{"title":"Georgian","description":"","products":[{"product_id":"1750-s-porcelain-chinese-export-armorial-plate-with-deer-dogs-coat-of-arms","title":"1750's Chinese export armorial plate, coat of arms","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eArmorial porcelain occupies a strange spot in 18th century trade — a European family would send their coat of arms to Canton via the East India Company, and Chinese painters, often without any real understanding of European heraldry, would copy it onto porcelain as faithfully as they could manage from a printed or drawn source thousands of miles away. This plate carries exactly that kind of commission: a coat of arms centred on three animals, most likely deer given the heraldic tradition, above a Latin motto, rendered with the careful but occasionally slightly \"off\" precision typical of a design copied without full context for what it meant.\u003cbr\u003e\u003cbr\u003ePink and purple enamel flower bouquets fill out the rest of the decoration, and the scalloped rim is trimmed with gilt spearheads, a border style common enough on mid-18th century export services.\u003cbr\u003e\u003cbr\u003eCommissioning an armorial service wasn't cheap or quick — it meant sending your family's coat of arms across the world to be copied by hand, then waiting months or years for the finished pieces to make the return journey, so it was a mark of real wealth and standing to have one made at all. The specific family behind this particular coat of arms isn't identified, but whoever they were, they were clearly in a position to commission exactly this kind of bespoke, made-to-order service.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eGood antique condition. Some wear to gilt; hairline crack and two small chips.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035552534861,"sku":"1883","price":360.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_2315-PhotoRoom_95626b78-e53d-46c0-91ca-94c295cecf02.webp?v=1780945513"},{"product_id":"1820-s-georgian-pinchbeck-gold-torpedo-chandelier-pendant-decorated-with-cannetille-and-filigree","title":"1820's Georgian pinchbeck torpedo pendant, cannetille","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eChristopher Pinchbeck, a clockmaker rather than a jeweller by trade, developed his copper-zinc alloy in the early 1700s as a straightforward solution to a genuine problem: 18ct gold was, at the time, the only gold alloy permitted by law, and plenty of people who wanted the look of it simply couldn't afford the real thing. His invention wasn't conceived as a deception — quite the opposite, it gave buyers an honest, lower-cost alternative right up until the law changed in 1854 and lower-purity gold finally became legal to produce. There was a practical safety benefit too: pinchbeck jewellery was worth far less than gold, which made it the sensible choice for travelling, when losing a piece to theft was a real risk.\u003cbr\u003e\u003cbr\u003eThat reputation didn't survive entirely intact, unfortunately — enough people tried passing pinchbeck off as solid gold in the years after its invention that the material picked up a slightly dubious name for itself, guilt by association rather than any fault of its own. Genuine early pieces, particularly from the Georgian period when Pinchbeck's alloy was still relatively new, are now collected in their own right rather than dismissed as gold's poor relation. This example began life as a single earring in the classic Georgian torpedo form, later converted into a pendant with a 20th century bale, its openwork body decorated with embossed scrolls and leaves on one face and fine cannetille flowerwork — coiled gold wire built up into blooms — on the other.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eSoldering just above the large filigree flower and to base of pendant. Several small holes, one side slightly pushed in.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035552698701,"sku":"1283","price":520.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/s-l1600_285_29-PhotoRoom_c9c36a29-7b44-44b2-a00f-a17387b6092d.webp?v=1780945517"},{"product_id":"1820-s-meissen-porcelain-scalloped-rim-plate-with-decoration-of-bird-insects-and-flowers","title":"1820's Meissen plate, bird, insects and flowers","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMeissen's naturalist painters worked from close observation rather than stylised botanical convention, and this plate shows that discipline clearly: hand-painted flowers, insects, and a large bird as the central subject, each rendered with enough accuracy to identify the species rather than reading as generic decoration. That level of botanical and ornithological precision was a real specialism of the factory's output through the early 19th century.\u003cbr\u003e\u003cbr\u003eThe scalloped rim is gilded throughout, framing the painted centre without competing with it, and the underside carries Meissen's underglaze blue crossed swords mark, the factory's standard mark since the early 18th century. Dinner plates like this were as much a display of the owner's taste and means as they were functional tableware, meant to be looked at as closely as they were used.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Some wear to gilt.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035552731469,"sku":"3064","price":280.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/6-IMG_0416-Photoroom.png?v=1780945519"},{"product_id":"1820-s-spode-porcelain-famille-rose-creamware-large-barrel-scent-jar-pattern-3184","title":"Georgian Spode pearlware potpourri jar, Famille Rose","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eThe \"ship\" border pattern gets its name from Spode pattern 3067, which paired the same border design with a Chinese harbour scene, and the firm went on to reuse that same border across more than fifty different central patterns, Chinoiserie and floral alike, this jar's Famille Rose peony design being one of them. That kind of interchangeable design system was standard practice at Spode, letting a single successful border pair with whatever central motif a customer wanted.\u003cbr\u003e\u003cbr\u003eThe barrel-shaped body has two curving handles and a flat interior lid, hand-painted in polychrome enamel, reddish-pink, orange, blue and green, over the pearlware body. The design was first outlined, then filled in by an enameller, a two-stage process typical of the period's finer decorative work. It's marked underneath with the black printed \"SPODE\" stamp and pattern number 3184.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eGood antique condition. Some small losses to enamelling; crack to lid; signs of repair to handles and to inner rim; the outer lid is absent.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035552829773,"sku":"3273","price":420.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/86-20240310_231617-Photoroom_da422e4b-e8d2-4b78-936b-f63d4dc9cb98.webp?v=1780945520"},{"product_id":"1810-s-chetham-and-woolley-georgian-blue-jasperware-cider-jug-featuring-putti","title":"Georgian era Chetham \u0026 Woolley jasperware jug, putti relief","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eChetham and Woolley ran their Longton factory from 1793 to 1821, producing the kind of fine, semi-transparent stoneware that Wedgwood had made famous but that several Staffordshire potteries went on to produce in their own right. This jug takes the classic blue jasperware format — pale relief figures against a deep blue ground — and puts it to properly playful use: putti riding dogs, a sheep-drawn carriage, and a goat-pulled sleigh complete with its own tiny brazier, all sprigged onto the baluster body in crisp bas relief.\u003cbr\u003e\u003cbr\u003eThe functional details get the same attention as the decorative ones: acanthus leaf motifs cover both the thumb piece and the pouring lip, and lathe-turned borders frame either side of the body, a nice bit of mechanical precision set against the freehand quality of the figural scenes. Cider jugs like this were practical objects as much as decorative ones, so the fact that this level of detail went into something meant for actual daily use says something about the standards Staffordshire potteries were working to at the time.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Crazing and hairline cracks to base; tiny hairline cracks to the sprigging in one place; fleabite to the rim of the lower border.