How were antique chargers hung on walls?

Many large antique dishes were manufactured with pierced foot rings designed to take cord, or they relied on heavy brass wire spring clips fitted securely around the rim by later owners. These mounting methods allowed heavy earthenware and porcelain platters to be displayed safely at eye level without risking table damage. When hanging heavier pieces today, sturdy wall fixings and specialised weight-rated display brackets remain essential to support the substantial mass of 18th and 19th-century ceramics.

What is the difference between Delft and Imari?

Delft refers to tin-glazed earthenware originating primarily in the Netherlands and England, typically featuring blue and white or polychrome designs on a chalky opaque glaze. Imari denotes Japanese porcelain decorated in rich cobalt blue, burnt orange, and gilt highlights. While Delft relies on absorbent earthenware bodies and opaque surface glazes, Imari utilises vitrified, translucent porcelain fired at significantly higher temperatures with distinct eastern motifs.

Can antique ceramic platters still be used for dining?

Most antique wall platters and chargers are best reserved for display rather than daily culinary use due to their age, historical significance, and potential glaze sensitivity. Historic tin-glazed earthenware and soft-paste porcelains can absorb moisture or sustain surface scratching from modern cutlery. Exhibiting these pieces on walls or sturdy plate stands protects their fragile hand-painted surfaces from the wear and tear associated with regular food service.

How do I identify a 18th-century charger?

Eighteenth-century chargers typically feature thick, heavy earthenware bodies with hand-thrown concentric ridges visible on the unglazed base. The tin glaze on these early pieces often shows minor pitting, crazing, or slight fritting around the exposed rims where the soft body meets the kiln support. Pigment application on these pieces displays the soft, bleeding edges characteristic of iron-based or cobalt colours sinking into wet or semi-fired glaze layers.