Antique Chalkware Urn & Fruit

Victorian Chalkware Antique Urn & Fruit Original Polychrome Paint

Nineteenth century chalkware is truly folk art, meaning art made by everyday folk for their enjoyment. Chalkware was first sold in Massachusetts by a man named Henry Geyer who advertised them as plaster figures in the January 25, 1770 “Boston News-Letter.” They were meant as inexpensive copies of Staffordshire figurines, which were too pricey for the average person.

The term chalkware is not really accurate, since the medium used was not actually chalk but gypsum, the primary ingredient in plaster of Paris, which was molded and then painted with watercolors. The original gaudy colors faded over time, which is evident in this example. Beautiful large fruit-filled urns such as this one were commonly used as centerpieces. One of the fruits shown is a banana, which were introduced in America in 1876 at the Philadelphia Centennial Exposition.
This piece is of hollow construction with an open base that has been felted. The plaster of Paris has a nice mellow off-white color, not a bright white like new material. It weighs 6 pounds, 13 ounces and the measurements are 13 inches tall, 12 inches long, 8 inches front to back and a base of 4 ½ by 3. There is a chipped corner on the base, a chipped leaf tip, a chip off one banana end, chips on the underside of the rim and some areas of paint loss on the urn, but none of that is glaringly obvious or detracts from its wonderful antique look. It has an excellent original surface and no repairs, restoration or repainting.
Antique chalkware pieces, especially fruit urns, are difficult to find. Like all great folk art, this piece would work well in a traditional or modern interior.
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PYH 3783

Limoges Bowl and Plate | Mandavy de Mavaleix | Hand Painted by Barathé

Limoges Bowl and Plate by Mandavy de Mavaleix Hand Painted by Barathé

  • Antique items
  • $120.00
  • Free USA Shipping
This gorgeous matching bowl and plate were made in the Limoges region of France by the firm of Mandavy de Mavaleix, owned by Léon Mandavy and Paul Maurice de Mavaleix, in the years 1908 to 1920. They were known in French as a 'Fabricant décorateur,' both manufacturing and decorating the china, although they did sell their blanks for other artists to paint. These pieces, which are in the "Old Abbey" body style, were decorated "in house" and signed by their artist Barathé on the faces of both. The rims are edged in the customary gilding; the vivid, beautifully painted Emperor tulips, both open and closed, are splashed on a shaded green background and framed with their leaves.

The bowl measures 10 inches across from pierced handle to pierced handle and 8 3/4 inches in diameter not including them. It stands 2 1/4 inches tall and weighs a bit over a pound. It's stamped on back in green "Old Abbey" and "Limoges"; there is also a faded M de M backstamp, difficult to discern and impossible to photograph. The bowl is in nice vintage shape, no cracks, chips or repairs, just wear to the gilding on the embossed rim. The tulips the artist painted on the back are a lovely extra touch.

The plate, while equally as striking as the bowl, bears two small chips on the front, on the lower edge, which reveal the pure white porcelain underneath. Otherwise, it's in good shape, with normal wear to the gilding. The maker's marks on the back are on the right in one of the photographs and include a stamped red "HAND PAINTED" and a very clear M de M mark. The plate measures just over 8 1/2 inches in diameter, stands 1 inch high and weighs 12 ounces.

This luscious antique Limoges pair will be treasured for years to come.

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PYH 4327, PYH 4328

Schoenau Bros | Antique Imari Cream Jug and Sugar Bowl

Schoenau Brothers Antique Imari Cream Jug and Sugar Bowl
A dainty matched pair consisting of a cream pitcher and lidded sugar bowl in the Imari pattern, these fine antique porcelain pieces were made by Schoenau Brothers in the German state of Thuringia. They are marked on the bottoms with painted blue crossed swords along with an "H" for Huttensteinach, the town where the porcelain manufactory was located. This mark imitated Meissen's "crossed swords" mark, so closely that Meissen filed a legal objection in 1896. and the Schoenau firm was forced to discontinue using the mark (although many reference sources state that they used the mark until 1920.)