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035570360653,"sku":"1975","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/PhotoRoom_000_20221104_000653-PhotoRoom.webp?v=1780945656"},{"product_id":"1820-s-georgian-moulded-creamware-teapot-with-black-transfer-print-panels-of-lady-with-a-birdcage","title":"Georgian moulded creamware teapot, transfer print lady","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eCreamware had already been around for decades by the 1820's, but pairing its pale, warm-toned body with black transfer printing was a combination that stayed popular precisely because the contrast worked so well — dark, finely detailed scenes standing out clearly against a light ground in a way that painted decoration couldn't always match for crispness. This teapot uses that technique for its central medallions, a scene of a lady and small girl with a birdcage repeated across the panels, likely lifted from a popular print source rather than composed specifically for ceramics, as was common practice at the time.\u003cbr\u003e\u003cbr\u003eThe moulding does its own separate work: the round baluster body is covered in overlapping scale relief, with floral detailing carried through to both the spout and the handle terminals, so the transfer scenes sit within a genuinely textured surface rather than a flat one. The hinged lid is pewter rather than matching ceramic, a practical substitution that turns up often enough on teapots of this type and period, generally because a metal lid holds up to daily handling better than a ceramic one would.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eChips along the tip of the spout; crazing; crack along the base.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035570393421,"sku":"1429","price":140.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_1527-PhotoRoom_1dbb0ac7-7124-456f-a7b8-e83c0a273dc6.webp?v=1780945657"},{"product_id":"george-iii-sterling-silver-mustard-pot-and-spoon-duncan-urquhart-naphtali-hart-1809","title":"George III silver mustard pot, blue glass liner","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eDuncan Urquhart and Naphtali Hart worked together as a genuinely unusual partnership in London silversmithing, a rare Jewish-owned firm active in the trade at a time when it was still fairly closed to outsiders. This mustard pot dates from 1809, the baluster body raised on ball feet with a ribbed girdle and gadrooned border, gold-washed inside to protect against mustard's corrosive effect on plain silver, a treatment we've seen elsewhere in this catalogue for exactly the same reason.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eTwo vacant cartouches sit on the body, left blank so the piece can be personalised, and the pot retains its original Bristol blue glass liner, a material choice that turns up often in English silverware precisely because the deep blue glass hides any discolouration inside far better than clear glass would. The spoon that accompanies it is a later addition, fiddle-shaped with a lightly gilded bowl, made by Henry Holland (of Holland, Aldwinckle \u0026amp; Slater) and hallmarked for London in 1872, so pot and spoon span over sixty years rather than being an originally matched set.\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eGood antique condition. Wear to gilt inside; there is slight gaping between the body of the pot and the base; small split to silver underneath the handle.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035578323277,"sku":"2279","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/s-l1600_2824_29_b1930cb0-4c71-4e5b-a057-f264a218f226.webp?v=1780945726"},{"product_id":"georgian-princess-charlotte-royal-commemorative-staffordshire-lustre-pottery-jug-creamer","title":"Georgian Princess Charlotte mourning gravy boat, lustre","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003ePrincess Charlotte's death in childbirth in November 1817 triggered a genuinely enormous public outpouring of grief across Britain — she'd been next in line to the throne after her father, the future George IV, and her sudden death at just 21 left the succession in real disarray, which is part of why the mourning around her felt so widespread and so immediate. Staffordshire and Liverpool potteries responded quickly with commemorative wares, and this gravy boat is a good example of that response: Britannia shown mourning at a tomb, flanked by a globe and weeping angels, printed in black beneath the inscription \"TO THE MEMORY OF PRINCESS CHARLOTTE.\"\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003ePuce lustre banding runs across the piece, a colour and technique commonly paired with mourning wares of this exact period, adding a soft metallic sheen to what's otherwise a fairly sombre design. The maker isn't confirmed, though the style points to either a Staffordshire or Liverpool workshop, both centres that were producing this kind of rapid-turnaround commemorative pottery in the years around 1817. A mourning-themed gravy boat is a slightly unusual object to have carried this kind of imagery, since so much surviving commemorative ware of this type takes the form of jugs or plates rather than table serving pieces.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eAntique restorations, wear to lustre border, yellowing to body.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035578388813,"sku":"1488","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_1377-PhotoRoom.jpg?v=1780945729"},{"product_id":"georgian-softpaste-porcelain-and-creamware-cherub-candle-chambersticks-putti-on-wyvern-and-leaf","title":"Cherub chambersticks, wyvern and leaf, pair","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eBoth these chambersticks share a cherub figure and a soft blue-and-pink palette, though they were made forty years apart and in different materials: one Georgian softpaste porcelain, dating to around the 1790's, with a cherub riding a wyvern, the other Victorian creamware from around the 1830's, with a cherub reclining on a leaf instead. Together they make an interesting pairing, two takes on the same figural theme from opposite ends of a changing century.\u003cbr\u003e\u003cbr\u003eBoth figures have finely painted faces that hold up well under close inspection, the kind of detail that separates a competent piece from a merely serviceable one. Figural chambersticks like these were as much about display as function, meant to be seen on a dressing table or mantelpiece as much as actually used to light the way to bed. Whoever put these two together clearly had a good eye for a pairing that shouldn't quite work but does.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eReclining cherub in good antique condition, small chip to rim of sconce and rim of the leaf. Dragon cherub is missing its sconce; has a crack where left leg joins the leaf and a chip to left wing.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035578421581,"sku":"2006","price":120.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/PhotoRoom_000_20221104_223140-PhotoRoom_eac555ab-167d-41d9-baf4-2d55d8ee41c9.jpg?v=1780945730"},{"product_id":"george-ii-large-sterling-silver-pepper-pot-sugar-sifter-muffineer-samuel-wood-1744","title":"Ornate George II silver sugar caster, 1744","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eGeorgian casters like this one had to solve a real design problem: pierce the lid too little and pepper or sugar clumps rather than sifting, pierce it too much and the contents spill out in one go. Samuel Wood specialised in exactly this kind of piece, apprenticed to fellow caster maker Thomas Bamford before registering his own mark at Goldsmiths' Hall in 1733, and this example shows the density of decoration he was known for later in his career. The lid alone carries spiral panels in alternating shapes, floral patterning and engraved detail, topped with a steeple finial rather than a plainer alternative.\u003cbr\u003e\u003cbr\u003eThe body follows the same instinct, hand-chased with floral and scroll decoration across the baluster form, raised on a fluted, ruffled pedestal base that adds its own texture beneath the more delicate work above.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition, small black marks to body.