Rockingham style sugar bowl with lid. White china body with underglaze decor consisting of beige ground with scattered large scrolling yellow leaves edged in gold and occasional small branches with white berries and 3-leaf branch tips. Lower edge of beige ground defined with a thin undulating vine. Gilt highlights, flourishes and edging. Applied handles feature finger ring handles and a domed lid.
Molded earthenware sugar bowl with lid, pink surface coloring over pearl-colored body. Four applied feet and applied molded flat handles with molded foliate pattern. Floral finial at top of lid. Transfer printed design of butterflies, fruits, birds. Green enameled border pattern at waist of bowl. Pink lustre trim.
Pearlware bowl, thrown with applied scallopped edge and sprig ring ornament applied to sides. Handpainted and sponged Polychrome painted decoration, peacock motif. Labels on bottom removed, "Leeds Sugarbowl" and "15B"
Molded pearlware bowl (a) with lid (b). Hand painted and transfer printed Cobalt blue floral print decoration covers all of exterior. Two baskets with flowers on sides. Rectangular handles are part of the piece.
Asian Design Sugar Bowl Owned by Harriet Lane Johnston
Description
Majolica tin glazed earthenware sugar bowl. Compressed-round bowl with very short neck and low foot ring. Domed fitted lid with finial of inverted acorn shape. Bowl and lid both hand-painted with decoration on pale greenish yellow color, with faint wispy vining branches done with delicate brush strokes and daubs of ochre for leaves. Additional decoration of larger scale flowers or flower clusters and a moth-like insect. Rim painted ochre as well as a band on pedestal with two stripes.
Underside of base has very stylized hand-painted cockerel mark. This bowl has same decoration as 2014.002.17&.18. Attributed to the Cantagalli family pottery factory in Florence, Italy - likely the period when Ulisse Cantagalli succeeded his father in 1878 and started to produce highly decorative Italian ceramics in the Renaissance style. This pottery style was hugely popular at this time in English-speaking countries. Ulisse died in 1901 but his family continued the business.
Provenance: Bowl owned by Harriet Lane, then descent within family to donor.
Provenance
Sugar bowl owned by Harriet Lane Johnston, then descent within family to donor.
Staffordshire transferware sugar bowl in tureen form. Octagonal rounded body (A) sits on a pedestal; two molded applied handles at sides. Conforming domed lid (B) has cutout at one side for spoon and a molded finial on top. Black transfer pattern is a landscape with palatial buildings, trees, vegetation and distant mountains. Border is scroll design with narrow band of quatrefoil flowers and edged with Gothic crockets. Underside marked with pattern name "Missouri" above "B & S." A prominent English registry mark indicates the manufacture date of June 5, 1850.
Glazed soft paste porcelain Gaudy Welsh sugar bowl (A) with lid (B). Handpainted inverted tulips of red and yellow are interspersed with 3 large, dominating deep blue scalloped motifs decorated with copper lustre painted floral decoration. Squat pot-bellied body sits on a low squarish pedestal with scalloped edging. Two molded angular applied handles. Top has round mouth with flared collar extends outward. Domed lid has squarish molded knob finial. Darkened remnant of paper sticker with blurred writing, perhaps "-caster/ --ea set/ --1825."
Provenance
Collected by Harpo and Susan Marx during visits back East from CA. Donated to Heritage Center.
Small molded sugar bowl (A) with fitted lid (B), of white-bodied china. Bulbous pear shaped body has leaf molded exterior and four sagging lobes that bulge at the base. Two applied rustic handles. Decorated with dark blue on upper 1/3 of bowl. Gold-painted highlights on one side only, on handles and embossed leaves at sides. On side of body in stamped, gold lettering is: "Souvenir/ of/ Lancaster/ Pa."
Fitted, domed lid (B) is molded with foliate inspiration with rustic handle/finail.
Stamped underneath in gold is a crown over shield witht the monogram of "TGC"(?) The number "12" also stamped in gold.
Provenance
Donor believes this set was purchased at Woolworth's store in Lancaster.
Dark brown ceramic sugar bowl, oval-shaped. Most likely press-molded and hand finished. Lid has golden, floral, molded finial and enamel floral pattern with golden edging around rims, handles and base.
John Wedg Wood Ironstone in Chapoo pattern. White earthenware with cobalt blue transferware. Sugar bowl (a) with lid (b). Octagonal design with a bulbous octagonal body. Tree/pagoda/nature transfer decor.
Silver sugar tongs. U-shaped, with hollow ends in the shape of acorns. Ornate arms with a dotted and zig-zag design. Diamond shape at bottom with 'R' in script at center.
