{"title":"Ceramics \u0026 Stoneware","description":"\u003cp\u003eOur Pottery Collection brings together a diverse range of ceramic and earthenware pieces — from vintage and antique examples to decorative, functional, and sculptural forms. Each piece is selected for its character, craftsmanship, and visual presence.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eWhether hand-thrown, moulded, glazed, painted, or kiln-fired in traditional techniques, these works reflect the enduring artistry of clay across cultures and periods. Subtle variations in glaze, texture, and finish are part of their authenticity and individual story.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eFrom statement vessels to everyday functional ware, this collection celebrates pottery in its many expressions — timeless objects shaped by hand, preserved by care, and ready to find a new home.\u003c\/p\u003e","products":[{"product_id":"art-deco-royal-staffordshire-lustre-ware-vase","title":"Art Deco Royal Staffordshire Wilkinson Ltd Lustre Ware Vase – Circa 1920s","description":"\u003cp\u003e\u003cstrong\u003eArt Deco Royal Staffordshire Wilkinson Ltd Lustre Ware Vase – Circa 1920s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA stunning example of early 20th-century Art Deco pottery, this vase was expertly crafted by Wilkinson Ltd, Royal Staffordshire.\u003c\/p\u003e\n\u003cp\u003eThe piece features a beautifully applied lustre glaze and a vibrant, hand-decorated plum motif, creating a striking interplay of color and texture typical of the period’s decorative style.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIts elegant tapering form and bold yet refined coloration make this vase an ideal statement piece for collectors of Art Deco ceramics, decorative pottery, or vintage home décor. The artistry and craftsmanship of Wilkinson Ltd are clearly evident in the meticulous detailing and rich lustre finish.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e:\u003cbr\u003eDiameter: 13 cm\u003cbr\u003eHeight: 26 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eHighlights\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eAuthentic Art Deco period piece, circa 1920s\u003c\/li\u003e\n\u003cli\u003eDecorative lustre ware with hand-painted plum motif\u003c\/li\u003e\n\u003cli\u003eCrafted by the esteemed Wilkinson Ltd, Royal Staffordshire\u003c\/li\u003e\n\u003cli\u003ePerfect for collectors or as a distinctive display piece in any interior\u003c\/li\u003e\n\u003cli\u003eThis vase is both a collectible treasure and a charming decorative object, exemplifying the style and craftsmanship of one of Staffordshire’s celebrated pottery manufacturers.\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"The Dancing Faun","offers":[{"title":"Default Title","offer_id":40457858711752,"sku":"","price":3995.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/2021-06-30_13.26.16.png?v=1775921824"},{"product_id":"blue-peony-charlotte-rhead-pouring-jug","title":"Rare Charlotte Rhead ‘Blue Peony’ Bursley Ware Pouring Jug","description":"\u003cp\u003e\u003cstrong\u003eRare Charlotte Rhead ‘Blue Peony’ Bursley Ware Jug\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA beautifully preserved and highly collectable vintage pouring jug designed by celebrated British ceramic artist Charlotte Rhead for H.J. Wood, showcasing the much-loved Blue Peony pattern.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eProduced as part of the iconic Bursley Ware range, this charming jug perfectly reflects Charlotte Rhead’s unmistakable style — bold hand-applied floral decoration, flowing organic form, and rich tonal glazes that capture the artistry of early 20th-century English pottery. The striking blue peony motif, framed by rhythmic pattern work and gentle curves, makes this piece both visually captivating and highly desirable among collectors.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCompact yet full of character, it is ideal for display within a curated Charlotte Rhead or Art Deco ceramics collection, while also serving as a standout decorative accent in a traditional or contemporary interior. Pieces in this pattern and condition are increasingly sought after for their craftsmanship, design pedigree, and enduring decorative appeal.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e:\u003cbr\u003eLength 12.5 cm × Width 9.5 cm × Height 9.5 cm\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e:\u003cbr\u003eExcellent vintage condition. No chips or cracks. Colours remain vibrant and beautifully preserved, reflecting careful ownership over time.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003ePerfect for\u003c\/strong\u003e:\u003cbr\u003eCharlotte Rhead collectors, Art Deco pottery enthusiasts, English ceramics collections, or as a distinctive statement piece for the refined vintage interior.\u003c\/p\u003e","brand":"The Dancing Faun","offers":[{"title":"Default Title","offer_id":40515986063560,"sku":"","price":2650.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/2021-07-01_19.45.16.png?v=1775919805"},{"product_id":"antique-staffordshire-pottery-toby-jug","title":"Sampson Smith, Longton | \"Home Brewed Ale\" Toby Jug | Polychrome Earthenware | Staffordshire, England, c.1870","description":"\u003cp\u003e\u003cstrong\u003eSampson Smith, Longton | \"Home Brewed Ale\" Toby Jug | Polychrome Earthenware | Staffordshire, England, c.1870\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Toby Jug began as a tavern vessel and became something more enduring: a record of how a culture chose to see itself — convivial, robust, fond of ale, and not above a degree of self-mockery.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eOriginating in the eighteenth century within the Staffordshire Potteries, with early development associated with Ralph Wood I of Burslem, Toby Jugs quickly established themselves as functional tavern wares. The tricorn hat form evolved into a removable drinking cup, reinforcing their dual role as both vessel and theatrical object. By the mid-Victorian period, production had expanded into narrative figural forms, including the seated “Man on a Barrel” type — where the barrel itself carries inscription and meaning as part of the composition.\u003c\/p\u003e\n\u003cp\u003eSampson Smith of Longton, Staffordshire, was an active Victorian manufacturer of earthenware figures, Toby jugs, and decorative ceramics, operating under the “S” and “SS” mark convention associated with the firm’s output. The present example aligns closely with known Longton production of this type from the later nineteenth century, where abbreviated base marks combined with model or mould numerals were commonly used across factory output.\u003c\/p\u003e\n\u003cp\u003eThe base of this jug carries the hand-painted inscription “S. 1815.” in iron red, consistent with Sampson Smith marking practice, with the numeral functioning as a model or mould reference rather than a date.\u003c\/p\u003e\n\u003cp\u003eThis example belongs to the “Home Brewed Ale” narrative Toby type, a variant produced during the late nineteenth century that expands the standard seated Toby format into a more explicitly thematic tavern scene.\u003c\/p\u003e\n\u003cp\u003eThe figure is modelled as a seated gentleman in eighteenth-century dress, executed with strong Victorian modelling and confident polychrome enamel work. He wears a cobalt blue coat with deeply articulated lapels, a finely detailed waistcoat in brown crosshatch and foliate pattern, a white stock with blue dot detail, pink breeches, and blue-striped stockings. Black shoes and a powdered grey wig complete the figure.\u003c\/p\u003e\n\u003cp\u003eIn his right hand he holds a small white jug decorated with a painted rose; in his left, a secondary vessel. He sits astride a barrel impressed “HOME BREWED ALE”, set upon a moulded naturalistic base of grass and earth tones. The twisted rope-form handle is glazed white with an amber accent stripe.\u003c\/p\u003e\n\u003cp\u003eThe tricorn hat forms the detachable lid and is surmounted by sculpted hops and foliage in pink, crimson, and deep green — reinforcing the ale theme below. The brim is edged with a warm amber line, tying the palette together across lid and body.\u003c\/p\u003e\n\u003cp\u003eThe base is unglazed and carries the hand-painted “S. 1815.” mark in iron red.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eNarrative “barrel Toby” forms with explicit inscriptional barrels and complete figural integrity are significantly less common than standard seated Tobies. Examples retaining strong enamel survival, intact applied detailing, and legible inscription are increasingly sought within Victorian Staffordshire figural ceramics.\u003c\/p\u003e\n\u003cp\u003eThe presence of a clearly attributable Longton maker further strengthens its position within documented regional production.\u003c\/p\u003e\n\u003cp\u003eThe figure is in very good antique condition consistent with age. Crazing is present throughout the glaze as expected in Victorian Staffordshire earthenware. The lid has been professionally restored and remains stable and visually unobtrusive.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Sampson Smith, Longton, Staffordshire\u003c\/li\u003e\n\u003cli\u003eBase mark: “S. 1815.” (hand-painted in iron red; “S.” consistent with Sampson Smith attribution; “1815” a model\/mould reference)\u003c\/li\u003e\n\u003cli\u003eType: “Man on a Barrel” \/ “Home Brewed Ale” Toby Jug\u003c\/li\u003e\n\u003cli\u003eForm: Figural jug with detachable lid\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware with polychrome overglaze enamels\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1870\u003c\/li\u003e\n\u003cli\u003eLength: 16.5 cm\u003c\/li\u003e\n\u003cli\u003eWidth: 14 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 31 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 1.415 kg\u003c\/li\u003e\n\u003cli\u003eCondition: Very good antique condition; age-consistent crazing throughout; lid professionally restored\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eThere is a particular honesty to a Toby Jug — it never aspired to fine art or formal display. It belonged instead to the lived spaces of tavern and home, where objects were used, handled, and returned to the shelf carrying the memory of use as much as decoration.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun","offers":[{"title":"Default Title","offer_id":40520063582408,"sku":"","price":4550.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/2021-07-02_10.41.41.png?v=1775919456"},{"product_id":"tim-morris-pottery-vessel","title":"Stunning Vintage Lidded Pottery Vessel by Tim Morris (South Africa, 1941–1990), Signed 1982","description":"\u003cp\u003e\u003cstrong\u003eStunning Vintage Lidded Pottery Vessel by Tim Morris (South Africa, 1941–1990), Signed 1982\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA remarkable example of South African studio pottery, this vintage lidded vessel was expertly crafted by the renowned Tim Morris, one of South Africa’s most respected potters of the 20th century.\u003c\/p\u003e\n\u003cp\u003eDated 1982 and clearly signed, it showcases Morris’s distinctive approach to form, surface, and glazing, combining elegance with a tactile, earthy character.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMorris (1941–1990) was celebrated in South Africa for his skillful balance of traditional techniques with innovative artistic expression. His works are admired for their sculptural qualities, harmonious proportions, and unique glazes, making them highly sought-after by collectors of South African studio pottery and fine ceramics.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis lidded vessel features a smooth, well-proportioned body and a perfectly fitting lid, offering both aesthetic appeal and collectible value. Its substantial size and presence make it a captivating display piece for any collector of fine South African ceramics.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e:\u003cbr\u003eDiameter: 21,7 cm\u003cbr\u003eHeight: 15 cm\u003cbr\u003eWeight: 2,977 kg\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e:\u003cbr\u003eIn excellent vintage condition. Free from chips, cracks, crazing, or restoration. A beautifully preserved example of Tim Morris’s South African studio pottery, ready to enhance any collection.\u003c\/p\u003e","brand":"The Dancing Faun","offers":[{"title":"Default Title","offer_id":40526540406984,"sku":"","price":3950.