Various books on the subject of Chemists and Druggists and to include "English Delftware Apothecary Jars and Their Contents From the Victor Hoffbrand" signed by one of the authors Henry Oakeley and Victor Hoffbrand dated 2017, pictorial laminated boards, Howard Geoffrey Eliot "Early English Drug Jars" the Medici Society 1931 dustwrapper, Hudson Briony (Ed) "English Delftware Drug Jars from the Collection of the Museum of the Royal Pharmaceutical Society of Great Britain" published by the Pharmaceutical Press 2006, Legge Margaret "The Apothecary's Shelf Drug Jars and Mortars 15-18th Century" published by the National Gallery of Victoria Australia limp covers, Matthews Luslie "Antiques of the Pharmacy" Bell & Sons 1871 Ex Libris and assorted other volumes (1 box)
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A Bristol blue and white delft Charger, probably Richard Frank Redcliff Back, circa 1750-70, painted in blue with an estuary scene with figures in boats, sailing ships and buildings beyond, 33cm diameterProvenance: Ex. Christies label to verso, 8th April 2004, lot 6.For similar examples, see Archer, Michael 'Delftware, The Tin-Glazed Earthenware of the British Isles', pp. 222-224, where it is noted that a similar plate destroyed in the Alexandra Palace fire of June 1873 was inscribed 'Ye 1st Sept January 1761'Condition:Fritting around the rim with small portions of loss of glaze. Restoration to the rim at 7 to 9 o'clock and an underside rim chip at 2 o'clock
A PAIR OF DELFT PLATES, possibly Lambeth c.1755, of plain circular form centrally painted in blue with a Chinese vase, bound book and tree peony within a foliate border, under rim markings, unmarked, 8 1/2" diameter NB See Aileen Dawson 'English & Irish Delftware 1570-1840', plate 113 (Est. plus 24% premium inc. VAT)Condition Report: No restoration, typical flakes and nibbles to rims, both have firing issues to centre especially, one has a 10cm crack running from rim to centre
A late 18th century Dutch Delftware blue and white charger plate, presented in contemporary copper mount with sconces. The charger with blue and white rim, central convex scene of frigate ship with three Dutch Tricolour flags, commemorating the victory of Joseph Zoutman over the British in a naval battle at Zoggerbank in 1781. Inscribed 'Zoutmans gloorie behaalt victoorie 1782'. Presented in contemp. copper mount with incised design, two candlestick sconces fitted to bottom. Restored 2010.Measures approx. 31.5cm in diameter.
Miscellaneous English porcelain and earthenware tea and dinner ware, early 19th c and later, to include a Wedgwood porcelain octagonal dish painted with a perched eagle, a George Grainger & Co blue printed porcelain jug and an earthenware sepia printed sauce tureen, cover and stand, 18cm h and smaller, various marks and a Chinese porcelain bowl and Dutch Delftware vase, 18th c, painted with Chinese scenes, 25cm h, 40/IG (16) Some chips and cracks
A mixed collection of Oriental and other ceramics to include a 20th century Chinese Famille Rose bowl, a contemporary Longquan style Yue kiln celadon crackle glazed teapot in a fitted case, ten Chinese blue and white rice bowls and dishes, a Blanc de Chine teapot and a miscellaneous collection of contemporary Dutch delftware. Dia.18cm (Famille Rose style bowl)
Blue and white export ‘Burghley House’ dishChinese, circa 1740finely decorated in the well with a central scene depicting a Tudor-style multi-storeyed mansion surrounded by an expansive lawn, a hovering pheasant and a further one perched on a pine tree, all within a floral strapwork at the rim, 32cm diam.Provenance: A private English collection via a deceased Estate.Phillips, London, 21st January, 1981, lot 250Notes: Burghley House, built between 1555 and 1587 for William Cecil, 1st Baron Burghley (1520–1598), served as the residence of Queen Elizabeth I’s (r. 1558–1603) chief advisor. Cecil held the position of Secretary of State twice (1550–1553 and 1558–1572) and became Lord High Treasurer in 1572. The house itself is a celebrated example of Tudor architecture and is home to an esteemed art collection, particularly notable for its Chinese and Japanese export porcelains, as well as European and English ceramics. Depictions of Burghley House also feature on English delftware, showcasing compositions inspired by Chinese designs but typically without birds or ornamental borders. The source of these designs is believed to be a print by Johannes Kip (1653–1722) in Nouveau Théater de la Grande Bretagne (1715), based on a drawing by Leonard Knyff (1650–1722).A nearly identical blue and white dish depicting Burghley House, circa 1745, was sold at Sotheby's, London, 19 May 2021, lot 272. See also two blue and white oval platters, circa 1740, decorated with an identical design as the present lot, in the collection of the Peabody Essex Museum, Salem (inv. no. E81797) illustrated by W.Sargent, Treasures of Chinese Export Ceramics From the Peabody Essex Museum, New Haven, 2012, p.139, cat.no.47. Minor firing imperfections, tiny nicks and some surface wear. Hair crack.
