European performance in email colors.

Francesco Xanto Avelli (v.1487-1542). "Plate: Leda and the swan, Italian Majolique d'Urbino around 1527 (face on a green background)". Museum of Fine Arts of the City of Paris, Petit Palais. 26971-3 Love, swan, woman, green background, face, Greek, Italian, majolica, mythological, various object, character, plate, mythology

Plate with Venus in her chariot and Cupid, riding through a night sky. Dated: c. 1530/1535. Dimensions: overall (diameter): 25.8 cm (10 3/16 in.). Medium: tin-glazed earthenware (maiolica). Museum: National Gallery of Art, Washington DC. Author: Attributed to Nicola da Urbino or a close associate; probably lustered in the Workshop of Maestro Giorgio Andreoli of Gubbio.

Dish with the Castration of Uranus. Around 1680 the Moriaanshooft pottery factory in Delft succeeded in producing painted decorations in a variety of colours, as can be seen in the edge of this dish. Such objects with ornamented edges and Classical scenes were very much in vogue among the European elite. This dish bears the arms of the Duchess of Braunschweig and Lüneburg, and may have been a wedding gift.

Brush back, anonymous, c. 1730 - c. 1760 Brush ridge, elongated and lobed on two sides multicolour painted with Christ and the Samaritan woman. Delft . Brush ridge, elongated and lobed on two sides multicolour painted with Christ and the Samaritan woman. Delft .

. Scale of porcelain, painted on the glaze in red, green, black and gold. On the front a representation of a walking dutch couple with a dog in a fenced garden with a tree, rock and flowering plants; On the inner edge a band with napkin interspersed with flowers in cartouches. Two cracks in the wall and some chips in the edge. The lady and gentleman at this show are associated with the Governor General Diederik dare (1676-1740) and his wife. European performance in email colors.

Dish (piatto): Man Washing the Mouth of an Ass ca. 1550-60 Italian, Deruta Maiolica is the term given to the refined, white-glazed pottery of the Italian Renaissance. The white, opaque glaze results from the presence of tin-oxide; the glazed surface is smooth and shiny, but not brilliant. In the sixteenth century, workshop procedures applied a second, clear glaze to majolica objects, which produced a brilliantly shiny surface and enhanced the color decoration. The twice-fired painted earthenware was adorned with a final layer of painting in compounds containing silver or copper, then fired again and burnished to an iridescent sheen. Florence led the way in the manufacture of majolica but, by the sixteenth century, production of this precious pottery had proliferated in other regions.The small town of Deruta in central Italy produced wares noted for a harmony of shape and ornamentation combined with impressive decorative effect. This large plate carries a lively genre subject. A donkey,

Plate 18th century Castelli. Plate. Italian, Castelli. 18th century. Maiolica (tin-glazed earthenware). Ceramics-Pottery

For a long time; Deruta (ceramic family; Ca 1500-); 1 PO. 16th century (1501-00-00-1550-00-00);

Plate, oval with a scumed edge. Multicolored painted with Chinese women with flowers and birds on a terrace, anonymous, c. 1720 - c. 1760 Plate of Faïence, oval with a scumed edge. Multicolored painted with Chinese women with flowers and birds on a terrace. Delft . Plate of Faïence, oval with a scumed edge. Multicolored painted with Chinese women with flowers and birds on a terrace. Delft .

Plaque 1800-1899 France. Enameled gold . Matteo dal Nassaro (Artist (original))

Plate, with two men in conversation on the flat, Peter Regout, c. 1860 - c. 1890 Plate of earthenware with black transfer decor and moffel colors. On the flat a multicolored representation of two men, a hunter and a warden () In conversation, standing in the field. Around the show a branch with flowers and leaves, on which hunter attributes hang. Maastricht . Plate of earthenware with black transfer decor and moffel colors. On the flat a multicolored representation of two men, a hunter and a warden () In conversation, standing in the field. Around the show a branch with flowers and leaves, on which hunter attributes hang. Maastricht .