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/2021-07-09_20.54.47.png?v=1775918155"},{"product_id":"antique-extra-large-platter","title":"F. Winkle \u0026 Co Ltd | Whieldon Ware | Mandarin Pattern | Large Oval Serving Platter | England | c.1911–1931","description":"\u003cp\u003e\u003cstrong\u003eF. Winkle \u0026amp; Co Ltd | Whieldon Ware | Mandarin Pattern | Large Oval Serving Platter | England | c.1911–1931\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA platter of this scale was made to carry something worth serving — and it has survived a century of use with its decoration entirely intact, which says something about both the making and the keeping.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eF. Winkle \u0026amp; Co Ltd operated from the Whieldon Pottery in Stoke-on-Trent, Staffordshire, from the late nineteenth century until the 1930s. The \"Ltd\" designation in the backstamp dates this piece to the period after 1911, when the company incorporated, placing production within the window of c.1911–1931. The trade name \"Whieldon Ware\" was a deliberate evocation of Thomas Whieldon, the celebrated eighteenth-century Staffordshire master potter, and was used by the firm to signal quality and continuity with the finest traditions of English earthenware production. The Mandarin pattern — a polychrome chinoiserie-influenced floral design drawing on the famille rose tradition of Chinese export porcelain — was among the most popular decorative treatments applied to English earthenware serving pieces of the Edwardian and interwar periods, combining the visual richness of the Chinese floral vocabulary with the accessible warmth of English transfer-printed and hand-finished production.\u003c\/p\u003e\n\u003cp\u003eThe platter is of generous oval form, the well-proportioned body carried on a flat base with a rim edge finished in a deep rust-brown line. The decoration covers the full surface in a layered composition: the well carries a central spray of large pink peonies, orange buds and blue daisies on scrolling brown stems, rendered with considerable clarity and colour depth. The broad border carries alternating large floral clusters — pink peonies and orange blossoms — set within a framework of teal scrollwork, blue panel reserves and a fine crosshatch gilt-brown diaper band. The overall palette of deep pink, teal, orange, green and rust on a cream ground is vivid and well-preserved. The hand-finishing of the decoration is evident throughout in the quality and freshness of the colouring.\u003c\/p\u003e\n\u003cp\u003eThe decoration on the face of the platter is intact with no chips, cracks or colour loss. Age-consistent crazing is present on the reverse, which is entirely characteristic of Whieldon Ware earthenware of this period and does not affect the display face. The platter is in excellent condition for its age.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: F. Winkle \u0026amp; Co Ltd\u003c\/li\u003e\n\u003cli\u003eTrade Name: Whieldon Ware\u003c\/li\u003e\n\u003cli\u003ePattern: Mandarin\u003c\/li\u003e\n\u003cli\u003eForm: Large oval serving platter\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eMark: F. Winkle \u0026amp; Co Ltd, Whieldon Ware, Mandarin, England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1911–1931\u003c\/li\u003e\n\u003cli\u003eDimensions: 47cm L × 37.5cm W × 4cm H\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent for age — decoration intact; age-consistent crazing to reverse only\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eA piece of this scale made it to a century of age with its colours undimmed — which is either a tribute to the maker or to whoever kept it out of the kitchen.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun","offers":[{"title":"Default Title","offer_id":40526705066184,"sku":"","price":2950.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/2021-07-10_13.25.55.png?v=1775918076"},{"product_id":"royal-doulton-flambe-resting-duck-figurine-oxblood-red-mid-twentieth-century","title":"Royal Doulton | Flambe | Resting Duck Figurine | Oxblood Red | Mid-Twentieth Century","description":"\u003cp\u003e\u003cstrong\u003eRoyal Doulton | Flambe | Resting Duck Figurine | Oxblood Red | Mid-Twentieth Century\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Flambe glaze requires no decoration — the fire does the work, and no two pieces come out the same.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eRoyal Doulton's Flambe range stands apart from everything else the Burslem factory produced. Developed in the early twentieth century under the direction of Charles Noke, who spent years unlocking the reduction-firing secrets of Chinese oxblood glazes, Flambe required an entirely separate kiln process to achieve its characteristic depth of colour. Pieces were fired in a reducing atmosphere — starved of oxygen at critical temperature — which drove the copper in the glaze to produce the intense sang de boeuf red that defines the ware. The process is unpredictable by nature: each piece emerges from the kiln unique, and the factory could not guarantee an identical result twice. Flambe animal models, produced across several decades of the twentieth century, have become among the most consistently sought-after items in the Royal Doulton secondary market, combining the prestige of the Flambe technique with the accessibility of a small-scale decorative object.\u003c\/p\u003e\n\u003cp\u003eThis resting duck model is modelled low to the ground with the body settled, head tucked and turned to one side, the tail feathers rendered as a small upturned curl. The form is simplified and entirely resolved — no detail is superfluous, and the modelling relies entirely on the quality of the glaze rather than surface ornamentation. The Flambe glaze across the entire figure is a deep, uniform oxblood red, darkening to near-black in the recesses of the wings and tail, with a high-gloss finish that gives the surface considerable visual depth. The unglazed foot rim shows natural kiln grit consistent with the period firing process. The base carries the printed Royal Doulton crown and circle mark in dark pigment with \"Made in England \/ Royal Doulton \/ England\" and \"FLAMBE\" below, confirming authentic factory production.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eCondition is excellent. No chips, cracks or glaze loss. The Flambe surface is intact throughout with no restoration or damage visible.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker | Royal Doulton, Burslem, Staffordshire, England\u003c\/li\u003e\n\u003cli\u003ePattern | Flambe — reduction-fired oxblood glaze, standard (non-veined)\u003c\/li\u003e\n\u003cli\u003eShape | Resting duck — body settled, head tucked, tail curled\u003c\/li\u003e\n\u003cli\u003eBackstamp | Royal Doulton crown and circle mark, \"Made in England \/ Royal Doulton \/ England \/ FLAMBE\" — mid-twentieth century\u003c\/li\u003e\n\u003cli\u003ePieces | 1\u003c\/li\u003e\n\u003cli\u003eMaterial | Earthenware with Flambe reduction glaze\u003c\/li\u003e\n\u003cli\u003ePeriod | Mid-twentieth century\u003c\/li\u003e\n\u003cli\u003eDecoration | Uniform deep oxblood red Flambe glaze throughout, darkening to near-black in recesses; high-gloss finish\u003c\/li\u003e\n\u003cli\u003eDimensions | Height 4.5cm | Length 9cm | Width 4.3cm | Weight 43g\u003c\/li\u003e\n\u003cli\u003eGilding | None\u003c\/li\u003e\n\u003cli\u003eCondition | Excellent. No chips, cracks or glaze loss. Flambe surface fully intact.\u003c\/li\u003e\n\u003cli\u003eBuyer profile | Royal Doulton Flambe collector; collector of British studio-process ceramics; buyer seeking a single strong display piece; collector building a Flambe animal grouping\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eReduction-fired, hand-finished, and entirely dependent on the kiln — Flambe remains one of the few ceramic processes where the maker accepts that chance has the final word.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45002595172552,"sku":null,"price":1295.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_e685dd9a-a466-4615-8924-372878616cca.png?v=1775897083"},{"product_id":"unattributed-mallard-drake-glazed-earthenware-money-box-mid-20th-century","title":"Unattributed | Mallard Drake | Glazed Earthenware Money Box | Mid-20th Century","description":"\u003cp\u003e\u003cstrong\u003eUnattributed | Mallard Drake | Glazed Earthenware Money Box | Mid-20th Century\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe money box has always asked the same quiet question — patient, sealed, waiting to see if the answer is yes.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe ceramic money box has a long domestic history, but the mid-twentieth century produced some of its most appealing expressions in the form of figural animal banks. The duck was a natural subject — upright, compact, and well suited to the rounded volume required. Examples of this type were produced across Britain and Continental Europe during the mid-century decades, typically in earthenware with flowing or reactive glazes, and intended as much for display as for use.\u003c\/p\u003e\n\u003cp\u003eThe figure is modelled as a standing mallard drake, upright and forward-facing, its natural form lending itself easily to the money box structure. The glaze is applied in a flowing, reactive manner: the head and neck in a speckled blue shifting from grey-blue at the crown to a warmer teal at the throat, transitioning through an olive-toned band into a deep amber-chestnut body. The shift between colours is softly graduated, giving the piece a painterly quality rather than a sharply defined pattern. The webbed feet are picked out in the same amber tones with darker definition at the edges. The coin slot is positioned to the back between the wings.\u003c\/p\u003e\n\u003cp\u003eThe base is left unglazed, revealing a pale buff earthenware body, and is fitted with its original black rubber retrieval bung, which remains intact and functional.\u003c\/p\u003e\n\u003cp\u003eThe piece is in very good condition for its age. There are no chips, cracks, or repairs. Age-related crazing is present and consistent with the period. The glaze remains bright and well-preserved.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Unattributed\u003c\/li\u003e\n\u003cli\u003eForm: Figural money box\u003c\/li\u003e\n\u003cli\u003eSubject: Mallard drake\u003c\/li\u003e\n\u003cli\u003eMaterial: Glazed earthenware\u003c\/li\u003e\n\u003cli\u003ePeriod: Mid-20th century\u003c\/li\u003e\n\u003cli\u003eHeight: 22 cm\u003c\/li\u003e\n\u003cli\u003eLength: 20.5 cm\u003c\/li\u003e\n\u003cli\u003eWidth: 11 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 442 g\u003c\/li\u003e\n\u003cli\u003eCondition: Very good — age-related crazing; no chips, cracks or repairs; original rubber bung intact\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMid-century figural money boxes occupy a well-established niche within decorative ceramics, valued for their combination of function and character. Animal forms, particularly ducks, remain among the most recognisable and widely collected examples. Pieces with strong glaze variation, intact fittings such as the original bung, and clean overall condition continue to appeal both to collectors and to those seeking distinctive decorative objects with practical origins.\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn object made to hold something in reserve has a particular kind of integrity — it keeps its promise whether or not anyone ever comes to collect.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45037653098696,"sku":null,"price":895.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_a5c9fd2f-982a-4642-a4b3-287ce9ee3346.png?v=1775848334"},{"product_id":"moorcroft-william-moorcroft-leaf-berry-footed-bowl-tube-lined-art-pottery-england-c-1930s","title":"Moorcroft | Leaf and Berry | Footed Bowl | Tube-Lined Earthenware | England, c.1928–1935","description":"\u003cp\u003e\u003cstrong\u003eMoorcroft | Leaf and Berry | Footed Bowl | Tube-Lined Earthenware | England, c.1928–1935\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThere is a particular kind of making that leaves nothing to chance — every line drawn in slip, every layer of glaze, every firing a considered act from a potter who signed his name to each piece and meant it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWilliam Moorcroft established his own pottery in Cobridge, Staffordshire in 1913, having first built his reputation at James Macintyre \u0026amp; Co., where his work had already received international recognition, including a gold medal at the 1904 St. Louis World’s Fair. From his earliest independent production, Moorcroft’s output was defined by the tube-lining technique he had refined over years: liquid slip trailed from a fine nozzle to create raised outlines, which hold coloured glazes in place during firing, preventing them from bleeding across the surface.