Northern Ireland interest: Hackney (P.)ed. Stewart & Corry's Flora of North East of Ireland, folio Belfast 1992, Signed Pres. Copy; Simon (Ben) If Trees Could Talk - The Story of the Woodlands Around Belfast, folio Belfast 2009; Black (Eileen) Catalogue of Drawings, Paintings & Sculptures ... at Magni, lg. 4to Belfast 2000, Signed Copy; Francis (Peter) Irish Delftware, An illustrated History, 4to Lond. 2000. Signed Pres. Copy; Rankin (K.) The Linen Houses of Lagan Families, 4to Belfast 2003; Galloway (P.) The Most Illustrious Order of St. Patrick, folio Lond. 1998; all d.w.'s, & 1 other. All v. good. (7)
Antique blue and white delftware vase, probably 18th century Frankfurt, decorated in the Chinese style with alternating figural and foliate panels, 19cm highProvenance: The collection of the late Lord Phillips of Sudbury (1939-2023) One large rim chip. One area of overpainting next to the base and some on the rim. Small chips, scratching and glaze wear.
A London delftware charger, c.1700-20, painted in blue, red and green with an insect in flight above a bird standing beside flowering plants, within a panelled rim or further flower sprays, beneath the rim with O and star marks in blue, broken and repaired, 33.5cm.Old paper label for Sampson & Horne Antiques.
A London delftware syrup jar, circa 1700-20Of ovoid shape, painted in blue with a strapwork label inscribed with 'O:MENTHÆ' surmounted by a basket of fruit flanked by songbirds, an angel's head and pendent floral tassels below, the numeral '32' painted in blue to the underside of the base, the spout accommodating a cork stopper, lacking its handle, 18.6cm highFootnotes:ProvenanceG Peck & Son Ltd, Chemists, CambridgeGraham Slater CollectionOleum Menthae or oil of mint 'stops vomiting, and strengthens the stomach, it being anointed therewith', according to The London Dispensatory published in 1694.Wet drug jars of oviform shape are relatively scarce in English delftware.For further information on this lot please visit Bonhams.com
An English delftware spice jar, circa 1700-20Bristol or London, of acorn shape, the loop handles with coiled terminals, painted in blue, red, yellow and green with birds and sponged trees, within dense and vibrant borders, 14.7cm highFootnotes:ProvenanceWith Martyn Edgell, 2013Graham Slater CollectionSometimes referred to as ginger jars, the intended function of these vessels is unclear. The distinctive, small handles are quite inadequate for carrying and perhaps accommodated string to secure a cover. See a related jar with its cover in the Longridge Collection, illustrated by Leslie B Grigsby (2000), D127. The acorn shape was popular at this date as a turned knop on silver, furniture and wine glasses, see lot 168 in this sale.For further information on this lot please visit Bonhams.com
An English delftware posset pot, circa 1690Probably Brislington, of bellied form, the strap handles with rolled lower terminals, painted in blue with highly stylised chinoiserie landscapes, including two seated Chinese figures, one holding a tall vase, 12.2cm highFootnotes:ProvenanceWith Jonathan Horne, 1979Graham Slater CollectionWhile this style of painting was also popular in London, the strong bluish-green tint to the glaze points to a Brislington origin for this posset pot.For further information on this lot please visit Bonhams.com
An attractive English delftware large dish, circa 1750Fully painted in blue, green, manganese and yellow with an angler seated by fantastical plants, a flying insect above, 35.8cm diamFootnotes:ProvenanceWith Tristram Jellinek, 1987Graham Slater CollectionAn almost identical dish or large plate also from the Graham Slater Collection was sold by Sotheby's on 23 October 1968, lot 177.For further information on this lot please visit Bonhams.com
An English delftware posset pot, circa 1685-1700Of small size, the elaborate handles with corkscrew terminals and serpent tails picked out in turquoise and blue, the body painted with birds and plants in blue trekked in black, a diaper and foliate panelled border below the rim, 10.9cm highFootnotes:ProvenanceLipski Collection, Sotheby's, 17 November 1981, lot 238Graham Slater CollectionGraham Slater described this as a loving cup. Without a spout it may indeed have been intended to function as a wassail cup, rather than for posset specifically. Similar elaborate handle forms can be found on several late 17th century posset pots, including the example from the S J McManus Collection, dated 1695, which was sold by Bonhams on 12 November 2014, lot 9. Two other related examples in the Fitzwilliam Museum, illustrated by Michael Archer (2013), D17 and D26, dated 1681 and 1699 respectively. Both are decorated in blue save for the serpent handles, which are picked out vibrant turquoise, associated with Brislington.For further information on this lot please visit Bonhams.com