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035606667597,"sku":"A4214","price":910.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/40-IMG_9167-Photoroom_ebd0e824-c324-4bf3-a6be-1f7e5982ec4b.webp?v=1780946033"},{"product_id":"george-ii-large-sterling-silver-pepper-pot-sugar-sifter-samuel-wood-1740","title":"George II silver caster, Samuel Wood, 1740","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eSamuel Wood built his reputation specifically as a caster maker, apprenticed in 1721 to Thomas Bamford, another specialist in the same narrow field, and entering his own mark at Goldsmiths' Hall in 1733. That focus paid off: through the mid-18th century, he was widely regarded as producing the finest casters available, and this piece shows why. The plain baluster body relies on proportion and restraint rather than dense decoration, finished with reeded borders and raised on a stepped pedestal foot.\u003cbr\u003e\u003cbr\u003eThe lid carries the real decoration, hand-pierced with alternating dotted panels and scrolling openwork, topped with a bell-shaped finial, and pierced work like this served a genuine function too, letting pepper or sugar sift through evenly rather than clumping at one point.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. The rim of the lid is a bit uneven; small ding to lid; tiny dings to top of finial.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035606896973,"sku":"3586","price":810.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/270-DSC_0274-Photoroom.jpg?v=1780946034"},{"product_id":"george-ii-sterling-silver-marrow-scoop-spoon","title":"George II sterling silver marrow scoop, 1746","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMarrow scoops are a fairly specific bit of Georgian dining equipment. They're double-ended, one wide scoop and one narrow, so a diner could extract bone marrow of different thicknesses from a joint without needing a separate tool for each size. It's the kind of implement that only really makes sense once you understand how central marrow eating was to Georgian dining, a delicacy in its own right rather than an afterthought.\u003cbr\u003e\u003cbr\u003eThis one is made by James Wilks and fully hallmarked for London, 1746, placing it firmly in the George II period. The hallmarks are still deeply and cleanly punched, a genuinely useful sign of how well the piece has survived nearly three centuries of handling. Crisp marks like this are far less common on silver this old than worn, shallow ones.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035607224653,"sku":"3047","price":245.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/Photoroom_009_20240223_235817_b1f4557e-e143-4d25-9420-966e833da5f9.webp?v=1780946040"},{"product_id":"george-iii-first-period-worcester-chinoiserie-blue-and-white-porcelain-dragon-bowl","title":"First Period Worcester dragon bowl, blue and white","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eFirst Period Worcester refers specifically to the factory's earliest production era, roughly 1751 to 1783, before later ownership changes and stylistic shifts reshaped the business, and this bowl carries the transfer-printed dragon design typical of that window. The Chinoiserie dragon is worked entirely in underglaze blue, transfer printed rather than hand painted, with real clarity to the linework despite the age of the piece.\u003cbr\u003e\u003cbr\u003eThe base carries an underglaze mark, uncommon enough to potentially represent a workman's individual mark rather than a standard factory stamp, alongside a cursive \"W\" in blue and a \"C5\" mark in purple. Small firing pits are visible near the edge on the front, evidence of the imperfect kiln conditions early Worcester production sometimes worked with, and traces of a gilt edge remain along the perimeter. The dragon pattern itself is one rarely encountered, worth knowing for anyone specifically collecting Worcester's early Chinoiserie designs.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eGood antique condition. Some grey speckles and few firing pockmarks to the glaze; wear to the gilt rim; two chips to the foot of the plate.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035607257421,"sku":"3269","price":480.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/220-20240309_165911-Photoroom_6e8b8eb2-7dbb-42f6-85d3-e2dba1405a59.webp?v=1780946042"},{"product_id":"george-iii-old-sheffield-plate-large-fluted-basket-with-sterling-aristocratic-stag-family-crest","title":"George III Old Sheffield plate basket, stag crest","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eOld Sheffield plate was made by fusing a thin layer of silver onto a copper core, a technique that gave large decorative pieces like this basket the look and cost profile of solid silver without the expense of casting the whole thing in precious metal. This one is oblong and everted in form, panelled with a fluted design and raised on a low pedestal foot, with the swing handle picked out in reeded detail and finished with an applied rose flowerhead bouquet at the centre.\u003cbr\u003e\u003cbr\u003eThe rim carries a large gadrooned border decorated with scrolls and shells, firmly in the Regency style even though the piece itself dates to the George III period, decoration and reign not always aligning neatly. At the centre of the basket, an engraved armorial crest shows a stag in the rampant position, its chest pierced by an arrow, with a faint outline visible around the panel. Family crests were typically added in sterling silver after the base piece was completed, and the ghost of that inlay is still visible here.\u003cbr\u003e\u003cbr\u003eThe underside carries Thomas \u0026amp; James Creswick's Sheffield plate mark, a sheaf of arrows taken from the city's coat of arms, used by the firm from 1811 onwards.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Some copper bleeding appropriate to age and use; light soldering and depression to the embossed decoration near one of the hinges.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035607683405,"sku":"3790","price":220.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/15-IMG_1563-Photoroom_03a85205-1ed5-43cb-bb5f-93b5222a5447.webp?v=1780946047"},{"product_id":"george-iii-spode-porcelain-sky-blue-cylindrical-miniature-spill-vase-matchpot","title":"Georgian Spode sky blue cylindrical spill vase, floral","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eSpode's cylindrical spill vases offered a simpler canvas than the trumpet or urn-shaped versions the factory also produced, and this one uses that plainer form to let a single decorative element carry the whole piece: a hand-painted floral spray set within a gilt-bordered cartouche, framed against a sky blue ground rather than surrounded by additional pattern work. The restraint suits the miniature scale, a smaller vase has less room to hold a busier design without it reading as cluttered.\u003cbr\u003e\u003cbr\u003eSpode built its reputation across a wide range of decorative approaches during the Georgian period, from bold Imari and Orientalist-inspired patterns through to quieter, single-motif work like this one, and that range says as much about the factory's commercial reach as any individual pattern does.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Minor wear to gilt.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035608764749,"sku":"3202","price":150.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/76-IMG_2343-Photoroom.webp?v=1780946058"},{"product_id":"george-iii-spode-porcelain-red-spill-vase-matchpot-in-moroccan-scrolling-motif","title":"Georgian Spode red spill vase, Moroccan scrolling motif","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eTrumpet-shaped spill vases like this one were practical objects dressed up for the mantelpiece, small holders for the wax spills or wooden tapers used to carry a flame from the fire to a candle or pipe before matches came into common use. This one leans hard into decoration rather than restraint: a deep red ground carrying a gold scrolling motif drawn from Middle Eastern, specifically Moroccan, ornamental tradition, the kind of Orientalist borrowing that ran through English decorative arts well before Japonisme became the more fashionable version of the same instinct later in the century.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Some wear to gilt.