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THREE SQUARE DELFT POTTERY TILES WITH OTTOMAN MAIDENS BY RAVESTEIJN Utrecht, The Netherlands, second half 19th centuryComprising three wall tiles of square shape, painted in cobalt blue on white ground, two tiles repeating the same motif depicting a veiled maiden wearing a long dress and pointed shoes, and the third tile with a Greek maiden in profile, with an elaborate hairdo and open sandals, all set within circular medallions, the corners filled with stylised floral motifs.Each 15.2cm x 15.4cm Delftware tiles of this type and precise measurements are usually attributed to the late 19th-century Ravesteijn tile factory manufacture in Utrecht. Their inspiration for the non-European subjects was drawn from the engravings of Oriental and Ottoman figures published in 16th and 17th-century travelogues and diaries, such as the Navigations et Pérégrinations Orientales by Nicolas de Nicolay, published in Lyons in 1568. An analogous set of tiles was successfully sold at Sotheby's London, 6 April 2011, lot 411. Each 15.2cm x 15.4cm Qty: 3

A set of six London delftware polychrome plates, late 18th century, each painted with a fenced garden scene within flower swag borders, 23cm diameter All of the plates with varying degress of fritting and chipping around the rims, one plate with a crack running three quarters of the way around rim.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

An English delftware blue and white oviform pharmacy jar, probably London, c.1720-30, blue cross mark, with a short foot and rim, the front painted with a label inscribed U: CÆRUL . FORT in a strapwork escutcheon with winged putti holding flowers and centred by a shell, the lower part with pendant flowers and husks and centred by a winged cherubim mask, 18cm highFootnotes: Note: The original contents of this drug-jar were Caeruleum, unguentum, known as ‘The Blue Ointment’, which was an unguent used as an anti-venereal disease agent which was made from hog’s lard, turpentine and mercury. Condition Report: Overall this drug-jar is in reasonable condition – the principal issue is the flaking and chipping to the upper rim and footrim.  The cracks to the glaze throughout, some of which are dirt-filled, is more minor.  There has been an attempt to disguise the flaking / chipping to the upper rim with some slight filling / overpainting – this is very crudely done.  Ideally a restorer should remove this crude repair and either carry out a proper filling (which should be reasonably low cost) or it could be left without any repair.  

Two English delftware blue and white chinoiserie dishes, mid-18th century, the larger painted with a stylised river landscape with a heron perched on a fence by bamboo on a terrace, a willow tree issuing from rockwork nearby before distant ships, 37cm diameter; the smaller with a chinoiserie figure seated on a rock under a tree and pointing towards a bird perched on a plant, 29.7cm diameter (2)Provenance: With Lucy Johnson Antiques, London (the larger plate, paper label attached to the reverse).Condition Report: Larger plate: There is some flaking to the glaze of the rim – the largest area is to the edge of the rim at 9.30 o’clock, and just below it there is another area of flaking which has been over-painted to disguise it.  In addition there is a slender area to the edge of the well (at 8 o’clock) which has been overpainted to disguise flaking – this is not very noticeable.  On the underside there is some chipping to the footrim. Smaller: There is a crack from the rim at 4 o’clock which branches at the well (with an associated minute loss at the well).  In addition there is some flaking and very small chipping to the rim.

A large London delftware apothecary or drug jar, mid 18th century, originally decorated in blue with a cartouche inscribed 'Ther: Andro', later enamelled in the 19th century with a famille rose design of insects, crabs and scattered flowers between pink and green borders, with a later wooden cover, some chipping, cracked, 39.5cm overall. (2) Together with a letter from the Worshipful Society of Apothecaries, dated 4th April 1962, and another from the Wellcome Historical Medical Museum, dated 23rd May 1962.Provenance: the Joy Hallam Collection. Illustrated: HobbyPharm, vol. 4, No.3, 1983.