\u003c\/p\u003e\n\u003cp\u003eThe Leaf and Berry pattern belongs to the mature period of Moorcroft’s personal production — a naturalistic design rendered with the restrained confidence of a craftsman at the height of his powers. It remained in production across the interwar decades and into the Walter Moorcroft period, and continues to attract sustained collector attention.\u003c\/p\u003e\n\u003cp\u003eThe bowl is of footed form, rising in a shallow, wide curve from a narrow circular foot to a broad rim. The interior carries the Leaf and Berry design in full: clusters of round berries in deep crimson, cobalt and burgundy sit among vine leaves in autumnal tones of yellow, ochre and soft green. The composition forms a continuous frieze around the inner wall, leaving the centre in an open, mottled teal-green ground. The tube-lining remains clearly defined throughout, giving the decoration its characteristic tactile relief. The exterior and foot are finished in a deep, even green- deep blue glaze.\u003c\/p\u003e\n\u003cp\u003eThe base bears the full complement of period marks: the impressed “Moorcroft \/ Made in England” stamp, the painted “W. Moorcroft” facsimile signature in green, the “Potter to H.M. The Queen” warrant mark, and a hand-painted studio decorator’s mark consistent with Moorcroft workshop practice of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe glaze carries fine, even crazing consistent with age and the nature of the earthenware body — a normal characteristic of Moorcroft production of this period. A professional, conservation-grade restoration has been carried out to a section of the rim; the work is not visible under normal viewing conditions and the bowl presents well from all angles. There are no chips or losses to the tube-lining. No further condition issues noted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWorks produced during the lifetime of William Moorcroft, particularly those retaining full signature and royal warrant marks, continue to hold a firm and enduring place within the Moorcroft canon. The Leaf and Berry pattern is among the established designs of the 1930s, valued for its balanced composition and richly developed palette.\u003c\/p\u003e\n\u003cp\u003eExamples that remain structurally sound, with clear tube-lining and complete surface decoration, are consistently sought after, especially in cabinet-sized forms that lend themselves easily to display. The presence of a studio decorator’s mark further reflects the hand-executed nature of Moorcroft’s production during this period.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Moorcroft\u003c\/li\u003e\n\u003cli\u003ePattern: Leaf and Berry\u003c\/li\u003e\n\u003cli\u003eForm: Footed bowl\u003c\/li\u003e\n\u003cli\u003eMaterial: Tube-lined glazed earthenware\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1928–1935\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003eDiameter: 16.3 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 7 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 328 g\u003c\/li\u003e\n\u003cli\u003eMarks: Impressed “Moorcroft \/ Made in England”; painted “W. Moorcroft” facsimile signature; “Potter to H.M. The Queen” warrant mark; studio decorator’s mark\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eThe tube-lining that defines each leaf and berry is not decoration applied to pottery — it is the structure of the thing itself, the line that holds colour precisely where the maker intended it to remain.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45041574379720,"sku":null,"price":4550.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_4d8bfa4d-538f-40fd-ba66-ee27c65adf6c.png?v=1775847573"},{"product_id":"doulton-lambeth-slaters-patent-large-stoneware-vase-floral-chine-decoration-england-1891-1914","title":"Doulton Lambeth | Slater’s Patent | Large Stoneware Vase | Floral Chine Decoration | England, 1891–1914","description":"\u003cp\u003e\u003cstrong\u003eDoulton Lambeth | Slater’s Patent | Large Stoneware Vase | Floral Chine Decoration | England, 1891–1914\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn an era that produced more decorative pottery than any before it, Lambeth found a way to make industrial process feel like individual craft — and Slater’s Patent was the proof.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Doulton Lambeth studio in South London occupied a singular position within English ceramics. Established in the early nineteenth century and later developed under the direction of Henry Doulton, it became one of the leading centres of art pottery in Victorian and Edwardian Britain, employing highly trained decorators and exhibiting internationally.\u003c\/p\u003e\n\u003cp\u003eThe technique known as Slater’s Patent — developed in collaboration with the factory’s art director John Slater — was introduced in 1886 and remained in production until 1914. It involved pressing lace into the clay body to create a fine textile ground, over which enamel colours and gilding were applied by hand. Each piece was individually finished and typically marked with the decorator’s initial, preserving a record of authorship within what was otherwise a highly organised production system.\u003c\/p\u003e\n\u003cp\u003eThe present vase is of tall baluster form, the broad ovoid body rising to a constricted neck and wide flared rim. The foot and lower section are finished in a deep cobalt glaze with gilt banding, while the neck and interior rim carry a contrasting olive-green glaze. A fine gilt line defines the transition between neck and body.\u003c\/p\u003e\n\u003cp\u003eAcross the main body, the Slater’s Patent ground presents as a finely textured buff field, overlaid with a continuous floral composition in turquoise, white, and deep crimson enamels with extensive gilding. Larger, structured flowerheads anchor the design, while smaller blossoms and scrolling foliage fill the surrounding field with controlled density. The interior is fully glazed in cobalt blue.\u003c\/p\u003e\n\u003cp\u003eThe vase is raised on a fitted turned hardwood pedestal base.\u003c\/p\u003e\n\u003cp\u003eThe underside carries the impressed Doulton Lambeth England mark, the Doulton \u0026amp; Slater’s Patent stamp, pattern number 8397, painted reference X5132, and a block mark with the decorator’s initial ‘M’.\u003c\/p\u003e\n\u003cp\u003eCondition is excellent. There are no chips, cracks, or restoration. The enamel work remains intact and well-defined, and the gilding is even throughout. The pedestal base is in good order.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eA large-scale example — increasingly scarce in this size and condition\u003c\/li\u003e\n\u003cli\u003eFully realised Slater’s Patent decoration with strong colour and gilding retention\u003c\/li\u003e\n\u003cli\u003eClearly marked, including decorator’s initial — desirable for attribution-focused collectors\u003c\/li\u003e\n\u003cli\u003eClassic late-period Lambeth production (pre-1914), widely regarded as the technique’s peak\u003c\/li\u003e\n\u003cli\u003eDecorative impact balanced by technical refinement — highly displayable\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Doulton Lambeth, England\u003c\/li\u003e\n\u003cli\u003eTechnique: Slater’s Patent (lace-impressed stoneware with enamel and gilt decoration)\u003c\/li\u003e\n\u003cli\u003eForm: Tall baluster vase\u003c\/li\u003e\n\u003cli\u003ePeriod: 1891–1914\u003c\/li\u003e\n\u003cli\u003eHeight: 36 cm (excluding base)\u003c\/li\u003e\n\u003cli\u003eWeight: 2,360 g\u003c\/li\u003e\n\u003cli\u003eMarks: Impressed — Doulton Lambeth England; Doulton \u0026amp; Slater’s Patent; pattern no. 8397; decorator’s initial ‘M’; painted X5132\u003c\/li\u003e\n\u003cli\u003eIncludes: Fitted turned hardwood pedestal base\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eWhat Slater recognised — and what the finest Lambeth pieces still demonstrate — is that ornament does not need to announce itself loudly; the texture holds the depth, and the colour simply allows it to be seen.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45047718445256,"sku":null,"price":12950.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_7ba444e9-f8be-4b43-83e7-e6697d81e1c1.png?v=1775843755"},{"product_id":"pair-of-lidded-decorative-jars-turquoise-ground-with-silver-lustre-and-rose-medallions-european-mid-to-late-20th-century","title":"Pair of Lidded Decorative Jars | Turquoise Ground with Silver Lustre and Rose Medallions | European, Mid-to-Late 20th Century","description":"\u003cp\u003e\u003cstrong\u003ePair of Lidded Decorative Jars | Turquoise Ground with Silver Lustre and Rose Medallions | European, Mid-to-Late 20th Century\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eScale does what subtlety cannot — a pair of objects this size claims a room rather than decorating it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eDecorative lidded jars of this type — combining a saturated coloured ground with lustre ornament and framed floral panels — were produced across several European potteries and for the export market during the mid-twentieth century. The pairing of a vivid turquoise ground with silver lustre and gilt framing reflects a decorative language aimed at visual impact: objects intended not for quiet use, but for display within the interior.\u003c\/p\u003e\n\u003cp\u003eEach jar is of broad ovoid form, rising to a short cylindrical neck and fitted with a flat disc lid. The body is finished in a rich turquoise glaze with a finely textured surface, scattered throughout with silver lustre rose and foliate motifs — open blooms, buds, and sprigs distributed freely across the ground. To each principal face, a large oval medallion is set within a wide engraved gilt border: the panel carries a composed rose study in polychrome, centred on crimson and yellow blooms with supporting lilac and pink flowers, arranged against a pale ground with naturalistic shading.\u003c\/p\u003e\n\u003cp\u003eEngraved gilt bands define the lower body and lid rim, bringing structure to the otherwise fluid decorative scheme. The lids repeat the turquoise ground and silver lustre ornament and sit cleanly and flush to each body. The pair presents as near-matched, with only minimal variation consistent with hand-finished decorative work.\u003c\/p\u003e\n\u003cp\u003eThere are no chips, cracks, or repairs to either jar or lid. The turquoise ground is even across both pieces. The gilding remains intact. Both jars are in excellent condition.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGrade: Excellent\u003c\/li\u003e\n\u003cli\u003eMaker: Unidentified — unmarked\u003c\/li\u003e\n\u003cli\u003eForm: Lidded ovoid decorative jars (pair)\u003c\/li\u003e\n\u003cli\u003eMaterial: Ceramic with turquoise ground, silver lustre decoration, polychrome enamel medallions, gilt detailing\u003c\/li\u003e\n\u003cli\u003eOrigin: European — precise attribution unconfirmed\u003c\/li\u003e\n\u003cli\u003ePeriod: Mid-to-late 20th century\u003c\/li\u003e\n\u003cli\u003eHeight: 26 cm each\u003c\/li\u003e\n\u003cli\u003eDiameter: 23 cm each\u003c\/li\u003e\n\u003cli\u003eWeight: ± 2,307 g each\u003c\/li\u003e\n\u003cli\u003eQuantity: Pair — both lids present and matching\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLarge-format decorative ceramics of this kind occupy a specific place in the market: they are not collected for maker attribution alone, but for scale, visual presence, and pair integrity. Surviving as a matched pair significantly strengthens desirability, particularly for interior use where symmetry is valued. The combination of turquoise ground and silver lustre gives the pieces immediate visual impact, making them well-suited to contemporary interiors that favour statement objects with reflective surfaces and strong colour.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA matched pair survives in ways a single object rarely does — each one becomes the other's evidence that it was always meant to be this way.