We found 547 price guide item(s) matching your search

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.

Three Delftware blue and white wet drug jars, possibly London, circa 1740-60, named for; Syr: Cary: Rub, Syr: Spin: Cerv, Mel: Rosae, in a strapwork cartouche with shell, cherubs and flowers, 16cm high CONDITION REPORT: Cary syrup with a hairline crack to the front, approx. 6.5cm long. Mel Rosae with an impact crack to the rim above the shell, extending down approx. 3cm, and 6cm horizontally. Another hairline crack travelling around the lower part of the body. Spin syrup with a crack from the rim near the spout which travels diagonally down, 9cm long. A shallow footrim chip. All with some glaze chipping

A pair of English Delftware blue and white powder ground plates, circa 1760, painted a central Chinaman in a garden, the border with four flowerhead medallions and scrolls, petal shaped rim, probably London, 23cm wide CONDITION REPORT: Chips to rim particularly in glaze, hair lines to glaze to reverse, fire marks, surface scratches 

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.

A London delftware sugar box and cover, c.1720, the baluster body painted in blue with formal floral motifs beneath a ruyi scroll band, restored, 10cm. (2)

Two delftware plates, c.1720-40, probably London, one painted in manganese and yellow with a dog carrying a stick between tall sponged trees, the other in blue and black with a leaping stag beneath sponged trees within a scalloped blue border, some rim faults, 21.8cm max. (2)Provenance: from the collection of the late Jonathan Horne.

A rare delftware reticulated plate, c.1760, London or Liverpool, the well painted with a gillyflower spray within smaller scattered sprig, the rim pierced with abstract shapes, 24.3cm.Reticulation of this type is rare on delftware and the mould may have originally been intended for porcelain. This, coupled with the Gillyflower design, would suggest a Liverpool attribution is more likely.

A large London delftware tile, c.1725-50, painted in blue with a stag hunt scene showing two dogs in pursuit, on a sponged blue ground with leaf corners, and a larger tile painted with a soldier holding a lance and a shield, within a circular panel, 18.5cm max. (2)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.48, no.230 for the stag hunt tile.

A London delftware Royal portrait plate or shallow dish, c.1690, painted in blue and ochre 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 rim chipping, 21.4cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent. Old paper label for Stoner & Evans.

Three delftware plates, c.1750-70, one probably London and painted with an ornamental fence in an octagonal panel reserved on a brown powdered ground, the other probably Bristol, with a Jumping Boy in a panel on a powdered manganese ground, the last Bristol and painted with a Chinese figure in a landscape, some damages, 23cm max. (3)The last plate with a paper label for the Warren Collection, no.635.

AN ENGLISH DELFTWARE BLUE AND WHITE BOWLCirca 1770 painted with a dragon amongst cloud scrolls, continued on the exterior, 22.75cm diameter; also a pearlware blue and white `dragon bowl', 21.5cm diameter. Provenance: the delftware bowl with Jonathan Horne Antiques, London (2)Delftware bowl- small restoration around the rim which has since been chipped. Some small chips and loss of glaze around the rim. Some small chips around the footrim. Some overall crazing to the glaze.Pearlware bowl- haircrack to the rim, approx. 6cm. A line of brown staining from the rim, approx. 3cm length. Some small chips and glaze chips around the rim.

Antique Ceramic Reference. Mundy (Major R.G.), English Delft Pottery, Edition de Luxe copy no. 45/100, signed and numbered by the author, London: Herbert Jenkins Limited, 1928, b/w plates, original vellum gilt over cloth boards, top-edge gilt, others uncut, 4to The first monograph on English delftware.

An English blue and white delftware night light holder, a similar dish and a Dutch puzzle jug the holder painted with flower sprays and insects, probably London, circa 1760-70, 12cm [two chips to rim, one previously riveted]; the dish painted overall with flowers and foliage, 34cm [minor chips]; the jug painted with a port scene, 19th century, 20cm [some damage] 3.

