Eight English delftware polychrome tiles, circa 1750-75Including examples in the 'Fazackerley' manner, comprising a Bristol tile with a flower basket and bianco-sopra-bianco border, a Bristol tile with a flower vase, another flower vase tile, probably Liverpool, a pair of Bristol tiles with single birds in a simple landscape, a Liverpool tile with a peahen and unusual coloured flower sprig corners, and a pair of Liverpool bird tiles with blue leaf corners, 12.5-13.5cm wide (8)Footnotes:ProvenanceWith Jonathan Horne (three largest Bristol tiles)Graham Slater CollectionAnthony Ray realised that tiles in the so-called 'Fazackerley' palette were not unique to Liverpool. He illustrates tiles similar to examples in this lot in his book, English Delftware Tiles (1973), nos.370-373, 409, 506, 507 and 509. The attribution of similar tiles is also discussed by Jonathan Horne, English Tin-Glazed Tiles (1989).For further information on this lot please visit Bonhams.com
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A Liverpool delftware plate, circa 1750-60Painted in an attractive polychrome palette in 'Drinkwater' style with a grand house and a tall haystack, the gardens leading down to a river, 22cm diamFootnotes:ProvenanceWith Jonathan Horne, 1997Graham Slater CollectionThe same scene is painted on the exterior of a punch bowl dated 1754 in the British Museum (inv. no.1887,0210.136). Garner and Archer discuss this bowl and the many distinctive features of the 'Drinkwater' style of painting, so-called because of an association with George Drinkwater of Duke Street, Pothouse Lane, see English Delftware (1972), p.43 and pl.111.For further information on this lot please visit Bonhams.com
Six Liverpool delftware tiles, circa 1770-80Printed by Guy Green in black and washed over in various tones of green enamel, the Neoclassical subjects including the Three Graces (E1-9a), a muse with a lyre (E1-7a), the four seasons (E1-10a), Apollo (E1-6a), and Hercules between Vice and Virtue (E1-1), 12-12.5cm wide (6)Footnotes:ProvenanceGraham Slater CollectionSee Anthony Ray, Liverpool Printed Tiles, ECC Trans, Vol.9, Pt.1 (1973), pp.62-63, where these printed tiles are referenced. Ray suggests the design and the ribbon-tie 'frame' on the Hercules between Vice and Virtue tile must derive from the Wedgwood and Bentley plaque with the same subject illustrated at pl.33e.For further information on this lot please visit Bonhams.com
A Liverpool delftware ship bowl, circa 1770Perhaps painted by William Jackson, the interior painted in blue with a brig in full sail, the flags and pennant picked out in red, the sea heightened in green, inscribed 'SUCCESS TO THE THOMAS & HANNAH' and 'JOHN WILSON MASTER' beneath, a formal geometric border to the inside rim, the exterior with a large chrysanthemum flanked by scrolling flowering foliage and a floral spray to the reverse, 23.5cm diamFootnotes:ProvenanceWith Jonathan Horne, 1981Graham Slater CollectionWhilst the identity of the captain or the ship commemorated on this bowl remain unclear, an English merchant ship by this name of 150 tons was taken by the French privateer Comtesse de Provence in 1779 whilst under the command of Robert Seymour and may be the same vessel. For a discussion of the attribution of the painting of these ship bowls to William Jackson, a distinctive painter active from around 1756 to 1794, see Bernard Watney, 'William Jackson of Liverpool', ECC Trans, Vol.15, Pt.1 (1993), pp.122-33.For further information on this lot please visit Bonhams.com
A rare English delftware candle recess, circa 1750-60Bristol or possibly Liverpool, of upright rectangular shape, the deep arch-shaped recess painted in blue with a statue of Venus and Cupid on a stone plinth, within a border of stylised flowers on a ground of dense scrollwork, 26cm highFootnotes:ProvenanceWith Tristram Jellinek, 1991Graham Slater CollectionSee English Tin-Glazed Tiles by Jonathan Horne (1989), pp.110-113 for a discussion of these rare recessed tiles, which were presumably intended to accommodate a candle or perhaps soap. A wash-basin recess comprised of 48 tiles and four niche tiles of similar type to the present lot was in the Louis Lipski Collection and is now displayed in the Tile Gallery of the Victoria and Albert Museum (inv. no.C.13:1-1980). The four recess tiles are painted with similar classical figures but have powder manganese borders.For further information on this lot please visit Bonhams.com