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45050733887688,"sku":null,"price":3800.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_daeabe4d-e28d-447b-8704-7ada76a524c1.png?v=1775843470"},{"product_id":"de-sphinx-maastricht-voortrekker-centenary-commemorative-bowl-1838-1938-issued-by-uniewinkels-pretoria","title":"De Sphinx, Maastricht | Voortrekker Centenary Commemorative Bowl | 1838–1938 | Issued by Uniewinkels, Pretoria","description":"\u003cp\u003e\u003cstrong\u003eDe Sphinx, Maastricht | Voortrekker Centenary Commemorative Bowl | 1838–1938 | Issued by Uniewinkels, Pretoria\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn object made to mark a centenary carries two dates simultaneously — the event it commemorates and the moment it was made — and both matter.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe year 1938 marked the centenary of the Battle of Blood River and coincided with the laying of the foundation stone of the Voortrekker Monument in Pretoria, events commemorated across South Africa with unusual scale and coordination, including the re-enactment of the Great Trek by ox-wagon from Cape Town to Pretoria. This period produced a wide range of commemorative material, among which ceramics manufactured in Europe for the South African market hold a distinct place.\u003c\/p\u003e\n\u003cp\u003eDe Sphinx of Maastricht, founded in 1827, was one of the Netherlands’ principal export potteries, producing transfer-printed earthenware in large volumes for international markets throughout the nineteenth and early twentieth centuries. This bowl was issued by Uniewinkels (Diens), a South African retail chain based in Pretoria, specifically for the 1938 centenary, placing it firmly within that moment of national commemoration.\u003c\/p\u003e\n\u003cp\u003eThe bowl is footed and hemispherical in form, made of cream-toned earthenware with a glazed interior. The exterior carries a continuous transfer-printed scene in terracotta red on cream, depicting imagery associated with the Great Trek: ox-wagon trains moving through mountainous terrain, mounted figures with livestock, and a prominent rendering of the Voortrekker Monument during its construction phase on its elevated plinth. A central cartouche shows a lit candle flanked by hanging chains, with the dates 1838 and 1938 — symbolic of continuity, memory, and historical connection.\u003c\/p\u003e\n\u003cp\u003eThe base carries the full transfer backstamp: \"De Sphinx — Maastricht \/ Uniewinkels \/ diens \/ Pretoria \/ Made in Holland.\"\u003c\/p\u003e\n\u003cp\u003eThere are no chips or cracks. The transfer is well-preserved and clearly legible throughout. The interior shows light age-related patination consistent with careful use.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: N.V. De Sphinx, Maastricht, Holland\u003c\/li\u003e\n\u003cli\u003eIssued by: Uniewinkels (Diens), Pretoria\u003c\/li\u003e\n\u003cli\u003eOccasion: Voortrekker Centenary (1838–1938)\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eDecoration: Terracotta transfer-print — Great Trek scenes, Voortrekker Monument under construction, commemorative cartouche\u003c\/li\u003e\n\u003cli\u003eBackstamp: \"De Sphinx — Maastricht \/ Uniewinkels \/ diens \/ Pretoria \/ Made in Holland\"\u003c\/li\u003e\n\u003cli\u003eDiameter: 11 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 6.5 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 176 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003cbr\u003eNo chips or cracks. Transfer decoration intact and unfaded. Minor interior patination consistent with age and light use.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eCommemorative ceramics vary widely in both intent and desirability, but pieces tied to specific historical moments in progress — rather than retrospective celebration — tend to hold stronger long-term interest. The depiction of the Voortrekker Monument during its construction, rather than in its completed 1949 form, gives this bowl a level of historical immediacy that later commemorative wares do not possess.\u003c\/p\u003e\n\u003cp\u003eCollectors of South African historical material, Great Trek ephemera, and early twentieth-century commemorative ceramics tend to favour objects that carry narrative imagery rather than purely symbolic motifs. The combination of Dutch manufacture for the South African market, a clearly defined commemorative issue, and well-preserved transfer decoration supports its collectability within this category.\u003c\/p\u003e\n\u003cp\u003eWhile not rare, examples in this condition with full backstamp and strong visual clarity remain consistently desirable at the right level.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn object that records not only what was being remembered in 1938 — but what was still in the process of being built.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45064547139784,"sku":null,"price":395.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_6247c9ef-7378-4e49-a760-6dbceeac83c8.png?v=1777122109"},{"product_id":"arthur-wood-earthenware-basketweave-jug-moulded-floral-collar-c-1934-1940s","title":"Arthur Wood | Earthenware | Basketweave Jug | Moulded Floral Collar | c.1934–1940s","description":"\u003cp\u003e\u003cstrong\u003eArthur Wood | Earthenware | Basketweave Jug | Moulded Floral Collar | c.1934–1940s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe 1930s produced more confident pottery than the decade’s reputation sometimes suggests — a jug like this is evidence enough\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eArthur Wood \u0026amp; Son of Longport, Staffordshire, was one of the more commercially astute potteries of the interwar period, producing decorative earthenware that balanced strong moulded form with accessible hand-finished detail. The basketweave jug with moulded floral collar belongs to this moment — a design that combines texture, colour, and structure without excess.\u003c\/p\u003e\n\u003cp\u003eThe jug is of tapered cylindrical form with a flat base and a wide pinched spout. The body carries an all-over moulded basketweave pattern in a soft cream earthenware. At the shoulder, a continuous collar of moulded flowers introduces colour — orange and yellow blooms with dark centres set against teal green foliage, hand-applied over the relief. The handle is square-section and angular, a distinctly 1930s detail that contrasts with the otherwise traditional form. The interior is glazed in a warm honey tone.\u003c\/p\u003e\n\u003cp\u003eThere is crazing throughout, consistent with age, along with visible staining to the interior and areas of the exterior. There are no chips or cracks.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Arthur Wood \u0026amp; Son, Longport, Staffordshire\u003c\/li\u003e\n\u003cli\u003eMark: Arthur Wood, England (printed)\u003c\/li\u003e\n\u003cli\u003eBody: Earthenware\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1934–1940s\u003c\/li\u003e\n\u003cli\u003eHeight: 15.3 cm\u003c\/li\u003e\n\u003cli\u003eSpout to handle: 18.3 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 621 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePrimarily decorative rather than scarce, but appealing as a representative example of interwar English earthenware with strong moulding and honest period colour.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA piece that has been used is not a diminished piece — it is an object with a history, which is a different thing entirely.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45064564670664,"sku":null,"price":225.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_880d9bb6-d816-4e12-9579-72f5a8cfe599.png?v=1777123563"},{"product_id":"koninklijke-plateelbakkerij-zuid-holland-royal-pzh-arras-pattern-twin-handled-bowl-hand-painted-earthenware-gouda-holland-c-1930s","title":"Koninklijke Plateelbakkerij Zuid-Holland (Royal PZH) | Arras Pattern | Twin-Handled Bowl | Hand-Painted Earthenware | Gouda, Holland, c.1930s","description":"\u003cp\u003e\u003cstrong\u003eKoninklijke Plateelbakkerij Zuid-Holland (Royal PZH) | Arras Pattern | Twin-Handled Bowl | Hand-Painted Earthenware | Gouda, Holland, c.1930s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Gouda potteries understood something that much decorative art of the period did not: that boldness is not excess, and that a fully worked surface can still allow the eye to move\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003ePlateelbakkerij Zuid-Holland, established in Gouda in 1898 by Adrianus Jonker and Egbert Estié, became the leading producer of Dutch art pottery in the early twentieth century. The factory’s development of the matte “Rhodian” glaze process in 1910 defined its output through the 1920s and 1930s, producing vividly hand-painted wares that bridged Art Nouveau and emerging Art Deco sensibilities. In 1930, the firm received the royal predicate, thereafter trading as Koninklijke (Royal) Plateelbakkerij Zuid-Holland — a designation reflected in the backstamp of this piece and confirming production after that date. The Arras pattern belongs to the factory’s mature decorative vocabulary: bold, structured, and architecturally composed.\u003c\/p\u003e\n\u003cp\u003eThis twin-handled oval bowl is of compressed form, raised on a low foot ring with a broad, flat rim incorporating two angular open handles. The interior is finished in a deep matte teal-green glaze. The exterior carries the Arras pattern in full hand-painted polychrome: large stylised floral forms rise in yellow and white from terracotta-orange scalloped bases, flanked by teal leaves with incised detailing against a soft cream ground. Cobalt blue chevron panels introduce a strong geometric rhythm, while scattered lavender-blue dots animate the surface. A lower border of dark red oval dots, framed by green linear banding, encircles the foot. The handles and rim are glazed in a muted olive-green, providing a deliberate visual pause above the more animated body.\u003c\/p\u003e\n\u003cp\u003eThe base is fully marked with mould number 2576, pattern name ARRAS, ROYAL ZUID-HOLLAND, the Lazarus Gate device, and GOUDA. A partial original paper label remains — a detail that significantly strengthens the piece’s desirability.\u003c\/p\u003e\n\u003cp\u003eThere are no chips, cracks, or losses. The matte glaze and painted decoration remain crisp and intact. Condition is excellent.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Koninklijke Plateelbakkerij Zuid-Holland (Royal PZH)\u003c\/li\u003e\n\u003cli\u003ePattern: Arras\u003c\/li\u003e\n\u003cli\u003eMould number: 2576\u003c\/li\u003e\n\u003cli\u003eMaterial: Hand-painted earthenware with matte glaze\u003c\/li\u003e\n\u003cli\u003eOrigin: Gouda, Holland\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1930s\u003c\/li\u003e\n\u003cli\u003eDimensions: 26.3 cm (handle to handle) × 12 cm × 8 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 505 g\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent; partial original paper label intact\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRoyal PZH pieces with full pattern naming, clear factory marks, and surviving paper labels sit firmly above average market examples. The Arras pattern, with its strong geometric structure and confident palette, represents the factory at its most resolved point — where Art Nouveau softness gives way to Art Deco clarity. Twin-handled forms of this scale are less common than standard vases, making the piece both displayable and comparatively scarce.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWhat survives of Gouda pottery is not simply decoration, but a record of a moment when colour, geometry, and craft aligned — and this piece holds that balance with unusual confidence.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45064796831944,"sku":null,"price":2650.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_0da13350-5c36-4226-ae04-c40a8fcd01a3.png?v=1777142124"},{"product_id":"burgess-leigh-burleigh-ware-meadowland-pattern-zenith-shape-teapot-art-deco-earthenware-burslem-england-c-1930s","title":"Burgess \u0026 Leigh (Burleigh Ware) | Meadowland Pattern | Zenith Shape Teapot | Art Deco Earthenware | Burslem, England, c.1930s","description":"\u003cp\u003e\u003cstrong\u003eBurgess \u0026amp; Leigh (Burleigh Ware) | Meadowland Pattern | Zenith Shape Teapot | Art Deco Earthenware | Burslem, England, c.1930s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Zenith shape did not arrive quietly — it arrived with angles, with intent, and with the clear conviction that a teapot could belong as much to design as to utility.