Provenance
Unknown beyond donors. Mrs. Maguire (Pauline) is the great, great granddaughter of James Buchanan's brother, Edward Buchanan.
Open 'Wicker' work bowl, scalloped edge, interwined vine stem handles; oak leaf and acorn motif along outer rim. White background with gilt on bowl; gilt, bright blue and salmon on open work base. Bowl oval-shaped.
Oval open-design ceramic pedestal dish. White ceramic dish decorated in blue and gold paint. The oval-shaped bowl (about 15 inches from handle to handle and 9.25 inches across) has sides with an open design. The base is outlined in gold and a hole in the center contains a metal flat-topped pin about 4 inches long that extends below the bowl and is held in place by a cork, threaded onto the pin secured by a wing-nut. The ornately decorated base has open spaces with cascading blue leaves detailed in gold with hanging white acorns. 4 curled designs form the feet for the base. Made in France.
John Wedg Wood Ironstone in Chapoo pattern. White earthenware with cobalt blue transferware. Serving bowl with octagonal shape and rectangular length and width. Tree/nature/pagoda scene in center of dish. Flower designs around rim and along outside sides.
Manufacturer of earthenware at Hadderidge Bank, Burslem and then at Woodland Street, Tunstall, Stoke-on-Trent
John Wood either already had or, more probably adopted, a middle name 'Wedg' - this rather conveniently caused his marks to been mistaken for the more famous Josiah Wedgwood
One trade directory (1841 Pigot) lists his second name as 'Wedge' but all others correctly give 'Wedg'. John Wedg Wood died, age 43, in May 1857.
Footed openwork fruit bowl. Round-footed with protruding ring around neck. Bowl has flat bottom with flared-out sides, openwork porcelain. White with gold bands and tracery of openwork on outside. Base held to bowl by iron screw. Lip diameter is 9.063'.
Brown earthenware lustre wastebowl with flared opening, and applied sprig molded relief design of white thistles, shamrocks and roses. Copper lustre bands at top and base.
White porcelain bowl set on a raised foot. Gold motif at center is concentric circles of floral and foliate design; outer ring has 12 elongated flowers radiating outward. Edge has 1/2" wide band of gold that extends to outside. The raised foot is gold. Upper half of outside of bowl painted pink and banded at lower edge with gold.
Although attributed to Feuillet, there is no inscription on bottom. Additional pieces of this set of dishes in collection are 2013.008. Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Rue de la Paix decorating studio, Paris
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
About one quarter of bowl's side has been broken out in pieces and repaired with 10 staples at outside cracks. Large edge losses have been filled and painted. Additional hairline cracks on inside, opposite large repair.
All gold decoration is worn, esp. at rim.
Object ID
2015.029.8
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
White porcelain plate decorated with a 1" pink border and gold edging. The center of bowl has hand-painted landscape next to a body of water. Far bank has a promontory surmounted with a high square tower and an attached arched viaduct. Waterfall courses through arches of viaduct to waterway beneath. A small sailing ship is anchored at left. Three boys with wide-brim hats, breeches and stockings along water on near bank. High rocks and twisting tree frame the scene at left.
Painted cursive inscription on bottom: "Feuillet rue de la / paix no. 20." Jean-Pierre Feuillet, Decorator (French, 1777-1840). See Notes
Matching bowl with differing center scene is 2015.029.11. Additional pieces of Feuillet-decorated dishes in collection are 2013.008.
Rue de la Paix decorating studio, Paris
Provenance
Descent within Buchanan and Henry family to Pamela Henry (daughter of Frank Anderson Henry, Buck's youngest son) to Louisa Dent (donor).
Very good condition except for one 1/4" chip at top of rim edge.
Object ID
2015.029.10
Notes
Research on E-bay has dealer's statement:
"Feuillet introduced a porcelain decorating studio at the Rue de la Paix, Paris in 1820. The products came chiefly from the Royal Factory Sèvres. His successor was Boyer (1845)."
Another seller writes:
"The Feuillet studio was at 18, Rue de la Paix, advantageously located for the wealthy denizens of the area to come visit and make purchases. The Prince of Conde gave Feuillet his protection, thus assuring a constant flow of high-end clients. Feuillet's design atelier reached its apex in the mid-1820s, lavishly decorating some of the most remarkable plates of the time. The combination of rich paste gilding, saturated border colors and meticulous fruit or floral still life paintings made the factory's output one of the favorite choices, other than Sevres, for purchase by the new French Regime. According to the book "Paris Porcelain" by Regine de Plinval de Guillebon, "Feuillet was one of the best decorators in the Restauration period," (Paris Porcelain, page 244)."