The traditional Imari pattern that covers the cream pitcher, the sugar bowl and the wide rim of its lid was hand painted in cobalt blue and iron red with lots of gilding on the pure white porcelain bodies. There are scrolls, diamonds and flowers; a sinuous vine of cobalt and gold on the creamer handle and rings of gold and cobalt on the lid, topped by a knop in the same colors. 

The cream jug measures 4 inches tall to the top of the handle; the sugar bowl stands 3 1/2 inches tall. Both have painting errors such as small smears and lumps of paint and a tiny missing piece of porcelain on the rim of the lid, which happened in the firing; it's on a white part of the pattern, so it blends in (there is a bit of blue china paint in it). Both are otherwise in excellent condition, with no cracks or chips, merely the expected wear to the gilding. In the photographs showing the upper rim of the sugar bowl, what appears to be a tiny chip on the rim is actually a bit of excess gold paint.

These beautiful Imari pattern porcelain pieces look especially lovely with Gaudy Welsh or white ironstone and anywhere you want an exotic dash of pattern and color.

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PYH 4535

Bing and Grøndahl Coffee Pot #91B

Seahorse Motif Bing and Grøndahl Coffee Pot #91B


  • Antique Item
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Bing and Grøndahl was a Danish ceramics manufacturer founded in 1853, famous for their fine porcelains. This coffee pot is a lovely example of their artistry, decorated in their Traditional Blue design with sprigs of berries and flowers in cobalt blue on pure white. The charming lid finial and the handle are molded in the form of seahorses and there are molded "fish scales" on the lid and the base. The lid goes on just one way, which locks it into place for safety. The spout is fluted and has a tiny hole, both of which are designed to prevent dripping when pouring.
The printed green mark on the bottom was used from 1962 to 1970 and consists of three towers which are derived from the Coat of Arms of Copenhagen. Beneath those is the word "Kjøbenhavn," the Danish word for their capital city of Copenhagen, followed by the word DENMARK and the model number 91B, used by B & G with various patterns. This pattern plays well with other blue and white porcelain patterns from Bing and Grøndahl, as well as several from Royal Copenhagen and Villeroy & Boch, among others.

The pot is 9 1/2 inches tall to the top of the knob on the lid, 7 inches across from spout to handle and it holds 4 cups. With its lid on it weighs one pound nine ounces. It's in mint condition, apparently never used and absolutely lovely in every way. 

>>>We have currently have available an antique Villeroy & Boch bowl in their Meissen pattern that is similar to that on this coffee pot. Here's the link:
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PYH 4649

Bristol Glass Botanical Art Antique Vase

Hand Blown Antique Bristol Glass Vase, Victorian Hand Enameled Botanical Art


Hand blown in the late Victorian era, circa 1880, this tall, semi-opaque glass vase is known as Bristol glass. Bristol was an important glassmaking center in England in the 1700's and 1800's, and although this vase is a distant relative of the painted milk glass made there, collectors have nevertheless adopted the name. The piece was probably made in Bohemia, known for the fine quality and large quantity of their glass that was exported to America. 

One of the reasons Bristol glass is appreciated is for the delicate hand enameled decorations, some of which are simple and amateurish. The more desirable and valuable pieces, like this vase, are skillfully and complexly painted, like miniature works of art. This vase is also gilded, both with bands around the mouth rim and below it, the neck and base and also as fern fronds among the flowers. The flowers are lovely, realistically painted in the predominant colors of blue, white, brown and green on the face of the vase. On the reverse side is a simple brown floral motif with a tracery of gilt. 

