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An English blue and white delftware posset pot, probably London, circa 1700, the serpentine spout flanked by scrolled handles, decorated with fruit amongst foliage, lacking lid, h.12.5cm References: Archer M (1997) Delftware, D.16, p.264 and Grigsby L (2000) The Longridge Collection, D.281, p.307With the usual glaze losses to the rim and handles.Spout has been restored, as has a penny-size section to the rim, and one of the scrolls to the handles.There is a hairline to the rim and another to the lower body.

A pair of London polychrome delftware plates, probably Norfolk House, circa 1730, each decorated with a bird amongst flowers within a diaper border, dia.22cm Reference: Archer M (1997) Delftware, C.149Both are cracked and restored.

An English blue and white delftware urn, probably London, circa 1760, the body flanked by press moulded masks, decorated with a rock beside a gate, standing upon a flared foot, h.12.5cm References: Archer M (1997) Delftware, I.15-17, p.370 and Grigsby L (2000) The Longridge Collection, D.370, p.412With the usual losses to the glaze at the extremities.Some nibbles to the rim and footrim.A crack from the rim to the bottom of one of the flanking masks.

Archer, Michael, Delftware: The Tin-Glazed Earthenware of the British Isles, The Stationery Office, London, 1997, published in association with the Victorian and Albert Museum, in slip case

An English blue and white delftware charger, probably London, circa 1750, decorated with flowers and bamboo, dia.34cm Reference: Archer M (1997) Delftware, B.136, p.182

A Bristol polychrome delftware charger, probably Richard Frank of Redcliff Back, circa 1755, decorated with flowers and bamboo, dia.33cm, together with an English blue and white delftware charger, probably London or Bristol, circa 1760, decorated with flowers and bamboo, 35cm, and a Liverpool blue and white delftware charger, probably Drinkwater, Duke Street, circa 1777, decorated with swans before a pagoda, 30cm (3) References: Archer M (1997) Delftware, B.148, p.186, and B.136, p.182 and Garner and Archer (1972) English delftware, plate 110A

Grigsby, Leslie B, The Longridge Collection of English Slipware and English Delftware, 2 vols, Jonathan Horne Publications, London, 2000, with contributions by Michael Archer, Margaret Macfarlane and Jonathan Horne, Vol I signed by Jonathan Horne, within slip case

A pair of English blue and white delftware plates, probably London, circa 1750, decorated flowers and bamboo, dia.22.5cm, together with another blue and white delftware plate, attributed to Lambeth, circa 1740, in the same pattern, dia.23.5cm, and another, attributed to Liverpool, circa 1780, in the same pattern, dia.24cm (4) Reference: Archer M (1997) Delftware, B.136, p.182

An English blue and white delftware charger, probably London or Bristol, 18th century, decorated with flowers, dia.33.5cm, together with two further English blue and white delftware chargers, 18th century, largest dia.42cm (3)

An English blue and white delftware charger, probably London or Bristol, 18th century, decorated with flowers, dia.31cm, together with a similar blue and white delftware charger, 18th century, dia.35cm, and five similar blue and white delftware plates, 18th century, largest dia.23cm (7)

A collection of reference books relating to ceramics, to include; Dawson, Aileen, English and Irish Delftware 1570-1840, The British Museum Press, London, 2010, and Britton, Frank, London Delftware, Jonathan Horne, London, 1987

A blue and white delftware pill slab, in the 18th century London style, of shield shape, decorated with the arms of The Worshipful Society of Apothecaries and inscribed 'OPIFERQUE: PER: ORBEM: DICOR', h.21cm x w.19.5cm, together with a blue and white heraldic delftware plate, in the 18th century style, dia.24.5cm, and a blue and white delftware dish, in the 17th century style, of lobed form, the well decorated with a heraldic shield, dia.26.5cm (3)Plate – crazed and with hairline to the rim.Lobed dish – hairline to the rim.Slab – appears to have been artificially aged with glaze loss and crazing.