Goblet depicting Hero and Leander, by perhaps by Manifattura Urbinate, perhaps by Craftsmanship of Pesaro, 16th Century, diameter. Italy: Marche: Pesaro Urbino: Urbino: Galleria Nazionale delle Marche. Whole artwork. Goblet myth Hero girl desperation window castle towers moat walls wave corpse body young Leander shore bank girls maids bushes vegetation landscape Cupid bow arrows quiver Love Cupid yellow blue green

Dish (piatto) ca. 1530-40 Italian, Deruta. Dish (piatto). Italian, Deruta. ca. 1530-40. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Plate (tondino) 1530 Francesco Xanto Avelli da Rovigo Italian. Plate (tondino) 460200

Dish of cup and saucer with lying woman and man in landscape in bushes, cup and saucer drinking utensils tableware holder ceramic porcelain glaze, baked glazed painted enamelled, wide bowl-shaped cup on stand ring famille verte Cephalus Procris mythology chine de commande drink

Armorial Plate (tondino): The story of King Midas ca. 1520-25 Nicola da Urbino Italian In Renaissance Italy, fine maiolica was often associated with the relaxed yet elegant atmosphere of the country estate, where hospitality was generally overseen by women. This plate belongs to a service commissioned by Eleonora Gonzaga, Duchess of Urbino, as a gift for her mother, Isabella dEste, Marchioness of Mantua. On all the known pieces, Isabella's arms are joined with those of her husband, Gianfrancesco Gonzaga. The arms are frequently accompanied by mottoes and heraldic or personal badges belonging to Isabella or her husband. Twenty-one pieces of the service survive, all decorated by the greatest maiolica painter of the sixteenth century, Nicola da Urbino. The center of this dish shows Isabella's coat of arms surrounded by three of her personal emblems: a musical scroll, a candelabrum with one lit candle, and a bunch of lottery tickets. On the rim is a portrayal of the musical contest betwee

Plate of Isaac and Rebecca, enamel, partly gilded, on copper. Composition based on an engraving by Charles-Etienne Delaune (1518/19-1583). Signed SC (Suzanne Court, or de Court, recorded in 1600) Limorges,late 16th-early 17th century.

Plate with The Vision of Alcyone and arms of Jacopo Pisaro 1535 Painted by Fra Xanto Avelli da Rovigo. Plate with The Vision of Alcyone and arms of Jacopo Pisaro 201447

. Plate of Faïence, the flat painted with Paul conversion

The Abduction of Hippodamia late 16th century French, Fontainebleau or Avon In Greek mythology, the Lapiths invited the centaurs to their kings wedding. The centaurs drank profusely and attempted to abduct the bride, shown here struggling in her tormentors arms as the hero Theseus draws his sword. The battle with the centaurs was often represented during the Renaissance as an allegory of civilizations triumph over barbarism. The composition was based on a 1542 engraving by the Italian printmaker Enea Vico (1523-1567).. The Abduction of Hippodamia. French, Fontainebleau or Avon. late 16th century. Lead-glazed earthenware. Ceramics-Pottery

Tray ca. 1811-22 Giovacchino Belli Bellis version of the Empire style is seen here to be more relaxed and ingratiating than the contemporary French interpretation with its formal, rather static elegance. The friezes of putti are charming for their playfulness, and their dancelike rhythm is echoed in the graceful postures of the erotes on the handles and the figures of Loyalty and Friendship—attended by a faithful dog—on the cover. The iconography reflects a mixture of influences, including the reliefs of infants made in Rome in the seventeenth century by the Flemish-born sculptor François Duquesnoy, and such lighthearted figures as those painted on the walls of the house of Vettii at Pompeii. The bowl itself—possibly a sugar bowl ow an individual tureen—is of an attenuated neoclassical form well suited to the easy grace of the figures.. Tray 237242