A late 17th century English blue and white delftware saucer dish painted and trecked with a chinaman seated beneath rocks and plantain, Brislington or London, 19cm [foot-rim trimmed, two chips and glaze wear to rim].

Full title: A pair of blue and white English Delftware wet drug jars, probably London, early 18th C.Description:H.: 20 cm - L.: 18,5 cm

Full title: A blue and white English Delftware drug jar, probably London, 18th C.Description:H.: 18 cm

Full title: A blue and white English Delftware drug jar, probably London, 18th C.Description:H.: 19 cm

Pottery, mainly English including English Delftware, Ralph Wood and medieval pottery Lipski, Louis L. Dated English Delftware. Tin-glazed earthenware 1600-1800. London: Sotheby Publications, 1984. 4to, number 440 of 1000 copies, original blue cloth, dust-jacket;Sotheby's. The Lipski Collection of English and Irish Delftware, 10th March 1981 - 6th December 1983, four auction catalogues in original wrappers;Faulkner, Frank. Ralph Wood Pottery, George Stoner Collection. London: 1910. 50 copies only, original vellum gilt;Partridge, Frank. Ralph Wood Pottery. London: [1929?] Original blue cloth gilt;Andrade, Cyril. Old English Pottery. Astbury Figures. London: 1924. One of 500, original red cloth gilt;Burton, William. A History and Description of English Earthenware and Stoneware. London: Cassell and Company, 1904. 8vo, out-of-series copy of 1450, original cloth;Rackham, Bernard - Herbert Read. English Pottery. London: Ernest Benn, Limited, 1924. 4to, original grey cloth gilt;Price, R.K., Captain. Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs. London: John Lane, 1922. 4to, one of 500 copies, original cloth gilt;Earle, Cyril, Major. The Earle Collection of early Staffordshire Pottery. London: A. Brown and Sons, [1915?] 4to, original red cloth gilt;Smith, R.H. Edinburgh Museum of Science and Art Loan Collection of English Pottery. Edinburgh: Neill and Company, 1889. 8vo, brown cloth gilt, pp.15-end only, title-page repaired with some loss;Freeth, Frank. Old English Pottery. London: Morgan, Thompson and Jamieson, 1896. 4to, one of 100 copies, original blue cloth gilt, some foxing;Hobson, R.L. Catalogue of the collection of English Pottery in the department of British and Mediaeval Antiquities and Ethnography of the British Museum. London, 1903. 4to, blue cloth gilt;Hodgkin, John Eliot and Edith. Examples of Early English Pottery... London, 1891. 4to, original cloth;Austin, John C. British Delft at Williamsburg. Williamsburg: The Colonial Williamsburg Foundation, 1994. 4to, original blue cloth gilt, dust-jacket;Ray, Anthony. English Delftware Pottery in the Robert Hall Warren Collection Ashmolean Museum Oxford. London: Faber and Faber Limited, 1968. 8vo, original red cloth gilt, dust-jacket price-clipped;Downman, Edward Andrews. Blue Dash Chargers. London: T. Werner Laurie Ltd., 1919. 8vo, original boards; and 9 othersProvenance:Provenance: From the library of a collector

An English delftware flower brick, circa 1750Probably London, painted in blue with panels of mimosa-like flowers alternating with diaper or trellis, 15.8cm wideFootnotes:ProvenanceWith Alistair Sampson AntiquesFor further information on this lot please visit Bonhams.com

A London delftware square bulb pot, circa 1760Probably Lambeth, of tapering square shape, the recessed top pierced with five large and twelve smaller holes, the sides each painted in blue with the same Chinese river scene, 10cm highFootnotes:ProvenanceWith Jonathan HorneThe small pierced holes were presumably for cut flowers or for watering bulbs planted in the larger holes. For an almost identical flower pot see Michael Archer, Delftware in the Fitzwilliam Museum (2013), p.304, fig.I.6. A related but smaller example with fewer apertures from the Liane Richards Collection was sold by Bonhams on 13 April 2016, lot 34.For further information on this lot please visit Bonhams.com

