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Click here to subscribeA small delftware plate, 18th century, possibly London, painted in blue with a footed bowl of fruit and flowers, the rim with a stylized swag design, and a Delft plate in a near identical design, 21.2cm max. (2) The English plate with a paper collection label for the Lipski Collection, no.879.
Three delftware plates, c.1760, one Lambeth (Abigail Griffiths) and painted with a Chinese figure seated in a landscape, another London and decorated with flowering peony and holey rockwork, the last a Bristol soup bowl painted in blue with a Chinese landscape, the scalloped rim with bianco-sopra-bianco scrolls, some restoration to two, 22.8cm max. (3)
A London delftware drug or apothecary jar, c.1680, painted in blue with two peacocks and leaf sprays flanking the head of Apollo, above a cartouche inscribed 'C. SALVIAE', beneath with an angel and floral garlands, the base drilled, 17.6cm. Sage (Salvia) is high in anti-oxidants and continues to be used in the treatment of a number of digestive ailments. It is also thought to be effective in counteracting the effects of memory loss and depression.
A group of six 18th century English blue and white delftware tiles: floral subjects comprising a set of three painted with a basket of flowers, the corners with foliage, probably Liverpool; a pair painted with a single flowerhead, probably London; and one other painted with a vase of flowers within a scalloped border and cherub-heads on a powder blue ground, probably, Bristol [some chips] 6.
A rare London delftware teapot stand, c.1720, decorated with a building on an island and a fisherman, all on three scrolling bracket feet, 11.8cm diameterPlease see Austin, British Delft at Williamsburg, p.115 for similar examplesCondition report: Two chips and further smaller chips /frits to the rim, a hairline crack running from just above center to '5 o'clock'. One scroll to one foot with a slight chip.
AN ENGLISH DELFT MUG, c.1790, probably London, of plain cylindrical form, painted in blue with twelve lobed reserves enclosing a willow tree and flowering shrubs on a powder blue ground, unmarked, 6" high ( For an identical mug see Britton "English Delftware in the Bristol Collection" p.237, 15.1) (Est. plus 21% premium inc. VAT)No restoration, handle good, chips to rim, minor chips to foot rim
18th Century Delftware footed punch bowl, probably London circa 1770, painted in blue to the interior with a floral bouquet, bird and butterfly, the exterior with powdered manganese glaze, 29.5cm diameterCondition report: Overall in very good order for a piece of Deftware of this age. 90mm vertical hairline. Ultra-violet light test indicates possible restoration to rim. Grazes and minor losses to edge of rim (largest 10mm). Some marking, scratches and discolouration from a plant pot.
A DELFTWARE POTTERY EQUESTRIAN CHARGER PROBABLY LONDON, C.1700 painted in blue, green and yellow with a young man on horseback, holding a scroll in his right hand, with trees and a fence, within a double line and blue dash border 34.6cm diameter Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.
A LONDON DELFTWARE POTTERY QUEEN ANNE CHARGER ATTRIBUTED TO NORFOLK HOUSE, C.1702-14 painted in blue, green and yellow with a full length portrait of Queen Anne, holding the orb and sceptre, inscribed with inititals 'AR', flanked by a pair of sponge decorated trees, the blue-dash rim with a yellow line 34.1cm diameter Provenance Bonhams London, Fine British Ceramics, Glass and Enamels, 8th September 2004, lot 51. Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller. Catalogue Note See Leslie B Grigsby, 'The Longridge Collection', p.67 for a similar charger.
A LONDON DELFTWARE POTTERY ADAM AND EVE CHARGER ATTRIBUTED TO NORFOLK HOUSE, C.1720-30 painted in blue, green and yellow with Adam and Eve standing either side of the Tree of Knowledge, with the serpent coiled in the sponged decorated branches, the blue-dash rim with a yellow line 34.8cm diameter Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller. Catalogue Note See Michael Archer, 'Delftware in the Fitzwilliam Museum', for five related chargers, A32, 33, 35, 36 and 37. It is thought that these chargers were made at Norfolk House.