A set of four English blue and white delftware tiles, possibly London, 18th century, depicting a church within an octagonal cartouche within a powdered cobalt ground and flower corners, 12.5 x 12.5cm, together with a pair of English blue and white delftware tiles, possibly Bristol, 18th century, depicting a landscape, 13 x 13cm References: Ray A (1973) English delftware tiles, 241 and 269, p.160 and 166Fisherman – nibble upper left, chip to glaze upper right.House – large chips upper right.Set of four – with the usual minor chips to glaze on the edges, some surface scratching.

An English blue and white delftware tankard, probably London, circa 1760, decorated with a pagoda within an eastern landscape, the handle with a diaper motif, h.16.5cm References: Archer M (1997) Delftware, C.20, p.25 and Grisgby L (2000) The Longridge Collection, D.271, P.296Some crazing.The usual losses of glaze from the rims and the handle.There is a large restored crack down one side of the foot.Further small sections of restoration to the rim and footrim.

An English blue and white delftware meat dish, probably London or Bristol, 18th century, of octagonal form, decorated with flowers, 32 x 43cm, together with another blue and white delftware meat dish, 18th century, decorated with flowers, 23.5 x 32cm (2)

A Wincanton delftware plate, circa 1739, decorated with a river scene within an hexagonal cartouche upon a manganese ground, dia.18.5cm, together with another English delftware plate, probably London, 18th century, decorated with manganese sprigs, dia.22.5cm Reference: Archer M (1997) Delftware, B.29, p.132Smaller – with the usual losses of glaze to the rim, small restored crack to the rim, some light crazing, small chip to the rim.Larger – with the usual losses of glaze to the rim, hairline crack from the rim, light crazing.

Collection of ceramicscomprising of: a Lambeth of London delftware dish in the 'Ann Gomm' style pattern, 26cm across, a New Hall cabinet plate with floral decoration, 22cm across, a Chinese export mug or cup, with floral swag decoration, 6cm high, a 19th Century jug with floral design, 14cm high and a tin glazed lidded tankard with pewter mounts, 17cm high approx overallAll with overall wear, scratches, crazing and marks. Some have been written on with permanent marker. Delftware plate with Firing faults, possible restoration. Chinese export piece with firing faults. Jug is restored. The lidded tankard with faults and cracks.

A London delftware drug or apothecary jar, c.1680, painted in blue with two peacocks and leafy branches flanking the haloed head of Apollo, above an oval cartouche inscribed 'E.E.BACCIS.LAUR', above an angel mask and tasselled garlands, a short rim crack, 17.5cm.Bay Laurel berries were used to promote the appetite, remove blockages, and to stimulate blood flow in the pelvic region.

A London delftware Sack bottle, dated 1650, the squat globular body inscribed 'SACK 1650' in blue above a curlicue, with a short neck and spreading foot, the handle lacking, 16.8cm.

An English blue and white delftware chinoiserie punch bowl of straight sided tapering form with tall footrim, painted with alternating panels of a dancing chinaman in a garden and floral sprays with a flying moth, numeral 3 mark, possibly London, circa 1730-50, 27cm diameter [minor chips/glaze losses].

Two 18th Century Delftware chinoiserie plates and a dish, the first with two figures in an interior flanking a lantern, hand written label verso "Plate based on the same design in Williamsburg Cat. 250 attributed to Liverpool. Flower Brick in Archer & Garner closer in design, attributed to Lambeth c. 1750", 26cm diameter (rebuilt); another, with central urn of fruit and segmented border of alternate urns and figures, 23cm diameter (chips), and a shallow dish with lone figure in a garden, "See Britten's Bristol Cat 12.60 for very similar design. Poss London 1760", 22.5cm diameter (a/f), (3)

A pair of delftware drug jars,c.1670, London, Lambeth, each of ovoid form and decorated with a scrolling panel surmounted by a cherub's head, one inscribed 'C. Lujulae', the other 'U. Nervin',17.5cm high (2)Condition ReportBoth jars with extensive cracks, chips and losses to the glaze. The rim of one has been damaged and subsequently repaired. Some manufacturing imperfections and pitting. See additional photos.