A set of six English delftware plates, circa 1780Probably London, each painted in blue with a Chinese riverscape, tall rocks, trees and pavilions on two islands, with a narrow diaper border at the rim, 23.2cm diam (6)For further information on this lot please visit Bonhams.com

An English delftware polychrome flower brick, circa 1740Possibly Bristol or Wincanton, painted in blue with stylised mimosa, the rhomboidal leaves picked out in green with iron-red 'berries', 14.7cm wideFootnotes:ProvenanceWith Jonathan HorneAlthough more sparsely decorated, a similar flower brick is illustrated by Frank Britton, English Delftware in the Bristol Collection (1982), p.307, no.19.58. Shards decorated with so-called mimosa pattern have been excavated at Bristol, Wincanton, London and Liverpool but more commonly appear in blue. A number of plates painted with a version of the pattern and all bearing the date 1738 are recorded in Lipski and Archer, Dated English Delftware (1984), pp.101-2, figs.439-45.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'The body of Sir E.B.G carry'd to Prim rose hill on a Horse', the supposed murderers Robert Green, Lawrence Hill and Henry Berry taking the slumped body of magistrate Sir Edmund Berry Godfrey to the foot of Primrose Hill, his corpse depicted a second time lying run through with his own sword, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Five of Spades playing card is the source for this tile.On 28 September 1678 Titus Oates and Israel Tonge, a fanatic protestant minister implicit in the fabrication of the Popish Plot, presented their testimony to magistrate Sir Edmund Berry Godfrey. The disappearance of Godfrey on 12 October and the subsequent discovery of his dead body at Primrose Hill five days later caused uproar and those seeking to benefit from the exposure of a Catholic Plot stoked the fire. It was assumed that Godfrey was murdered by the Jesuits in connection with his taking Oates' and Tonge's deposition.Other playing cards from the same series depict Godfrey's supposed murder by Green, Berry and Hill. The perjured evidence given by Oates, William Bedloe and Miles Prance was enough to condemn the three men. Lord Chief Justice, Sir William Scroggs presided over the trial and did very little to supress his anti-Catholic bias. The three of spades depicts the 'murderers' hanging from the gallows. The true circumstances of Godfrey's death remain unsolved, but suicide has been presented as more than likely.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A rare London delftware fuddling cup, circa 1630-50Probably Southwark or Rotherhithe, formed by four small conjoined vessels linked by intertwined handles, left in the white, 8.2cm highFootnotes:ProvenanceMoor Wood Collection, Sotheby's, 15 May 1979, lot 6Bonhams, 2 November 2015, lot 64A four-vessel fuddling cup dated 1649 is illustrated by Michael Archer, Delftware in the Fitzwilliam Museum (2013), p.190, no.D.5. An example left in the white in the Museum of London is attributed to Southwark, see Frank Britton, London Delftware (1986), p.117 and Mary White's paper, A Bovey Tracey Fuddling Cup, ECC Trans, Vol.19, Pt.3 (2007), p.503, fig.4.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with an interior scene, 'Capt Berry and Alderman Brookes are offer'd 500l to cast the Plot on the Protestants', two papists, possibly Netterville and Russell, approaching Bury and Brooks, and holding a money bag, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Six of Clubs playing card is the source for this tile.In early 1679, the Secretary of State, Sir Joseph Williamson heard two depositions later published as 'A True narrative of the late design of the papists to charge their horrid plot upon the protestants by endeavouring to corrupt Captain Bury and Alderman Brooks of Dublin, and to take off the evidence of Mr Oats and Mr Bedlow'.Captain John Bury spoke of a Mr Netterville and an Irishman, Mr Russell, who encouraged him to take a bribe of £500 to assassinate the King and turn the focus of the plot away from the Catholics. Alderman William Brooks told Williamson that when speaking to the same Mr Netterville on 16 January that year'...he told me, if I would but joyn and assist to villify the Evidence of Oats and Bedlow, those two Rogues',then he too would be rewarded. Bury and Brooks were presented as upstanding royalists, defending the Protestant faith by coming forward with this information. Their implication that the £500 offered to kill the King ultimately came from 'the Lords', namely the Catholic peer William Howard, Lord Stafford, contributed to the trial and eventual execution of Stafford on 29 December 1680. Titus Oates corroborated this 'evidence', stating he had seen a letter from the Pope naming Stafford as a conspirator to kill the King. Lord Stafford was beatified as a Catholic martyr in 1929.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A London delftware wine bottle, dated 1648The globular body raised on a small, spreading foot, the strap handle with a pointed lower terminal applied at the back, the front inscribed in blue 'SACK 1648' above a simplified flourish, 16.5cm highFootnotes:A bottle of the same date, with the same style of lettering and flourish is illustrated by Lipski and Archer, Dated English Delftware (1984), p.322, no.1354. Two similar bottles also dated 1648, inscribed 'WHIT' and 'CLARET', are in the Norwich Castle Museum (inv. no.56.1826) and are illustrated by Lipski and Archer on p.323, nos.1363 and 1364.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with a courtroom scene at the Old Bailey, 'The Tryall of Sir G Wakeman & 3 Benedictine Monks', Justice Scroggs flanked by two other judges, possibly North and Jeffreys, in full regalia, the accused standing in the dock and a rather abstract jury just visible above, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Four of Clubs playing card is the source for this tile.The trial of Wakeman and three Benedictine monks on 18 July 1679 marked a turning point in the narrative of the plot. Only four days earlier the last of the five Jesuits, Richard Langhorn, had been executed. Sir George Wakeman was royal physician to Queen Catherine of Braganza. Oates said he had witnessed him at a Jesuit meeting accepting a bribe to poison the King. The Queen herself was subsequently implicated. At this time, persons on trial for treason were not entitled to counsel and it was with admirable vigour and gall that Wakeman and his co-accused, William Marshal, William Rumley and James Corker, defended themselves. It became apparent that Oates could not identify Wakeman's handwriting, even though he swore to have seen incriminating letters written by him. Weak evidence was also given by Dugdale, Prance and Bedloe. Justice Scroggs, whose anti-Catholic rhetoric was well-recorded, was unimpressed. The jury pronounced all four men not guilty. There was widespread outrage at the verdict and the next day Scroggs had a dead dog thrown into his carriage. However, the credibility of the plot was irreparably damaged. Wakeman left London but returned to give evidence against Titus Oates in May 1685, when Oates himself was on trial for perjury.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A rare London delftware fuddling cup, circa 1630-50Probably Rotherhithe or Southwark, formed as three small conjoined vessels with neat spreading feet, linked by twisted handles, left in the white, 8.3cm highFootnotes:Louis Lipski and Michael Archer suggest that the earliest fuddling cups have a cordon around the neck, revealing a likely metal prototype for the shape. The present lot retains a groove at the junctions of the necks and bodies, which may indicate an early date. Fragments of glazed fuddling cups have been found at Southwark and biscuit examples have been excavated at Rotherhithe. A fuddling cup of similar proportions, attributed to Southwark based on its decoration was sold by Bonhams on 18 May 2011, lot 5.For further information on this lot please visit Bonhams.com