An English delftware water bottle or guglet, circa 1760Probably Bristol, the globular body painted in blue with European figures promenading along a riverbank by tall trees, others crossing the river in small boats, a town visible on the far bank, an elaborate rococo border with diaper and exuberant scrolls below the flared rim, which is nipped at one side to form a pouring lip, 23.7cm highFootnotes:ProvenanceWith Garry Atkins, 1996Graham Slater CollectionAn octagonal tea canister with similar rococo scrollwork decoration from the Olive Collection was sold by Bonhams on 31 January 2019, lot 58. Most English delftware guglets or water bottles do not have a pouring lip.For further information on this lot please visit Bonhams.com
Four early English delftware paving tiles, end 16th or early 17th centuryA pair of London tiles, possibly Aldgate Pothouse, painted in ochre, green and blue with a dancing bear standing in a roundel, the concentric frames banded in blue and manganese, the corners in blue with a trefoil leaf design, 13cm wide, together with a Southwark tile in colours with a quarter 'Tudor Rose' and strapwork and a 'Renaissance' design tile in blue, possibly a kiln waster (4)Footnotes:ProvenanceGraham Slater CollectionA label on the back of one animal tile states that it was removed from a house in Canterbury in 1938.Excavations have shown that this early tile design with different animal subjects was popular in London. Kiln wasters from Pickleherring and Aldgate and fragments recovered from buildings in London are generally crude and much inferior to their Dutch counterparts. The painted corners on the present pair are unusual, and match an example in the Museum of London recovered from Spitalfields Market. This is illustrated by Betts and Weinstein, Tin-Glazed Tiles From London (2010), p.101, fig.55. See also fig.43 for a fragment with a bear-baiting scene found on the site of the City Ditch, very close to the Aldgate Pothouse.The Tudor Rose tile was excavated by Nigel Mills in 1986 near the Tower of London. This appears to be the most popular tile design made at Southwark, and other examples have been excavated in London from buildings that pre-date the Great Fire. The blue and white Renaissance design tile was formerly in the Louis Lipski Collection and was a gift to Graham Slater from Jonathan Horne. It is similar to tiles recovered by Ivor Noel Hume on the Old Hays Wharf site.For further information on this lot please visit Bonhams.com
A rare English delftware charger bowl, circa 1660-70Probably Southwark, the deep circular centre within a flanged rim, painted with tulips and carnations in blue, yellow, orange, green and manganese, within a curious chevron rope border in blue and yellow, and a blue dash rim, the underside with a lead-glaze, 31cm diamFootnotes:ProvenanceWith Tristram Jelinek, 1976Graham Slater CollectionThis is a most curious variation on the typical shape of a charger, with an unusual deep centre. Graham Slater noted that there was a bowl of the same shape in Saffron Walden Museum. This pattern of tulips and carnations (or gillyflowers) is discussed by Michael Archer and Brian Morgan, Fair as China Dishes (1977), fig.21, where the authors suggest the design derives from Ottoman (Isnik) pottery. Interestingly, a similar border of a rope chevron occurs on the La Fecondité dish dated 1659 formerly in the Rous Lench Collection, see Graham Slater's ECC paper (1999), figs.29 and 30 where the present lot is also illustrated.For further information on this lot please visit Bonhams.com
An English delftware Oak Leaf and Fruit charger, late 17th centuryPainted in a pleasing palette of blue, mottled green, ochre, red and manganese with variegated oak leaves interspersed with berries and other stylised foliate motifs, within tramline borders and a blue-dash rim, with a tin-glazed back, 33.5cm diamFootnotes:ProvenanceWith Anthony Belton, 1974Graham Slater CollectionA design interpreted from Montelupo maiolica, probably by way of the Netherlands, Leaf and Fruit chargers continued to develop in English delftware from the mid-17th century until about the 1730s when the palette and style becomes increasingly tighter and more formulaic. A charger in the Fitzwilliam Museum of the same profile and related design as the present lot is attributed to London, last quarter of the 17th century, see Michael Archer, Delftware (2013), A.75. Two later Bristol chargers are included as A.77 and A.78.For further information on this lot please visit Bonhams.com