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035609026893,"sku":"3188","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/106-IMG_1986-Photoroom.jpg?v=1780946061"},{"product_id":"george-iii-spode-porcelain-imari-urn-shaped-spill-vase","title":"Georgian Spode Imari urn-shaped spill vase, pattern 539","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eImari patterns take their name from the Japanese port through which the ware was originally exported, and by the early 1800's English factories, Spode chief among them, had thoroughly absorbed the look: cobalt blue and burnt orange worked together with rich gilding, a palette combination distinctive enough that \"Imari\" has become shorthand for it regardless of where a piece was actually made. This urn-shaped vase carries the pattern across ornamental borders top and bottom, with a single blossoming flower placed on the body, restrained compared to some of the more densely patterned Imari-style pieces Spode also produced.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Some wear to gilt; hairline crack to neck.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035609092429,"sku":"3185","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/69-IMG_1949-Photoroom_63ba69ab-74d4-457d-aa55-cb200efe7d50.webp?v=1780946062"},{"product_id":"george-iii-sterling-silver-bright-cut-sugar-tongs","title":": George III sterling silver bright cut sugar tongs","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eBright cutting reached real technical heights by the late 18th century, and these tongs show that off well. The geometric and floral pattern engraved across the surface is genuinely unusual, more angular and structured than the flowing botanical designs more typical of the period, giving the whole piece a slightly different character to most George III silver you'd come across.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThey're large and properly weighty in the hand, made by George Hindmarsh and assayed for London in 1791. Substantial sugar tongs like this were as much about making an impression at the table as they were about practical use, and the density of the engraving here suggests the maker knew exactly what he was doing on that front.\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eVery good antique condition. One of the tips is slightly bent.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035609387341,"sku":"3468","price":70.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/Photoroom_004_20240507_205448-Photoroom_ba8411ab-8852-4215-bc3a-22cff5a4177e.webp?v=1780946067"},{"product_id":"george-iv-joseph-willmore-sterling-silver-tea-caddy-spoon-fiddle-thread-1821","title":"George IV silver tea caddy spoon, fiddle thread","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eThe fig-shaped bowl on this caddy spoon is well suited to its job. Wide and shallow, it scoops tea leaves without crushing or compacting them the way a deeper, narrower bowl might, a small bit of practical design consideration on an otherwise fairly plain everyday object. The handle follows the fiddle and thread pattern, a restrained style built from a simple thread line running along a fiddle-shaped outline, popular precisely because it worked for almost any occasion without looking either too plain or too showy.\u003cbr\u003e\u003cbr\u003eMade by Joseph Willmore and fully hallmarked for Birmingham in 1821, the piece sits early in the wider Birmingham silver trade Willmore worked within, a maker whose output ranged from small everyday items like this to more substantial silverware over his career.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Scuffing appropriate to age and use; the bowl is very lightly uneven on one side.\u003c\/p\u003e\n","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035609977165,"sku":"3287","price":115.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/29-20240304_191621-Photoroom.jpg?v=1780946080"},{"product_id":"george-iv-vinaigrette-in-sterling-silver-gilt-with-floral-engraving-and-vacant-cartouche-john-thropp-1822","title":"George IV silver gilt vinaigrette, John Thropp, 1822","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eA sterling silver vinaigrette, made by John Thropp and fully hallmarked for Birmingham, 1822 — small enough to sit in a palm, with a plain cartouche left blank for a monogram that was never added. The case is engraved with floral and foliate scrollwork, the kind of restrained decoration that marked good Neoclassical taste without tipping into excess.\u003cbr\u003e\u003cbr\u003eVinaigrettes were a practical necessity dressed up as jewellery. Georgian streets, crowded rooms, and questionable drainage meant unpleasant smells were a constant hazard, and a vinaigrette — carried on a chatelaine or tucked into a pocket or reticule — held a vinegar-soaked sponge behind a pierced grille, ready to be lifted to the nose whenever the moment called for it. This one's interior grille is pierced in a diamond lattice and finished in bright gilt, a deliberate contrast against the cool silver case outside.\u003cbr\u003e\u003cbr\u003eJohn Thropp worked in Birmingham during a period when the city had become the centre of English small silverware production, turning out vinaigrettes, card cases, and other pocket-sized objects in enormous numbers — though the quality of engraving here suggests this one wasn't made to be anonymous stock.\u003cbr\u003e\u003cbr\u003eFor collectors of Georgian silver or objets de vertu, it's a small object that rewards close attention rather than a passing glance.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\" data-rte-preserve-empty=\"true\"\u003eVery good antique condition. The plain side has a shallow indent and a small ding. The lid does not sit fully flush. There are tiny dings to the engraved side (not visible under the design). The pin securing the grille needs to be replaced. Displays beautifully with bright vermeil gilding and crisp engraved detailing.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035610206541,"sku":"3303","price":215.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/20-20240310_124511-Photoroom_931e4259-0775-4dc8-86e1-73a287bfc034.webp?v=1780946079"},{"product_id":"georgian-mason-s-ironstone-pot-pourri-vase-incense-burner-in-fence-japan-design","title":"Mason's Ironstone Fence Japan pot pourri vase, 1840's","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003e\"Fence Japan\" belongs to a family of English ironstone patterns loosely inspired by Japanese Imari ware, though the pattern names rarely make much literal sense, \"Fence Japan\" refers to a fenced-garden motif rather than anything actually depicting Japan itself, a naming convention that was more about signalling an exotic, fashionable aesthetic than describing the scene with any precision. This lidded vase carries the pattern in its full form: mazarine blue and burnt orange enamels worked with hand-painted gilding across a baluster body, mask head handles on each side, and a pierced lid topped with a small knob, the piercing allowing scent to escape if the piece was used as intended, for pot pourri or burning incense.\u003cbr\u003e\u003cbr\u003eMason's built ironstone's reputation on exactly this kind of decorative confidence, dense pattern work on a durable body, and a piece surviving with its pierced lid intact is worth noting on its own, since lids like this one tend to be the first casualty of decades of handling. Dated to the 1840's, the vase carries both a specific function and a specific decorative pattern, giving it more to offer a collector than a purely ornamental piece from the same period might.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Some wear to gilt and paint; restoration to lid.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035611648333,"sku":"3200","price":180.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/39-IMG_2306-Photoroom_b4532137-55ff-49e8-a3b5-903c5fa4d4ef.webp?v=1780946095"},{"product_id":"georgian-pair-mason-s-ironstone-pottery-double-handled-baluster-octagonal-vases","title":"Mason's Ironstone Georgian octagonal vase pair","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMason's patented ironstone in 1813, marketing it as a tougher, more affordable alternative to fine porcelain, and this pair shows the pattern the factory built much of its early reputation on: an octagonal baluster body finished in cobalt blue, hand-painted flowers and foliage worked in bold green and burnt orange, and gilt scrollwork threading through the composition. The folded loop handles on each side are a small but telling detail, decorative rather than strictly structural, since ironstone rarely needed the reinforcement porcelain sometimes did.