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A rare Caughley dated mug painted with Fruit Sprays and the wedding inscription M. above R.E alongside the date 1776, S mark, labels including ECC 2009 Exhibition label, 11.1cm highProvenance: Wright Collection no.728, purchased from J. Wyatt in 2002. Literature: The Caughley Society, Caughley Blue and White Patterns, p.235 shows a close-up of the initials and date. One of a small group of Caughley mugs dated 1776, the earliest known date to be inscribed on Caughley.

A Caughley mug, circa 1780-90, transfer-printed in underglaze blue with the Pleasure Boat pattern, S mark, 8.3cm high (faint star crack to base)Provenance: Wright Collection no. 841, purchased at auction.

A Caughley mug, circa 1785-1792, transfer-printed in underglaze blue with the Parrot Pecking Fruit pattern, unmarked, 13.5cm high (crack originating from application of handle)Provenance: Wright Collection no. 608.Literature: Ironbridge 1999 no. 101.

A Caughley mug painted in the Royal Lily pattern with added gilt, circa 1786-94, S mark, 10.1cm high (foot rim chip), with a further smaller Caughley Royal Lily pattern mug, 8.5cm high (cracked) and a Caughley mask-head baluster jug in the Royal Lily pattern, circa 1786-1794, S mark,18.8cm high (cracked) (3)Provenance: Wright Collection no's 794, 795 and 796 which were bought at Halls. The S appears to be in the same hand, it is therefore possible that they were part of a set, possibly 'his and hers'.

A Caughley mug transfer-printed in the Pleasure Boat pattern, circa 1784-91, the mug with a rare Chinese-shaped handle, S mark, 14.7cm high (cracked and firing fault)Provenance: Wright Collection no. 576, purchased in 1998 from Wyatt. Literature: Ironbridge 1999 361, see also Godden pl.259.

A Caughley porter mug transfer-printed in the Bouquets pattern, circa 1777-82, C mark, 13.8cm high (cracks)Provenance: Wright Collection no. 891 purchased in 2011.Literature: Newsletter Februrary 2012 No 49 p 11. This is an interesting mug with an unusual handle featuring a bottom curl, and overall with a greater diameter than height.

A Caughley toy sauceboat painted in underglaze blue with the Island pattern, circa 1780-90, 5.8cm wideProvenance: Wright Collection no.379, purchased in 1987 from Simon Spero. Exhibited at Stockspring 2001.Literature: Ironbridge 1999 no.317 and The Caughley Society, Caughley Blue and White Patterns, p.27.

A Caughley mug transfer-printed with Stalked Fruit and a Fox, circa 1776-80, S mark, 10cm high and 12.5cm diameterProvenance: Wright Collection no. 631, purchased in 2000 from R. Sillito. Literature: Ironbridge 1997, no. 7 and The Caughley Society, Caughley Blue and White Pattern, p.206.This is a very early example which is slightly misshapen, with no glaze to the base and featuring a fuzzy pattern as was sometimes the case with early pieces. Not only is this print is the rarer, earlier version of the Stalked Fruit pattern but the addition of the Fox is exceptionally rare with only four examples known.

A Caughley mug in the transfer-printed in underglaze blue with the Bandstand pattern, circa 1785-90, unmarked, 17.3cm high and 13.2cm diameter (crack across the tail of the handle)Provenance: Wright Collection no. 733, purchased from Gorringes in 2005. Literature: The Caughley Society, Caughley Blue and White Patterns, pgs. 8 and 138 and Newsletter August 2005. Possibly the largest mug made by Caughley, holding 3.25 pints.

A large Caughley mask head jug transfer-printed in the Fisherman or Pleasure Boat pattern, circa 1783-93, Sx mark, 31.25cm high (riveted repair)Provenance: Wright Collection no.779, purchased in 2007 from Bonhams.

A Caughley mask head jug transfer-printed with the Fisherman or Pleasure Boat pattern, circa 1782-92, unmarked, 19.2cm high (hairline)Provenance: Wright Collection no. 821, purchased in 2009 from J&S Wyatt.

A circular Caughley pot transfer-printed with the Full Nankin pattern, circa 1783-92, S mark, 10.8cm diameterProvenance: Wright Collection no.893 purchased in 2011 from Brightwells Auctioneers. Ex R. Sillito Collection. This pot is of an unknown purpose and is the only example seen by Maurice Wright.