Three English delftware plates, circa 1740-60Painted in blue with panels reserved on a powder manganese ground, one with eight stylised floral panels encircling a central European landscape, a gentleman gazing over his shoulder at a distant town with tall spire, another with a central chinoiserie scene of conversation at a doorway, the third plate with a Chinese figure beside oriental plants and a fence, four fish around the rim, 21.5cm diam (3)Footnotes:ProvenanceWarren Collection (first mentioned)With Jonathan Horne, 1991 and 2003 (first and third mentioned)Graham Slater CollectionThe first-mentioned plate is probably Wincanton or Bristol, see Frank Britton, English Delftware in the Bristol Collection (1982) for a very similar example. This plate predates the second and third plates, which are more likely to be Liverpool, circa 1750-60. However, Michael Archer attributes a plate almost identical to the example with fish border to London, William Griffith of Lambeth High Street, based on shards excavated by Garner at the site.For further information on this lot please visit Bonhams.com
Twenty-four Liverpool delftware theatrical tiles, circa 1777-80Finely printed in black by Guy Green with a host of actors and actresses, their names and various roles titled on ribbons in the border of dense diaper hung with theatrical trophies, approx 12.5cm wide (24)Footnotes:ProvenanceWith Jonathan Horne (five tiles)Graham Slater CollectionNineteen different actors are represented in this collection of tiles, providing a wonderful snapshot of 18th century popular culture. David Garrick is depicted in three separate roles, demonstrating his prominence and range on the stage. The character of Harlequin is represented twice, both times played by Charles Lee Lewes. Presumably Guy Green deemed it good commercial sense to adapt a second print of this actor in a popular and instantly recognisable comedic role. See Anthony Ray, Liverpool Printed Tiles, ECC Trans, Vol.9, Pt.1 (1973), pp.64-66, where thirty-six theatrical tiles are listed with various source prints. Most are taken from illustrations included in Bell's Shakespeare and British Theatre and Lowndes' New English Theatre.The inscriptions read: Mr Lee Lewes in the Character of HarlequinMr Woodward in the Character of PetruchioMr Garrick as Don John in the ChancesMr Lewis in the Character of DouglasMr Garrick in the Character of Abel DruggerMr Garrick in the Character of Sir John Brute Mr Macklin in the Character of Sir Gilbert Wrangle Mr Woodward in the Character of RazorMrs Abbington in the Character of EstifaniaMrs Hartley in the Character of ImoindaMr Wroughton in the Character of BarnwellMiss P. Hopkins in the Character of LaviniaMr Lee Lewes in the Character of HarlequinMr King in the Character of LissardoMr Smith in the Character of Lord TownleyMrs Cibber in the Character of MonimiaMr Bensley in the Char(acter of Ma)hometMr Shuter in the Character of LovegoldMrs Yates as Lady TownleyMr Moody in the Character of TeagueMrs Barry in the Character of AthenaisMiss Younge in the Character of ZaraMrs Lessingham in the Character of OpheliaMr Macklin in the Character of ShylockFor further information on this lot please visit Bonhams.com
Six Liverpool delftware theatrical tiles, circa 1777-1780Finely printed in red by Guy Green with various actors, the diaper borders hung with theatrical masks and instruments, ribbon cartouches titled with the names of each thespian and their particular role, approx 12.6cm wide (6)Footnotes:ProvenanceWith Jonathan Horne (Mr Lewis and Mr Macklin)Graham Slater Collection The tile depicting Mary Ann Yates as Jane Shore is a most arresting image from a popular historical tragedy and the only instance where a second figure, a guardsman, is incorporated into the scene. It is taken from Lowndes' New English Theatre published in September 1776.The inscriptions read:Mrs Mattocks as Princess CatherineMrs Bulkley in the Character of AngelinaMr Macklin in the Character of Sir Gilbert WrangleMrs Yates in the Character of Jane ShoreMrs Hartley as Lady Jane GreyMr Lewis in the Character of HippolitusFor further information on this lot please visit Bonhams.com