\u003cbr\u003e\u003cbr\u003eThe Georgian dating places this pair right at the start of Mason's commercial success, ironstone having only just been patented within the same broad period, so a piece from this window sits closer to the technique's origins than most of what later reached the market under the same name. A matched pair surviving together in the same pattern is generally the harder find, since ironstone's real durability meant plenty of individual pieces outlasted their partners through decades of separate handling.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition. Wear appropriate to age and use; hairline internal crack; wear to gilt and paint.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035611877709,"sku":"3170","price":235.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/Photoroom_006_20240309_205905_16ee91c5-4dc8-4b6b-a66f-d4a23b340dd2.webp?v=1780946096"},{"product_id":"georgian-staffordshire-blue-and-white-transferware-tchiurluk-ottoman-dinner-plate","title":"Georgian Staffordshire \"Tchiurluk\" transferware plate","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eBlue and white transferware series depicting scenes from the Ottoman Empire had real appeal in early 19th century Britain, tied to a broader public fascination with the East that also fed into Egyptian and Chinoiserie revival trends of the same period. This plate carries the \"Tchiurluk\" pattern, part of that Ottoman Empire series, the titled view printed in blue at the centre and framed by the series' typical border of flowers, scrolls and incense burners.\u003cbr\u003e\u003cbr\u003eThe service is attributed to John and William Ridgway, whose Cauldon Place works in Stoke-on-Trent operated through roughly this period, producing printed wares alongside the finer porcelain the firm is often better remembered for. Series like this worked almost like a set of illustrated postcards for a household that would never actually travel to see the places depicted, each plate offering a different named view within the same consistent decorative border.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Wear appropriate to age and use; small brown dot on plate; minor discolouration on back side.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035617317197,"sku":"3199","price":135.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/27-IMG_2293-Photoroom_954187b5-19b7-4350-b16a-44b2df62e050.webp?v=1780946100"},{"product_id":"georgian-sterling-silver-two-handled-sugar-bowl-porringer-william-robert-peaston-1761","title":"Georgian silver porringer, William \u0026 Robert Peaston, 1761","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003ePorringers occupy a slightly ambiguous spot in Georgian silver, originally intended for eating soft foods like porridge or gruel, though by the mid-18th century pieces like this one were as likely to end up on the table as a sugar bowl instead, the form having outlasted its original purpose. This one takes a cylindrical body with a flared rim, decorated top and bottom with leaf-punched motifs framing a ropetwist girdle around the centre.\u003cbr\u003e\u003cbr\u003eThe lower body carries hand-chased scroll decoration across part-fluted, lobed panels, and a foliate vacant cartouche sits at the front, left blank for a crest or monogram and surrounded by floral detail. Scroll handles and a spreading circular foot round out the design, made by William \u0026amp; Robert Peaston, a father-and-son (or brothers, depending on the source) partnership working in mid-18th century London, and hallmarked 1761.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035618726221,"sku":"A4209","price":950.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/1-IMG_9091-Photoroom.jpg?v=1780946101"},{"product_id":"georgian-thomas-wolfe-factory-z-porcelain-set-of-3-bat-printed-tea-slop-bowls-c-1800","title":"Georgian Thomas Wolfe bat-printed slop bowls, set of 3","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eBat printing is one of the more delicate transfer techniques used in Georgian porcelain, working with a thin gelatine \"bat\" rather than paper to lift an image from an engraved copper plate, which let decorators achieve genuinely fine, soft-edged detail that standard transfer printing couldn't quite manage. This set of three slop bowls carries that technique in en-grisaille — monochrome grey-toned printing — depicting classical urns festooned with gilt garlands, the porcelain itself thin enough to show real translucency when held to light.\u003cbr\u003e\u003cbr\u003eA gold band trims each rim, and the interior centre of every bowl is hand-painted with small, delicate gold flowers, a nice touch of individual handwork against the more mechanical precision of the bat-printed exterior. Slop bowls served a genuinely practical role in Georgian tea service — a place to tip out cold dregs and used leaves before pouring a fresh round — which makes a set surviving intact together, rather than as isolated single pieces, worth noting.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. One bowl has some staining to the porcelain and nibbles to the foot; one bowl has two cracks; one has a hairline crack to the exterior; very light wear to gilt appropriate to age and use.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035620757837,"sku":"3332","price":160.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/270-20240311_004108-Photoroom.jpg?v=1780946103"},{"product_id":"rare-mason-s-ironstone-sauce-tureen-oyster-pattern-with-turquoise-base-hand-painted-regency-period-circa-1815-1825","title":"Mason's Ironstone sauce tureen, Oyster pattern","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMason's Ironstone built its early 19th century reputation on borrowing heavily from Imari porcelain, and the \"Oyster\" pattern here shows that influence clearly: hand-painted peonies and stylised foliage in iron red and cobalt blue, set against a crisp white ground and finished with gilt highlights. The colour work is dense without tipping into busy, each element given enough space to read clearly against the others.\u003cbr\u003e\u003cbr\u003eA turquoise-glazed footed base sits underneath the main body, a striking contrast against the white and iron-red palette above, and the lid finishes with a scroll-moulded finial sitting between moulded cobalt and gilt side handles. Ironstone as a material was developed specifically to be more durable than fine porcelain while still carrying decoration this fine, a practical answer to a household that wanted the visual richness of Imari-style ware without the fragility.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eGood antique condition. Hairline cracks are present on the base and near the handles, consistent with age and use. The colours remain vibrant, and the hand-painted decoration is crisp and well preserved.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035668861261,"sku":"A4338","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/a_28197_29_655d587f-b106-4692-9668-5185142f9c5a.webp?v=1780946212"},{"product_id":"rare-new-hall-staffordshire-hybrid-porcelain-dessert-service-with-powder-blue-and-rose-decoration-circa-1820","title":"New Hall Staffordshire powder blue dessert service, c.1820","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eNew Hall's porcelain was a compromise from the start. Rather than chase the true hard-paste formula the Chinese and the Continent guarded so closely, the Staffordshire factory bought the rights to a hybrid hard-paste recipe developed in Bristol, one that fired more reliably and held up better to daily use than the soft-paste bodies most English rivals were still working with. It's not the glamorous origin story, but it's the practical one, and it's a large part of why pieces like this dessert service survive two centuries later in the condition they do.