A pair of Lambeth (Thomas Morgan and Abigail Griffith) delftware ballooning plates, circa 1785With the ascent of Vincenzo Lunardi's balloon painted in blue, the balloons and baskets highlighted in green and manganese, borders of floral festoons suspended from feathered rims, 23cm diam (2)Footnotes: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. A single plate similar to the present lot was sold by Bonhams on 18 May 2011, lot 4.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Capt Bedlow examind by ye Secret Comitee of the House of Commons', William Bedloe standing before the Secret Committee, all seated around a table, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe King of Clubs playing card is the source for this tile.Both the Commons and the Lords had their secret committees investigating every aspect of the plot, not always in good faith. Bedloe went to the Commons 'Secret Committee' in early 1679 to accuse the lawyer Nathaniel Reading of attempting to bribe him. Reading had come to Bedloe's lodgings at Whitehall to persuade him not to incriminate his clients, some high-profile Catholic peers. Bedloe had witnesses in hiding in his chambers and on 16 April 1679 Reading was tried for 'a trespass and misdemeanour' by attempting to 'lessen and stifle' evidence. Reading was found guilty and the Knave of Clubs shows him in the pillory. The Queen of Clubs depicts 'Reddin endeavouring to Corrupt Capt Bedloe'. Bedloe did not come out of the trial untarnished; proceedings had hinted at his debauched lifestyle and even Justice Scroggs is reputed to have said 'at this rate that Mr Bedloe accuses men, none are safe, for he runs at the whole herd'. Doubts were being cast on the worthiness of evidence given by such a man.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'The Consult at Wild House', two monks wearing habits standing at a table in discussion with two seated men, one in Jesuit robes, the other probably Edward Coleman, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Eight of Diamonds playing card is the source for this tile. During the trial of Edward Coleman on 27 November 1678, Titus Oates spoke of a number of Jesuit meetings or 'consults' having occurred in April and May of that year where the plot was discussed. According to Oates, he witnessed Coleman at one such meeting at Wild House near the Strand and here he gave his approval to the regicidal plot.Wild (or Weld) House was a significant mansion and gardens owned by the recusant lawyer and MP Humfrey Weld. Oates reported that he had attended mass with him at Wild House and that Weld had then received a dispensation from the general of the Jesuits to 'take the oaths and the Test', so that he might defend Catholic interests in Parliament. Weld vehemently denied these accusations. The fact that a portion of Wild House was sublet to the Spanish ambassador did not help dispel rumours of it being a hotbed for popish treachery.The scene has been simplified slightly in its translation from playing card to tile. On the card, two further figures, probably another monk and a second Jesuit gather around the table.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Capt Bedlow carrying letters to Forraigne Parts', William Bedloe on horseback, approaching the coast where a ship waits at anchor, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Ten of Clubs playing card is the source for this tile.When the informer William Bedloe enters the narrative of the Popish Plot, he already had a reputation as a confidence trickster and a criminal, having recently spent time in prison for fraud. When Bedloe first appeared before the bar in the House of Commons he embraced his criminal reputation, proclaiming 'Mr Speaker, I have been a great rogue, but had I not been so I could not have known these things I am about to tell you'. That his inconsistent and often 'newly recollected evidence' was taken seriously is testament to the severity of anti-Catholic bias and public hysteria that allowed men like Bedloe to be temporarily presented as heroes. He offered some corroboration of Oates' testimony and it was necessary to have two witnesses when prosecuting for treason. Bedloe saw an opportunity to use his knowledge of both the Jesuits and the criminal underworld to weave together his story with that of Oates. Bedloe implicated various Jesuits and officials in the plot to kill the King and also the murder of Sir Godfrey. In addition, he had been granted a share of the £500 reward for bringing Godfrey's 'murderers' to justice. Like Oates, Bedloe had been a messenger for the Jesuits and a personal servant to Fr Harcourt. Harcourt admitted under cross-examination that Bedloe had carried letters for him between England and the Continent in 1675, but denied any involvement in a plot to kill the King.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Coleman writeing a declaration and letters to la Chess', Edward Coleman seated at his desk, composing a letter to Francois de la Chaise, a man on horseback, possibly Titus Oates, hurrying off to deliver the message to France, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Eight of Hearts playing card is the source for this tile.Edward Coleman (or Colman) was a Catholic courtier and secretary to Mary of Modena, the wife of James, Duke of York, while Francois de la Chaise was Louis XIV's confessor. Titus Oates claimed that he had delivered a letter from Coleman to La Chaise in November 1677. Oates also claimed to have seen the reply in which La Chaise offered £10,000 to finance King Charles' assassination. By an extraordinary stroke of good luck on Oates' part (and bad luck on the part of the accused) Coleman's papers were ordered to be searched. No evidence of a plot of rebellion or regicide was found, but Coleman had advocated for the dissolution of Parliament in his letters. This was enough for the jury, who found Coleman guilty of treason. He was hung, drawn and quartered on 3 December 1678 and his journey to Tyburn is illustrated on another of Barlow's playing cards, the Six of Hearts.A tile almost identical to the present lot was sold by Bonhams on 3 March 2004, lot 17. Care has been taken to follow the composition of the playing card exactly, including the arrangement of items on Coleman's desk.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A large 18th Century Delftware charger with blue and white decoration depicting an unusual scene, the central tower house with smoking chimney beside a bridge with a figure fishing in the foreground - Bristol or London - a/f