Fayence. Hochhackiger, spitzer Barock-Schuh mit reliefierter Schnalle. Dekor in kobaltblauer Scharffeuermalerei aus Vögeln, Blüten und Ornamenten. Dat. 1707. Ger. best.; H. 12 cm.A rare English Delftware blue and white faience shoe. Dated 1707. Minor chips.England. Wohl London oder Bristol. 1707.

A London delftware drug jar, circa 1680Of ovoid shape, painted in blue with a 'ribbon label panel' inscribed 'V ÆGYPTIAC' surmounted by an angel's head and its outstretched wings, 17.5cm highFootnotes:Unguentium Aegyptiacum or 'Egyptian ointment' was made from basic copper acetate, vinegar and honey and was used in the treatment of ulcers.For further information on this lot please visit Bonhams.com

A large London delftware wine bottle, dated 1650The 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 1650' above a curlicue flourish, 18.8cm highFootnotes:A wine bottle inscribed 'CLARET 1650', also of generous size, was sold by Bonhams on 1 December, lot 2. The lettering, numbers and flourish are very similar, possibly even by the same hand.For further information on this lot please visit Bonhams.com

A rare and early London delftware charger, circa 1640Southwark or Rotherhithe, painted in blue with a central daisy-like motif with radiating strokes like the spokes of a wheel, the panelled border with abstract chrysanthemum flowers and conch shells, a blue line at the rim, the underside with a lead glaze, 32.5cm diamFootnotes:Fragments featuring both the border and central motifs have been excavated in London. The abstract designs on the borders are derived from Chinese export kraak porcelain. Leslie B Grigsby illustrates two similar chargers, see The Longridge Collection of English Slipware and Delftware (2000), D171 and D173.For further information on this lot please visit Bonhams.com

A rare London delftware wall pocket, circa 1750Probably Lambeth, of distinctive shape, painted in blue with a Chinese figure standing on a terrace overlooking a garden, a flying insect above, formal motifs below, drilled with two holes for suspension, 19cm longFootnotes:A similar example, formerly in Harry Garner's collection, is in the Victoria and Albert Museum (C.72-1967) and is illustrated and discussed by Michael Archer, Delftware (1997), p.375, I.23.For further information on this lot please visit Bonhams.com

A set of six English delftware plates, circa 1780Probably London, 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

Two London delftware plates, circa 1715-40Of so-called 'pancake' shape, painted in blue and manganese with an urn overflowing with flowers, a tramline border with dashes below the rim, 22.6cm diam, the other possibly Vauxhall, and painted in blue with black outline, a naïve multi-storeyed building flanked by trees, a border of dots and dashes linked by wavy lines, 22.3cm diam (2)For further information on this lot please visit Bonhams.com

A London delftware tulip charger, circa 1680-90Painted in blue, green, yellow and ochre, with a large central tulip, smaller tulips, carnations and seed pods also growing from a low mound, within a yellow line and blue dash rim, 33.3cm diamFootnotes:Michael Archer illustrates a similar charger in the Victoria and Albert Museum (C.245-1911), Delftware (1997), A.32. See also a small tulip charger from the John Philip Kassebaum Collection, sold by Sotheby's on 1 October 1991, lot 6 and more recently by Bonhams on 17 May 2017, lot 91. The brownish tones on both chargers appear to be a misfired red, which began to be used towards the end of the 17th century.For further information on this lot please visit Bonhams.com