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eThis set, attributed to New Hall and dating to around 1820, comprises a lozenge-shaped two-handled serving tray and six matching dessert plates, all carrying powder blue borders worked in a resist technique, where the coloured ground is laid down around a design so the white porcelain shows through as crisp, unpainted motifs of birds and grapevines. It's a fussier process than it sounds, and one that rewarded a steady hand rather than a heavy one.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eEach piece is further hand-painted with rose vine decoration in cobalt, soft pink and green, picked out with gilding, the kind of layered ornament that suggests the pattern was meant to be looked at as much as used. Dessert services occupied an odd social position in Regency dining: brought out only after the main meal, once the tablecloth itself had been cleared, specifically so guests had nothing left to look at but the porcelain.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eFor a collector of English porcelain or anyone assembling a period dining setting, a set this complete, tray and all six plates together, is the harder thing to find than any single piece within it.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp class=\"\" style=\"white-space: pre-wrap;\"\u003eGood antique condition overall. The tray shows a hairline crack across the base and minor wear to the gilding. One plate has browning and a hairline crack to the back; two plates have small chips to their base rims. Minor surface wear to gilding and enamels consistent with age and use. Presents beautifully with vibrant colours and finely preserved decoration.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035672662349,"sku":"B4332","price":1500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/96-IMG_0098_jpg-Photoroom_8081bfb1-a8ca-4dba-bcea-58f75f82ec65.webp?v=1780946248"},{"product_id":"regency-era-coalport-pembroke-chocolate-cup-and-caucer-winged-harpy-handles","title":"Regency Coalport chocolate cup, winged harpy handles","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eCoalport under John Rose was turning out genuinely ambitious porcelain by 1810, and this chocolate cup shows the factory pushing well past standard tableware ambition — the handles are formed as mythological winged harpies, detailed enough to work as sculptural figures in their own right rather than a purely functional afterthought. Hand-painted floral decoration runs across the cup and matching saucer, picked out with rich blue accents and gilding throughout.\u003cbr\u003e\u003cbr\u003eChocolate as a drink arrived in Europe well before tea did, brought over from Central America in the 17th century, and by the Regency period it had developed its own distinct etiquette and tableware separate from tea service — cups made specifically for chocolate tended to be taller and narrower than a teacup, sometimes with a lid, and were often treated as a genuine luxury item reserved for guests rather than everyday drinking. A piece as ornate as this one, with sculptural handles and this level of decoration, fits squarely within that tradition of chocolate service as a small occasion in itself.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eCup: The decoration on the handle of the lid is broken, and there is a small chip on the edge of the lid (as shown in the photos). The gold gilding is worn, especially on the handles and winged harpy figures. Otherwise, the piece remains in excellent condition, with full preservation of the colors and enamel, thanks to its hand-painted nature.\u003cbr\u003e\u003cbr\u003eSaucer: There are minor losses to the paint and gilding consistent with age, but overall, the saucer is in excellent antique condition.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035677675853,"sku":"B1229","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/20250408_000513-Photoroom_b4b0a186-1338-4472-ba51-443c6d549382.webp?v=1780946302"},{"product_id":"rare-18th-century-french-faience-urns-by-veuve-perrin-with-hand-painted-pastoral-scenes-in-rococo-style","title":"Veuve Perrin French faience urn pair, Rococo scenes","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eVeuve Perrin ran one of Marseille's most respected faience workshops through the 1700's, and this pair carries several of the signatures collectors look for in her finest work: pastoral scenes worked in polychrome enamel across deep blues, yellows, rose pinks, greens, and earthy browns, a colour range distinctive enough that it's become something of a shorthand for identifying her output at a glance. Each urn is finished with gilded ram's head handles, a classical motif that adds real sculptural weight to the silhouette, while the square bases carry their own floral bouquets framed by ribbon borders, and a pierced gallery runs around the upper section for good measure, decoration stacked on decoration without ever quite tipping into excess.\u003cbr\u003e\u003cbr\u003eBoth urns are mounted to their bases with metal rods and bolts, original to the construction, and retain a slight rotational give as a result, easily tightened underneath if a firmer fit is preferred, though it's worth knowing about rather than mistaking for a fault. Comparable Veuve Perrin pieces are held in the Metropolitan Museum of Art's permanent collection (object numbers 50.211.72a, b and .73a, b), the kind of institutional company that puts a firm floor under a workshop's reputation regardless of what any individual piece happens to sell for.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eBoth urns are in very good antique condition. The painting, enamelling, and gilding are well preserved, with only light wear consistent with careful handling over time. One urn has a chip to the gilded ram's horn, revealing a little of the faience beneath, and a barely noticeable enamel flake on the forehead of the same ram's head. Minor natural glaze crazing and tiny firing marks, typical of 18th-century faience, are present throughout. The urns can still rotate slightly on their mounts, but this could easily be stabilised if desired.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54035682558285,"sku":"B1221","price":2400.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/20250405_171514-Photoroom.jpg?v=1780946378"},{"product_id":"george-iii-mahogany-tea-caddy-satinwood-marquetry","title":"George III mahogany tea caddy, satinwood marquetry","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eTea's cost in the 18th century is easy to forget now, but it was genuinely valuable enough that households locked it away — this caddy's serpentine lid and brass carrying handle sit above fitted internal compartments built specifically to store and protect the leaves, a level of joinery care that a purely decorative box wouldn't have needed. The front carries a satinwood fan marquetry patera, framed by satinwood stringing and figured crossbanded veneer, decoration restrained enough to sit comfortably within Sheraton-period taste rather than tipping into anything showy.\u003cbr\u003e\u003cbr\u003eThe construction is hand-cut dovetail joinery throughout, and the mahogany has developed a genuinely rich, deepened patina over more than two centuries of handling — the kind of colour change that only comes from age and use, not something achievable through staining. Inside, the lid retains its original olive-green baize lining along with the retaining washers for the brass handle, small original details that tend to disappear first on pieces that have been restored or reworked over the years.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003ePresented in good antique condition, entirely consistent with well over two centuries of careful use. The caddy remains structurally sound and displays an attractive, untouched appearance with a rich, mellow patina throughout. There are age-related surface marks, small veneer nibbles and minor losses around the edges and mouldings, together with historic losses to sections of the lower base moulding. The lock is absent and no key is present. One of the original internal dividers is missing, although the remaining interior structure survives well. The original baize lining beneath the lid shows expected age-related wear and light discolouration while remaining remarkably well preserved. The brass hinges remain secure and the lid opens and closes correctly.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54436697047373,"sku":"4852","price":245.