An exceptionally important Caughley mask-head jug, printed in blue on both sides with a 'Severn Trow' passing underneath the Shropshire Ironbridge, an angler in the foreground, dated 1790 and initialled JH or possibly IH, 18.5cm highProvenance: Wright Collection no. 360, purchased in 1986 from HWO, Shrewsbury. Speculatively, the initials may refer to John Hill, who was a member of the Hill family of Hawkstone who was 21 in 1790. Col. John Hill was born in 1769 and died in 1814, the son of John Hill, 3rd Baronet (1740-1824) and father of Rowland, the 1st Viscount, who never married, to his son Rowland. The Hills of Hawkstone are well known as patrons of both Caughley and CoalportSir John Hill (3rd Baronet) was the one involved in the celebratory Parliamentary scandal and unpleasant family row about the result of the 1796 election. He commissioned the Coalport Election as a protest at the result and a campaign to get the result overturned. Sir John Hill had rejected a claimed family agreement that he would step aside for his cousin, Sir Richard Hill of Attingham, and then lost by 44 votes.

A Caughley mask-head baluster jug, circa 1778-88, transfer-printed in underglaze blue with the Parrot Pecking Fruit pattern, C mark, 14.7cm high (hairline to spout)Provenance: Wright Collection no. 515, purchased in 1996 from D. Turner. Note that Caughley produced two different parrot prints, of which this is the smaller example. Literature: Ironbridge 1999, no. 106 and The Caughley Society, Caughley Blue and White Patterns, p.48.

A Caughley mask-head baluster jug, circa 1776-80, the body of plain form decorated in underglaze blue with the Thorny Rose pattern, with a very rare shallow foot rim without glaze free edge and with sanding, S mark, 17.7cm high (stress crack to the top of handle)Provenance: Wright Collection no. 339, purchased in 1985 from Van Heln on Portobello Road. Literature: Ironbridge 1999, no. 37.

A Caughley mask-head jug printed with the Stalked Fruit pattern, circa 1785-92, Sx mark. 21.5cm high (hole to base)Provenance: Wright Collection no. 333, purchased in 1984 from Worcester Antiques. This is a rare example of the sliced apple print on a cabbage leaf jug with particularly fine moulding and print quality. One of Maurice Wright's prize pieces. Literature: Ironbridge 1999 no.16.

A Caughley mask-head jug printed in the Birds in the Branches pattern, circa 1782-90, the blue and white pattern including a fine monogrammed set of WB initials within cartouche, unmarked, 24cm high Provenance: Wright Collection no.421, purchased in 1991 from Venners. Literature: Illustrated in Bettenson's book.

A Caughley mask-head jug printed in the Fisherman or Pleasure Boat pattern, inscribed 'God Speed the Plough', circa 1780-1790, 23cm highProvenance: Wright Collection no. 536, purchased in 1997 from Peter Wilsons. Literature: Ironbridge 1999 no. 366, English Porcelain 1745-1850 ed. Charleston Plate 39c. A similar jug, if not this one was in the collection of Frank Barrett who contributed to chapter 7 of Charleston's book and who sold his collection about at that time. He wrote the book on Caughley and Coalport and lived in Church Stretton.

A Caughley cabbage-leaf mask head jug, circa 1790-95, decorated with a single-blue edged border, otherwise plain, S mark, 10.5cm highProvenance: Wright Collection no.983, purchased in 2015. The large florid S marking to the base most likely places this jug around 1790.This is the only mask head jug in this pattern seen by Maurice Wright, though tea wares in this pattern are also represented such as the early tray and the 24-reeded tea bowl also present in this collection.

A Caughley mask-head jug, circa 1787-1792, painted with Salopian Rose Sprays and monogrammed initials 'JB' (very speculatively James Bullock), unmarked, 17.7cm high (filled chip to foot rim) - Provenance: Wright Collection no.403, purchased from Simon Spero in 1989.

A very rare and small Caughley vase painted with the Three Boats pattern, circa 1780-90, 10.8cm high (hairline crack)Provenance: Wright Collection no.829, purchased from Rod Jellicoe.Literature: Caughley Society, Caughley Blue and White Patterns, p.181 and The Caughley Society Newsletter 2009 No.40 p.22 (hereby referred to as 'Newsletter') This vase is the only example known in this pattern and of this shape.