Dish (piatto) ca. 1510 Italian, Deruta. Dish (piatto) 460166

Plat: Saint-François d'Assise receiving the stigmata, Italian majolica of Deruta, the first half of the 16th century (face). Museum of Fine Arts of the City of Paris, Petit Palais. 27013-14 Ceramic, Italy, Majolique de Druta, receive stigmata, Italian renaissance, saint, dishes

Dish with Pomona late 16th or early 17th century Manner of Bernard Palissy French Pomona, the Roman goddess of fruits, was associated more generally with orchards and gardens in the Renaissance. Here, she is surrounded by flowers and gardening tools: a spade, a watering jar, and a rake. A garden with a fountain appears in the background. Like the pruning tools displayed nearby, the dish attests to the nobilitys growing interest in horticulture at this time. The scene is based on an engraving by Philis Galle (1537-1612) after a composition by Marten de Vos (1532-1603).. Dish with Pomona 201641

Allegories of the Four Continents, Jacques Le Moyne, Johann Theodor de Bry, German, 1561 - 1623, Tin-glazed earthenware, Group of four tiles, square, with blue underglaze decoration on buff ground, each with name of one of the four continents, and corresponding allegory and attributes within a circular medallion: -72a, 'Asia,' showing turbaned figure riding in a howdah on back of an elephant, with two attendants; birds in foreground, turreted architecture in background; -72b, 'Europa,' showing a lady, cavalier and dog in foreground, watching woman in a sedan chair carried by two men; European style buildings in background; -72c, 'Africa' with a turbaned man and woman, with attendant holding parasol, with the attributes of monkey, ostrich and camel; -72d, 'America' showing an Indian in feather skirt and headdress, carried on a litter by five similarly but less ornately dressed Indians, and attended by one holding a fan; at left a conquistador on horseback, and a cockatoo on a branch; in

EVENTAIL. "Venus and Vulcan (); Lateral medallions, ancient architectures". Painted on Canepin, ivory remedied, painted and gilded. Paris, Carnavalet museum. 99103-11 Fashion accessory, Eventail

Charger. Lambeth, England. Date: 1714-1727. Dimensions: H. 34.9 cm (13 3/4 in.). Tin-glazed earthenware. Origin: Lambeth. Museum: The Chicago Art Institute, USA. Author: Lambeth Potteries.

Plate ca. 1550-60 Italian, Urbino. Plate. Italian, Urbino. ca. 1550-60. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Dish with Actaeon and Diana. Round dish of multi-colored painted majolica, on a foot. Actaeon and Diana are painted on the dish. In a landscape, there is a group of bathing women (Diana and her nymphs) and on the right a man running to the right (Actaeon). The man's head is a hertecop. In the background trees and a city. On the back of the dish is the text: "ATEON Converso in Cervo" painted.

Au Cirque Écuyère 1888 France. Tambourine with oil on vellum painting . Henri de Toulouse-Lautrec

Au Cirque: Écuyère. Henri de Toulouse-Lautrec; French, 1864-1901. Date: 1888. Dimensions: Diameter: 10 1/2 in. (26.7 cm). Tambourine with oil on vellum painting. Origin: France. Museum: The Chicago Art Institute, USA.

Handscreen, Painted paper leaf with applied silk, carved wood handle, Handscreen with round leaf and carved wood handle. Elaborate painted scene of figures in an architectural setting, clothing is applied bits of silk., China, 18th century, costume & accessories, Handscreen

Dish: The Destruction of the Hosts of Pharaoh probably early 17th century Master IC (probably Jean Court) French, Limoges This large oval plate, representing the Destruction of the Hosts of Pharaoh as described in Exodus 13-15, is a superb example of French Renaissance painted enamel. The term "enamel" denotes the technique of enriching metal with the application of glass-like material, not unlike a glaze on ceramics. From antiquity to the fourteenth century, enamel production relied on the application of narrow strips of metal to the surface in order to isolate colors. Painted enamel, perfected in Limoges after decades of experimentation, was a far more complex approach. The resulting image depended on the successful manipulation of the enamel colors with the supporting metal.Jean de Court, sometimes called the Master I.C., was highly esteemed not only for the fine craftsmanship of his enamels, but as a painter to royalty. He succeeded François Clouet as Court painter to Charles IX (r

Maiolica Dish, 1580-90. Maiolica, tin glazed and painted earthenware, showing a scene of gladiatorial combat.. Patanazzi workshop, Staffordshire, Nr Broseley .