A Pair of 18th Century English Peacock Pattern Delftware Drug Jars, English, probably Southwark, London, Early/Mid 18th Century, each with domed shoulder and turned foot, painted in cobalt and manganese with the Peacock design, a basket of fruit, cherub head, labels inscribed C. CARYOPHII and E. DIASATYR: height 19cmCondition: both with typical loss to the tin glaze, small chips to edges, both with holes in bases and some hairlines as shown in the images, no restorationCaryophyllene, a prominent constituent found in various essential oils, particularly clove oil, has a long history of medical uses. It belongs to the class of compounds known as sesquiterpenes and exhibits remarkable therapeutic properties. Caryophyllene has been widely recognized for its anti-inflammatory, analgesic, and antioxidant effects. It interacts with the body's endocannabinoid system, specifically targeting CB2 receptors, which play a crucial role in regulating inflammation and pain. Its historical use traces back to traditional medicine, where it was employed for its analgesic and antiseptic properties.Diasatyr, probably a compound of Satyrion, also known as Satyrion root or Orchis mascula, has a rich history of medical uses. This perennial plant, native to Europe and Asia, has been valued for its potential therapeutic properties for centuries. In traditional medicine, Satyrion was believed to possess aphrodisiac qualities and was used to address sexual dysfunction and enhance libido. It was also utilized to alleviate symptoms associated with menopause and promote hormonal balance. Additionally, Satyrion was thought to have diuretic and anti-inflammatory effects, making it beneficial for conditions like urinary tract infections and joint pain.