A Caughley mask-head jug, dated 1790 and initialled, painted with Salopian Rose Sprays, S mark, 19cm high (cracked, partly from firing)Provenance: Wright Collection no. 395, purchased from Simon Spero in 1988. Literature: Ironbridge 1999 no.174 and The Caughley Society, Caughley Blue and White Patterns, p.111.The monogram reads J, I or T H and 1790. If one could be definite about the initials, both or either very speculatively may refer to a member of the Hill family of Hawkstone who was 21 that year.

A Caughley mask head cabbage leaf jug, circa 1796-99, transfer-printed in underglaze blue with the Fisherman or Pleasure Boat pattern, unmarked, 19.3cm highProvenance: Wright Collection no.768, purchased on Ebay from Indiana in 2006. A late example, probably using a 1796 mould, the pattern is a light blue and the transfer has run. This running is most likely because of both the factory cutting corners and the variability of availability of resources in the late period.

A Caughley mask-head baluster jug, circa 1783-91, transfer-printed in underglaze blue with the Fisherman or Pleasure boat pattern, fruit and wreath type roundel with monogrammed initials JR, S mark, 19cm high (restored, having been in pieces)Provenance: Wright Collection no. 904 purchased in 2012 from C. Brown.

A Caughley chocolate cup and saucer painted with the Salopian Sprig pattern, circa 1785-92, S mark, the cup 10.2cm diameter, saucer 15.4cm diameterProvenance: Wright Collection no.279, purchased in 1982 from a Staffordshire Fair. Literature: Ironbridge 1999 no.199. This is an uncommon pattern for this shape.Hot chocolate saw a huge explosion in popularity in 18th century England. The city of London had little tradition of hot drinks (coffee having only arrived five years prior) and chocolate at this stage was associated with the idleness of the Spanish and French, therefore a market had to be created. The city was bombarded with a slew of leaflets detailing the beneficial properties of chocolate and left contemporary sources such as Samuel Pepys quoting its beneficial properties for relieving a hangover by alleviating his 'sad head' and 'imbecilic stomach'.Such was that by the end of the 17th century, and well into the 18th century, chocolate houses began to appear in England, coming to serve as popular meeting places for lawyers, businessmen and politicos alike. In London the principal chocolate houses were Ozinda's and White's, both on St James's Street, and the Cocoa Tree on Pall Mall. 'Hell', the inner gaming room at White's, is depicted in the sixth episode of Hogarth's Rake's Progress in all its debauched glory (fittingly, it is also on fire, though few customers seem to notice or care). At the Cocoa Tree, the modern equivalent of £180,000 was placed on the roll of a single die. Whilst this may appear to us purely nihilistic, in context this highlights an important part of projection within an inherently status-dominated Georgian society; the nobility of which would otherwise be living a somewhat idle existence and to whom chocolate drinking was a highly important part. For those on the outside such as Hogarth however, this was an easy group of the population to heap scorn upon.Contrarily, within the the private domain chocolate was considered more a feature of the bedroom. A painting by Jean-Baptiste Le Prince dated 1769 depicts a woman laying in bed, her outstretched hand reaching for a departed lover with a chocolate pot and cup by her bedside. Of course, the historic claim inherited from the Aztecs that chocolate was an aphrodisiac is also responsible for this coupling of chocolate and the bedroom.Such images of leisure only added to an overall romanticism and the idea that chocolate was a luxurious treat. Indeed, in 1797 hot chocolate was described as a 'drink of the Gods' - that is, even if those 'Gods' were as debaucherous as the patrons of the London chocolate houses proved themselves to be.

A very rare Caughley barrel-form and relief moulded sparrow beak jug printed with sprays, circa 1777-82, C mark, 7.8cm highProvenance: Wright Collection no.331, purchased from Wolf in Droitwich in 1984.Literature: Caughley Society, Caughley Blue and White Patterns, p.214, Caughley Newsletter February 2010, no 41 and Ironbridge 199 no's 52 and 53.

A Caughley sparrow beak jug with a matched cover in the Three Flowers and Fence patterns, circa 1775-80, S mark, 14.3cm high (chipped)Provenance: Wright Collection no.970 purchased from EBay in 2015.Literature: Newsletter February 2016 No.65 p.20.