. Porcelain plate, painted on the glaze in black and gold. A bridal couple is shown on the flat under a dome. They stand for an altar with two pigeons, symbolizing marriage. The bridal couple receives a wreath of Juno, the goddess of the wedding. Other goddesses and dancers are depicted around. The inscription is on the dome: 'Semper Amor Pro in Firmissimus Atque Fidelis', forever my love will be very stuck and loyal to you. In the foreground Tritons and Neptune in the waves. Left and right above the columns are shields with the weapons of Nicolaas Geelvinck and his wife Johanna Jacoba Graafland. On the edge two decorative tires. European performance in Encre de Chine, arms porcelain.

Plaque with Triumph of Cybele. Wedgwood Manufactory; England, founded 1759. Date: 1794. Dimensions: 16.4 × 21.3 cm (6 7/16 × 8 3/8 in.). Stoneware (jasperware). Origin: Burslem. Museum: The Chicago Art Institute, Chicago, USA.

Round illustration by Jost Ammann, pen, ink, watercolour on paper, 1563, 1539-1591, St. Petersburg, State Hermitage, D 25, 7

Plate from a Royal Berlin China Service, 20th century, 7/8 x 8 1/8 x 8 1/8 in. (2.22 x 20.64 x 20.64 cm), Porcelain, Germany, 20th century

Folding fault with leather leaf on which with gouache haman in disgrace at Ahasverus, on a frame with raised and embossed mother-of-pearl with 'Métal and Quatre Couleurs'. The Bible book 'Esther' is about the Jewish girl Esther that was chosen by the king Ahaveros from Persia until his second wife. Shortly thereafter the king of the king, not knowing that his wife was Jewish, advenating his grandfizier Haman a decree. It was determined here that, in a day designated by Lot (POER), all Jews would be killed in the empire. During the feast that Esther attempted to verify the plan, she was allowed to do a wish of Ahasveros and begged him for her life and that of her people. When the king heard that Haman was responsible for issuing the order, he harmed the palace garden and remained esther with a blowing Haman. The performance on this impeller shows the moment when the king returns from the garden (Esther 7: 8-9). According to the Bible, he then saw that desperate Haman had thrown himself

Charger with Orpheus. Italy, Deruta, circa 1520. Furnishings; Serviceware. Tin-glazed earthenware (maiolica)

Plat: Joseph and the woman of Putiphar attributed to the master of mayor-Madeleine, Italian majolica of Urbino, around 1525 (face on a gray background). Museum of Fine Arts of the City of Paris, Petit Palais. 27007-16 Bible, woman, man, Italian majolica, various object, urbino, gallant life

Folded range, Facing decor: golden garland with side bouquets, in the center, reading scene in a park: 3 young women and a young man, cupid sculpture in the background. GAL2001.209.X Facing sheet: chromolithized paper, golden paper edge, golden metal bail, gold, gouache and, mother -of -pearl frame without ornamentation, metal rivet ended by a rhinestone

Plate, Man riding a unicorn, circa 1510, circle by Jacopo Caffagiolo Italy . Tin-glazed earthenware, maiolica, Historic, digitally restored reproduction from a 19th century model, Record date not stated

plate, cartouch -shaped, with a landscape in blue with three figures and a tree within a multicolored flower edge, anonymous, c. 1750 - c. 1780 plate, from Faïence, cartouch -shaped. Painted in blue with three figures under a tree, within a multicolored edge. Delft . plate, from Faïence, cartouch -shaped. Painted in blue with three figures under a tree, within a multicolored edge. Delft .