A London delftware commemorative plate, c.1785, painted in green and manganese with a hot air balloon in flight above a building, trees and an ornamental fence painted in blue, the rim with a flower garland border, 19.6cm.The plate depicts the balloon ascent of the Italian aeronaut Vincenzo Lunardi, whose first British flight took place in 1784. Lunardi executed several flights between 1784 and 1785, including at least one that took off from Southwark, near the delftware potteries.

Five English Delftware plates, circa 1760-80, comprising one with the 'Ann Gomm' pattern, one polychrome with a seated Chinese figure, another with a polychrome version of 'Plantation' pattern, a blue and white London plate with a shepherd and shepherdess and an octagonal deep plate with a version of 'La Pêche' pattern, 22cm-23cm diameter/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: Ann Gomm pattern plate - with chipping to rim, the largest of which is 2.5cm wide, with spreading hairline crack from rim into body of plate.Plate with seated Chinese figure - rim chip at 9 o'clock, 1.5cm wide. with associated hairline crack. Blue and white plate with shepherd and shepherdess - cracked across and restuck with areas of glue deposits, small associated losses. Octagonal soup plate - with large loss to rim which spans 11cm, another small losser to one corner which is 3cm wide, further smaller chipping to rim. A polychrome delftware plate with Oriental shrubs - long hairline crack from rim into body at 12 o'clock, thumbnail sized glaze chip at 11 o'clock and another smaller chip.