A Caughley sparrow beak milk jug painted in the Cannonball pattern, circa 1776-1782, with associated quatrefoil and line border inside rim, reversed C mark, 9.8cm highProvenance: Wright Collection no. 377, purchased from Mercury. Literature: See Ironbridge 1999 no.255. Though a common pattern on Worcester, this is rare on Caughley.

A Caughley twin handled urn transfer-printed in the Pine Cone pattern, circa 1777-88, unmarked, 14.5cm diameter (cracked)Provenance: Wright Collection no.414, purchased in 1990 from Bill Dickenson. Ex Geoffrey Godden Collection.Literature: Ironbridge 1999 no.74. This is the only recorded example.

A Caughley sparrow beak milk jug transfer-printed in the Birds in Branches pattern, circa 1785, C mark, 9.5cm high (kiln mark)Provenance: Wright Collection no. 960, purchased in 2014. Literature: Newsletter No.58 May 2014 pp 26-7 Fig 10 & 11, this jug features an interesting secondary pattern often found on coffee cups.

A Caughley robins' beak milk jug painted with the Rock Strata Island pattern, circa 1778-85, unmarked, 7.7cm highProvenance: Wright Collection no. 754, purchased for in 2006 from Pat Moorehouse.

A Caughley sparrow beak milk jug transfer-printed in the Temple pattern, circa 1785-90, 8.5cm high (tiny chip to rim), together with a tea bowl and saucer in the same pattern (saucer cracked) (3)Provenance: The jug is Wright Collection no.769 and was purchased from an American seller on Ebay in 2007. It is a rare, if unrecorded, shape with a Chinese shape handle which is smooth rather than ribbed. The tea bowl and saucer are collection no.510 and were purchased from Peter Wilson's and H&R. Cooke.Literature: See Newsletter May 2016 No.66 p17. Unreeded pieces of Caughley in this pattern are rarer than the standard reeded shapes.

A Caughley milk jug transfer-printed with the Apple and Damson pattern within a cell border, circa 1778-85, S mark, 9.8cm highProvenance: Wright Collection no. 782, purchased in 2008 from N. Gent. This is an unusual shape for this pattern.

A Caughley ewer form milk jug transfer-printed with the Three Flowers and Butterfly pattern, circa 1777-83, C mark, 14.5cm highProvenance: Wright Collection no. 447, purchased from Aurea Carter in 1994. Literature: See Ironbridge 1999 no.205.

A Caughley helmet form milk jug, circa 1785-94, transfer-printed in underglaze blue with the Fisherman or Pleasure Boat pattern, raised double indented handle with a kick terminal, 8cm high (chipped)Provenance: Wright Collection no.527, purchased in 1997 from Nicholas Gent. Literature: Ironbridge 1999 no.333. A rare shape which is rather like the coal scuttle type jug usually in Pagoda but with a rather small spout and plain handle. Apparently unrecorded, though see collection no.786 for a similar Caughley jug in the Chantilly pattern.

Two Caughley reeded tea bowls with internal cell diaper borders, circa 1778-85, one with C mark, the second unmarked though featuring a central Rose Hip design, tallest 5cm high (one split in two and re-glued) (2)Provenance: The taller, unmarked and re-glued bowl is Wright Collection no. 860 and was purchased in 2010. This is the rarer version with a turned foot and internal hip print. The second example is Wright Collection no. 350, purchased in 1985 from Venners and features a double blue line border near the foot rim.

A Caughley jardinière painted in the Salopian Sprig pattern with spreading foot and shell topped lug handles, a saw tooth edge and blue border, circa 1783-95, 11.5cm highProvenance: Wright Collection no.415, purchased in 1990 from Venners. Ex Geoffrey Godden Collection.Literature: Ironbridge 1999 no.198.

A rare reeded Caughley milk jug and cover painted in the Gillyflower I pattern, with 24 flutes and a double indented ear shaped handle, cover with flower finial attached by a chain, S mark, circa 1776- 80,13.6cm high and a Caughley fluted teacup painted painted with the Gillyflower I pattern, S mark, 8.6cm diameter (2)Provenance: The milk jug is Wright Collection no.427, purchased in 1993 from Thrift Cottages. Literature: Ironbridge 1999 no.145 and Godden's Guide to English Blue and White Porcelain, pl.514.The teacup is Wright Collection no. 750, purchased from Rod Jellicoe. This is rarer, with is 24 reeds and than the later one which is more commonly found in the Temple pattern.