Plate, Joseph Théodore Deck, French, 1823 - 1891, earthenware, France, ca. 1885, ceramics, Decorative Arts, Plate

EVENTAIL. Palace scene; Character with ivory head. Gouache on paper, gold lacquered frame. Paris, Carnavalet museum. 99101-21 Fashion accessory, Eventail

Squared Plate with Maize God. Guatemala, Petén, Petexbatún region, Maya, 600-900 CE. Ceramics. Slip-painted ceramic

Plaque. Plaque of Faïence. Painted multi-colored.

Dish with Christ washing the feet of St. Peter second half 17th century Manner of Bernard Palissy French. Dish with Christ washing the feet of St. Peter. French. second half 17th century. Lead-glazed earthenware. Ceramics-Pottery

Folding fault with sheet of paper on which a show referred to Paris with gouache surrounded by a decorative edge, on a frame of mother-of-pearl Ajour and embossed decorated decorated with 'Metal and Quattre Couleurs'. Folding failure with leaf of paper on which a central show referred to Paris with gouache surrounded by a decorative border with floral garlands, butterflies, garden vases and medallions with putti on a frame of mother-of-pearl, ajour and embossed decorated decorated with 'Metal and Quattre Couleurs ". Leaf: in a rural setting with forest ships and trees left three women in classical clothing, in the middle a circle dancing putti above which a classic dressed woman clothed, with two turtle doves and a putto holding an apple (). On the right a seated half-naked man with 'Roman' sandals and a shepherd staff next to it on the ground. On the front right, a putto playing with a dog. On either side thereof an oval in which a grisaille of two putti, just like above in the middl

Tile. Majolica tile, painted in yellow, purple and blue. In a circle a landscape with a seated nude figure. In the corners in blue saved rosettes.

Shallow bowl on low foot with the muse Clio riding on a swan through a watery landscape. Dated: c. 1535/1540. Dimensions: overall (diameter): 26.1 cm (10 1/4 in.). Medium: tin-glazed earthenware (maiolica). Museum: National Gallery of Art, Washington DC. Author: Probably painted and lustered in the workshop of Maestro Giorgio Andreoli of Gubbio.

. Plate of faïence. Blue and purple painted portrait of Prince Wilhelm Karel Hendrik Friso.

As a louderm emountary clomishen plaque, anonymousous, 1700 - 1800 Square panel decorated with enamel cloisonné. The panel has a Western wooden base, so that it can function as a fireplace screen. China wood (plant material). Square panel decorated with enamel cloisonné. The panel has a Western wooden base, so that it can function as a fireplace screen. China wood (plant material).

PLATO TALAVERANO DE LA SERIE DE LAS MARIPOSAS IMPREGNADO POR MUDEJARISMOS PROPIOS DEL PERIODO MORISCO - SIGLO XVI. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Plate. Feuillet, Jean-Pierre (fl. 1820-), painter

FUENTE DE LOZA S XIX. Author: TEODORO DECK (1823-1891).

Sign of a Shipyard, anonymous, c. 1600 - c. 1700 Signboard of a ship's car yard, elongated oval, bordered by a leaf wreath, from above with a cherub's head, from below with a cartouche, in which a standing black ram. In the field a warship without rig. Cut. Netherlands wood (plant material)

. Plate of faïence with performances from the life of Christ to engravings by Hendrick Goltzius.

Queen Charlotte. Culture: British. Dimensions: Overall: 7.3 × 6.4 cm. Date: ca. 1765.This ivory relief of Queen Charlotte forms a pair with a relief of George II (1986.94.1). Museum: Metropolitan Museum of Art, New York, USA.