An exceptional English delftware equestrian charger, circa 1680-90Painted in blue, ochre and turquoise with a mounted soldier, perhaps General Sir Thomas Fairfax, his horse charging between stylised trees on a striped mound within an ochre line and blue-dash border, with a lead-glazed back, 34cm diamFootnotes:ProvenanceWith Tristram Jellinek, 1976Graham Slater CollectionThis dashing figure on horseback has often been identified as General George Monck, first Duke of Albermarle (1608-1670). Michael Archer illustrates an almost identical charger in the Museum of Fine Arts, Boston (inv. no.62.1212), which he suggests depicts General Monck. See Archer, Victoria & Albert Museum Bulletin, Vol.4, No.1 (1968). Another very similar charger in the Longridge Collection was sold by Christie's on 11 June 2010, lot 1096, where General Monck, Charles II, James II or the Duke of Marlborough are all listed as possible sitters. However, close comparison with a print after the portrait by Edward Bower, suggests that this series of equestrian chargers depict Monck's contemporary, Sir Thomas Fairfax (1612-1671). Fairfax, arguably the most important general of the British Civil Wars was indeed referred to as 'The Rider of the White Horse', amongst his other epithets.Thomas Fairfax was a complex figure, full of contradictions, as was often the case for those whose military and political careers spanned the tumultuous mid-17th century. He was selected as Lord General of the New Model Army, with Oliver Cromwell as his Lieutenant-General. Fairfax distinguished himself at the decisive Battle of Naseby in 1645, defeating the King's forces. However, he tellingly declined to attend Charles I's trial, nor to sign his death warrant and Fairfax returned to his native Yorkshire to see out the interregnum. Fairfax was recalled to arms by General Monck in 1659 where his formidable military acumen and reputation secured a swift victory and ultimately the restoration of the monarchy. He led the delegation to the Netherlands to urge Charles II's return to claim his throne and in a poignant gesture, Fairfax provided the horse that Charles II rode to his coronation- the foal of the mare Fairfax himself rode at the Battle of Naseby. Rather battered from years of ill-health and battle, Fairfax retired again from public life until his death in 1671. It is tempting to date this charger within Fairfax's lifetime or even around the time of his death. However, the profile of the charger and certain decorative details such as the distinctive scale-like foliage and 'paths' in the foreground place production in the 1680s. See the charger dated 1685, painted with similar foliate motifs, illustrated by Lipski and Archer in Dated English Delftware (1984), p.33, 77. A decade after the deaths of both Fairfax and Monck there was huge public anxiety over the succession and the very continuation of monarchy. The stability so hard-won in the 1640s and 1650s was being tested and renewed expressions of enthusiasm for figures like Fairfax and Monck followed suit. The purpose of the charger was to remember the sacrifices of the great military leaders of the previous generation, to commemorate their victories and to bolster confidence in the monarchy, which was to be turned upside down yet again in the 1680s.For further information on this lot please visit Bonhams.com
An English delftware saucer dish, circa 1750-60Probably London, painted in blue and manganese, the centre with a Chinese man on a riverbank, misty mountains in the distance, the wide powder blue border with manganese flowerheads, sgraffito trailing leaves revealing more of the white tin glaze, 22.9cm diamFootnotes:ProvenanceHemming CollectionRagg CollectionOliver Van Oss CollectionWith Jonathan Horne, 1984Graham Slater CollectionThis attractive, and indeed celebrated saucer dish was included in both English Ceramic Circle Exhibitions, 1948, no.29 and 1977, no.20. It is illustrated by F H Garner, English Delftware (1948), pl.67B, where it was attributed to Lambeth and compared alongside a fluted dish, pl.67A, with a similar powdered border with sgraffito trailing flowers.For further information on this lot please visit Bonhams.com
A London delftware apothecary syrup jar, circa 1680-90The generous globular body raised on a spreading foot, the strap handle with a scrolled lower terminal, painted in blue below the spout with a 'ribbon label panel' inscribed 'S TVSSILAGIN', surmounted by an angel's head and outstretched wings, 19.6cm highFootnotes:ProvenanceWith Alan Milford, 1988Graham Slater CollectionA wet drug jar with songbird label also inscribed for Syrupus Tussilaginis or syrup of coltsfoot in the Collection of the Royal College of Surgeons is illustrated by Rudolf Drey, Apothecary Jars (1978), p.131, pl.67c. Coltsfoot extract was used for treating coughs and other respiratory ailments.For further information on this lot please visit Bonhams.com
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