Ɵ A collection of ceramic reference books relating to English delftware and early pottery, comprising: Michael Archer, Delftware, the Tin-Glazed Earthenware of the British Isles, London, 1997, Lipski & Archer, Dated English Delftware, London, 1984, John C. Austin, British Delft at Williamsburg, Williamsburg, 1994, Michael Archer & Brian Morgan, 'Fair as China Dishes English Delftware', exhibition catalogue, 1977, Bernard Rackham, Herbert Read & Dr J. W. L. Glaisher, English Pottery Its Development from Early Times to the end of the Eighteenth Century, London, 1924, Griselda Lewis, A Collector's History of English Pottery , London, 1985, Peter Walton, Creamware and other English Pottery at Temple Newsam House Leeds, London, 1976, Ross E. Taggart, The Frank P. And Harriet C. Burnap Collection of English Pottery in the William Rockhill Nelson Gallery, Kansas City, 1967, Sit Harold Mackintosh, Bt, Early English Figure Pottery A Collection of Ralph Wood and Contemporary Pottery, London, 1938, Herbert Read, Staffordshire Pottery Figures, London, 1929, Pat Halfpenny, English Earthenware Figures 1740-1840, Woodbridge, 1991, Pat Halfpenny and Stella Beddoe, Circus & Sport English Earthenware Figures English 1740-1840, Louisville, 1990Condition Report: These are second hand books and the condition reflects this, Dreweatts are unable to offer a book-by-book report and would suggest that potential buyers satisfy themselves as to the condition before bidding by viewing in personCondition Report Disclaimer
Full title: A pair of Dutch Delft blue and white 'harlequin' brush backs, 1st half 18th C.Description: Dim.: 12,5 x 7 x 2,5 cm (each brush back)H.: 23 cm (each brush back on stand)Ê Ref.: Sotheby's, London, May 20, 2020, for one similar but polychrome example. (sold GBP 4.000) (link available on our website)Ê Provenance: Each with a label on the back inscribed 'Ramaix' for the 'Gaston de Ramaix' collection, Château de Grune, Belgium. The collectors Maurice de Ramaix (1850-1918) (link available on our website), a Belgian diplomat and politician, and his son Gaston built a collection of mostly blue and white pieces from the seventeenth and eighteenth centuries. De Ramaix was a diplomatic attache in Paris, Constantinople, Vienna, Berlin, The Hague and Persia. Afterward, he returned to Belgium where he became a senator and a member of the Parliament. In 1894, he bought and restored a castle in Grune, Belgium. After his death, De Ramaix’s collection was passed to his eldest son, Gaston (1878-1937), who was also a diplomat. Gaston had a predilection for the Dutch Golden Age and completed his father’s collection. He showcased the remarkable assemblage of Delftware in his seventeenth-century castle surrounded by Dutch paintings and prints from the same era.Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
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 'KW' above, within a double manganese line border, the underside with a greenish lead glaze, restored, 34.5cm.
A London delftware Royal blue dash charger c.1690-95, painted with a full length standing portrait of William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, inscribed 'WR', within a blue dash and yellow border rim, the underside with a bluish-buff lead glaze, 34cm.
A George III table with delftware top, set with a London delftware circular plaque or tray painted in blue with a lotus design, with a crimped rim, c.1750, the tripod table later in the 18th century, 55cm dia overall. The lotus design seen here is commonly used on baskets and it is possible that the table top started life as an exceptionally large example. The pierced sides are unlikely to have survived firing at this scale, which may account for the fact that an alternative use was found for the base.
A rare London delftware teapot stand c.1720, painted in blue with a Chinese figure seated between ornamental fences beneath trailing wisteria, the rim within a continuous foliate border, raised on three shaped feet, 12.6cm dia. Cf. John C. Austin, British Delft at Williamsburg, p.115 for similar examples. Paper label for the Louis L Lipski Collection, No. 870.
A group of 17th and 18th century delftware tiles: including an early 17th century London tile painted with a bird in a landscape within a border of concentric circles, probably Southwark, 13.5cm [broken across and other damage]; an early Spanish tile with geometric design, 13.5cm [some losses and wear]; and a group of seven 18th century English and Dutch blue and white tiles, including a set of four painted with figures and animals in rustic settings [damages] 9.