Plate with an image of the Golden Bend in the Herengracht, Amsterdam, anonymous, c. 1774 Porcelain plate, painted on the glaze in blue, red, pink, green, yellow, black and gold. On the Plat an image of the Golden Bend in the Herengracht in Amsterdam, based on an engraving by Roeland van Leuve (1691-1757); the wall with two intertwined spirals on a dotted soil; On the edge a band with leaf vines. A chip in the edge. Old label on the bottom with 'Exhibition of Oude Kunst/ Rijksmuseum 1929/ Alberge'. Decorated in Europe. Chinaminsterdam porcelain. glaze. gold (metal) painting / gilding / vitrification Amsterdam. Herengracht Porcelain plate, painted on the glaze in blue, red, pink, green, yellow, black and gold. On the Plat an image of the Golden Bend in the Herengracht in Amsterdam, based on an engraving by Roeland van Leuve (1691-1757); the wall with two intertwined spirals on a dotted soil; On the edge a band with leaf vines. A chip in the edge. Old label on the bottom with 'Exhibition

Plate with Paris Killing Achilles and arms of the Calini family. Artist: Nicolo da Gabriele Sbraghe (Italian, active by 1520-37/38). Culture: Italian, Urbino. Dimensions: Overall: 1 1/8 × 10 1/2 in. (2.9 × 26.7 cm). Date: ca. 1525.Classical mythology and biblical history are the most popular themes found on Renaissance maiolica. For inspiration, painters looked to widely circulated prints, carefully modifying the rectangular compositions to better suit the round, contoured surfaces of tableware. Here, the artist altered a print by pushing the story's most important elements--such as Achilles's vulnerable heel--to the edge of the plate so that they would remain visible regardless of the presence of food. Museum: Metropolitan Museum of Art, New York, USA.

Shallow bowl with Ruggiero ca. 1525 Italian, possibly Urbino These two footed bowls (see also 65.6.8), or coppe, are part of one of the most striking series of maiolica produced in the 1520s. They were made for an unidentified patron and are painted with busts of illustrious heroes and heroines, ancient and modern. The helmets, in their classicizing style, are comparable to those on ancient coin portraits and on contemporary medals.. Shallow bowl with Ruggiero 204517

Folding range with a sheet of paper on which a central medallion with Diana and its nymphs resting in aquarel with a river, mounted on a frame of ajour and cut ivory with 'Métal and Quatre Couleurs', Anonymous, c. 1780 The central medallion is filled with a particularly detailed painting by Diana, goddess of the hunt, who with its nymphs rests on the edge of a river opposite a waterfall. In the Netherlands, 'Diana resting with her nymphs' was a particularly popular theme since the 17th century, which was not only shown on paintings but also on fan blades (cf. tent.cat. C. Kammerl, der Fächer ..., Munich 1989, cat. No. 53, p.139). This is not surprising, since Artemis symbolized the chastity of women and is linked to marital love on this fan as such. The medallions on either side are dominated by the (pastoral) love, on the left a shepherd's staff, basket with flowers, pigeons, dog the (wedding) loyalty representing, flat hat and lute; And on the right an altar with a women's portrait a

Portrait of Wilhelmina Frederica Louisa van Pruissen, Anonymous, After Willem van Senus, after Evert Maashamp, c. 1800 - c. 1825 plate (dishes) Dish of (Delft) Pottery painted in manganese and yellow on the white tinglaze. On the flat the portrait of Wilhelmina Frederica Louisa van Pruissen, the consort of King Willem I. On the edge a wreath of tulips. Marked. The object is false. Netherlands earthenware. glaze historical persons - BB - woman

. Porcelain plate, painted in underglaze blue. On the flat two ladies and five children playing on a fenced terrace for a pavilion, one of the kids plays with a crab and lotus on a stick; The edge with napkin interspersed with a prunus branch in a lobd cartouche; On the back twice a river landscape with two boats. Marked on the underside with the six character mark of Emperor Kangxi in a double circle. A crack in the wall. Blue White.

