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Group of antique and later delftware, including vases and candlesticks

An 18th century English delftware plate, decorated with a chinoiserie scene in manganese purple18cm diameterQty: 1With minor chips, frits and surface cracks to the glaze as can be seen in the images.

An 18th century English Delftware large plate or charger, possibly Lambeth, decorated with trees and buildings on an island35cm diameterQty: 1Minor chips and fritz to the edge consistent with age.

Turquoise toned stunning piece with lustre finish & branch patterning. Brass trim around rim.Hand Painted Delftware Made In Holland on bottom. This item has no reserve. Dimensions: 6.75"W x 2.75"HManufacturer: DelftCountry of Origin: HollandCondition: Age related wear. Natural patina.

A 19thC Delftware Plate, depicting three figures in river landscape on a boat, D 22cm, together with another Delft Plate, depicting a bird perched on a branch, D 22.5cm, and a Charger decorated with landscape, D 31.5cm (3) Provenance; The property of a Collector, amassed over the last 50 years. 

A pair of 19thC European Delftware Bowls, decorated in underglaze blue depictions in the willow style D 17.5cm (2)

A group of miscellaneous English pottery, 18th/19th century including a redware punch pot applied with vines [spout damaged, cover lacking]; two blue and white delftware plates and three transfer printed pearlware plates [some damage] 6.

A blue and white delftware charger, German or Dutch painted with a large vase of flowers, floral sprays, birds and insects, circa 1700, 39cm [minor rim chips].

A mixed lot of Dutch and English blue and white delftware and other tin-glazed pottery including a lobed jar painted with panels of Chinese ladies and jardinieres of flowers, 18th century; six various plates etc [damages].

A Dutch blue and white delftware dish in Kraak style and one similar the first painted with Chinese figures on a terrace within a panelled rim, early 18th century, 34cm [rim chips, one with related short crack]; the second dish painted with a peacock, butterfly, rockwork, flowers and foliage with trek outlines, 39cm [minor rim chips] 2.

A set of sixteen Dutch blue and white delftware tiles in four frames, painted with estuary and river views with figures and buildings, individual tiles 12.5cm.

A collection of English and Dutch blue and white delftware tiles in three frames and loose, painted with animal, figural, marine and biblical subjects, 18th/19th century [some damage] 16.

An English blue and white delftware night light holder, a similar dish and a Dutch puzzle jug the holder painted with flower sprays and insects, probably London, circa 1760-70, 12cm [two chips to rim, one previously riveted]; the dish painted overall with flowers and foliage, 34cm [minor chips]; the jug painted with a port scene, 19th century, 20cm [some damage] 3.

A pair of Dutch blue and white delftware chargers with central bosses each painted with a flowerhead surrounded with stems of wispy flowers and foliage, mid 18th century, 35cm [minor glaze losses].

A large Savona blue and white maiolica moulded dish and a pair of Dutch blue and white delftware dishes the first painted with child fauns seated amongst rockwork, the rim with buildings and scattered foliage, lighthouse mark, late 17th/early 18th century, 45cm [broken across]; the Dutch dishes painted with a central flowerhead and sprays, mid 18th century, 31cm [damage to both] 3.

A mixed lot of English pottery, 18th/19th century including a polychrome delftware bowl [glue repairs[; two blue and white delftware plates [chip to one]; and a group of printed wares including a small silver lustre mug 'A Reward for Industry'; three nursery plates 'Importance of Punctuality/The Pious Grandfather/Keep Thy Shop And Thy Shop Will Keep Thee' etc [minor damage].

A set of six Dutch delftware plates, each painted in manganese in the Chinese manner with peony, other blooms and foliage, painted numeral 6 or 9 verso, circa 1760, 22.5cm diameter.

A set of six Irish blue and white delftware plates painted in the 'Chinese Flower-bowl' pattern, painter's numeral marks, Dublin, circa 1760-70, 24cm [rim chips, one with section re-stuck].

A Bristol blue and white delftware charger painted with oriental figures in a garden, a large bird flying above, the rim with panels of foliage on a lattice ground, circa 1750-60, 33cm [minor glaze losses].

A late 17th century English blue and white delftware saucer dish painted and trecked with a chinaman seated beneath rocks and plantain, Brislington or London, 19cm [foot-rim trimmed, two chips and glaze wear to rim].

A pair of Dutch delftware cows modelled standing four square, head tilted to one side, on a rectangular base and decorated with under glaze blue and yellow, red and aubergine enamels, painted monogram for Adriaen Pynacker of De Twee Scheepjes, 23cm long, [some losses and damages].

An early 20th Century blue and white Delftware wall plaque, of shield form, with hand painted scene to the centre, two sconces beneath, and measuring 42cm tall

A large Dutch Delftware plaque, circa 1740-60The shaped oval cartouche with four medallions depicting two men standing beside a large baluster vase, leaning over a table with teawares and a pipe, in conversation with two seated ladies, alternating with two oval medallions of oriental flowers against a floral scrollwork border, the central medallion with a chinoiserie scene after a Chinese Kangxi example of two long Eliza figures near a small boy, one holding a rabbit, a man looking out at them from a window, 43cm high (typical minimal chips to the rim)Footnotes:For an identical scene on a Delft plaque in the Musée Art et Histoire Bruxelles (formerly the Musée du Cinquantenaire) see F. Hudig, Delfter Fayence (1929), plate 205, p.213.For further information on this lot please visit Bonhams.com

MODERN DELFTWARE PLATE NO. 327/25, 25CM DIAMETER

Full title: A pair of blue and white English Delftware wet drug jars, probably London, early 18th C.Description:H.: 20 cm - L.: 18,5 cm

Full title: A blue and white English Delftware drug jar, probably London, 18th C.Description:H.: 18 cm

Full title: A blue and white English Delftware drug jar, probably London, 18th C.Description:H.: 19 cm

Full title: A blue, white and yellow Dutch Delftware dish with a putto holding a falcon, Delft or Haarlem, 17th C.Description:Dia.: 31,5 cm

Full title: A fine polychrome Dutch Delft 'flower vase' plaque, 18th C.Description:Dim.: 36,5 x 32,5 cm Marked D on the back for Jan Teunis Dextra, the 'De Grieksche A' workshop, Delft, 1757-1765. Provenance: With a wax seal on the back for the 'Gaston de Ramaix' collection, Chateau de Grune, Belgium. The collectors Maurice de Ramaix (1850-1918) (link), 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 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.