A highly important engraved 'Adam and Eve' marriage goblet, dated 1714The generous round funnel bowl with a solid base, naively decorated in diamond-point with the 'Fall of Man', the semi-nude figures of Adam and Eve wearing leafy sprays around their waists, standing either side of the Tree of Knowledge, its branches laden with fruit and the serpent entwined around its trunk, a rabbit and a fox behind, the initials 'A/ I*E' to the left and the date '(17.14)' below the rim, a bestiary alternating with trees arranged in three tiers to the rest of the bowl, the animals including an elk, a dog, a seated fox, a unicorn, a lioness, a parrot perched on a branch, a large spotted elk, a recumbent lion and a doe, on a six-sided moulded stem containing an elongated tear, over a folded conical foot, 18.7cm highFootnotes:ProvenanceReverend and Mrs M de la Hey, North Cerney, GloucestershireMajor R M O de la Hey Collection, Sotheby's, 13 June 1977, Lot 69Stephen Pohlmann CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CI, no.1F Peter Lole, 'Limpid Reflections', Glass Circle News, no.109 (December 2006), pp.12-13Dwight Lanmon, The Golden Age of English Glass (2011), p.153, figs.87a-dStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.21, fig.2The scene on this remarkable goblet depicts the Fall of Man in the biblical book of Genesis, in which Adam is seen accepting from Eve the fruit from the Tree of Knowledge of Good and Evil. The engraving is filled with symbolism. The parrot on a branch represents wisdom and other animals are emblematic of the four humours: cruelty, melancholy, sensuality and lethargy. The present lot is one of just six goblets decorated with similar depictions of Adam and Eve in diamond-point, and also represents the earliest dated glass with a moulded stem. The initials relate to an unknown couple whose surname began with A, with 1714 perhaps referring to the date of their marriage.Two early goblets of very different form to the present lot depict The Fall in diamond-point, both dating to the last quarter of the 17th century. One has a short swirled quatrefoil stem and is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.XXXVII, reproduced by Dwight P Lanmon, The Golden Age of English Glass (2011), p.152, fig.85. Another virtually identical depiction features on a gadrooned goblet sold by Bonhams as part of the James Hall Collection on 17 December 2008, lot 22, illustrated by Lanmon (2011), p.152, fig.86. The scenes on both glasses are so similar to one another that they must have been inspired by the same source print, if not produced by the same hand, but are earlier than the present lot and thus of unrelated manufacture.Only two other goblets with moulded stems which depict The Fall would appear to be recorded, both with eight-sided stems. One of these is illustrated and discussed by Lanmon (2011), pp.148-53, no.45 and has a remarkably similar bestiary of animals and trees on the bowl, although the scene of Adam and Eve is a mirror image of that on the present lot. It bears the slightly later date of 1716 and features an octagonal stem moulded with 'GOD SAVE KING GEORGE' around the shoulder. In spite of some stylistic differences in the execution of the main scene and the date, close similarities in the rendering of the animals and trees suggests both this glass and the present lot were probably engraved by the same artist, perhaps using the same source print.The second is a fragmentary Dutch goblet applied with diamonds to the shoulder of the stem, excavated in Utrecht and illustrated by Ina Isings et al., Schitterend! (2009), pp.130-1 and front cover. Only the figure of Adam, the base of the tree trunk and serpent's tail, and the legs and hand of Eve holding the apple remain, but it is clearly a different interpretation of the scene. The reverse is decorated with the Crucifixion of Christ, with the scenes titled 'De Boom de Doods' (The Tree of Death) and 'De Boom des Levens' (The Tree of Life) respectively.The only other goblet recorded with The Fall is a heavy baluster of circa 1720 in the Ashmolean Museum (inv. no.HM477), illustrated by Lanmon (2011), p.153, fig.88. Whilst the engraving is slightly less naïve, Lanmon suggests that this goblet is likely to be by the same hand as the two dated moulded-stem examples, including the present lot, based on compelling stylistic similarities. The Ashmolean goblet is thought to have been acquired in Bristol. Goblets depicting The Fall have traditionally and almost certainly erroneously been attributed to Bristol on account of it being a centre for the production of delftware 'Adam and Eve' chargers in the 17th and 18th centuries, see Lanmon (2011), p.150.The contrapposto stance of Adam and Eve in the scene on this important group of goblets, with Adam's right arm distinctively raised, bears a number of similarities to Albrecht Durer's celebrated 1504 engraving of the couple, which inspired a number of later artists. The source is in fact likely to be De Royaumont's History of the Bible, translated from the original French and first published in London as two volumes in 1688 (History of the New Testament) and 1690 (History of the Old Testament) by Richard Blome. Third and Fourth editions were published in London in 1705 and 1712 which both expanded upon the previous versions. Containing many detailed and beautiful plates by various artists, 'The Fall of Adam' was engraved by the Dutch draughtsman Johannes Kip (1653-1722) after George Freman. Indeed, the two distinctively placed rabbits in the foreground of the engraving are almost exactly reproduced on the Ashmolean goblet, leaving little doubt as to the source.The distinctive way in which the figures on these glasses are executed, with very dense opaque scratching filling the bodies, but details including the facial features and breasts left completely blank to denote shadow, is seen on several 18th century glasses engraved in diamond-point in the Netherlands, including the aforementioned fragmentary example. Another Dutch engraved moulded-stem goblet featuring three Commedia dell'Arte figures engraved in a very similar style, attributed to Thomas van Borckelo, is illustrated by Anna Laméris, 'Lead Glass in Eighteenth-Century Holland', in Frides Laméris, Canes, Serpents and Ships (2018), p.43. A heavy baluster goblet signed by van Borckelo and dated 1748, featuring an orange tree engraved in very similar style to the Tree of Knowledge on the present lot, is in the Victoria and Albert Museum (inv. no.C.163-1956). Whilst these glasses post-date the present lot by some years, the stylistic similarities raise the interesting possibility that a Dutch hand may have been responsible, perhaps working in England.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A mid 18th century London Delftware punch bowl, having manganese purple ground to exterior and painted in blue, diameter 22.6cm, height 10.9cm. Condition note: loss of glaze to rim, restored with visible lines to interior of bowl in circle where pedestal foot has been re-joined and in two vertical lines from this ring to bowl rim (see images)