Two English Delftware plates, mid 18th Century, one probably Liverpool, with a Chinese figure by a tree, panelled border, 22.8cm, the other probably London with an unusual 'cracked ice' pattern in blue and manganese, 23cm diameter/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: Cracked ice plate - with two rim chips, the largest being 3cm wide, with a further smaller chip to the underside of the rim, a hairline crack from rim to centre, another shorter crack and further glaze crazing and cracking.Plate with Chinese figure - with two glaze chips to rim, one to front and the other to the back, further minute glaze chipping. Otherwise ok.

Two London Delftware tavern measures, circa 1790-1820, baluster shape with grooved necks, crude blue decoration on the fronts (one lacking the loop handle) and three white Delftwareminiature cups (5)/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: As described, one measure is lacking its handle, some typical chipping to glaze at footrim and rims overall, the other measure with some chipping to footrim and losses to glaze at handle, some crazing and scratching to body. Two small mugs - one with chip to footrim and the other with hairline cracks, glaze chipping to rims. The small cup with short hairline crack and minor glaze flaking to rims.

A collection of apothecary bottles and ointment pots, late 17th or 18th Century, all excavated by Henry Sandon from archaeological sites in Worcester, comprising two English green glass phials, 8.7cm, a larger glass apothecary jar, 12cm (broken rim section), together with ten pottery ointment pots including London Delftware jars of albarello form (some incomplete), one larger partially complete jar with blue zigzags (13)/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: The larger blue and white delftware pot - with large loss to body, cracked out and restuck to the body into at least 6 sections. With old areas of in-filling to cracks, chipping and in-filling to footrim. One of the small green phials with two large chips to the upper rim, a larger pale green glass bottle with a large rim chip and some inclusions and scratching. All of the smaller ointment pots with some chipping, losses and cracking. All in a condition typical of excavation.

A London polychrome delftware plate, circa 1730, decorated with a fish, dia.22.5cm, together with another blue and white delftware plate, probably London, 18th century, decorated with a pagoda within a landscape, dia.22cm Reference: Grigsby L (2000) The Longridge Collection, D.152, p.178

A collection of reference books relating to ceramics, to inlcude Archer, Michael and Garner, F H, English Delftware, Faber and Faber, London, 1972

An English blue and white delftware bottle vase, probably London, may be Vauxhall, Mary or Jonathan Chilwell, circa 1750, decorated with floral quatrefoil cartouches upon a powdered blue ground, h.24cm Reference: Archer M (1997) Delftware, B.71, p.149Some light loss of glaze to the rim and some crazing to the white panels.Otherwise generally in good order for delftware.

A matched set of eight blue and white delftware tiles, to include London examples, 18th century and later, each depicting a Biblical scene within a roundel, 13 x 13cm (8) Reference: Archer M (1997) Delftware, N.51, p.440

An English blue and white delftware dry drug jar, probably London, circa 1720, of typical form, decorated with birds and foliage flanking a basket of fruit, inscribed 'LOHOC:SANU' above a winged mask, h.18cm References: Archer M (1997) Delftware, K.6, p393 and Grigsby L (2000) The Longridge Collection, D.403, p.452With the usual losses of glaze to the rim and footrim.Restored in places and some hairlines as shown in the images.

An English blue and white delftware shoe, probably London or Bristol, circa 1730, decorated with flowers, h.8cm Reference: Archer M (1997) Delftware, L.6, p.404The usual losses to the glaze on the edges.It appears to have been broken in two at some stage as there is a restored crack around the centre.Further small section of restoration to the upper left as shown in the images.A couple of hairline cracks.

A London blue and white delftware oval dish, circa 1750, decorated with flowers, w.16cm, together with a Delft blue and white vase, circa 1760, of wrythen form, decorated with flowers, marks for Petrus van Marum of De Romeyn to the underside, h.23.5cm, and an English blue and white delftware cornucopia wall pocket, probably London, circa 1785, relief decorated with a bird perched upon a branch.18.5cm (3) References: Hume I N (1977) Early English Delftware from London and Virginia, 52, 53, 54 and 333, p.50 and 180, Fourest H (1980) Delftware, 54 and 55, p.191, Archer M (1997) Delftware, I.27, p.376