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBurgess \u0026amp; Leigh, trading as Burleigh Ware from the Middleport Pottery in Burslem since 1851, reached one of its most distinctive creative periods during the late 1920s and 1930s. Under the direction of Harold Bennett and with the modelling of Ernest Bailey, the factory introduced a series of angular, forward-looking tableware forms — among them the Zenith shape, registered as no. 769495 — that reflect the influence of Art Deco at its most confident and modern. The Meadowland pattern, applied here in polychrome with hand-finished colouring over a transfer outline, balances naturalistic floral detail with a controlled, graphic clarity that suited the form perfectly.\u003c\/p\u003e\n\u003cp\u003eThis example is a classic Zenith teapot: a tapering cylindrical body set on a stepped foot ring, with a sharply angled handle and a short, faceted spout with a lipped tip. The handle is fully glazed in a warm amber-orange, providing a strong visual counterpoint to the decoration. The domed lid is surmounted by a modelled flower bud finial with green leaves, echoed by a small applied leaf sprig at the upper handle junction — both intact and crisply defined.\u003c\/p\u003e\n\u003cp\u003eThe Meadowland decoration is vivid and well preserved, with clustered orange and amber blossoms, yellow-green buds, and bold green leaves set against a soft cream ground. The design is framed at the foot and lid by Burleigh’s distinctive “Sunshine” dash-and-dot band, edged with a fine amber line. The interior retains a clean, warm cream glaze. The base carries the printed Meadowland mark alongside the Burleigh \/ Made in England \/ Zenith \/ Reg. Shape 769495 backstamp, with a hand-painted size mark.\u003c\/p\u003e\n\u003cp\u003eThe teapot remains in excellent condition, with no chips, cracks, or crazing. The modelled finial and applied leaf are intact, and the hand-finished decoration retains its clarity and depth of colour.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA well-preserved example of Burleigh’s most recognisable Art Deco form, combining sculptural shape with one of the factory’s most successful decorative patterns. The intact modelled elements, strong colour, and clear factory marks place it comfortably above the average surviving examples of the type.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Burgess \u0026amp; Leigh (Burleigh Ware), Middleport Pottery, Burslem\u003c\/li\u003e\n\u003cli\u003ePattern: Meadowland\u003c\/li\u003e\n\u003cli\u003eShape: Zenith, Registered Shape No. 769495\u003c\/li\u003e\n\u003cli\u003eForm: Teapot with lid\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1930s\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHandle to spout: 21 cm\u003c\/li\u003e\n\u003cli\u003eWidth: 12.7 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 14 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 555 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e: Excellent\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNine decades on, the Zenith shape still carries the confidence of its moment — and in Meadowland, with its colour, form, and detail intact, it remains an unusually complete expression of Burleigh’s Art Deco ambition.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45065061138632,"sku":null,"price":2650.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_18831263-04a7-4487-a038-a71a383ff48c.png?v=1777196199"},{"product_id":"burgess-leigh-burleigh-ware-meadowland-pattern-zenith-shape-jug-art-deco-earthenware-burslem-england-c-1930s","title":"Burgess \u0026 Leigh (Burleigh Ware) | Meadowland Pattern | Zenith Shape Jug | Art Deco Earthenware | Burslem, England, c.1930s","description":"\u003cp\u003e\u003cstrong\u003eBurgess \u0026amp; Leigh (Burleigh Ware) | Meadowland Pattern | Zenith Shape Jug | Art Deco Earthenware | Burslem, England, c.1930s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Zenith shape was never designed to disappear into a table setting — it was made to define it.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBurgess \u0026amp; Leigh, trading as Burleigh Ware from the Middleport Pottery in Burslem, Staffordshire since 1851, reached a creative high point during the late 1920s and 1930s under the artistic direction of Harold Bennett and modeller Ernest Bailey. The introduction of the Zenith shape — registered under design number 769495 — marked a decisive move toward angular, modernist tableware that aligned Burleigh with the most progressive British ceramic design of the inter-war period.\u003c\/p\u003e\n\u003cp\u003eThe Meadowland pattern, applied using a transfer outline with hand-finished colour, became one of the factory’s most recognisable and commercially successful designs — combining botanical subject matter with the bold graphic rhythm characteristic of Art Deco ceramics.\u003c\/p\u003e\n\u003cp\u003eThis jug is a well-proportioned example of the Zenith form, with a tapering body rising from a stepped foot ring, a sharply angular handle fully glazed in amber, and a wide, confidently formed pouring lip. A modelled green leaf sprig is applied at the base handle terminal, integrating the form directly with the surface decoration.\u003c\/p\u003e\n\u003cp\u003eThe Meadowland pattern is rendered here in full polychrome: dense clusters of orange and amber flower heads, presented as tight umbels with yellow-green buds on slender stems, are set against a cream ground and balanced by large, stylised green leaves with incised vein detail. The composition is framed at both rim and foot by the distinctive Burleigh “Sunshine” band — a black dash-and-dot border contained within a fine amber line. The interior is glazed in a warm cream.\u003c\/p\u003e\n\u003cp\u003eThe base carries the Meadowland pattern mark above the Burleigh \/ Made in England \/ Zenith \/ Reg. Shape 769495 backstamp, together with a hand-painted size designation.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile the Zenith teapot remains the most recognisable form within the range, jugs of this type are both less frequently encountered and more versatile in display. Examples retaining strong colour, intact applied detailing, and clear backstamps are increasingly sought after within Burleigh and broader Art Deco ceramic collecting fields.\u003c\/p\u003e\n\u003cp\u003eThe jug offers the same design language and period presence as the teapot, at a more accessible entry point — a combination that consistently performs well in the current market.\u003c\/p\u003e\n\u003cp\u003eThe piece is in good condition. Fine age-consistent crazing is present across the glaze, typical of earthenware of this period. There are no chips, cracks, or losses to the decoration or applied elements.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Burgess \u0026amp; Leigh (Burleigh Ware), Middleport Pottery, Burslem\u003c\/li\u003e\n\u003cli\u003ePattern: Meadowland\u003c\/li\u003e\n\u003cli\u003eShape: Zenith, Registered Shape No. 769495\u003c\/li\u003e\n\u003cli\u003eForm: Jug\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1930s\u003c\/li\u003e\n\u003cli\u003eHandle to spout: 15 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 12.8 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 285 g\u003c\/li\u003e\n\u003cli\u003eCondition: Good; fine age-related crazing throughout; no chips, cracks or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eThe Zenith range marked a moment when British pottery embraced modernity without abandoning ornament — and pieces like this jug still carry that balance with surprising clarity.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45066962796744,"sku":null,"price":1250.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_c0a7817c-b1fc-4ba1-814f-5ad169a8b2e3.png?v=1777297096"},{"product_id":"n-v-de-sphinx-attributed-voortrekker-centenary-commemorative-bowl-1838-1938-city-of-johannesburg-issue","title":"N.V. De Sphinx (Attributed) | Voortrekker Centenary Commemorative Bowl | 1838–1938 | City of Johannesburg Issue","description":"\u003cp\u003e\u003cstrong\u003eN.V. De Sphinx (Attributed) | Voortrekker Centenary Commemorative Bowl | 1838–1938 | City of Johannesburg Issue\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eAn object made to mark a centenary carries two dates at once — the event it commemorates and the moment it was made — and in this case, both remain visible.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Voortrekker Centenary of 1938 was one of the most significant commemorative movements in South African cultural history, marked by coordinated national events and a substantial output of civic and commercial material culture. Among these, ceramics produced in Europe for the South African market occupy a distinct position, particularly those issued through official municipal channels rather than retail distribution.\u003c\/p\u003e\n\u003cp\u003eThis bowl belongs to that civic context. Issued by the City of Johannesburg as part of its centenary programme, it differs from the more commonly encountered retail examples through its municipal coat of arms and bilingual inscription. The absence of a base mark is consistent with export production, and the style, body and transfer technique support an attribution to N.V. De Sphinx of Maastricht, one of the Netherlands’ principal producers of transfer-printed earthenware for international markets during the early twentieth century.\u003c\/p\u003e\n\u003cp\u003eThe form is a small footed bowl of hemispherical profile in cream-toned earthenware with a clear glazed interior. The exterior carries a continuous terracotta transfer-print depicting scenes associated with the Great Trek: ox-wagon processions moving through a stylised landscape, accompanied by mounted figures and livestock, interspersed with a representation of the Voortrekker Monument as it stood at the time of the centenary. A central cartouche presents a lit candle flanked by chains, above the dates 1838 and 1938 — a symbolic device referencing continuity and remembrance.\u003c\/p\u003e\n\u003cp\u003eThe interior well is printed with the City of Johannesburg coat of arms and the motto “Fortiter et Recte,” encircled by the bilingual inscription “Stad Johannesburg \/ Voortrekker-Eeufees” and “City of Johannesburg \/ Voortrekker Centenary.” The print is sharp and evenly transferred throughout.\u003c\/p\u003e\n\u003cp\u003eThe bowl is in excellent condition. There are no chips, cracks or crazing. The transfer decoration remains crisp and fully legible.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: N.V. De Sphinx, Maastricht (attributed)\u003c\/li\u003e\n\u003cli\u003eIssued by: City of Johannesburg\u003c\/li\u003e\n\u003cli\u003eOccasion: Voortrekker Centenary (1838–1938)\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eDecoration: Terracotta transfer-print with Great Trek scenes and commemorative cartouche\u003c\/li\u003e\n\u003cli\u003eInterior mark: Johannesburg coat of arms with bilingual centenary inscription\u003c\/li\u003e\n\u003cli\u003eDiameter: 11 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 6 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 180 g\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent; no chips, cracks or crazing\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMunicipal-issued centenary wares are consistently less common than their retail counterparts, and this example benefits further from its small, intact form and sharply preserved transfer. The inclusion of the Johannesburg arms, combined with the depiction of the Voortrekker Monument during its formative stage, places it firmly within the immediate commemorative moment of 1938 rather than later retrospective production.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe depiction of the monument as it was being realised — rather than as a completed symbol — gives the piece a particular immediacy. It records not only what was being remembered, but what was still in the process of becoming.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45066998513864,"sku":null,"price":650.