Artist: Master of Charles of Durazzo (possibly Francesco di Michele), Italian, active 1381-1400, AmorousHunt, early 15thcentury, Tempera on panel, other: 56.88 cm (22 3/8in.), Made in Florence, Italy, Italian,Florence, 15thcentury, Paintings

Fan unknown

Jules Desbois (1851-1935). "Map of mermaid decor". Bronze. Museum of Fine Arts of the City of Paris, Petit Palais. 74618-8 Bronze, decor, sirene, dishes, dish

Dish dated 1545 Italian, Urbino. Dish. Italian, Urbino. dated 1545. Maiolica (tin-glazed earthenware). Ceramics-Pottery

Eugène André Oudiné, Architecture Holding Statues of Personifications of Structure, Form, and Color (Medal for the Société centrale des architects) (obverse), designed 1843, awarded 1911 Architecture Holding Statues of Personifications of Structure, Form, and Color (Medal for the Société centrale des architects) obverse

Plate. Culture: American. Dimensions: Diam. 10 in. (25.4 cm). Maker: Attributed to Henry Troxel (active 1799-1829). Date: 1818. Museum: Metropolitan Museum of Art, New York, USA.

Commemorative plate for Brig. Zdzisław Kwiatkowski

Plaque with Adoration of the Shepherds. French (Paris) or Southern German (Nuremberg). Date: 1500-1540. Dimensions: Diameter: 5.1 cm (2 in.). Shell. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Two cupids with abundance and banderol; 1790 (1790-00-00-1790-00-00);antique, children, flowers, foreign miniatures, mythological scenes, animals

Sogenannter Rhodosteller; Sogenannter Rhodosteller.. Prints. 1912. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection

Bowl 12th-13th century The Sasanian hero Bahram Gur, one of the most colorful figures in Persian epic literature, is depicted on this bowl riding a camel with one of his slaves, Azadeh, here shown playing the harp. To put his hunting prowess to the test, Azadeh asked Bahram Gur to pierce the leg and the ear of the gazelle with his arrow in one hit.. Bowl 451389

Sardonyx cameo with a Bacchic group 1st century B.C.-1st century A.D. Greek or Roman Cameo with a satyr and two maenads, Bacchic group with panther.. Sardonyx cameo with a Bacchic group. Greek or Roman. 1st century B.C.-1st century A.D.. Sardonyx. Hellenistic or Early Imperial. Gems

Persian tile depicting a horseman, 19th century. Artist: Unknown

Carmine brush and laved draft depicting the Resurrection of Christ, possibly intended for a ceiling picture, dated around 1775, anonymous work.

EVENTAIL. "Allegory love romantic period". Paper, gouache engraving, openwork bone. Paris, Carnavalet museum. 99067-14 Fashion accessory, Eventail

Plate with Scholar and Attendant in Garden. China. Date: 1662-1722. Dimensions: H. 2.7 cm (1 1/16 in.); diam. 18.3 cm (7 3/16 in.). Porcelain painted in underglaze blue. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Vase (vase cannelés à bandeau) (one of a pair) ca. 1770 Sèvres Manufactory French Works of art by the French artist François Boucher (1703-1770), who held the prestigious title of first painter to the king, served as a highly popular source of inspiration for artists working in a variety of media in the middle decades of the eighteenth century. Prints made after paintings by Boucher were widely circulated and provided artists with compositions that could be faithfully reproduced in smaller scale or adapted to three-dimensional porcelain sculpture. Works by Boucher served as the source not only for the painted scenes on vases and snuffboxes, but also for the porcelain figures which were listed as "Enfants Boucher" (Boucher Children) in the factorys sales ledgers.. Vase (vase cannelés à bandeau) (one of a pair) 202219

Plate. American; Pennsylvania. Date: 1840. Dimensions: Diam. 4.4 × 31.8 cm (1 3/4 × 12 1/2 in.). Earthenware. Origin: Pennsylvania. Museum: The Chicago Art Institute, Chicago, USA.

Plaque with Saint Peter in Glory. Culture: French. Dimensions: Overall: 9 3/4 x 5 5/8 x 1 1/8 in. (24.7 x 14.3 x 2.9 cm). Date: ca. 1185-1200. Museum: Metropolitan Museum of Art, New York, USA.