Three Liverpool delftware plates and a dish, circa 1740-50Finely painted in blue with landscape scenes, one plate with two European figures seated before a 'liver bird' perched on a branch, one with a robed figure feeding deer by the waterside, a duck swimming in the foreground, the border with four sprays of prunus with a squirrel, and one with a hunting scene depicting an oriental gentleman shooting an arrow at a leaping stag, the rims edged in brown, the dish with an oriental gentleman carrying a bird in a cage and two parrots perched on a shoulder pole, further birds in a tree before him, 21-22cm diam (4)Footnotes:ProvenanceChristie's, 6 December 1982, lot 66 (two figures)With Jonathan Horne, 1997 (squirrel plate)Graham Slater CollectionTwo plates depicting a similar stag hunting scene, both dated 1738, are illustrated by Lipski and Archer, Dated English Delftware (1984), p.99, nos.428 and 429.Roger Massey illustrates the source of the 'Bird Catcher' design seen on the dish or soup plate in this lot, which would appear to be an engraving by William Toms, in John Barrow's Dictionarium Polygraphicum, published in 1735. See Massey, English delftware and the influence of Chinese blue and white porcelain, 1730-50, ECC Trans, Vol.31 (2020), p.41, fig.5.For further information on this lot please visit Bonhams.com
A DELFT SWEETMEAT FOUR SECTION DISH, London or Liverpool c.1760, of lobed form raised upon three peg feet, each section painted in blue with a Chinoiserie landscape with haycock bushes, house and weeping willow within a leaf border, unmarked, bears old Jonathan Horne label, 7 1/4" diameter (Illustrated) (Est. plus 24% premium inc. VAT)NB See Frank Britton 'English Delftware in the Bristol Collection', Bowls section, 8.25 for similar decoration and Other Shapes section, 9.35 for shape Condition Report: No restoration, no cracks, glaze crazed, typical losses to and flakes to rim with a couple of chips to underside of rim, slight gaze mis-fire.
A London Delft Dish, probably Lambeth High Street, circa 1760, painted in blue with a butterfly amongst bamboo, peony and chrysanthemums within a bianco-sopra-bianco scroll border 35cm diameter A Liverpool Delft Dish, circa 1760, painted in green, yellow and manganese with a flowerspray within a foliate border 34.5cm diameter (2)For a similar example to the first dish see Archer (Michael) Delftware, The Tin-Glazed Earthenware of the British Isles, B83
An English Delft Plate, probably Lambeth High Street, circa 1775, painted in blue, yellow and manganese with buildings on islands 16.5cm diameter A Similar Dish, probably Liverpool, circa 1750, painted in blue, yellow, ochre and green with a chinoiserie boy in a fenced garden 34cm diameter (2)Provenance: Plate with Gary AtkinsFor a similar plate see Archer (Michael) Delftware, B108 Landscape - with a long crack from the rim and through the well. Rim chips and fritting. No repair. Boy - broken into three, re stuck but left honest. Rim abraded, with fritting and chips.
A rare Liverpool tile, circa 1760-65Possibly by William Reid or James Pennington, painted in blue with a hut on a chinoiserie island, birds in flight above, 13.5cm squareFootnotes:ProvenanceRoger Hensman Tile Collection Only one other Liverpool porcelain tile is recorded, very closely related to the present lot and likely from the same set. This was sold by Bonhams on 23 June 2021, lot 128. It is interesting to note that both of these porcelain tiles have been glazed on the back and sides. At this date, potters in Liverpool led the country in the manufacture of delftware fireplace tiles, always thinly potted and perfectly flat. These delftware tiles had unglazed backs and edges. The local porcelain makers in Liverpool must have been tempted to compete, but they were unable to make thin porcelain tiles without kiln distortion.For further information on this lot please visit Bonhams.com
A 18th century English Delftware plate, decorated with vases on plinth, peonies and twining vines, the rim with sprigs of similar flowers, in pale blue, orange, red, green and yellow tones, pale blue grey glazed ground, unmarked, a similar example attributed to Liverpool c.1760 in the Bristol collection, 35cm diameter; two dished Delft chargers/bowls, one with Bird on a Pillar, with floral border, possibly Liverpool c.1730 (3)
A Liverpool (Philip Christian) bowl, circa 1765Of generous proportions, the centre fully painted in blue with a dragon chasing a flaming pearl, its long tail curling over the rim and coiling around the exterior, 20cm diamFootnotes:Although this pattern occurs on delftware and pearlware, it is unusual to find Dragon bowls of this large size in porcelain. For a similar example, please see the Pinewood Collection, Phillips, 31 October 2001, lot 103. A teabowl and saucer was sold by Bonhams, 15 December 2023, lot 95.For further information on this lot please visit Bonhams.com