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_3a3ae9d7-ac19-4d02-b9c9-e59dde2da882.png?v=1777300983"},{"product_id":"royal-doulton-wild-rose-d6227-winchester-footed-bowl-hand-painted-earthenware-burslem-england-c-1940s","title":"Royal Doulton | Wild Rose (D6227) | Winchester Footed Bowl | Hand-Painted Earthenware | Burslem, England, c.1940s","description":"\u003cp\u003e\u003cstrong\u003eRoyal Doulton | Wild Rose (D6227) | Winchester Footed Bowl | Hand-Painted Earthenware | Burslem, England, c.1940s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe rose has been a constant in English decorative ceramics, but the Wild Rose series found something more natural than ornament — a sense of growth rather than arrangement, as though the flowers were still unfolding on the surface.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIntroduced in 1940 and produced until around 1959, the Wild Rose pattern — factory designated “Roses G” — is among Royal Doulton’s most recognisable mid-century earthenware designs. Its characteristic hand-painted roses in crimson, dusky pink and cream are set against a richly mottled ground of deep cobalt blue and warm amber-brown, with loosely handled green foliage that avoids symmetry in favour of movement. The series appears across multiple Doulton shapes, but the Winchester footed bowl is particularly effective: its shallow depth and raised foot allow the decoration to read both horizontally and from above, where the full floral composition resolves most clearly. The base carries the Royal Doulton lion and crown backstamp alongside the hand-painted pattern number D6227.\u003c\/p\u003e\n\u003cp\u003eThis example is a Winchester form footed bowl with gently flared rim and circular foot ring. The decoration is carried across both interior and exterior surfaces, with large open roses rendered in layered crimson, burgundy and soft pink tones, each centred with finely painted yellow stamens. The ground shifts between deep cobalt and warm amber-brown, creating subtle tonal variation as light moves across the glaze. Loose green foliage threads through the composition, intentionally unstructured, reinforcing the naturalistic intent of the series. The rim and foot are finished in a copper-brown lustre that frames the palette and anchors the form visually. From above, the interior presents a full floral arrangement with clear variation in bloom stages and colour depth.\u003c\/p\u003e\n\u003cp\u003eEven age-consistent crazing is present throughout the glaze, entirely typical of mid-century Royal Doulton earthenware. There are no chips, cracks, or losses to the decoration.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Royal Doulton, Burslem, England\u003c\/li\u003e\n\u003cli\u003ePattern: Wild Rose (Roses G)\u003c\/li\u003e\n\u003cli\u003eSeries number: D6227\u003c\/li\u003e\n\u003cli\u003eBackstamp: Royal Doulton lion and crown mark\u003c\/li\u003e\n\u003cli\u003eForm: Winchester footed bowl\u003c\/li\u003e\n\u003cli\u003eMaterial: Hand-painted earthenware\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1940s\u003c\/li\u003e\n\u003cli\u003eDiameter: 19.2 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 9.2 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 648 g\u003c\/li\u003e\n\u003cli\u003eCondition: Very good; even age-consistent crazing; no chips, cracks or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eA bowl that carries its decoration across both interior and exterior surfaces asks to be understood as an object in round — and the Wild Rose series, at its best in forms like Winchester, rewards exactly that kind of looking.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45067059265736,"sku":null,"price":2350.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_208aa414-ffe4-4553-af9a-6c896fd3fa0a.png?v=1777307302"},{"product_id":"royal-doulton-wild-rose-d6177-serpentine-tray-dish-hand-painted-earthenware-burslem-england-c-1940s","title":"Royal Doulton | Wild Rose (D6177) | Serpentine Tray Dish | Hand-Painted Earthenware | Burslem, England, c.1940s","description":"\u003cp\u003e\u003cstrong\u003eRoyal Doulton | Wild Rose (D6177) | Serpentine Tray Dish | Hand-Painted Earthenware | Burslem, England, c.1940s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA shallow tray of this kind was designed to be seen from above — which is precisely where the Wild Rose decoration is at its most confident\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe Wild Rose series — known within the factory as “Roses G” — was introduced in 1940 and remained in production until approximately 1959, featuring large single roses in crimson, dusky pink and cream against a mottled deep blue ground. Importantly, Wild Rose is a fully hand-painted Royal Doulton series, with each floral cluster individually executed over a printed base layer, resulting in subtle variation and painterly depth from piece to piece. This is one of the reasons the pattern retains strong collector appeal beyond standard transfer-decorated wares.\u003c\/p\u003e\n\u003cp\u003eApplied across a wide range of shapes during its production life, the pattern appears under multiple recorded designations, with D6177 and D6227 both associated with the Wild Rose series. The base carries the Royal Doulton lion and crown backstamp with “Made in England \/ Royal Doulton \/ England,” the number 14 to the right of the crown, and the hand-painted pattern number D6177 in red.\u003c\/p\u003e\n\u003cp\u003eThis is a large shallow dish of oval form with a serpentine scalloped rim, formed by four gentle convex lobes that give the outline a soft, organic movement. The piece sits flat without a foot ring. The interior is fully decorated with the Wild Rose pattern: open roses rendered in amber-yellow, dusky peach and deep crimson, their stamens finely detailed in yellow with white highlights, set against the characteristic mottled ground of deep cobalt blue and warm amber-brown. Bold green foliage, painted with visible brushwork, frames and connects the floral clusters throughout.\u003c\/p\u003e\n\u003cp\u003eA copper-brown lustre band follows the scalloped rim, providing warmth and definition to the edge. The reverse is cleanly glazed in white and left undecorated.\u003c\/p\u003e\n\u003cp\u003eThe dish is in excellent condition. There are no chips, cracks, losses to decoration, or crazing to the glaze.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Royal Doulton, Burslem, England\u003c\/li\u003e\n\u003cli\u003ePattern: Wild Rose (factory designation: Roses G)\u003c\/li\u003e\n\u003cli\u003ePattern number: D6177\u003c\/li\u003e\n\u003cli\u003eBackstamp: Royal Doulton lion and crown mark \/ Made in England\u003c\/li\u003e\n\u003cli\u003eForm: Serpentine oval tray dish\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware with hand-painted polychrome decoration\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1940s\u003c\/li\u003e\n\u003cli\u003eLength: 29.7 cm\u003c\/li\u003e\n\u003cli\u003eWidth: 23.8 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 4.2 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 631 g\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent; no chips, cracks, losses or crazing\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eA form made for viewing from above finds its full expression here — the Wild Rose series turning a simple tray into a controlled field of hand-painted movement, still intact after eight decades.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45067096096968,"sku":null,"price":1950.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_4bfa5fe8-c02b-4823-beef-637dd2b8c023.png?v=1777309949"},{"product_id":"royal-doulton-old-english-coaching-scenes-d6393-square-bowl-with-canted-corners-series-ware-burslem-england-1953-1967","title":"Royal Doulton | Old English Coaching Scenes (D6393) | Square Bowl with Canted Corners | Series Ware | Burslem, England, 1953–1967","description":"\u003cp\u003e\u003cstrong\u003eRoyal Doulton | Old English Coaching Scenes (D6393) | Square Bowl with Canted Corners | Series Ware | Burslem, England, 1953–1967\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe coaching inn was England’s great shared threshold — where rank dissolved briefly into waiting, weather, and the shared inevitability of travel. The Coaching Scenes series preserves that world not as nostalgia, but as reconstruction.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eRoyal Doulton’s Old English Coaching Scenes series, pattern D6393, was produced between 1953 and 1967. Designed by W. E. Grace, the series is distinguished by his facsimile signature incorporated directly into each scene, acknowledging authorship within a largely transfer-based production method. The printed brown backstamp features the Royal Doulton lion and crown above the titled cartouche Old English Coaching Scenes \/ Made in England, with pattern number D6393 and registration numbers Rd. Nos. 31933–49.\u003c\/p\u003e\n\u003cp\u003eThis example is the square bowl with canted corners, a shallow architectural form with a broad, slightly raised rim enclosing a full interior scene. The composition depicts a stagecoach halted outside a timber-framed inn, horses attended by grooms while a traveller in period dress stands in the foreground with a sheepdog at his side. Chickens move undisturbed across the yard, reinforcing the everyday stillness of the moment. The village street recedes behind in layered perspective under a muted sky, rendered in the series’ characteristic palette of warm ochre, terracotta, soft greens and brown-toned shading, hand-finished over transfer outlines. The designer’s signature “W.E. Grace” appears within the lower right of the scene. A fine green line defines the rim; the reverse is plain.\u003c\/p\u003e\n\u003cp\u003eLight age-consistent crazing is present across the glaze, typical of mid-century Royal Doulton earthenware. There are no chips, cracks, or losses to decoration.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Royal Doulton, Burslem, England\u003c\/li\u003e\n\u003cli\u003eSeries: Old English Coaching Scenes\u003c\/li\u003e\n\u003cli\u003ePattern: D6393\u003c\/li\u003e\n\u003cli\u003eRegistration: Rd. Nos. 31933–49\u003c\/li\u003e\n\u003cli\u003eDesigner: W. E. Grace (facsimile signature within scene)\u003c\/li\u003e\n\u003cli\u003eForm: Square bowl with canted corners\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware with transfer-printed and hand-finished decoration\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: 1953–1967\u003c\/li\u003e\n\u003cli\u003eDimensions: 22 cm x 22 cm x 5 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 613 g\u003c\/li\u003e\n\u003cli\u003eCondition: Good; light age-consistent crazing throughout; no chips, cracks or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eThe Coaching Scenes series does not depict a remembered England so much as an assembled one — carefully composed from fragments of history into something orderly enough to be kept.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45067343823048,"sku":null,"price":995.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_6cf9372b-70b9-4df2-858f-650191f05b1a.png?v=1777314303"},{"product_id":"beswick-dolly-varden-model-1203-character-teapot-hand-painted-earthenware-longton-england-1950-1973","title":"Beswick | Dolly Varden (Model 1203) | Character Teapot | Hand-Painted Earthenware | Longton, England, 1950–1973","description":"\u003cp\u003e\u003cstrong\u003eBeswick | Dolly Varden (Model 1203) | Character Teapot | Hand-Painted Earthenware | Longton, England, 1950–1973\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDickens gave Dolly Varden her vanity, her straw hat and her unmistakable self-assurance — and Beswick, with characteristic wit, gave her back to us as a teapot.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eJohn Beswick Ltd, operating from the Gold Street Pottery in Longton, Staffordshire, produced one of the most admired ranges of character teapots in the English ceramics tradition. The Dolly Varden teapot, introduced in 1950, was the second in a Dickensian series of four character teapots and remained in production until 1973. Modelled with the straw hat as its removable lid and incorporating expressive sculptural elements into both spout and handle, the design reflects Beswick’s ability to translate literary character into functional form without losing narrative identity.\u003c\/p\u003e\n\u003cp\u003eDolly Varden herself — drawn from Barnaby Rudge — was one of Charles Dickens’ most visually memorable creations, known for her flamboyant dress and celebrated straw hat. In ceramic form, that hat becomes the defining structural element of the piece. Each example was hand-painted over the moulded body, ensuring subtle variation and individuality across production.