Knob-Handled Patera (Dish) 330 BCE-320 BCE Puglia. The circular dish with knobs alongside its handles is a characteristically Apulian vessel. A patera was typically used to pour libations, but this example is unusually large. Bands of varying width containing repetitive patterns and scrolling tendrils interrupted by female heads surround a central scene depicting Hermes, the god of travelers, leading the harvest goddess Demeter and her daughter Persephone from the underworld, where the girl had been held captive by Hades. Persephone was forced to return for part of every year, and during that time Demeterís displeasure would cause the fertile earth to turn barren. Her story symbolized the life, death, and rebirth of both crops and people.. terracotta, decorated in the red-figure technique . Ancient Greek

Tile, Anonymous, 1580 - 1625 Multicolored (blue, green, yellow, purple and orange) tile with a butterfly above a landscape within a squared. In the corners, ornament in Vultechniek. Netherlands earthenware. tin glaze majolica Multicolored (blue, green, yellow, purple and orange) tile with a butterfly above a landscape within a squared. In the corners, ornament in Vultechniek. Netherlands earthenware. tin glaze majolica

Roundel of The Planet Venus and Her Children ca. 1520-30 After Jörg Breu the Elder German. Roundel of The Planet Venus and Her Children. After Jörg Breu the Elder (German, Augsburg 1480-1537 Augsburg). German. ca. 1520-30. Colorless glass, vitreous paint, silver stain. Made in Augsburg, Germany. Glass-Stained

PORCELANA MONCLOA. Location: MUSEO DE HISTORIA DE MADRID-PORCELANAS. MADRID. SPAIN.

Anonymous. Screen decoration of carved and golden wood and pastoral wooden, Beauvais tapestry (overall view of the front on a clear background), 19th century. Paris, Cognacq-Jay museum. Shepherd, shepherd, wood sculpt, decor, dore, cheminee screen, woman, light background, man, Beauvais factory, furniture, sheep, pastoral, tapestry, fabric, 19th century, couple, recto, curtain

Satyr 1769-80 Wedgwood and Bentley. Satyr. British, Etruria, Staffordshire. 1769-80. Jasper ware. Ceramics-Pottery

Anonymous. Plate at the Tree of Liberty. Earthenware. 1792-1793. Paris, Carnavalet museum. 72429-40 Tree, Phrygian Bonnet, Faience, Liberte, Revolutionary Periode, French Revolution, Plate, House

Rhombus with "Turkish rider". Round diamond, stained in sepia and yellow with a decoration of a rider on a bleached horse and the coat of arms of the Boner family. On the banderol the inscription Omnio Rerum vicissitudo.

Fir screen of mahogany with tapestry, bent foot. Fir screen of mahogany with tapestry, bent foot. The window has been profiled and the upper rule is scalloped. The tapisserie shows chinoiseries: in the middle three figures to play a table, which two trick-trak plays and flowers around asymmetrically grouped.

Tile decorated with a young man holding a bouquet of flowers, ceramic. Persia, 17th century.

Temple of Venus ca. 1727-28 Meissen Manufactory German The form of this remarkable porcelain sculpture recalls that of a triumphal arch, though the center of this object is occupied by a niche flanked by Roman Ionic columns. Standing in the niche are the figures of Venus, who holds a flaming heart, and a cupid, who reaches toward her. The structures tall base extends on either side, showing the figure of Jupiter with his eagle to the left, and an empty space to the right, where the figure of Juno almost certainly would have stood but clearly has been broken off. Above the niche is a double entablature with sloping roofs at both ends, and a central depressed, undecorated area in which another figure presumably would have been placed.[1 The architectural quality of the structure has been emphasized by the decorative marbling of the base, the columns, the pilasters located behind the columns, and the sloping roofs at the top. Curiously, the decorative scheme also includes a series of re

CERAMICA DE TALAVERA-PLATO S XVIII. Location: PRIVATE COLLECTION. MADRID. SPAIN.

of 2