An important documentary Liverpool (Seth Pennington) jug, dated 1798Painted perhaps by William Jackson, of generous baluster form with a turned spreading foot and scroll-moulded spout, with a distinctive three-scroll handle, finely painted in blue with a typical three-storey Liverpool windmill, the Liverpool Infirmary and further buildings in the distance, the reverse inscribed 'J; SHAW 1798' below a complex printed floral border with two butterflies in flight, 24.3cm highFootnotes:ProvenanceWatney CollectionIllustrated and discussed by Bernard Watney, 'Fragments from Liverpool: The Pennington Manufactories', ECC Trans, Vol.15, Pt.2 (1994), pp.283-5, figs.2 and 3 and by Bernard Watney, Liverpool Porcelain (1997), pp.99-100 and 102, figs.394, 401 and dustjacket. Exhibited in the Liverpool Exhibition, Phillips 1997. The date on this important jug indicates that it was made by Seth Pennington at Shaw's Brow, just a year before the factory was put up for sale. The moulding on the handle and lip are derived from earlier examples made by Philip Christian at the factory. It was made for Jeremiah Shaw, who operated a mill near Liverpool Infirmary, and it is likely that the building depicted in the distance is the Infirmary itself. Watney suggests that the style of the painting, which is reminiscent of delftware, coupled with the meticulous attention to detail suggests that William Jackson, the ship and 'prospect' painter, was the decorator responsible.For further information on this lot please visit Bonhams.com
A very rare Liverpool (Samuel Gilbody) cornucopia wall pocket, circa 1758-60Of spirally fluted form, the flared lobed rim moulded in low relief with berried leaves left in the white against a blue ground, the spiral moulding picked in blue with trailing foliage, 20.8cm highFootnotes:ProvenanceWatney Collection, Phillips, 10 May 2000, lot 668Illustrated by Bernard Watney, Liverpool Porcelain (1997), p.57, fig.216 and exhibited at Phillips Liverpool Exhibition in the same year. A similar example is illustrated by Maurice Hillis, Liverpool Porcelain (2011), p.306, fig.7.70, where the author notes its extreme rarity. Related shapes are found in contemporary English pottery. A delftware wall pocket dated 1748 and most likely made in Liverpool is illustrated by Louis L Lipski, Dated English Delftware (1984), p.356, no.1568. However, a more direct influence may be from English saltglaze. See Arnold R Mountford, Staffordshire Salt-glazed Stoneware (1971), fig.34 for a block mould for a cornucopia with a very similar border to the present lot.For further information on this lot please visit Bonhams.com
A rare pair of Delft plates, early 18th century, boldly painted in blue, red, green and yellow with a formal Dutch garden landscape showing a narrow canal before spired buildings and a prominent cockerel weather vane, with a rare Liverpool delftware plate painted in blue with the Eight Horses of Mu Wang after a Chinese original, damages and restoration, 29.5cm max. (3)
An English Delft Plate, probably Liverpool or Bristol, circa 1750, painted in manganese and blue with a chinoiserie figure sitting beneath a tree in a fenced garden23.5cm diameterA Similar Dish, of circular form, painted in blue with a European figure on a bridge, a thatched cottage and sailing ship beyond within a fruiting vine and scroll border (2)Provenance: Plate with DM & P Manheim and with label for Group Captain A F BrittonFor a similar plate see Archer (Michael) Delftware: The Tin-Glazed Earthenware of the British Isles, pg.217Typical minor glaze flakes and scratching.
COLLECTION OF NEOCLASSICAL LIVERPOOL DELFTWARE TILES LATE 18TH CENTURY transfer printed by Sadler, the designs washed over in green enamel, with examples including ‘The Three Graces’, ‘Apollo’, the ‘Four Seasons’, and classical vases (one framed), also including two rectangular border tiles with scrolling acanthus leaf designs approximately 12.5cm x 12.5cm, with slight variations, the border tiles approximately 12.2cm x 6.2cm, framed tile 15.7cm x 15.7cm The Collection of Michael Archer OBE FSA (1936-2022), Keeper, Ceramics and Glass department, Victoria & Albert Museum, LondonGreat House, Dedham, Essex
A delftware coffee cup, c.1760, probably Liverpool, painted in blue with a long-tailed bird hanging upside down from a flowering branch issuing from rockwork, brown line rim, a little chipping to the rim, 5.8cm high.Provenance: the Lipski collection, sold Sotheby's 17th November 1981, lot 322.Exhibited: Northern Ceramics Society, 1989 at the Stoke-on-Trent Museum.