\u003c\/p\u003e\n\u003cp\u003eThis teapot is modelled as the head and shoulders of Dolly Varden, her features carefully rendered with blue-grey eyes, softly flushed cheeks and parted lips framed by curled brown hair. She wears a dark plum-coloured dress with a blue and white polka-dotted bow at the collar. The straw hat, glazed in warm amber yellow with a pale blue band, forms the detachable domed lid and is finished with a polka-dotted bow finial.\u003c\/p\u003e\n\u003cp\u003eThe spout emerges from the brim of the hat, painted in matching blue and white polka dots, integrating function seamlessly into the sculptural design. The handle at the rear is modelled as a twisted vine form, its mottled green glaze giving it the quiet suggestion of something grown rather than made. The interior is glazed in a warm buff-brown. The base is unglazed and carries the impressed marks “1203 \/ Dolly Varden” alongside the printed Beswick crescent mark reading “Beswick \/ England.”\u003c\/p\u003e\n\u003cp\u003eEven, age-consistent crazing is present throughout the glaze, as expected in Beswick earthenware of this period. There are no chips, cracks or losses to any of the modelled elements.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeswick’s character teapots occupy a distinct place within 20th-century British ceramics, sitting at the intersection of novelty ware and serious modelling. The Dolly Varden example is among the more sculpturally resolved of the Dickensian series, with a strong, recognisable silhouette and well-integrated functional elements.\u003c\/p\u003e\n\u003cp\u003eCollectors value this model for its literary association, its expressive modelling, and the consistency of Beswick’s hand-painted finish. Complete examples with intact lids and clean condition remain steadily sought after, particularly where the glaze and decoration remain well preserved, as in this case.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: John Beswick Ltd, Longton, Staffordshire\u003c\/li\u003e\n\u003cli\u003eModel Number: 1203\u003c\/li\u003e\n\u003cli\u003eCharacter: Dolly Varden (Barnaby Rudge, Charles Dickens)\u003c\/li\u003e\n\u003cli\u003eSeries: Beswick Dickensian Character Teapots\u003c\/li\u003e\n\u003cli\u003eBackstamp: Impressed “1203 \/ Dolly Varden”; printed Beswick crescent mark \/ Beswick \/ England\u003c\/li\u003e\n\u003cli\u003eForm: Character teapot with detachable lid\u003c\/li\u003e\n\u003cli\u003eMaterial: Hand-painted earthenware\u003c\/li\u003e\n\u003cli\u003eCountry of Origin: England\u003c\/li\u003e\n\u003cli\u003ePeriod: 1950–1973\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eSpout to handle: 20 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 16 cm\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eWeight\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e564 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eGood; even age-consistent crazing throughout; no chips, cracks or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eThe straw hat that made Dolly Varden famous in Dickens’ London became, in Beswick’s hands, something more useful — a lid. It is difficult to think of a more satisfying second life for a piece of Victorian millinery.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45067853529288,"sku":null,"price":1650.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_93cf58c6-03b8-4ddb-bd62-54c3f5a49f4f.png?v=1777354602"},{"product_id":"staffordshire-earthenware-imari-palette-pair-of-footed-dessert-compotes-with-grape-vine-handles-pattern-6-2270-england-c-1840-1865","title":"Staffordshire Earthenware | Imari Palette | Pair of Footed Dessert Compotes with Grape \u0026 Vine Handles | Pattern 6\/2270 | England, c.1840–1865","description":"\u003cp\u003e\u003cstrong\u003eStaffordshire Earthenware | Imari Palette | Pair of Footed Dessert Compotes with Grape \u0026amp; Vine Handles | Pattern 6\/2270 | England, c.1840–1865\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA dessert service was designed to impress in its entirety — but time has a way of selecting its survivors. When a true pair remains, it becomes the story.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe Victorian dessert service was one of the most theatrical expressions of the nineteenth-century table. Composed of graduated forms — plates, comport dishes, compotes, and centrepieces — these services were arranged for visual effect as much as use, their richly coloured decoration intended to carry across a candlelit dining room.\u003c\/p\u003e\n\u003cp\u003eThe compote occupied a central role within this arrangement: elevated, handled, and visually assertive. Examples that remain in matched pairs are notably less common than single survivors, particularly in patterns of this decorative ambition.\u003c\/p\u003e\n\u003cp\u003eThese pieces are executed in the English Imari palette — a distinctly British interpretation of Japanese export porcelain, developed across the Staffordshire potteries during the early to mid-nineteenth century. Here, the palette is confidently handled: deep cobalt blue grounds supporting iron red and blush pink floral elements, all enriched with gilt scrollwork.\u003c\/p\u003e\n\u003cp\u003eEach compote is of shallow circular form, raised on a spreading foot and fitted with applied handles modelled as grape clusters and vine leaves — a sculptural detail associated with higher-quality mid-century production. The border is defined by bold iron-red C-scrolls enclosing pink floral reserves against a cobalt ground, finished with fine gilt detailing. The central well carries a matching floral medallion, creating visual continuity between centre and border.\u003c\/p\u003e\n\u003cp\u003eThe bases are unmarked, consistent with many mid-Victorian Staffordshire wares, but each carries the painted pattern number 6\/2270 with an additional numeral 8 in red enamel, executed in the characteristic fraction style of the period. Attribution to Minton has been suggested based on this numbering convention and the quality of modelling and decoration; however, this remains unconfirmed and the pieces are catalogued accordingly as Staffordshire production.\u003c\/p\u003e\n\u003cp\u003eCondition is consistent with careful use across nearly two centuries. Fine age-related crazing is present throughout, along with light interior toning and some expected wear to the gilding. Importantly, there are no chips, cracks, or losses to the relief handles on either piece.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Unidentified Staffordshire factory (tentatively attributed to Minton, unconfirmed)\u003c\/li\u003e\n\u003cli\u003ePattern: 6\/2270 (painted in red enamel; fraction format) with numeral 8\u003c\/li\u003e\n\u003cli\u003eType: Pair of footed dessert compotes\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eDecoration: Hand-painted Imari palette with gilt highlights; relief grape and vine handles\u003c\/li\u003e\n\u003cli\u003eOrigin: England\u003c\/li\u003e\n\u003cli\u003eDate: c.1840–1865\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eDimensions\u003c\/strong\u003e (each):\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eHandle to handle: approx. 25 cm\u003c\/li\u003e\n\u003cli\u003eDiameter: approx. 22 cm\u003c\/li\u003e\n\u003cli\u003eHeight: approx. 8 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 732 g and 813 g\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003cbr\u003eFine age-related crazing throughout; light interior toning; some gilt wear; no chips, cracks, or losses\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eTrue matched pair — significantly less common than single compotes\u003c\/li\u003e\n\u003cli\u003eStrong Imari palette execution with well-preserved colour contrast\u003c\/li\u003e\n\u003cli\u003eRelief grape and vine handles indicating higher-tier decorative intent\u003c\/li\u003e\n\u003cli\u003eFraction-style pattern numbering consistent with mid-19th century Staffordshire practice\u003c\/li\u003e\n\u003cli\u003ePlausible (though unconfirmed) link to a leading factory enhances market interest\u003c\/li\u003e\n\u003cli\u003eIdeal for display layering in traditional or maximalist interiors\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cem\u003eA pair such as this was never meant to be overlooked — and even now, separated from the service it once belonged to, it retains its authority.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45077016871112,"sku":null,"price":3850.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_74e7ea65-280b-4b7f-94ff-9d8fb78b7532.png?v=1778066388"},{"product_id":"japanese-export-art-pottery-vase-gouda-style-decoration-twin-handles-earthenware-circa-1920s-1930s","title":"Japanese Export Art Pottery Vase | Gouda-Style Decoration | Twin Handles | Earthenware | circa 1920s–1930s","description":"\u003cp\u003e\u003cstrong\u003eJapanese Export Art Pottery Vase | Gouda-Style Decoration | Twin Handles | Earthenware | circa 1920s–1930s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe most interesting objects are often the ones that travelled — made in one country, styled for another, and resolved somewhere in between\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eDuring the Taishō and early Shōwa periods, Japanese potteries produced large volumes of decorative earthenware for Western export markets, adapting established European design languages to suit international taste. Among the most visually distinctive of these was the Gouda style — developed in the Netherlands from the late nineteenth century — characterised by bold flat colour, stylised floral forms, strong outlining, and high-contrast palettes.\u003c\/p\u003e\n\u003cp\u003eJapanese manufacturers recognised the commercial appeal of this aesthetic and reinterpreted it with characteristic confidence, producing wares that are best understood not as imitations but as hybrid export objects — combining European decorative structure with Japanese material sensibility and execution.\u003c\/p\u003e\n\u003cp\u003eThis vase is a particularly confident example of that exchange.\u003c\/p\u003e\n\u003cp\u003eThe form is compact and architectural: a squat globular body rising cleanly into a straight cylindrical neck, flanked by a pair of angular loop handles of generous scale. The neck, rim, and handles are finished in a deep, mirror-black glaze, providing a strong visual anchor to the more complex body decoration.\u003c\/p\u003e\n\u003cp\u003eThe main field carries bold, flat-painted ornament in the Gouda manner. A large stylised flower in terracotta brown, with radiating petals and a structured central motif, dominates the primary face. It is framed by sweeping foliage in teal green, set against a cream ground broken by passages of cobalt blue. The reverse presents a complementary arrangement of foliage and a partially opened bud.\u003c\/p\u003e\n\u003cp\u003eAll colour fields are enclosed within fine warm brown outlining, giving the surface a cloisonné-like effect — each element clearly bounded, yet visually unified. The result is a surface that reads almost like stained glass, with strong graphic clarity balanced by painterly variation within each colour field.\u003c\/p\u003e\n\u003cp\u003eThe base is glazed in cream with the foot rim left unglazed, revealing the earthenware body. No maker’s mark is present.\u003c\/p\u003e\n\u003cp\u003eThe vase is in excellent condition. There are no chips, cracks, or losses to the glaze or decoration.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eOrigin: Japan (export ware)\u003c\/li\u003e\n\u003cli\u003ePeriod: circa 1920s–1930s (Taishō to early Shōwa)\u003c\/li\u003e\n\u003cli\u003eMaterial: Earthenware\u003c\/li\u003e\n\u003cli\u003eDecoration: Gouda-style polychrome with outlined reserves\u003c\/li\u003e\n\u003cli\u003eColours: Terracotta, teal green, cobalt blue, cream, black\u003c\/li\u003e\n\u003cli\u003eMarks: None\u003c\/li\u003e\n\u003cli\u003eHeight: 19 cm\u003c\/li\u003e\n\u003cli\u003eWidth (handle to handle): 13.7 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 780 g\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent; no chips, cracks, or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eInterwar Japanese export ceramics in Gouda-inspired palettes occupy a growing niche within the broader Art Deco and cross-cultural decorative arts market. Examples with strong colour contrast, well-balanced form, and intact condition — particularly twin-handled forms of this scale — are increasingly sought after for their display presence and their position within early twentieth-century global design exchange.