This glass is referred to by Bristol glass collectors as "clambroth," this shade a mushroomy greenish taupe. (If you Google "clambroth glass" the different definitions will give you a headache.) While it appears completely opaque in some light, it also has a fiery glow when lit from within (see our photograph # 6). The pontil mark on the bottom has been polished smooth and it has a handwritten "16." in black, typical on many Bristol glass pieces, possibly identifying the shape or the artist. This is a large vase measuring 12 1/2 inches tall, with a 4 1/2 inch wide mouth, a 16 inch circumference at the shoulder and a base 4 5/8 inches in diameter. It weighs 1 1/2 pounds and is in remarkably fine condition. There is wear to the gilt, primarily on the bottom band on the stepped base and a few bubbles in the handmade glass. It displays beautifully and is impressive as a stand alone vase or as part of a collection.

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PYH 4651

Covered With Charms Milagros and Mementos Antique Wooden Memory Bowl

Antique Wooden Memory Bowl Covered With Charms Milagros and Mementos
This rare example of a memory vessel is a massive primitive wooden bowl covered with over 100 fascinating mementos. The bowl was hand hewn from a solid log; it's darkened with age and still bears the rough tool marks on the inside. The exterior of the bowl has hand hammered tin and copper objects, both large and small, attached with tiny nails. Many of the items are milagros, Mexican religious amulets used to beseech favors and give thanks. Unlike memory jugs or jars, which are covered with putty or plaster and then completely encrusted with trinkets, the adornments on this vessel were carefully spaced to achieve an artful balance.

Anchored by the spectacular tin heart with a copper center, a sampling of the varied range of symbols includes: A cowboy hat, coiled snake, and a couple of scorpions; lots of crosses, large and tiny; several crowns and the Vitruvian Man; parts of the body such as an arm and a leg; an ankh and a peace symbol. Memory vessels like this began in the South as memorials for loved ones. Given the presence of the milagros, we believe this bowl was made in the southwest in the 1800's and then decorated as a memorial at a later date. Most of the memory jugs we've seen (and sold) were decorated with jewelry, coins, mirrors and other personal effects. The strong religious theme of the mementos on this bowl suggest an origin in a southwest town bordering Mexico, probably in Texas. 

The bowl itself is 14 inches wide across the top and 10 inches across the bottom. It has a thick rim over 1 inch wide and tapers inside to a 4 1/2 inch diameter bottom. It stands 8 inches tall and weighs an amazing 11 1/2 pounds. The bowl has several narrow age cracks, which do not affect its sturdiness. The trinkets are all in very good condition, with only eight empty nails. Four round white foam pads were attached to the bottom at some point to protect surfaces; they could be easily removed if you wish. 

Folk art pieces like this memory bowl are rare and obviously unique. It's a 3-D scrapbook, the symbolism endlessly fascinating, the vessel itself a remembrance of a time, a place and a life. 


PYH 4617

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Wedding Basket Chinese Antique from the Qing Dynasty

Chinese Antique Wedding Basket Qing Dynasty
This handsome basket exhibits the exceptional workmanship and detailing that was given to both useful and ornamental objects by Chinese craftsmen. Baskets like these are commonly called wedding baskets but they are actually betrothal baskets. The two lidded compartments, finely woven of rattan, were used to transport gifts such as tea sets, linens, incense, candles and snacks and beverages. 

The frame is dark reddish brown bamboo, the two sides beautifully carved with auspicious symbols and fastened with brass circlets. They form "feet" at the bottom and a stationary handle at the top, which can be used to carry the basket when it is filled and quite heavy. The wooden handle is surmounted by a heavy hand-wrought brass carrying handle set on an ornamental back plate pierced with symbols. The rattan portion of the topmost lid was woven in two colors to form a shòu character, symbol of longevity, wishing long life to the betrothed couple. There are also two small feet that support the basket, which is 20 1/2 inches tall to the top of the bamboo handle and about 16 inches across including the side supports. The basket weighs a sturdy 7 pounds, 4 ounces. 

This example has seen use and shows obvious age, having been made in the latter part of the 1800's in the late Qing Dynasty (1644-1912). The rattan basketry is rubbed along the sides from carrying, so there are areas that are lighter in color. The brass has developed a darkened patina and there is minor chipping along the bottom edges and on the feet. As is common with Chinese lidded baskets, the most wear is to the rim of the lid, where there is some loss of the bamboo edge (pictured). Overall, the basket is in very good condition. It displays beautifully and is large enough to be used as a side table, as well as a fabulous wedding gift. 