A fluted Caughley milk jug transfer-printed with the Temple pattern, circa 1786-92, So mark, 8cm highProvenance: Wright Collection no. 532, purchased in 1997 from Peter W, ex Bill Dickenson's shop.

A Caughley milk jug printed in the rare Striped Temple pattern, circa 1785-93, of bucket-shape with a plain loop handle, an associated Fitzhugh type border to the inside edge, 7.3cm highProvenance: Wright Collection no.65, purchased in 1973. Literature: Ironbridge 1999, no. 382. Originally gilded, now rubbed.

A Caughley milk jug painted in the Chantilly Sprig pattern, circa 1785-94, of coal scuttle form, S mark, 8.4cm high, a Caughley robin's beak milk jug transfer-printed with the Fruit and Wreath pattern, circa 1776-81, C mark, 8.3cm high, a Caughley sparrow beak jug transfer-printed with the Fence pattern, circa 1778-85, 8.2cm high and a further Caughley sparrow beak jug transfer-printed with the Fence and Houses pattern, 8.3cm high (4) (a.f)Provenance: Assorted numbers from the Wright Collection.

A Caughley cream or gadroon boat transfer-printed with the Fence pattern, circa 1780-90, 6.9cm highProvenance: Wright Collection no. 932, purchased in 2013 from Jupiter Antiques.

A Caughley cream boat painted with the Rock House Island pattern, circa 1777-85, C mark, 5.6cm highProvenance: Wright Collection no. 106, purchased from Venners in 1974. Literature: Ironbridge 1999 no.369 and Newsletter November 2010 No.44 p.17.

A Caughley trumpet form vase transfer-printed with a Sliced Apple pattern, circa 1778-86, with supplementary fruit and floral prints within associated Nankin border, unmarked, 12.4cm high Provenance: Wright Collection no. 324, purchased in 1984 from Charnwood. Literature: Ironbridge 1999 no. 18, originally one of a pair.

A Caughley spoon tray transfer-printed with the Conversation pattern, Salopian mark, 17.2cm wide (chipped)Provenance: Wright Collection no.956, purchased in 2014 from W&W. Tea wares in the Conversation pattern are rare.

A Caughley slop bowl transfer-printed with the Uninhabited Pagoda pattern with additional gilding, circa 1785-93, unmarked, 15.1cm diameterProvenance: Wright Collection no.650 purchased from R. Jellicoe. Literature: R. Jellicoe selling exhibition, June 2001 no.121. This is unusual pattern and as far as Maurice Wright knows, there are no other pieces in this pattern other than slop bowls which is a slight mystery.

Three Caughley slop bowls transfer-printed with the Bell Toy and Mansfield patterns, and a full version of the early Three Flowers pattern, circa 1775-83, C and S marks, 15cm and 15.3cm diameter (cracked, chipped) (3)Provenance: The Bell Toy bowl is Wright Collection no.958, purchased in 2014 from Chiswick Auctions. The Mansfield pattern bowl is Wright Collection no. 775, purchased in 2007 from S. Millington. The Three Flowers bowl is Wright Collection no. 976, purchased in 2015 from Bullith.Literature: See Caughley Newsletter 2016 on the Bell Toy pattern. This is an interesting display of this pattern, the main section of the print lacking the two smaller pots, the vase and large flower which are then broken up around the subsidiary sections of the bowl.

A Caughley tea canister transfer-printed with the Conversation pattern, lacking cover, circa 1782-90, S mark, 10.2cm highProvenance: Wright Collection no.584, purchased in 1998 from H&R Cooke. This is a rare pattern on tea wares.

A Caughley tea canister and cover transfer-printed with the Fenced Garden pattern, circa 1786-90, unmarked, 12.4cm highProvenance: Wright Collection no.771, purchased from the NEC in 2007.

A Caughley tea canister and cover transfer-printed in the Fence pattern, circa 1778-85, C mark, 13cm highProvenance: Wright Collection no. 927, purchased in 2013 from Eastbourne Auctions. Literature: See Newsletter November 2013 No.56 p 11f.