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhat began as a translation of one country’s decorative language becomes, in pieces like this, something else entirely — not borrowed, but reinterpreted.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45078493462728,"sku":null,"price":1295.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_ea444a04-c298-4c31-ab47-0601e91a133b.png?v=1778179714"},{"product_id":"andrew-walford-slab-built-stoneware-bottle-vase-shongweni-pottery-kwazulu-natal-south-africa-c-1970s-1990s","title":"Andrew Walford | Slab-Built Stoneware Bottle Vase | Shongweni Pottery | KwaZulu-Natal, South Africa, c.1970s–1990s","description":"\u003cp\u003e\u003cstrong\u003eAndrew Walford | Slab-Built Stoneware Bottle Vase | Shongweni Pottery | KwaZulu-Natal, South Africa, c.1970s–1990s\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTo make a pot from clay gathered by hand, fired in a kiln built by the maker, is to collapse the distance between material and object — and that closeness is exactly what defines the work of Andrew Walford.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAndrew Walford is among the most important figures in South African studio pottery. Working from his Shongweni Hills studio since 1970, his practice sits within the Anglo-Oriental tradition shaped by Bernard Leach and Shoji Hamada, while remaining materially rooted in the South African landscape. Walford is known for producing work entirely from self-sourced materials — clay dug from the Drakensberg, ash glazes derived from burnt native grasses, and high-temperature kiln firings that produce surfaces of depth and variation impossible to industrial ceramics.\u003c\/p\u003e\n\u003cp\u003eThis vessel is a slab-built bottle vase of square-section form — a structure Walford has returned to repeatedly and one well documented within his exhibited and auctioned work. The body is constructed from four joined slabs with softly rounded vertical edges, rising into a thrown cylindrical neck that flares gently at the rim. The transition between built body and thrown neck creates a subtle formal tension characteristic of his work.\u003c\/p\u003e\n\u003cp\u003eThe glazing is layered and kiln-responsive. The neck and interior are finished in a deep tenmoku glaze, pooling into iron-rich black with warm brown undertones. The shoulder carries a band of iron-red kaki glaze, uneven at its lower edge. The body is covered in a muted celadon-grey ground, decorated with expressive iron-oxide brushwork suggesting grasses or reeds, with soft mauve tonal variation emerging through the firing. The surface shows the quiet complexity expected of high-fired studio stoneware — depth, variation, and movement under changing light.\u003c\/p\u003e\n\u003cp\u003eThe base is unglazed, revealing the stoneware body, consistent with Walford’s practice.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKey Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Andrew Walford\u003c\/li\u003e\n\u003cli\u003eStudio: Shongweni Pottery, KwaZulu-Natal\u003c\/li\u003e\n\u003cli\u003eForm: Slab-built bottle vase (square-section with thrown neck)\u003c\/li\u003e\n\u003cli\u003eMaterial: High-fired stoneware\u003c\/li\u003e\n\u003cli\u003eGlaze: Tenmoku, kaki iron red, celadon-grey with iron brushwork\u003c\/li\u003e\n\u003cli\u003eTechnique: Hand-built and wheel-thrown elements\u003c\/li\u003e\n\u003cli\u003ePeriod: c.1970s–1990s\u003c\/li\u003e\n\u003cli\u003eOrigin: South Africa\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eExcellent studio condition. No chips, cracks, or restoration. Minor firing variations inherent to the making process.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWorks by Andrew Walford are actively collected within South African studio ceramics and increasingly recognised internationally. Slab-built forms with strong glaze variation and clear Anglo-Oriental influence are particularly desirable. Pieces demonstrating his full material philosophy — self-sourced clay, ash glazes, and expressive brushwork — hold consistent appeal, especially when well preserved.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eA vessel that is not only made by hand, but made from a place — materially, visually, and philosophically.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45078512894152,"sku":null,"price":2950.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_5f8d5243-1b5b-4bf1-9aab-d76396172827.png?v=1778181882"},{"product_id":"masons-patent-ironstone-collectors-thimble-floral-bouquet-england","title":"Mason's Patent Ironstone | Collector's Thimble | Floral Bouquet | England","description":"\u003cp\u003e\u003cstrong\u003eMason's Patent Ironstone | Collector's Thimble | Floral Bouquet | England\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA thimble is among the smallest things a collector can pursue — and, for that reason, one of the most exacting.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eMason's Patent Ironstone China holds one of the longest continuous histories in English ceramics. Patented by Charles James Mason in 1813, its dense, durable body allowed for a level of colour and decoration that softer wares could not sustain. The name passed through several hands over the nineteenth and twentieth centuries — including Francis Morley, G.L. Ashworth \u0026amp; Brothers, and later the Wedgwood Group — yet the original patent title endured as a marker of continuity. Collector’s thimbles bearing the Mason’s mark were produced in the later twentieth century, when established factories turned to small-scale decorative objects alongside their tableware.\u003c\/p\u003e\n\u003cp\u003eThis example departs from the usual smooth-sided collector’s form. The crown is worked with shallow dimples, echoing the functional sewing thimble, and is bordered by a narrow gilt band. The body widens slightly toward the base before tapering upward, with a second gilt band at the rim. The decoration is a vivid polychrome floral bouquet set against a warm cream ground: a fully opened pink rose anchors the composition, accompanied by yellow and purple anemones, fine blue florets, and green foliage. The motif repeats around the body with slight variation, maintaining balance without strict uniformity. The base carries the standard green crown backstamp for Mason’s Patent Ironstone, with no pattern name recorded.\u003c\/p\u003e\n\u003cp\u003eThe condition is excellent. The transfer decoration remains crisp and complete, and the gilding shows only the lightest surface wear. There are no chips, cracks, or losses.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: Mason's Patent Ironstone\u003c\/li\u003e\n\u003cli\u003eMaterial: Ironstone\u003c\/li\u003e\n\u003cli\u003ePattern: Unnamed floral bouquet — pink rose, yellow and purple anemones, blue florets\u003c\/li\u003e\n\u003cli\u003eForm: Collector's thimble with dimpled crown\u003c\/li\u003e\n\u003cli\u003eBackstamp: Mason's Patent Ironstone — Made in England (green crown mark)\u003c\/li\u003e\n\u003cli\u003eCountry of origin: England\u003c\/li\u003e\n\u003cli\u003eHeight: 2.5 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 6 g\u003c\/li\u003e\n\u003cli\u003eCondition: Excellent; decoration sharp and intact; gold bands with minimal surface wear; no chips or losses\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA slightly less common dimpled form, paired with Mason’s enduring name and strong floral decoration, makes this a pleasing variation within thimble collecting.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe function has long since fallen away, but the form still remembers it.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45079153213640,"sku":null,"price":185.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_a09d4e8c-bda2-49eb-9af3-a425cfabaff2.png?v=1778237829"},{"product_id":"w-h-grindley-co-ivory-earthenware-blue-floral-covered-serving-tureen-england-circa-1925-1935","title":"W.H. Grindley \u0026 Co. | Ivory Earthenware | Blue Floral | Covered Serving Tureen | England, circa 1925–1935","description":"\u003cp\u003e\u003cstrong\u003eW.H. Grindley \u0026amp; Co. | Ivory Earthenware | Blue Floral | Covered Serving Tureen | England, circa 1925–1935\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA covered tureen at the centre of a table carries a quiet sense of occasion — the moment the lid is lifted, the meal properly begins.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eW.H. Grindley \u0026amp; Company was established at the Newfield Pottery in Tunstall, Staffordshire, in 1880, later moving to the Woodland Pottery in 1891. The firm became known for producing well-finished domestic earthenware in both ivory and celadon bodies, combining accessible pricing with consistent quality. By the mid-1920s it was trading as W.H. Grindley \u0026amp; Co. Ltd, producing a wide range of patterned wares for everyday use. The Ivory body — a warm cream earthenware — formed the basis of many of its most successful lines. During the interwar period, Grindley adopted the clean geometry of Art Deco design while retaining the floral transfer motifs that remained popular with its market.\u003c\/p\u003e\n\u003cp\u003eThe tureen is octagonal in form, with both body and lid following a softened, clipped-corner geometry typical of the period. Two horizontal handles in platinum lustre are set to either side of the body, their flat, rectilinear form reinforcing the Art Deco influence. The domed lid carries a matching lustre bar handle. Decoration is applied in a vivid blue floral wreath: open five-petalled blooms with fine gold-centred stamens, connected by flowing green stems and elongated leaves. On the lid, the motif forms a near-continuous garland around the handle; on the body, it repeats as a balanced band around the widest point. A smaller floral detail is placed within the bowl interior. The ivory ground remains clean and warm throughout. The base carries the printed mark W.H. GRINDLEY \u0026amp; CO. LTD \/ IVORY \/ ENGLAND with no named pattern designation.\u003c\/p\u003e\n\u003cp\u003eThe piece is in good condition overall. There are no chips, cracks, or losses to the body or lid. The platinum lustre handles and finial show age-related tarnishing, consistent with use, but remain intact.\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMaker: W.H. Grindley \u0026amp; Co. Ltd, Woodland Pottery, Tunstall, Staffordshire\u003c\/li\u003e\n\u003cli\u003eBody: Ivory earthenware\u003c\/li\u003e\n\u003cli\u003eDecoration: Blue floral wreath — open five-petalled flowers with gold centres, green stems and foliage\u003c\/li\u003e\n\u003cli\u003eHandles and finial: Platinum lustre\u003c\/li\u003e\n\u003cli\u003eForm: Covered octagonal serving tureen\u003c\/li\u003e\n\u003cli\u003eBackstamp: W.H. Grindley \u0026amp; Co. Ltd \/ Ivory \/ England (printed mark; no pattern name)\u003c\/li\u003e\n\u003cli\u003eDate: circa 1925–1935\u003c\/li\u003e\n\u003cli\u003eCountry of origin: England\u003c\/li\u003e\n\u003cli\u003eHandle to handle: 25.5 cm\u003c\/li\u003e\n\u003cli\u003eWidth: 21 cm\u003c\/li\u003e\n\u003cli\u003eHeight: 13 cm\u003c\/li\u003e\n\u003cli\u003eWeight: 1,017 g\u003c\/li\u003e\n\u003cli\u003eCondition: Good; no chips, cracks, or losses; platinum lustre handles and finial tarnished but structurally sound\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eCollector Appeal\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA strong example of interwar English domestic ware, where Art Deco form meets traditional floral decoration. The octagonal shape and platinum detailing give it quiet period presence beyond standard utilitarian serving pieces.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEarthenware made accessible what porcelain had kept formal — and in doing so, found its place at far more tables.\u003c\/em\u003e\u003c\/p\u003e","brand":"The Dancing Faun ","offers":[{"title":"Default Title","offer_id":45079214194888,"sku":null,"price":750.0,"currency_code":"ZAR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/files\/rn-image_picker_lib_temp_ec1f1654-2611-4c08-aaae-c6f3e8413b65.png?v=1778243333"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/3497\/2104\/collections\/rn-image_picker_lib_temp_1da029ac-a60b-4d23-a45b-958a6768460b.jpg?v=1771703010","url":"https:\/\/dancingfaun.co.za\/collections\/pottery.oembed?page=2","provider":"The Dancing Faun ","version":"1.0","type":"link"}