An early London delftware plate, c.1670, the octagonal form painted with a Chinese figure seated in a landscape, the scene repeated to the rim, and two London delftware tiles, c.1680-1700, painted in blue with European travellers within circular panels, one tile broken and restuck, 21.3cm max. (3)

A rare London delftware Royalist mug, c.1780 or later, painted in blue, black and manganese with scroll and flower design around the initials GR, the tall straight neck with concentric bands, some chipping to the foot, 16.8cm.

An 18th Century Liverpool Delftware blue tile, 12.5cms square together with an 18th Century London Delftware blue tile, 12.5cms square and another 18th Century blue tile, 12.5cms square

An English Delft Charger, possibly Vauxhall, late 17th century, painted in blue with a central spiral within radiating dashes and concentric lines border with further dashes 34.5cm diameterSee Britton (Frank) London Delftware, pg.69 for a related fragmentary waster excavated on the site of the Vauxhall factory in the 1970s Crazed. three rim cracks. Some rim chipping including one sizeable chip / section. General fritting and some glaze wear.

A rare Lambeth (Thomas Morgan and Abigail Griffith) delftware ballooning charger, circa 1785With the ascent of Vincenzo Lunardi's balloon painted in blue, green and manganese, a building with a fence and trees in the foreground, a swagged border within the blue feathered rim, 34.5cm diamFootnotes:Vincenzo Lunardi, 'The Daredevil Aeronaut' first demonstrated his hot air balloon in London on 15 September 1784, accompanied by a dog, a cat and a caged pigeon. Setting off from Artillery Ground in Finsbury, the Morning Chronicle reported that 'the general attention of the town and its inhabitants of all ranks, from the Countess to the Cobler's Wife, and from my Lady in St. James' square to my Lord. The little crooked shoe-shiner in an alley in Shoreditch, has been for some days past engrossed by Mr. Lunardi and his Balloon'. Spectators were estimated between 150,000 and 200,000 strong, including the Prince of Wales himself. The nearby pottery at Lambeth joined other tradesmen and artists in creating a memento of the day and of the new and exciting 'Balloon-mania', which had gripped the population. It is very rare to find a charger decorated with this subject, with plates being more common. For a plate with the same subject, see lot 245 in this sale.For further information on this lot please visit Bonhams.com

A good English delftware punch bowl, circa 1710-20Possibly Bristol or Vauxhall, of deep form, the exterior painted in blue, red, green and yellow with long-tailed birds perched on stylised flower sprays surrounded by stars, a formal scrolled border top the rim, the interior painted in blue with a stylised tulip and groups of four dots around the inner sides, 25.8cm diam, 15.2cm highFootnotes:A London (Vauxhall) punch bowl painted in an identical palette and with very similar decoration to the interior is illustrated by Michael Archer, Delftware (2013), p.240, no.F.13. However, related decoration in this palette was also used at Bristol and Brislington.For further information on this lot please visit Bonhams.com

A large pair of Lambeth delftware plates, circa 1770Painted in blue, green and manganese with a chinoiserie landscape depicting two pagodas on tree-studded rocky river islands, within a frame of trellis and sgraffito scrollwork panels, the border with three mounds issuing foliage and a scalloped band to the rim, 34.8cm diam (2)Footnotes:ProvenanceWith Alistair Sampson AntiquesA smaller plate with identical decoration is illustrated by Frank Britton, London Delftware (1987), p.203, no.12.75.For further information on this lot please visit Bonhams.com

Two English delftware plates, circa 1730-40Bristol or London, one painted in blue with a heron or crane, a border of stylised foliate sprigs to the rim, 22.5cm diam, the other of so-called pancake form, painted in blue with a long-tailed bird amongst naïve flowering plants, 22.7cm diam (2)Footnotes:ProvenanceWith Alistair Sampson Antiques (second mentioned)For further information on this lot please visit Bonhams.com

A London delft tile, circa 1740, painted in blue with an urn or vase of flowers, the corners with stylized foliate detail, approx 12.8cm square, together with four other delftware tiles, including a biblical example depicting Mose's rod turning into a snake, and one painted in manganese with a Tudor rose (faults). Provenance: from the private collection of David Armitage, former conservator to the Department of Eastern Art at the Ashmolean Museum, Oxford, between 1970 and 1999.