An English Delft Posset Pot and Cover, probably London or Brislington, circa 1690, of baluster form with twin scroll handles and scrolling spout, painted in blue with a peacock and insects amongst rockwork and foliage, the domed cover painted with a chinoiserie figure in a fenced garden, painted number 3 mark, 19cm high See illustration For a comparable example see Archer (Michael) Delftware, pg.202, item D19. Cover possibly matched and with several typical rim loss and chips. Body with minor glaze flakes. No restoration.
GEORGE I A London delftware 'Union' plate, c.1714, probably Vauxhall, painted in red, green and blue with crossed thistle and rose stems surmounted by a crown and the initials 'GR' within a blue lined border, a long rim crack, 21.1cm. The crossed thistle and rose motif first appeared on AR plates for Queen Anne to celebrate the Act of Union of 1707. Cf. Frank Britton, London Delftware, p.142, fig.119. Provenance: with Alistair Sampson, November 1999.
GEORGE I A London delftware plate, c.1714-27, painted in blue, green and red with a half-length crowned portrait flanked by the initials 'GR', within narrow blue and red bands, broken and restored, 22.2cm. While it is likely that this plate commemorates George I, the same portrait was used by potters to commemorate the Coronation of George II in 1727. Provenance: with John Howard, June 2015.
WILLIAM AND MARY A London delftware Royal blue dash charger, c.1690, painted in blue, yellow and manganese with full-length portraits of the Royal couple flanked by tents, beneath the initials 'WMR', the rim with a blue dash border, the underside with a pale blue lead glaze, a short hairline to the rim, 32.8cm. Provenance: with Garry Atkins, June 2016.
GEORGE III A London delftware plate, c.1760, well painted in blue with a head and shoulders profile portrait of the king pinned with the Garter Star, inscribed 'GR III', three filled rim chips, 22cm. Cf. J C Austin, British Delft at Williamsburg, p.140, no.190. It is likely that the portrait by Jeremiah Meyer is the source for this portrait. The existence of a companion plate depicting Queen Charlotte Sophia of Mecklenburg-Strelitz suggests these plates were made at the time of their marriage in 1761. Provenance: with John Howard, April 2018.
Grigsby (Leslie B.). The Longridge Collection of English Slipware and Delftware, with contributions by Michael Archer, etc., 2 volumes, Jonathan Horne Publications, 2000, numerous colour illustrations, original brown cloth in dust wrappers, with publisher's cloth slipcase, 4to, VG, together with:Lipski (Louis L.), Dated English Delftware, Tin-glazed Earthenware 1600-1800, edited and augmented by Michael Archer, 1st edition, Sotheby, 1984, some colour plates, numerous monochrome illustrations, original dark blue cloth gilt in dust wrapper, 4to, limited edition 716/1000, additionally signed by Victor Chinnery and dated 1984 to title, plus:Archer (Michael). Delftware, The Tin-glazed Earthenware of the British Isles, A Catalogue of the Collection in the Victoria & Albert Museum, 1st edition, V&A Museum/Stationery Office, 1997, numerous colour and monochrome illustrations, original blue cloth gilt in dust wrapper, with matching slipcase, thick 4to, and:Gaimster (David). German Stoneware 1200-1900, Archaeology and Cultural History, British Museum, 1997, numerous colour and monochrome illustrations, original black cloth gilt in dust wrapper, 4to, plus other ceramics reference, including Ronald G. Cooper, English Slipware Dishes 1650-1850, Alec Tiranti, 1968, Leonard N. Amico, Bernard Palissy, In Search of Earthly Paradise, Flammarion, 1996, Frank Britton, London Delftware, Jonathan Horn, 1987, David Gaimster and Mark Redknap, editors, Everyday and Exotic Pottery from Europe c. 650-1900, Studies in honour of John G. Hurst, Oxbow Books, 1992, John G. Hurst, David S. Neal, & H.J.E. Van Beuningen, Pottery Produced and Traded in North-west Europe 1350-1650 (Rotterdam Papers VI), 1986, related auction catalogues, including The Longridge Collection, 6 volumes, Christie's, 2010-11, etc. (approximately 30)Provenance: Ex libris Victor Chinnery, author of Oak Furniture, The British Tradition, 1979, and other works.Qty: (3 shelves)