A Caughley toy teapot and cover transfer-printed in the Fisherman or Pleasure Boat pattern, circa 1780-90, unmarked, 7.3cm highProvenance: Wright Collection no.456, purchased from Simon Spero in 1994. Exhibited at Stockspring October 2001, 'Caughley Toy Wares'.

A Caughley vase transfer-printed with an Apple pattern, circa 1778-86, within associated border, unmarked, 10.2cm high (in pieces, re-glued)Provenance: Wright Collection no. 441, purchased in 1993 from Ravenscroft. Literature: Ironbridge 1999, no. 19 and Newsletter November 2009, No.40 p.20.This vase is an unusual form, which is best identified as Caughley when comparing with the print on a known marked saucer.

A rare and early Caughley tea canister painted in the Rock Willow pattern, lacking cover, circa 1776-78, with a supplementary landscape and associated border to the shoulder, unglazed base unmarked, 13.4cm highProvenance: Wright Collection no. 467, purchased in 1995 from Phillips. Literature: See Ironbridge 1999 no. 62, The Caughley Society, 'Caughley Blue and White Patterns', p.6 of and Newsletter November 2008 No 36.

A reeded Caughley tea canister and cover painted with the Gillyflower I pattern, circa 1776-80, C mark, 16.6cm high (cover repaired)Provenance: Wright Collection no.428, purchased in 1993 from Thrift Cottage.Literature: See Ironbridge 1999 no.132 and Godden's Guide to English Blue and White Porcelain pl.514, illustration from Phillips' catalogue. This and the milk jug and chained cover were from that service, some of which being Worcester and the remainder being Caughley.

A Caughley coffee cup and saucer painted with the Chantilly Sprigs A pattern, circa 1788-94, S mark, cup 6.2cm high, saucer 12.5cm diameter (2)Provenance: Wright Collection no.363, purchased in 1986 from Whittington.Literature: Ironbridge 1999 no.459. A rare shape combination of cup and saucer, the cup usually of bute form rather than having a foot rim.

A Caughley coffee pot and cover transfer-printed with the Gillyflower 5 pattern, circa 1773-78, C mark, 20.4cm high (cover chipped)Provenance: Wright Collection no.981, purchased from Gent in 2015. It is rare to find this pattern on a coffee pot.

A reeded Caughley coffee pot and cover painted with the Bright Sprigs pattern, circa 1780-86, unmarked, 20.6cm high (repaired cover)The Bright Sprigs pattern is derived from an unknown European source, perhaps inspired by the Tournai porcelain factory in Belgium. As such, Caughley tableware in this pattern can also be found in Continental form with rococo style moulding.Provenance: Wright Collection no. 567, purchased in 1998 from N. Gent.Literature: Ironbridge 1999 no.489 and Newsletter August 2009 No.39 p.5.

A Caughley punch bowl transfer-printed with the Punch Bowl Sprays pattern and the monogrammed initials 'E.H REA', unmarked, 26cm diameter (light glaze craze to foot rim)Provenance: Wright Collection no.992, purchased in 2016 from D. Norley.Literature: Newsletter May 2016 no.66 p23.This is a very interesting piece with three of the Punch bowl sprays (4, 5 & 6) round the outside and several butterflies and insects, including a dragonfly. It also has the Iris pattern which is part of the third Punch bowl spray and not strictly speaking another pattern despite being including as such in the Caughley Blue and White Patterns on the basis of a bowl in Shrewsbury Museum. The border is the printed Peony one. Caughley did both painted and printed whilst Worcester did only a painted version. So the join gives it away. The style of lettering of the monogram matches of the examples illustrated page in The Caughley Society, Caughley Blue and White Patterns, p233-236.

A Caughley coffee pot and cover transfer-printed with the Pagoda pattern, circa 1784-91, unmarked, 25.5cm high (crack to body)Provenance: Wright Collection no.482, purchased from R. Jellicoe in 1995.

A Caughley coffee cup and saucer painted with the Rose Festoon pattern within gilt dentil rims, circa 1788-93, S mark, cup 5.8cm high, saucer 13.5cm diameter (2)Provenance: Wright Collection no.167, purchased in 1978 from David and Jane Wright.Literature: See Godden, pl.200, where this is referred to as 'shanked'.