* Early Ballooning. English Lambeth, London delftware plate, circa 1785 commemorating the flight of Vincenzo Lunardi on 15 September 1784, polychrome decorated in blue, green and manganese showing Lunardi's balloon ascending above a house and trees, within a floral swag border, restored and small chips to the rim, 22.5 cm QTY: (1)NOTE:Vincenzo Lunardi (1754-1806) was born in Luca, Italy and was a pioneering aeronaut. He came to England as Secretary to Prince Caramanico, the Neapolitan Ambassador.On 15 September 1784 Lunardi 'The Daredevil Aeronaut demonstrated a hydrogen balloon flight at the Artillery Ground of the Honourable Artillery Company in London. He had intended to be accompanied by his friend George Biggin, however, the 200,000 strong crowd which included the Prince of Wales had grown impatient and Lunardi had to take off without Biggin, but he was accompanied by a dog cat and pigeon. The flight from the Artillery Ground travelled north towards Hertfordshire. Lunardi touched down briefly in a cornfield near North Mymms to release the cat who had become unwell. He completed his flight in Stanton Green End. A stone in Welham Green near North Mymms commemorates this flight.

A JAPANESE ARITA 'VAN FRYTOM' DISHEDO PERIOD, C.1700With a scalloped rim, the well decorated in underglaze blue with a foliate cartouche enclosing figures in a mountainous river landscape, with fishing boats in the foreground, a tall building towering behind them and a further figure with an attendant holding an umbrella to the left, with spiralling clouds above; the rim with a border of flowerheads amongst scrolling tendrils and painted with a brown edge; the underside with karakusa scrolls and flowers, the base with a fuku mark, 20.6cm.Provenance: from an English private collection, London.Cf. E Ströber, La Maladie de Porcelaine, pp.158-9, no.70, where a comparable dish from the collection of Augustus the Strong is illustrated and discussed. The author notes that the figures depicted are Chinese, whilst the scrolling clouds and lake appear to be inspired by Western models. Also, see C J A Jörg, Fine & Curious, Japanese Export Porcelain in Dutch Collection, p.150, no.168, for another example, one of three of various sizes at Twickel Castle, Delden. These dishes are also sometimes referred to as in Van Frytom style after the Dutch Delftware originals.

Two large English delftware dishes, circa 1760 London and Bristol, decorated with stylised flowers, foliate border 32cm diameter

GEORGE II ENGLISH DELFT 'MERRYMAN' PLATE, dated 1730, probably London, inscribed in the centre 'To Entertain is (sic) Guest' beneath the number 3, inside a stylised laurel wreath 19.6cms diam.Provenance: private collection SwanseaAuctioneer's Notes: Merryman plates satirize the perennial tussle between husband and wife and were made in sets of six, often numbered, each decorated with part of a well-known drinking verse:1. What is a merryman 2. Let him do what he can 3. To entertain his guests 4. With wine and merry jests 5. But if his wife do frown 6. All merryment goes down Dated examples range from 1682 to 1752, illustrating the popularity of the sentiment. A set dated 1734 is illustrated by Frank Britton, 'London Delftware' (1987), p 143 and an earlier one of 1717 in Louis Lipski and Michael Archer, 'Dated English Delftware' (1984), p 76.Comments: fritting, glaze imperfection to letter 'o' of 'To'.

A London delftware Royal blue dash charger, c.1690-95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, within a blue dash and yellow border rim, the underside with a buff lead glaze, a section broken out and cleanly restored, 35.3cm.

A rare English delftware night light holder, c.1770, probably London, the cylindrical jar shape with an everted rim, pierced with five small arched windows, the rest painted with flying insects around flowering branches, with a concave base, 12cm.Cf. Michael Archer, Delftware, pp.328-329, Nos. G5 and G6 for similar examples.