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PYH 4379

Antique Porcelain Bowl by Wallendorf - Germany

Wallendorf Antique Porcelain Bowl 1787-1833 Germany White-Gold


This lovely petite bowl was made sometime in the years 1787 to 1833 by Wallendorf Porcelain (Wallendorfer Porzellan), founded in 1764 in Thuringia, Germany. The company achieved a superb reputation for their snow white, hard paste porcelain and beautiful hand painting. It stayed in the hands of the founding family until 1833, when it was sold to Hutschenreuther.

The hand painted design on this bowl depicts a monument draped with flowers and bearing the inscription on the base " Lass mich." We've translated this German phrase to 'leave me,' which leads us to believe it's a grave memorial. Two nosegays of flowers and gilt trim with tassels decorate the raised, ribbed rim. The underside bears the simple cobalt blue letter W which was used from 1787 onward, when Meissen forced Wallendorf to change their mark, charging that it resembled the Meissen crossed swords. There is also an old paper label on the bottom, probably identifying the piece in a collection, although the writing, if there was any, has completely faded away. 

The bowl measures 5 inches in diameter and stands 1 inch high. The porcelain has a few tiny spots of iron residue that have worked their way to the surface over the centuries and there is some slight wear to the paint on the column, but overall the bowl's in excellent condition--no chips, cracks, stains or repairs. Pieces like this one, given as gifts, were treasured and spent their lives protected in vitrines and cabinets. 


PYH 4533

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Wrought Iron Handle Blue Painted Wood Basket

Antique Wood Basket Hand Wrought Iron Handle Fab Blue Painted Primitive

This antique, hand made wooden gathering basket from the 1800's is brimming with wonderful decorative details. The blue paint (blue for blueberries?) was applied over a layer of black, which shows through at various points of wear. The paint is old and alligatored and has a great aged look. The sides are canted and one has chunk out of it which is painted over, so that piece may have been used that way originally to construct the basket. 

The handle is hand wrought iron, made undoubtedly by the village blacksmith. The high, arched loop features a spiral twist on each side, ending in narrow rat tail hooks. Those hooks are attached to the sides of the box through loops of iron affixed with two round iron buttons. This was additional work on the smithy's part to give a utilitarian basket those touches of craftsmanship.

The basket is 12 inches tall to the top of the handle when it's standing straight up (which it does quite nicely on its own). The opening at top is about 6 inches by 6 1/4 inches and the bottom measures about 4 3/4 inches square. The interior depth is also about 4 3/4 inches and the basket weighs 1 1/4 pounds. In useful, usable working order, it is definitely primitive and rustic--just the way we love it. 

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PYH 4521

Majolica Antique Renaissance Revival Pair of Portrait Plates

Italian Majolica Antique Renaissance Revival Pair of Portrait Plates

This pair of Italian portrait plates are majolica, earthenware with a tin glaze. They were made in the late 1800's, probably in Urbino, in the Renaissance style of 1600's maiolica. The plates are red clay, with dished, fluted bodies and scalloped rims striped in two shades of yellow. The clay was covered with the white tin glaze and then decorated in polychrome enamels. The raised center medallions depict a helmeted soldier with his spear on one and a prelate of the church with his jeweled cap and cape on the other. They are surrounded by angels, birds and other small designs in the 'calligrafico' (minute/tiny) style which became popular in the seventeenth century. 

The reverse of the plates are tin glazed with no decorations save wavy lines of blue. Each is signed with a single painted blue mark; the soldier one with the mark resembling back to back letter C's and the prelate one with one resembling 3 fishhooks. Both have molded holes in the foot rims to use for hanging. There is no country of origin mark, as these were not meant to be exported. 