A rare pair of Liverpool delftware tile panels, c.1760, each formed of twelve tiles brightly painted with a bird perched on a low fence beside a large peony bloom, with tall flowering branches above, each set in a modern wooden mount, some restoration or replacement, each panel 53.5 x 40.3cm. (2)Cf. Jonathan Horne, English Tin-Glazed Tiles, fig.681, p.123 for a similar full example.Tile panels similar to these were made to decorate the walls of European royal residences, such as the Château de Rambouillet, near Paris, built in 1715-30, and Schloss Amaliënburg near Munich, built in 1734-9. Tile panels at Amaliënburg, including a number similar to this, seem to have originally been intended for the Residenz-Schloss in Munich, which suffered an extensive fire in 1729.
A rare English delftware punch ladle, circa 1750With a round bowl applied with a long slender handle, painted in blue with trailing foliage, the handle with blue dashes, 17.5cm longFootnotes:Punch ladles were made in silver and other materials, with a curled over terminal on the handles that allowed the ladles to be hung on the rim of a punchbowl. Related shapes are known in glass from the 18th century. A white saltglaze punch ladle was sold by Garry Atkins, An Exhibition of Five Hundred Years of English Pottery, (1992), p.18, no.46. No other English delftware punch ladle is apparently recorded. However, an interesting parallel might be drawn from the decoration on a Liverpool delftware bowl from the Olive Collection, sold by Bonhams on 31 January 2019, lot 118, contemporary with the present lot. The bowl is painted with a detailed scene after William Hogarth's 'A Midnight Modern Conversation' where the central figure ladles punch from a ceramic punch bowl, the ladle of indeterminate material.For further information on this lot please visit Bonhams.com
A very rare Liverpool (Samuel Gilbody) cornucopia wall pocket, circa 1758-60Of spirally fluted form, the flared lobed rim moulded in low relief with berried leaves left in the white against a blue ground, the spiral moulding picked in blue with trailing foliage, 20.8cm highFootnotes:ProvenanceWatney Collection, Phillips, 10 May 2000, lot 668Illustrated by Bernard Watney, Liverpool Porcelain (1997), p.57, fig.216 and exhibited at Phillips Liverpool Exhibition in the same year. A similar example is illustrated by Maurice Hillis, Liverpool Porcelain (2011), p.306, fig.7.70, where the author notes its extreme rarity. Related shapes are found in contemporary English pottery. A delftware wall pocket dated 1748 and most likely made in Liverpool is illustrated by Louis L Lipski, Dated English Delftware (1984), p.356, no.1568. However, a more direct influence may be from English saltglaze. See Arnold R Mountford, Staffordshire Salt-glazed Stoneware (1971), fig.34 for a block mould for a cornucopia with a very similar border to the present lot.For further information on this lot please visit Bonhams.com
A GROUP OF SIX NAVAL COMMEMORATIVE JUGS, 19TH-20TH CENTURYcomprising small jug in lavender Parian ware by Samuel Alcock representing Captain Sir William Sidney Smith at the Siege of Acre, 5in. (13cm.) high; a lusterware pottery jug decorated with the action between “The United States and Macedonian”, 5in. (13cm.); a lusterware pottery jug representing the action of “The Hornet sinking the Peacock”, 4in. (10cm.); a Delftware jug commemorating “Cockburn for Ever”, 6½in. (16.5cm.); a Liverpool creamware representing sailors celebrating, 5½in. (13.5cm.); and a Royal Doulton Nelson commemorative type, 5½ in.(14cm.)(6)No apparent chips, minor paint loss only
A collection of thirty four 18th-century Liverpool delftware titles with manganese decoration, twenty border tiles with foliate decoration, fourteen decorated with various subjectsthe border tiles 12.5cm x 6.5cm; the others 12.5cm x 12.5cmQty: 34Some biscuit chipping to the edges of the border tiles. One with a repair to the corner. Similar biscuit chipping to the square tiles, one with losses to the corner.
Three Liverpool delftware tiles, c.1775-80, two printed in black and enamelled in green, one with the muse Terpsichore standing before a tall pillar, the other with four maidens in an oval panel tied with ribbon, the last printed in manganese with a girl dancing to a fiddle accompaniment, signed 'J Sadler Liverpool', 12.8cm max. (3)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.132, fig.733 for the Muse tile.
Four Liverpool delftware chinoiserie tiles, c.1750-75, two painted in polychrome enamels with a standing Chinese figure within quarter flowerhead corners, another painted in blue with two Chinese figures, the last with a figure holding a long-handled net, within a floral panelled border, 12.8cm max. (4)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.58, figs.306 and 309.
