Glasser is a meticulous designer, she hand picks every item, nothing comes easily from a catalogue or a showroom. As I pointed out to you a few weeks ago, her advertisement alone says it all: the gorgeous painted antique console, the gilt mirror, the blue and white, the wonderful celadon wallpaper, the lone altar stick with its gold taper. The pair of dishes measure 7.75″ diameter.Everyone who reads Cote de Texas knows how much I admire Houston interior designer Carol Glasser. On the back of the dish is the name of the flower inscribed in iron red.Įach dish is named on the back in underglaze red: The designs for these dishes were taken from Curtis’s Botanical Magazine begun in 1787. The Swansea factory in Wales provided some of the very finest botanicals painted on dishes. Dishes showing a single botanical flower were especially popular in late 18th century Great Britain as the scientific revolution began and British ships traveled the world often returning with new and unique specimens of flowers. This pair of 18th-century hand-painted creamware dishes was made by Swansea in Wales circa 1790. Just after the very successful Sotheby’s sale Bardith was privileged to purchase items from his estate. He was our very best client for four decades. Mario loved the beautiful flowers painted on English botanical dishes. This is an especially lovely pair of dishes. This pair of 18th-century botanical dishes is part of the private collection of Mario Buatta. Height: 6″Ĭondition: Very slight wear to the bottom edge and handle, a very small flake on the handle see image #4 -a few very small firing and slip turning defects as originally made (see images).įrom the Private Collection of Mario Buatta With rare exceptions, each piece of mochaware is unique. The managers of mochaware factories often only specified the style of the work but gave each turner some freedom regarding the choice of design and colors. The top and bottom of the mug are each decorated with three bands of blue slip. The handle of the mug has lovely foliate terminals. According to Rickard “A further enhancement of the marbling process involved the use of a tool that functioned much like a comb by dragging the toothed tool through the wet marbling in a … constant direction”. The renowned expert on Mocaware, Jonathan Rickard, lists this type of decoration in “Mocha and Related Dipped Wares 1770-1939” in a section entitled “Combinations and Other Oddities”, pages 106-121. As the sun shines on us all, it symbolizes impartiality in the benevolence of the Odd Fellows.Ĭondition: An invisible restoration to the underside of the vase, only, and some scratching, particularly to the lustered leaves and the flowers and the lustered top edge.Īn exceptional mochaware mug with rare combed-down slip decoration. The budding branch symbolizes the idea that truth can “draw freshness and verdure” from the “most barren facts and common things in life” and give them life and interest.Ībove all of this is a shining sun. Lady Justice personifies morality in judicial systems. The motto is seen together with an image of Lady Justice and an angel holding a budding branch. On both sides of the pitcher is the Odd Fellows motto, “Amicitia Amor et Veritas,” which translates to Friendship, Love, and Truth. Odd Fellows promote philanthropy, the ethic of reciprocity, and charity.Īt the front of the pitcher, we see a panel with the words “We are odd Fellows When we act and Do the thing which is Right.”Īround this panel are the words “How grand in Age How fair in Youth is Holly Friendship, Love and Truth.”Ībove the panel is an open palm with a heart symbolic of charity given from the heart. This very large creamware pitcher is fully decorated with the imagery and symbols of the Odd Fellows (see images). It replaced saltglaze stoneware as the dinnerware of all but the high aristocracy, which most likely would have had a service of Chinese export porcelain dishes. As its popularity increased, many of the other English potters began to make creamware as well. Wedgwood marketed these wares as Queensware after Queen Charlotte gave Wedgwood the honor of ordering a set. He was the first of the English potters to produce a cream-colored earthenware with a light-colored body. And at the far right, we see another boy seated with a parrot on his arm.Ĭreamware was created in the 1760s by Josiah Wedgwood. In conversation, we see two fashionably dressed women, a small child holding a pinwheel as he looks up, pointing to a group of chimes, and an older boy standing nearby. Decorated in enamels, both platesįeature a chinoiserie scene. We are pleased to offer this lovely pair of 18th century English creamware dishes made circa 1780.