A Lambeth delftware ballooning plate: of small size, the balloon painted in green and manganese and flying over a riverside house, the rim with floral garlands and feather edged rim, circa 1785, 20cm.* The subject celebrates the famous twenty-four mile balloon flight made by Vincenzo Lunardi in 1784 from the Honourable Artillery Company, Finsbury, London to North Mymms.

A 18th Century London Delftware charger, painted in iron red, yellow, green, and blue, decorated with a long tailed bird within a floral landscape, within two pale blue circles and a foliate border, 35cm dia. 

An English delftware punch bowl, London, c1750-60, painted to the exterior with a continuous  landscape with sponged trees, ruins and a man with raised right arm and pointing hand, 30cm diam A remarkeably similar but slightly smaller example in the collection at the Victoria and Albert Museum is discussed Archer (Michael) - Delft Ware: The Tin-Glazed Earthenware of the British Isles, London 1997, fig. F.29. The museum's example features a pointing lady; another bowl with a pointing lady and a man leaning on a stick some distance away, with  similar sketchily painted landscape was illustrated Horne (J) - Collection of early English Pottery Parts I-X, No 255 Foot chipped, localised flaking around rim, the interior stained

Two large delftware chargers c.1740-70, one probably London and decorated with a dense floral design in red, green and blue, the other Bristol and painted in blue, yellow and manganese with a two-storeyed pagoda in a landscape scene, some damages, 35.8cm max. (2)

Two London delftware drug or apothecary jars c.1740-50, each painted in blue with a cartouche surmounted by a shell flanked by putti holding flower stems, one inscribed 'UNG. ALB. C.', the other 'UNG: CAERUL', some glaze loss and stabilising, 19cm max. (2) Unguentum Album was an ointment made with white lead, egg white and oil of roses, used in the treatment of burns. Unguentum Caeruleum (The Blue Ointment) was made from mercury, hog's lard and turpentine and was thought to guard against venereal disease.