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/1-20260725_034257.jpg?v=1785499570"},{"product_id":"regency-mahogany-twin-tea-caddy-original-canisters","title":"Regency mahogany twin tea caddy, original canisters","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eRaised on original turned bun feet, this caddy has a clean, restrained form that puts the timber itself front and centre — mahogany in rich honey and reddish-brown tones, with a patina built up over nearly two centuries of handling. At just over 3.3 kg it has real weight in the hand, and the architectural simplicity of the design means it works as easily in a traditional interior as a more contemporary one.\u003cbr\u003e\u003cbr\u003eInside, the original fitted interior survives intact: two removable mahogany tea canisters flank a central circular compartment, which would originally have held a cut-glass bowl for blending different teas together. The lock, brass escutcheon and keyhole are all original, and the cabinetmaking holds up well under close inspection, with good dovetailing and matched veneer work throughout. It's the kind of piece that rewards actually opening the lid rather than just admiring it shut.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. The mahogany has acquired an honest patina with the expected light marks, surface scratches and wear consistent with age. There is a surface crack to the veneer near one lower rear corner, together with a small knock to one corner of the lid. The canister interiors retain remnants of their lining, while the central glass mixing bowl is no longer present. The canister lids remain within their brass retaining guides but sit slightly proud rather than fitting completely flush. Structurally sound throughout.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54436917936461,"sku":"4854","price":345.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/47-20260725_035403.jpg?v=1785501012"},{"product_id":"regency-flame-mahogany-sarcophagus-tea-caddy","title":"Regency flame mahogany sarcophagus tea caddy","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eFlame mahogany gets its swirling figure from cutting the veneer at an angle across a crotch or feathered section of the tree, rather than sawing straight through the grain. The front of this caddy shows that figuring off well — it's clearly the point of the design rather than a background detail. The sarcophagus form sits on turned bun feet, with a geometric lid panel framed in boxwood stringing against the deep red-brown of the mahogany.\u003cbr\u003e\u003cbr\u003eInside, the original three-part arrangement is intact: two removable veneered tea caddies with floral metal knobs flank a circular recess, and the glass mixing bowl that sits within it — used for blending teas before serving — is still there, held by its brass collar. It's the kind of thing that's easy to lose along the way, so worth noting it's survived at all. The interior is lined in bright red, which stands out clearly against the mahogany once the lid's open — genuinely worth leaving on display rather than tucked away shut.\u003cbr\u003e\u003cbr\u003eA handsome and increasingly difficult-to-find early 19th-century tea caddy, equally suited to a collection of Regency antiques or as an elegant decorative piece for the home.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eThe caddy remains in excellent antique condition. At some stage in its life it has been refinished with a later clear lacquer or varnish, giving it a noticeably higher gloss than would originally have been present. This finish extends into the interior compartments and is clearly visible in the close-up photographs. While not original, it has left the caddy exceptionally clean and very well presented. There is a small area of veneer loss around the escutcheon\/keyhole together with the expected light age-related marks and wear associated with a genuine Regency piece. The decorative knobs appear to be later replacements, secured from beneath with modern screws.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54437046354253,"sku":"4856","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/115-20260725_041315.jpg?v=1785502246"},{"product_id":"georgian-tunbridge-ware-marquetry-jewellery-box","title":"Georgian Tunbridge Ware marquetry jewellery box","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eTunbridge Ware was produced in Tunbridge Wells, Kent, from the late 1700's onwards, becoming one of Britain's most distinctive decorative woodcraft traditions. Early Georgian examples like this one typically combine carefully selected veneers with geometric marquetry and mosaic banding worked in a wide range of contrasting timbers, satinwood, sycamore, holly, harewood, fruitwood, walnut, rosewood and ebony among them, originally produced as luxury dressing boxes, jewellery boxes, and writing accessories for wealthy visitors to the spa town.\u003cbr\u003e\u003cbr\u003eThis box carries burr satinwood veneer across every surface, framed by marquetry borders that continue seamlessly down the front corners rather than stopping at the lid. A small diamond-shaped cartouche sits at the centre, left blank rather than engraved, the kind of detail that turns a box like this into a natural gift, since whoever receives it gets to decide what goes there rather than inheriting someone else's initials. The interior retains its original red paper lining, decorated with repeating gilt floral motifs and well preserved enough to still read clearly against the honey-toned veneers surrounding it, a detail that's often the first thing to fade or tear on boxes this old.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003ePresented in good antique condition with honest signs of age and use expected from a piece over 200 years old. The lid displays a small area of historic veneer loss within the figured burr, which has blended into the patina and does not detract from the overall appearance. There are small veneer nibbles and edge losses, including around one rear corner and the lower front edge, together with general surface marks and wear consistent with age. The interior paper lining shows some wear and lifting around the edges. The pine base has a small hole and expected age-related wear.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54475206558029,"sku":"4850","price":295.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/32-20260722_222827.jpg?v=1786114179"},{"product_id":"1790s-swedish-gustavian-mahogany-box-geometric-inlay","title":"1790's Swedish Gustavian mahogany box, geometric inlay","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eGustavian style takes its name from Sweden's King Gustav III, whose reign through the 1770's, 80's, and into the 90's brought French neoclassical taste north and filtered it through a distinctly Nordic restraint: less gilt, more discipline, geometry favoured over florid ornament. This box wears that restraint well. Solid Honduras mahogany runs through the whole thing, interior and underside included, with three diamond-shaped inlays, known as romber, set into the lid in pale satinwood or pearwood against the dark ground, bold in scale but kept firmly in line by the symmetry around them.\u003cbr\u003e\u003cbr\u003eThe construction matches that same restraint. Mitred corners hide the end grain around the exterior, and the interior still carries faint hand-scribed construction lines and marking-gauge marks, the kind of evidence bench-made work leaves behind and later restoration usually scrubs away without meaning to. At 30.5 cm long, this is a proper tabletop box rather than a small jewellery casket, likely built for documents or correspondence, with one open compartment inside rather than anything divided up. The original brass lock sits flush and hand-mortised into the front rim, paired with hand-slotted offset screws and a keyhole cut straight through the mahogany, exactly the sort of pre-industrial detail that gives the game away: this was made by hand, not off a production line.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eExcellent antique condition with a naturally developed patina. There are scattered small nibbles, knocks, scratches and surface marks consistent with more than two centuries of age and use. The contrasting diamond inlays display some age-related shrinkage and fine hairline cracking. The lid closes securely, although it needs to be pushed slightly forward when closing so that the catch aligns correctly with and enters the lock.