A large English delftware posset pot and cover, c.1720, London or Bristol, the large body painted in blue with birds perched atop flowering branches, the strap handles with blue dashes, the narrow spout with a foliate scroll design, a good repair to the rim, 25.3cm. (2)

Ceramics.- Garner (F.H.) English Delftware, first edition, Michael Archer's copy interleaved with his notes and additional illustrations in preparation for a second edition, 1948 Garner (F.H.) & Michael Archer. English Delftware, second, enlarged & revised edition, Archer's interleaved copy with some corrections, 1972 § Ray (Anthony) English Delftware Pottery in the...Ashmolean Museum, Oxford, inscribed to Archer by the author, 1968 § Britton (Frank) English Delftware in the Bristol Collection, 1982 § Francis (P.) Irish Delftware, 2000 § Austin (John C.) British Delft at Williamsburg, Williamsburg, Va. & London, 1994 § Grigsby (Leslie B.), Michael Archer & others.  The Longridge Collection of English Slipware and Delftware, 2 vol., 2000, plates and illustrations, many colour, original cloth or boards, the first rebacked preserving part of dust-jacket on upper cover, rubbed, the last five with dust-jackets, the last also with slip-case; and c.20 others on English Delftware, mostly pamphlets, 4to & 8vo (c.30)

A delftware tin-glazed earthenware punchbowl, c.1785, English, London, the centre with a chinoiserie scene and a hot-air balloon, with floral motifs to the rim and sides in greens, blues and reds, 30cm wide12cm highCondition ReportThe bowl has been broken into several places, repaired and repainted, however, it is now stable. A couple of chips to the paint. Overall in fair cosmetic condition. See additional photos.

A BROWN-GLAZED FOLIATE-RIMMED DISH, LIAO TO EARLY SONG DYNASTY 遼至宋初蓮瓣口褐釉盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 11th-12th century. Finely potted with flaring sides neatly divided into ten lobes supported on a short tapered circular foot, covered overall with a thin black-brown glaze, pooling at the edges and recesses, and stopping unevenly at the base to reveal the grayish-buff body.Provenance: R&G McPherson Antiques, London, United Kingdom, 2014. The private collection of Grahame Clarke, acquired from the above and thence by descent. Copies of the original description and invoice from R&G McPherson Antiques, each confirming the dating above, accompany this lot. Robert McPherson is an English dealer and highly regarded expert in Chinese ceramics, a committee member of the Oriental Ceramic Society, and on the board of ‘Asian Art in London’. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age. Wear and firing flaws, including small firing cracks, spur marks, and glaze recesses. Few smoothened chips to the rim, one small chip to the foot. The rim with minor glaze touchups.Weight: 148.2 gDimensions: Diameter 12 cm Literature comparison:Compare a closely related lobed dish in the Fitzwilliam Museum, Cambridge, accession no. C29-2007. Also compare another closely related lobed dish in the Art Institute of Chicago, reference number 1964.1221. And another related dish illustrated in R. Krahl, Yuegutang, A Collection of Chinese Ceramics in Berlin, G+H Verlag, Berlin, 2000, p. 227, pl. 181. 遼至宋初蓮瓣口褐釉盤中國，十一至十二世紀。十瓣蓮瓣口，淺圈足，薄黑褐色釉，邊緣和凹陷處有積釉，底部不平，露出灰黃色的胎。 來源：英國倫敦R&G McPherson Antiques藝廊，2014年；Grahame Clarke私人收藏, 購於上述藝廊，保存至今。該拍品附有 R&G McPherson Antiques 的原始描述和發票副本，每份都確認了上述日期。 Robert McPherson 是一位英國經銷商、備受推崇的中國陶瓷專家、東方陶瓷學會的毫米級成員以及“倫敦亞洲藝術”的董事會成員。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：品相良好，磨損和燒製缺陷，包括小的燒製裂紋、毛刺痕跡和釉面凹陷。邊緣局部有已經平滑的缺口，腳部有一小塊缺口。邊緣有輕微的釉面修飾。重量：148.2 克 尺寸：直徑12 厘米文獻比較： 比較一件非常相近的葵口盤，收藏於Fitzwilliam博物館，劍橋，館藏編號C29-2007。另一件非常相近的葵口盤， 收藏於芝加哥藝術館，館藏編號1964.1221。另一件相近的葵口盤， 見R. Krahl，Yuegutang，《A Collection of Chinese Ceramics in Berlin》，G+H Verlag，柏林，2000年，頁227，圖181。