English Delft plate, London c1750, decorated with a chinoiserie garden scene of two figures at a table, within a border of three fish against a manganese ground, D22cmFor other Delft ware decorated with fish / manganese ground, see Michael Arches "Delftware, The Gazed Earthenware of the British Isles"
English Delft large plate, London c1750, decorated with a scene of a lady feeding a bird before a lake or river, within a border of four fish against a manganese ground, D26cmFor other Delft ware decorated with fish / manganese ground, see Michael Arches "Delftware, The Glazed Earthenware of the British Isles"
English Delft large pedestal bowl, London c 1750, the exterior decorated with three fish against a manganese ground, the interior with a floral cartouche and border, H11 x D26cmFor other Delftware decorated with fish / manganese ground, see Michael Arches "Delftware, The Glazed Earthenware of the British Isles"
An 18th century delftware bowl and three plates, the bowl and a plate similarly decorated, painted with bamboo, rockwork and peony, a London decorated plate with figures and sponge work foliage, a further plate with Chinese fenced garden decoration, diameters 19cm - 23cm; and a Geo III japanned cylindrical spice box with sectioned interior, 19cm dia
A very rare and unrecorded London delftware puzzle jug, Pickleherring Quay Pottery, Southwark, circa 1650Of globular form with a spreading foot, the narrow swelling neck pierced with geometric motifs, the hollow rim applied with three nozzles and a hollow strap handle, painted in blue with an almost continuous landscape depicting distinctive striped hills densely populated with a variety of curious houses and spired buildings amongst bushy trees, twin-masted ships between the buildings to each side, initialled 'P T.A' above, all within a series of concentric bands, 18.2cm highFootnotes:Delftware puzzle jugs of this early date are incredibly rare. A jug of similar form dated 1653 is illustrated by Lipski and Archer, Dated English Delftware (1984), p.229, fig.1009. A few slightly later examples of this shape survive from the last quarter of the 17th century, including a jug from the Glaisher Collection in the Fitzwilliam Museum (acc. no. C.2862-1928). Michael Archer first suggested that a small number of dishes, jugs and caudle cups form a distinctive group attributable to a single maker in his Rijksmuseum exhibition catalogue in 1973. Lionel Burman took up this idea in two papers read to the English Ceramic Circle, see ECC Trans, Vol.14, Pt.3 (1992) and Vol.15, Pt.1 (1993). Burman discussed three dishes bearing the initials 'R.E.N', identified as Richard Newnham and his wife Elizabeth. Significantly, Newnham was proprietor of the Pickleherring Pottery in Southwark. In his Victoria and Albert Museum catalogue of Delftware (1997), pp.104-5, Michael Archer expanded on his research and discussed characteristics that link the landscape painting found on pieces belonging to this group.The ships and distinctive buildings seen on the present lot are closely related to those found in the border panels of a moulded dish bearing the arms of Markham impaling Faringe, sold by Bonhams on 10 December 2008, lot 14 and another in Brighton Museum bearing the arms of the Worshipful Company of Parish Clerks, illustrated in Archer's Rijksmuseum catalogue (1973), no.26. A further armorial dish with panels of related buildings is in the Glaisher Collection (acc. no. C.1309-1928). This style of painting ultimately derives from Dutch 'maiolica' of circa 1620-40. The London delftware painters were clearly influenced by Dutch Delft and they chose to include typically Dutch ships in their landscapes. Burman discusses these ships in his ECC papers, identifying the vessels seen on the Markham dish as a Dutch long-distance cargo vessel known as a 'Fluit' or 'Flute'. He suggests that these may have been intended as symbols of commercial success and fortune.Five boats of a different type, identified by Burman as a Dutch 'Buss', occur on the border of an English delftware plate dated 1649 in the Glaisher Collection (acc. no. C.1308-1928) illustrated by Lipski and Archer, p.130, fig.127. The style of painting on this 1649 plate is very close to the landscape on the present lot, featuring a building in the centre, similar