The dishes are 9 1/4 inches across and stand 1 3/4 inches high on a 4 inch diameter bottom rim. The one with the soldier medallion has a chip on the lower front revealing the red clay and an area upper left on the rim where the top glaze has rubbed off. On its back, there are two chips out of the foot rim, a short hairline and some nearby rough areas. The plate with the churchman has an area of flaked glaze on the foot rim and a few small ones on the outer rim. The fine craquelure is, of course, intentional. 

These plates are treasures to delight the collector and decorator alike and lend a European vibe to any room. 

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PYH 4367

Vintage Lamp by Paul Hanson

1960s Chinoiserie Table Lamp by Paul Hanson
This spectacular porcelain and brass table lamp, hand painted in the Chinoiserie fashion, was produced by the Paul Hanson Company in the 1960's. On the pure white baluster-shaped base that's edged top and bottom in cobalt blue, there are gilded ribbons in jade green, Chinese red and the same dark blue. The scrolled base, the cap and the stem are all heavy high quality brass, as are the harp and the ball finial, both of which we believe are the original ones. Typically, just the front is decorated; the plain back is shown in photograph # 5.

The lamp takes a 3-way bulb and works perfectly with all the electrical parts in very good condition. No cracks, no chips in the porcelain and the brass is in excellent condition, with one mark on the brass cap (photograph # 8).The colors are still fresh and bright, as is all of the gilding. The lamp measures 18 1/2 inches tall to the top of the bulb socket and 27 1/2 inches tall to the top of the finial. The lamp is 24 inches in circumference at the shoulder, about 8 inches front to back and weighs a substantial 8 pounds, 4 ounces. The classic Paul Hanson label is in its expected spot on the socket. There may be additional marks on the bottom of the base, but we've chosen not to remove the felt. The shade is not included.

The high end quality and designs of Paul Hanson lamps are so respected that in 1987, famed interior designer Jay Spectre included them as part of his home furnishings line, retailing at stores like Bloomingdale's for $240 to $495. Reputedly, Paul Hanson was one of the largest lighting companies of the 20th century, with showrooms in nine cities and a factory in Carlstadt, New Jersey, according to their 1979 catalog. This Paul Hanson lamp will be the jewel in any room in your home. 

FYI: The vintage lamps we sell are all in working order when we ship them to you, but we do recommend that you have them checked out for long-term use by a licensed electrician, since we are not electrical experts.
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PYH 4431

Antique Staffordshire Pitcher Jones and Walley Parian Ware

Antique Staffordshire Pitcher Jones and Walley Parian Ware


This molded porcelain jug was created by the firm of Jones & Walley in Cobridge at Staffordshire, England. Elijah Jones and Edward Walley were in partnership from 1835 to 1845, during which time they produced this beautiful pitcher of Parian ware, so-called to evoke the name of Paros, the Greek isle where much of the fine white marble used in ancient statues came from. The design is called "Gipsey" and features incredibly detailed genre scenes in high relief, ostensibly of gypsies at their campsite (middle and upper class people in Victorian England were both fascinated by and fearful of gypsies--those "Egyptian" immigrants who were actually from India).

The mark on the bottom of the jug is impressed into an applied plaque which reads:



The date given is for the introduction of the design, not necessarily the date of manufacture, which would have been 1842 through 1845. Hollow pieces that were molded like this one show impressions of the outer decorations on the inside of the piece. The molded designs cover almost the entire outer surfaces of the jug, including the handle and undersides of the spout. The exterior is matte while the interior has been given a glossy glaze, the better to hold ale. 

This pitcher measures 10 inches tall to the top of the arched handle, 9 inches across from spout to handle, 6 inches front to back and weighs 4 pounds. At least 170 years old, it's in excellent condition with no chips, cracks or restorations. The interior has some rust-colored stains as its only signs of use and age (please zoom on photos # 5 and # 6). This large Parian ware jug is striking in its subdued elegance and at home in both period and contemporary settings.

Please note: This jug is not stark white--as it appears in the photos with the Crown Staffordshire porcelain plates--but is a soft off-white, often described as "ivory." The remainder of the photos more accurately represent the actual shade. The plates in our photo have been sold.

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PYH 4456