A pair of small delftware plates c.1720-40, each painted in blue with a Chinese boy punting before a two-storeyed pagoda on an island, a large bird in flight above, and a London delftware plate painted with a stylized flower spray within a formal scroll border, the small plates broken and restuck, 22.6cm max. (3)

Four delftware plates c.1730-60, one Bristol and painted with a woolsack panel on a pale powdered manganese ground, another London and brightly painted with a bird on flowering branches, the last two with bianco-sopra-bianco borders, 23cm max. (4)

A London delftware charger c.1770, painted in blue with a maiden reclining on a rocky outcrop and attended by a young shepherd, beneath a tall sponged tree and before a ruined archway, 34.4cm. The figures are copied from an engraving by Charles Albert von Lespiliez after François de Cuvilliés in Morceaux de Caprice. Cf. Frank Britton, London Delftware, p.161 for a similar example and a copy of the print from which it derives.

A delftware tulip charger of small size c.1690, probably London, painted with three large tulips flanking other flowers above formal foliage, within a blue dash border, some glaze chipping to the reverse, some retouching to the rim, 30.8cm.

An 18th Century London Delftware charger, painted in iron red, yellow, green and blue, decorated with a Chinese boy in a rocky landscape within a single blue line border and foliate scrolls, 36cm dia. 

'The Longridge Collectionof English Slipware and Delftware', two vols, d-j, within slip case, and five Christie's Catalogues of the collection when sold in New York and London,  20101 and 2011 ( 7)

A London Delft Pickle Tray, probably Lambeth High Street, circa 1750, of cinquefoil form with central star-shaped well, painted in blue with sprays of flowers within leaf borders22.5cm diameterFor a similar example see Archer (Michael) Delftware, The Tin Glazed Earthenware of the British Isles, item G11Small area of old restoration to rim. Some typical glaze flakes and four short hairline cracks to the rim, on the cleft of each dish 

A pair of English Delftware polychrome plates, London, c1785-90, painted with a stylised tree, ferns and fence in festoon border, 19.5cm diam For a similar example see Britton (F) - English Delftware in the Bristol Collection 1982, fig. 12.65 One plate broken and re-stuck, the other in good condition with pinhead sized nick at 7 o'clock. Not cracked. No restoration

A documentary English delftware blue and white model of a shoe, dated 1732, painted with bands of flowers and scrolls, the underside of the arch of the shoe inscribed ‘AM (?) May ye 12 * 1732’.Cf. a similar delftware model of a shoe in the Victorian Albert Museum, London, accession no. C.304-1926. 16cm long, damageTypical glazed imperfections. There is a large chip loss to the front top edge of the shoe. There is a firing crack to the back of the shoe with associated flaking to the glaze around the area on the outside and as a fine crack on the inside, otherwise in reasonable condition.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. 16cm long, damage

A rare London delftware 'Farmyard' plate, circa 1720-30Painted in blue with a peacock standing proud on a grassy mound between green and blue sponged trees, the rim with concentric blue lines, 22cm diamFootnotes:ProvenanceSampson and Horne exhibition, 2007, no.07/14Sampson and Horne Collection, Bonhams, 28 April 2010, lot 228Samson and Horne's 2007 catalogue contains an extensive discussion about the so-called 'Farmyard' plates and the differences between London and Bristol examples.For further information on this lot please visit Bonhams.com