trees and a distinctive curved picket fence. These recurring features can be noted on other delftware almost certainly made at the Pickleherring Pottery. A posset pot dated 1651 with related buildings, ships and similar trees is also illustrated by Lipski and Archer (1984), p.201, fig.891. A caudle cup in the British Museum inscribed 'EDWARD:SEARLE:AND:ELIZABETH 1650' (acc. no. 1952,0402.1) bears a continuous landscape with buildings, ships and similar trees. Perhaps the most impressive piece belonging to this group is the large jug in the Glaisher Collection (acc. no. C.1311-1928) illustrated by Lipski and Archer (1984), p.219, fig.969. This bears the arms of the Apothecaries Society and is dated 'E.V 1650'. The British Museum caudle cup, the Apothecaries Society jug and the puzzle jug in the present lot are all painted with virtually identical buildings on striped mounds with similar trees and picket fences flanked by ships.For further information on this lot please visit Bonhams.com
A good English Delftware model of a cat, mid-18th centuryPossibly London, modelled seated and painted in blue with its striped tail curled around its haunches, the fur denoted with ermine-like markings, delicate whiskers on a mournful face and a chain collar around its neck, the hollow mound base washed in blue, 10.3cm highFootnotes:ProvenanceA private collection of British ceramic catsA closely related model is illustrated by Jonathan Horne, A Collection of Early English Pottery, Part V (1985), fig.118. Another similar example painted with a chain around its neck was bequeathed by Liane Richards to the Victoria and Albert Museum (acc. no. C.13-2016). See also the model illustrated by Leslie B Grigbsy, The Longridge Collection (2000), p.388, no.D352.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 English delftware mug or tankard, dated 1767Probably London, of large cylindrical shape with a strap handle, painted in blue with a chinoiserie scene of pavilions and trees separated by a tall rock, all within a narrow ribbon cartouche, further trees sprouting by rocks and fences flanking a handle punctuated with abstract motifs, the date '1767' inscribed on the terminal, 16cm highFootnotes:ProvenanceT Murray Ragg Collection, Sotheby's sale, 23 March 1954, lot 33Illustrated by Lipski and Archer, Dated English Delftware (1984), p.190, fig.851.For further information on this lot please visit Bonhams.com
A RARE LONDON DELFT SACK BOTTLE, DATED 1648, of globular shape, the loop handle with heart-shaped lower terminal, inscribed in blue 'SACK 1648', above a curlicue. 16cm high Provenance: Bonhams, New Bond Street, The Contents of Harveys Wine Museum, Fine Glass and Delft, 1 October 2003, lot 32. D. M. and P. Manheim. Illustrated by Lipski and Archer, Dated English Delftware, fig. 1357. The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Glaze chips to rim, handle with hairline cracks in two places, body with many and various star hairlines, usual pops and frits and surface scratching reflecting age and use.
Five delftware tiles c.1720-60, one possibly Vauxhall and painted with an eight-pointed star on a powdered manganese ground, another Bristol and decorated with a marbled slip ground, a London Biblical tile painted in manganese with Lot and his daughters, one painted in blue with a figure seated beneath a bower, the last with an octagonal panel of birds flanking a vase on a manganese ground with carnation corners, 13.4cm max. (5)
Two delftware plates c.1720-30, one London or Bristol and painted in blue, green and red with Ceres seated among flowering plants and holding a cornucopia within a floral panelled border, the other painted in blue with three travellers looking towards a church on a hill beneath sponged trees, the first cracked, the latter broken and restuck, 22.5cm max. (2)
A RARE LONDON DELFT SACK BOTTLE, DATED 1648, of globular shape, the loop handle with heart-shaped lower terminal, inscribed in blue 'SACK 1648', above a curlicue. 16cm highProvenance:Bonhams, New Bond Street, The Contents of Harveys Wine Museum, Fine Glass and Delft, 1 October 2003, lot 32. D. M. and P. Manheim. Illustrated by Lipski and Archer, Dated English Delftware, fig. 1357.
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