A WHITE-GLAZED JAR, TANG DYNASTY 唐代白釉罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie’s 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm).

AN ENGLISH DELFTWARE BLUE AND WHITE LARGE PLATE, MID-18TH CENTURY PERHAPS BRISTOL OR LONDON. Painted with a couple in landscape before sponged trees and sailing boats, 34.2cm diam.With a series of restored, overpainted and discoloured rim chips, some flaking to glaze at rim, typical glaze blow outs to reverse.

TEN REFERENCE BOOKS AND AUCTION CATALOGUES ON BRITISH AND EUROPEAN DECORATIVE ARTS, MOSTLY DELFTWARE, to include: 'Delftware' by H.P. Fourest, Thames and Hudson published 1980; two copies of 'Faianca Portuguesa Seculos XVIII.XIX' by Arthur de Sandao, Christie's London - 'The Collection of The Barons Nathaniel and Albert Von Rothschild, 1999, and others (10)Odour of cigarette smoke. In used condition.

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A near pair of London delftware chargers, c.1740, William Griffith, decorated with a rare design of a stylised pavilion on a bridge amongst sponged manganese foliage, within a border of interlocking circles in red, yellow and manganese, the rims with six formal flower sprays, a few restored rim chips to one, 34.5cm max. (2)Paper labels for Jonathan Horne Antiques Ltd.Cf. Michael Archer, Delftware, p.133, nos. B31 and B32 for a similar design.

Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A rare delftware vomit pot, c.1700, probably London, painted in blue with long-tailed birds in flight above and perched among flowering plants, the inside rim with stylised tied scroll motifs, a chip to the foot, 16.5cm across.The small size would suggest this is a vomit pot rather than a chamber pot. Household utensils of this type are rare survivals. Cf. Frank Britton, London Delftware, p.116 for similar undecorated pots.

A rare delftware stand, c.1710-30, probably London or Vauxhall, the circular top painted in blue with a central flowerhead roundel between flower sprigs and demi mon panels, the piecrust rim with a formal leaf band, raised on three baluster feet, 22.3cm dia.

Two London delftware plates, 1720-40, one painted in manganese with two grazing rabbits flanking a tree, the other in blue with a peasant family walking beneath tall sponged trees, a church with a spire visible beyond, some damages, 23cm max. (2)

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A rare small delftware dish, c.1695, London or Bristol, painted in blue and ochre with a bird perched beneath a sponged tree, the rim with a blue dash border, the underside decorated in a buff lead glaze, restored, 22.3cm.Paper label for Jonathan Horne Antiques Ltd.

A London delftware dish or shallow bowl, c.1720-30, painted in red and blue with a central simple floret within a further flowerhead design, the rim with a continuous scrolling foliate border, some surface scratching and rim chipping, 29.7cm.

Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A group of seven London delftware tiles, mid 18th century, painted in polychrome enamels with a central flower spray, the corners with blue foliate motifs, some damages, 12.6cm. (7)

A Dutch Delftware tobacco jar and brass cover, De Drie Klokken (The Three Bells) factory, second half 18th centuryOf ovoid form, painted in blue with a framed rectangular scene of a tobacco plantation depicting the preparation and packing in barrels of tobacco leaves, titled above 'DE TABAKSPLANTAGIE' and with an oval frame flanked by leaves below inscribed 'No 5', the slightly domed brass cover with a ball finial, 31cm high, 'three bells' mark in blue (glaze losses to edge of rim)Footnotes:Provenance:Acquired in 1987Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 1;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 3;S. Fellner, Die lasterhafte Panazee (1992), no. I/71Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988;Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992The potters at Delft were among the earliest to produce large tobacco jars with a large capacity that were intended for shops and tobacco producers rather than for personal use. Many such jars are inscribed with numbers or the names of different tobacco and some also bear the V.O.C, monogram of the Dutch East India Company.For further information on this lot please visit Bonhams.com

A Delft Posset Pot, London or Bristol, circa 1710, of ovoid form with flared neck and strap handles, painted in blue with chinoiserie foliage beneath a scroll border25cm wideFor a similar example see Archer (Michael) Delftware: The Tin Glazed Earthenware of the British Isles, pg.264Cover lacking. Chips and fritting to the circumference of the rim. Fritting and abrasions to the sides of the handles and tip of the spout. Internally the spout hole with glaze chipping and a small pin prick in the belly of the spout. Two large conjoined pieces broken out of the rim and profesionally restored. Another section broken out and restored, extending between the handle terminals.

Assorted items of pottery and porcelain including an English mid-18th century delftware blue and white plate, London or Bristol, painted with Oriental flower sprays, a 19th century French faience polychrome dish painted with flowers and leaves within blue linear borders, two Pratt Ware pot lids, one titled 'Strathfield Saye, the seat of the Duke of Wellington', another with crowned bear, cockerel and a lion, a pair of Staffordshire pottery greyhounds, a Tuscan china crested figure of a monkey, three Japanese dishes, two in the Imari palette and one in the Kakiemon palette, and other items Condition ReportAddition photos uploaded

A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。

A Dutch blue and white delftware model of a longcase clock containing a late 18th Century watch movement the case painted with figures in landscapes and flower sprays, the movement by Thomas Haley, London, the circular enamel dial signed Lis Woirol, Paris, the case late 19th century, 31.5cm. high [some damage].

Delftware Reference books - including Delftware (Michael Archer), Irish Delftware (Peter Francis), British Delftware at Williamsburg (John C. Austin), Delftware at Historic Deerfield (Amanda E. Lange), London Delftware (Frank Britton), English Delftware Pottery (Anthony Ray), Early English Delftware from London and Virginia (Ivor Noel Hume), English Delftware (F.H. Gardner and Michael Archer), English Delftware in the Bristol Collection (Frank Britton), London's Delftware History, English & Irish Delftware 1570-1840 (Aileen Dawson), and The Longridge Collection of English Slipware and Delftware (14)

Archer, (Michael); 'Delftware: The Tin-Glazed Earthenware of the British Isles, pub. The Stationery Office, London, 1997, in association with the Victorian and Albert Museum, with dust jacket and in card slip case.

A London delftware Royal portrait plate, c.1690, painted in blue and yellow with the double portrait of King William and Queen Mary, each wearing a crown, William III in an ermine-edged robe, titled 'W M R' between the figures, all within two narrow concentric blue bands, some glaze wear and crazing, 21.3cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent. Ins £2000

Two delftware tiles, the first London c.1760-90, painted in blue with a smoking kiln and other buildings before a hayrick, the second Bristol and painted in manganese with a smoking kiln chimney, with flowerhead corners linked by a cell diaper band, some chipping, 13cm. (2)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.46, figs.221 and 223.

A London delftware large plate or charger, c.1765, painted in blue, green, yellow and manganese with a lady beckoning to a gentleman holding a tricorn hat as she sits beneath tall trees flanking a five bar gate, rim chips, 29cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

Eight delftware tiles, c.1720-80, two Biblical and painted in blue and manganese with Job Smitten with Boils, The Return of the Prodigal Son, another London and painted with a shipwreck showing figures hanging from the rigging, another with figures and dogs reclining in a landscape, the others with figures in landscape scenes, one Bristol in the Bowen manner, 13cm max. (8)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, fig.79 for the shipwreck tile; fig.115 for the Bowen manner tile; fig. 167 for the tile with the figure blowing the horn.