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54475233886541,"sku":"4851","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/46-20260722_223631.jpg?v=1786114612"},{"product_id":"masons-ironstone-punch-bowl-circa-1815-1840-grasshopper","title":"Masons ironstone punch bowl, circa 1815-1840, Grasshopper","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMason's built its reputation on ironstone strong enough for daily use and decorative enough to sit on a sideboard between meals, and this punch bowl, dating from the early 19th century, leans hard into the second half of that promise. It's a substantial piece, painted in the India Grasshopper pattern, one of the firm's documented early chinoiserie designs, showing a vase of peonies among rockwork, a crane picking its way through the garden, and a small fruit basket balanced on a table, all rendered in the confident, slightly overloaded manner that made these patterns so recognisable at a glance.\u003cbr\u003e\u003cbr\u003eThe palette is what makes the piece: a black transfer-printed outline filled in by hand with cobalt, coral orange, sage green and touches of gilt, no two brushstrokes quite matching the next. The interior rim carries a border of formal florets and ruyi-head motifs in the same palette, framing whatever the bowl happened to be holding, which was rarely, if ever, actual punch. Pieces this size were as much about display as function, the sort of object a Georgian household brought out to be looked at rather than used up\u003cbr\u003e\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eAntique condition, with wear consistent with genuine age and use. The bowl has an old, professionally repaired crack with associated restoration, visible on close inspection. There is surface scratching and some wear to the painted and enamelled decoration, along with minor losses and imperfections around the rim, all in keeping with a well-loved piece of this age.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54592410485069,"sku":"4832","price":205.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_2720-Photoroom_256a8677-1b55-49ba-8478-39e8cb3339e0.jpg?v=1787790508"},{"product_id":"georgian-masons-ironstone-vase-in-cobalt-blue-and-gilt","title":"Georgian Mason's Ironstone vase in cobalt blue and gilt","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMason's Ironstone was patented in 1813, and the point of it was durability rather than daintiness, English potters wanted something sturdy enough to survive dinner parties and sea voyages after watching too much imported porcelain arrive from China in pieces. This Georgian twin-handled vase takes that resilient body and gives it a full 1820's dressing-up: a deep cobalt ground, a flared trumpet neck, and a pair of boldly scrolled handles gilded on their outer curves and left cobalt on the inner faces, so they read as gold from the front and blue in profile.\u003c\/p\u003e\n\u003cp\u003eThe two sides tell different stories. One face is given over to a large flowering peony with leafy branches and smaller blossoms, the upper body filled with trailing gilt foliage. The reverse is quieter, scattered with gilt butterflies and insects, one rendered with enough wing detail to suggest the painter slowed down for it. Worth picking up and turning in hand rather than left facing forward on a shelf. The spreading foot carries a gilt lattice pattern interspersed with stylised motifs, framed by broad gilt bands, and the whole scheme sits squarely within the Georgian taste for cobalt-and-gilt wares drawing on both Continental porcelain and Asian decorative sources.\u003c\/p\u003e\n\u003cp\u003eThe base is unmarked, which is typical for the period and doesn't undermine the attribution, the form, palette and handling of the gilding line up closely with documented Mason's Ironstone cobalt-blue pieces of the 1820's.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eGood antique condition, with wear consistent with two centuries of age. Gilding shows rubbing and loss around the rim, handles and other raised areas, alongside minor surface scratches and marks. There are small chips to the underside base edge, with associated glaze roughness, plus minor firing irregularities and cobalt variation typical of early manufacture.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54611320734029,"sku":"4837","price":340.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_2808-Photoroom.jpg?v=1788037785"},{"product_id":"masons-ironstone-bowl-cobalt-blue-with-gilt-florals","title":"Mason's Ironstone bowl, cobalt blue with gilt florals","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eBowls like this one weren't made for soup. The scale and the shallow, wide-mouthed form point to a table or sideboard centrepiece, something meant to sit in view year-round rather than get put away between dinners. A large flowering bloom fills the centre, framed by trailing sprays of gilt foliage and smaller blossoms across the cobalt ground, with a repeating gilt geometric border running the full circumference of the rim. The underside carries an impressed \"Mason's Patent Ironstone China\" mark.\u003c\/p\u003e\n\u003cp\u003eThe decoration is dense gilding worked in fine outline over cobalt, drawing on Chinese and wider Asian decorative sources that English potteries leaned on heavily in this period.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eLight surface scratching to the gilt within the bowl, visible in raking light, along with expected crazing to the glaze on the underside and around the foot rim. Gilding to the rim edge shows some rubbing consistent with handling and display. No chips or cracks are apparent.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54611338363213,"sku":"4838","price":320.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_2821-Photoroom.jpg?v=1788039094"},{"product_id":"masons-ironstone-jugs-georgian-cobalt-blue-and-gilt","title":"Mason's Ironstone jugs, Georgian, cobalt blue and gilt","description":"\u003ch3\u003eAbout this piece\u003c\/h3\u003e\n\u003cp\u003eMason's Ironstone jugs were made to be sold as a graduated set, and this trio still holds together as one: three octagonal bodies in the same cobalt and gilt scheme, scaled down from the largest to the smallest. The impressed \"Mason's Patent Ironstone China\" mark on the underside of the largest jug points to the earlier years of the company's output, and the set dates to the Georgian period, circa 1830's. The largest carries a dragon worked into the neck, its coils picked out in fine gilt against the diaper-patterned band below the rim, while the body below shows a butterfly and reed grass scene repeated in variation across all three sizes. The moulded serpent handles, gilt on the outer curve and left in cobalt beneath, give the set a slightly reptilian silhouette, each one gripping the body with small clawed feet where it meets the jug.\u003c\/p\u003e\n\u003cp\u003eGraduated jug sets like this were a practical format as much as a decorative one, made to nest together on a dresser or washstand shelf, largest to smallest. The dense chinoiserie gilding, insects and foliage scattered freely across a rich cobalt ground, sits well within Mason's early output and the wider taste for Japonisme that ran through English ceramics of the period.\u003c\/p\u003e\n\u003ch3\u003eCondition notes\u003c\/h3\u003e\n\u003cp\u003eVery good antique condition. Gilding shows rubbing to the handles and rim edges across all three jugs, consistent with age and handling. The smallest jug has a hairline crack running across the base, visible in the photographs, and a small chip to the underside rim with associated glaze loss and a patch of exposed body. The other two show scattered surface scratching and light crazing to the glaze, particularly around the interior of the spouts, but no chips or cracks.\u003c\/p\u003e","brand":"Rita's Bazaar","offers":[{"title":"Default Title","offer_id":54611531891021,"sku":"4840","price":380.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0975\/4191\/4957\/files\/IMG_2855-Photoroom.jpg?v=1788043329"}],"url":"https:\/\/ritasbazaar.co.uk\/collections\/georgian.oembed?page=4","provider":"Rita’s Bazaar","version":"1.0","type":"link"}