Three delftware plates, c.1750-70, one Bristol and painted in the Fazackerly palette with a flower arrangement within a bianco-sopra-bianco border, another Liverpool and painted with figures on a bridge before low huts on an island, the last painted with a lady in a wide hat looking at a large bird perched on a fence, within a panelled diaper border, 23.3cm max. (3)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 Liverpool delftware tile, c.1755-75, well painted in polychrome enamels with haymakers before tall ricks, and a Delft tile from a large panel, painted with two Chinese figures in colourful junks, each mounted in a later wooden frame, 14.5cm overall. (2)Provenance: from the collection of the late Jonathan Horne.
An English blue and white Delftware plate, perhaps Liverpool, painted with bird by a fence in a garden within a quatrefoil cartouche and a polychrome plate with parrot, probably Lambeth, mid-18th Century, 20cm and 23cm diameter CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Six Delftware blue and white plates, painted with an Oriental garden, 18th Century, possibly Liverpool or Dublin, 23cm diameter CONDITION REPORT: two have a slight variation on the design to the other four, of those two one has rim chip at 5 o'clock and 9 o'clock. Of the four one has some more noticeable but small rim chips and a glaze chip at 8 o'clock, all with some light rim chipping and glaze fritting, no damage or repairs
Four English Delftware blue and white plates, circa 1760, painted with a bird perched on a central flower surrounded by further flowers, perhaps Liverpool, 23cm diameter CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A large delftware plate, possibly Liverpool, 18th century, decorated to the centre in yellow, blue, green and manganese with a rural landscape of a couple courting with trees and building to the background, unmarked, 34cm diameter Condition Report: Heavy pitting to the interior and underside, losses of glaze to the rim
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
A very rare Liverpool (Samuel Gilbody) plate, circa 1758-60Of plain circular shape, painted in dark blue with a peony spray and two flying insects, an elaborate panelled diaper border around the cavetto, a simple dentil and loop border to the rim, 23.5cm diamFootnotes:ProvenancePinewood Collection, Phillips, 31 October 2001, lot 81With Simon SperoThis extraordinary piece of porcelain has an experimental feel and there is clearly the influence of delftware in the design. Many of the plates once attributed to Gilbody were reattributed to William Reid following excavations at Brownlow Hill, but this plate differs significantly to the finds from the site. Just two Gilbody plates are recorded by Maurice Hillis, Liverpool Porcelain 1756-1804 (2011), pp.301-2, fig.7.60, and like the present lot these both have sunken turned footrims and lack the stilt marks characteristic of Reid plates.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 rare and large English delftware tea canister or tobacco jar and a cover, circa 1760Probably Liverpool, of tall rectangular shape and square profile with canted edges, a large rectangular aperture on top, painted in blue on three sides with elaborate Chinese garden scenes, including buildings, long-tailed birds, flowering plants and insects, the fourth side with a large peony spray, within a scrolling border, the replacement Chinese porcelain cover with metal mount, 16.5cm high (2)Footnotes:The comma-like scroll border is found on a Liverpool twin-handled sauceboat in the Glaisher Collection, illustrated by Michael Archer, Delftware in the Fitzwilliam Museum (2013), p.281, no.G.15. Also in the Glaisher Collection is a canister similar to the present lot but of slightly smaller proportions and with the more traditional central nozzle expected of a tea canister. Both examples seem unusually large in comparison with contemporary tobacco jars or tea canisters. This might be explained by Liverpool's booming trade of both tobacco and tea in the mid-17th century.For further information on this lot please visit Bonhams.com
A rare English delftware puzzle jug, circa 1760-70Probably Bristol, of spherical shape, the narrow neck pierced to form intersecting circles and diamonds, the hollow rim with three nozzles and another hole secreted to the underside of the handle, painted in blue with chrysanthemum sprays, the neck picked out in a cell or 'fish-roe' border, 19.7cm highFootnotes:The majority of English delftware puzzle jugs would appear to have been made in Liverpool. Distinctive features of the present lot including the slender neck formed of interlocking circles, the fine handle and the slightly concave base, wiped clean of glaze, point to a Bristol attribution. Two puzzle jugs of similar form are illustrated by Frank Britton, English Delftware in the Bristol Collection (1982), p.91, no.6.19 and p.284, no.18.20. The first mentioned of these jugs has the same 'fish-roe' decoration to the pierced neck.For further information on this lot please visit Bonhams.com
Four Liverpool delftware plates, c.1750-75, all painted in blue, one with a bird perched on flowering peony, one with a Chinaman standing in a garden with another visible in a window, another with flowering branches within a panelled border, the last of small size and painted with a censer of flowers, some damages, 22.3cm max. (4)
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