A good and rare London delftware 'Merry Man' plate, dated 1735, painted in blue with '(6) All Merryment Goes Down 1735', within a continuous leaf border, minor rim chipping only, 22.5cm.Cf. Victoria and Albert Museum, Accession No. C.9-2016 for a very similar example dated 1727.

A rare and early London delftware 'Merry Man' plate, c.1720, inscribed in red with '(2) Let him do What he Can' within a continuous formal leaf border in blue and green, 22.8cm.Old paper shipping label for Robert Fisher Ltd, London, relating to Herbert Schiffer Antiques in Philadelphia. Cf. Bonhams, 12th November 2014, lot 19 for an identical plate from the S J McManus Collection.

A large delftware charger, c.1720-30, probably London, painted in polychrome enamels with Chinese figures in a garden setting, the rim with further figure vignettes, repaired, 36.7cm.Provenance: from the collection of the late Jonathan Horne.

A rare London delftware salt, mid 17th century, the square form with formally reticulated sides, the top set with a circular recessed well, left in the white, a section broken and restuck, 9.2cm high.Cf. Garry Atkins, Exhibition of English Pottery, March 2001, p.6, no.6 for an identical example.

A London delftware Royal blue dash charger, c.1690-95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, inscribed 'WR3', within a blue dash and yellow border rim, the underside with a buff lead glaze, a faint rim crack, 34.5cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.Sir Henry Sutcliffe-Smith was born in Halifax, the only surviving son of Frederick Smith and Martha Sutcliffe. From school he joined Edward Ripley & Sons, Bowling Dyeworks and followed an illustrious career in the textile industry. A special tableaux he designed for the Brussels Exhibition in 1910 earned three Grands Prix for the worsted industry of Bradford and earned Sir Henry a special diploma and a gold medal from the Belgian government. His career was largely centred around Bradford where he held positions including President of the Society of Dyers and Colourists, President of the Colour Council, Chairman of the Colour Users’ Association, Chairman of the local Conservative Association and Chairman of the Bradford branch of the RNLI. He had a keen interest in art and antiques, putting together a collection at his home at Ingerthorpe Grange, Ripon, that drew the attention of Queen Mary when Sir Henry entertained her at a tea party in 1935. He established a collection of Lord Nelson memorabilia which is housed at the National Maritime Museum in Greenwich. His love of art led him to become a Fellow of the British Institute of Industrial Art, and of the Royal Society of Arts.

Two London delftware tiles from a larger tile panel, c.1770-90, probably Lambeth, finely painted in blue with an equestrian figure and another standing figure before a tavern, a woman peering from behind an open door, mounted on a later wooden frame, 26cm across.Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, Tin-Glazed Tiles, p.120, fig.678.

A delftware Royal charger, c.1690-1700, probably London, painted with a full-length standing portrait of King William III in armour, holding an upright sword in his right hand and with his left on his hip, inscribed 'WR' above, within a double manganese line border, the underside with a pale lead glaze, a 13cm rim crack, 34cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

A London delftware Royal Blue Dash charger, c.1702-14, painted in blue, yellow and green with a standing portrait of Queen Anne, holding an orb and sceptre and flanked by sponged trees around the letters 'AR', with a buff lead glaze to the reverse, broken in half and cleanly restored, further restoration to the rim, 34.3cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

A London delftware part food warmer or veilleuse, c.1765, the cylindrical base painted in blue with a parrot perched on an ornamental fence beside trees, rocks and a pagoda, applied with two masks, the warming section decorated with a continuous formal border, lacking a cover and bowl, some chipping, 21cm overall. (2)Cf. Michael Archer, Delftware, p.359, No.H.21 for a warmer with the same unusual mask, that was excavated in Lambeth.