AN ENGLISH DELFT DATED POLYCHROME DRUG-JAR of typical shape, painted in blue, green and iron-red, named THER:ANDR: within an extended scroll cartouche with central shell,  flanked by winged putti, supported by a winged mask between swags of flowers above the initials and date I:P.1723 The jar was made to contain 'Theriaca Andromachi', a theriac (or polypharmaceutical preparation) made according to the formula of Andromachus, a Roman physician of the first century AD See an example named for different contents, with the same initials and date as the present example from the collection of Dr. A. Murray, sold Sotheby's, London, 21 July 1970, lot 188. This appears to be virtually identical in shape and decoration and would suggest that two sets of this type exist. See also Bryony Hudson (ed.), English Delftware Drug Jars, London, 2006, p. 197, cat. no. 164 for a drug-jar from the same set named for 'O:HYPERIC/I:P/1723', previously in the Howard and Gautier Collections. Hudson suggests that the initials IP may refer to James Piston who became Upper Warden of the Society of Apothecaries in 1722 and Master in 1723.  Also see nearly identical jar in Christie's sale 25 May 2011, lot 162, Syd Levethan The Longridge collection Condition Report:Available upon request

Six delftware Biblical tiles, c.1750-75, mostly London, painted in blue and manganese, four within circular panels, with scenes of the Crucifixion, Abraham dismissing Hagar, Joseph being put into a pit, the Mocking of Elisha, and two with the Baptism of Christ, one broken and restuck, 12.9cm max. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Eight delftware tiles, c.1725-50, London and Bristol, variously painted with octagonal and shaped panels of flowers in vases and baskets, reserved on a powdered manganese ground with carnation and quarter flowerhead corners, some damages, 12.8cm max. (8) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Six delftware Biblical tiles, c.1720-50, two Liverpool and decorated with the Stoning of Stephen and Christ appearing to Mary Magdalen, within octagonal panels on a powdered blue ground, the rest London and painted with Daniel in the lions' den, the Mocking of Elisha, and two with Jonah under the gourd, 13cm max. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

Four London delftware tiles, c.1725-40, each painted in blue with a simple flowerhead rosette to the centre, the corners with quarter rose motifs, some chipping, 12.7cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.

An unusual pair of delftware tiles, c.1700, probably London, painted in a bright blue with a circular panel of a shepherd and a shepherdess tending their flock, reserved within a flowerhead panel on a powdered manganese ground, with heart-shaped motifs to the corners, 12.7cm. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, pl.9, no.102 for a similar tile.

A rare delftware tile, c.1750-75, probably London, painted in manganese with a square panel containing a chinoiserie design of a single figure travelling through a landscape, within a blue geometric design, 12.7cm. Cf. Anthony Ray, English Delftware Tiles, p.231, no.576 for a similar example. Provenance: the collection of David & Jan Birley.

Two London delftware tiles, c.1720-40, painted in blue with travellers in a landscape, at the waterside and beneath a tall tree, mounted in later wood frames, 20cm overall. (2)

Five delftware tiles, mid 18th century, two London and painted in blue with foxes or dogs beside small fringed trees, two Liverpool and painted in manganese with a bull and two stags, one with flowerhead corners, the last Liverpool and painted in blue with two sheep, in a later glazed frame, the tiles 13cm max. (5)

Two London delftware bin labels, c.1770-80, of coat hanger form, one inscribed 'CONSTANCIA', the other 'MADEIRA', both in manganese, 13.5cm across. (2) Constantia was a South African dessert wine that was widely exported to Europe during the 18th and 19th centuries. It is referenced in Jane Austen's Sense and Sensibility when Mrs Jennings recommends for Marianne a glass of "finest old Constantia wine" to cure her broken heart.

A small London delftware plate, c.1700, of primitive shape, painted in red and blue with a central geometric flowerhead design, the rim with a trellis border, a few small rim chips, 20.8cm.

A delftware plate and a saucer dish, c.1750, probably London, painted to the wells in a bold polychrome palette with Oriental flower sprays and a two-storey pagoda, the rims with flying insects and flower sprays detailed in yellow on a powdered manganese ground, 22.5cm max. (2) Provenance: the collection of Sir Frederick Warner; acquired from Christie's, 2nd June 1975, lot 232, formerly in the collection of Mrs G I Cameron.

Two small delftware plates, c.1720, one probably London and painted in red, green and blue with three flowering plants issuing from a small floral roundel, the other with a central sunflower type motif within concentric circles, 22.5cm max. (2)