Full title: Two blue and white plates with the same design in Chinese porcelain and Dutch Delftware, Kangxi and 18th C.Description:Dia.: 22 cm

Full title: A large blue and white two-handled Frisian Delftware jardiniere with dolphin handles, Makkum, 18th C.Description:H.: 31 cm - L.: 33,5 cmAttributed to the Frisian painter Gatse Sytses (1724-1798)Provenance: The Frisian pottery museum (collection Minze van den Akker), Harlingen, inv. no. 0271851.Ref.: Illustrated in Minze van den Akker: Fries Aardewerk, Majolica, Faience, Kerfsnee, Collectie Minze van den Akker, Meppel, 2007, p. 283 (link)

Full title: A pair of Chinese porcelain cows after Delftware examples for the Dutch market, QianlongDescription:L.: 20,5 cm - H.: 13 cm Ref.:- Christie's, New York, May 9, 2018, The Collection of Peggy and David Rockefeller, lot 157, for a related pair. (sold USD 25.000) (link)

18th century blue and white Delftware dish, decorated in the Chinese style with a bird perched amongst rockery, the border with flowers, 33.5cm diameterFritting and chips to rim - otherwise in good condition.

18th century blue and white Delftware dish, decorated in the Chinese style with a willow tree and peony pattern, 30.5cm diameter

Collection of 18 mostly 18th century blue and white delftware tiles, with various decoration, including equestrian figures, children playing, etc

An English delftware plate, 18th century, decorated in blue, red, green and yellow with flowers sprouting from rock to the centre and four sprigs of flowers to the rim, on a bluish glazed ground, together with a blue and white delftware plate decorated to the centre with a roundel of fruits and flowers surrounded by decorative motifs of birds, fruits, and insects, with alternating panels of trellis pattern and fruits (2)

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 

A Dutch De Klaauw Delftware faience 'Peacock' plate, 18th century, blue underglaze 'claw' mark, with yellow painted rim, 34.5cm diameter; together with a Japanese late Edo period Imari porcelain low lipped dish with shōchikubai motif to the centre, 23cm diameter; and a Royal Tettau 'Chateau Bleu' pattern teacup and saucer, the teacup 8.5cm diameter (3)

A late 18th century Dutch Delftware blue and white dish and a 19th century example. 9' diam.

Pottery, mainly English including English Delftware, Ralph Wood and medieval pottery Lipski, Louis L. Dated English Delftware. Tin-glazed earthenware 1600-1800. London: Sotheby Publications, 1984. 4to, number 440 of 1000 copies, original blue cloth, dust-jacket;Sotheby's. The Lipski Collection of English and Irish Delftware, 10th March 1981 - 6th December 1983, four auction catalogues in original wrappers;Faulkner, Frank. Ralph Wood Pottery, George Stoner Collection. London: 1910. 50 copies only, original vellum gilt;Partridge, Frank. Ralph Wood Pottery. London: [1929?] Original blue cloth gilt;Andrade, Cyril. Old English Pottery. Astbury Figures. London: 1924. One of 500, original red cloth gilt;Burton, William. A History and Description of English Earthenware and Stoneware. London: Cassell and Company, 1904. 8vo, out-of-series copy of 1450, original cloth;Rackham, Bernard - Herbert Read. English Pottery. London: Ernest Benn, Limited, 1924. 4to, original grey cloth gilt;Price, R.K., Captain. Astbury, Whieldon, and Ralph Wood Figures, and Toby Jugs. London: John Lane, 1922. 4to, one of 500 copies, original cloth gilt;Earle, Cyril, Major. The Earle Collection of early Staffordshire Pottery. London: A. Brown and Sons, [1915?] 4to, original red cloth gilt;Smith, R.H. Edinburgh Museum of Science and Art Loan Collection of English Pottery. Edinburgh: Neill and Company, 1889. 8vo, brown cloth gilt, pp.15-end only, title-page repaired with some loss;Freeth, Frank. Old English Pottery. London: Morgan, Thompson and Jamieson, 1896. 4to, one of 100 copies, original blue cloth gilt, some foxing;Hobson, R.L. Catalogue of the collection of English Pottery in the department of British and Mediaeval Antiquities and Ethnography of the British Museum. London, 1903. 4to, blue cloth gilt;Hodgkin, John Eliot and Edith. Examples of Early English Pottery... London, 1891. 4to, original cloth;Austin, John C. British Delft at Williamsburg. Williamsburg: The Colonial Williamsburg Foundation, 1994. 4to, original blue cloth gilt, dust-jacket;Ray, Anthony. English Delftware Pottery in the Robert Hall Warren Collection Ashmolean Museum Oxford. London: Faber and Faber Limited, 1968. 8vo, original red cloth gilt, dust-jacket price-clipped;Downman, Edward Andrews. Blue Dash Chargers. London: T. Werner Laurie Ltd., 1919. 8vo, original boards; and 9 othersProvenance:Provenance: From the library of a collector

AN ENGLISH DELFTWARE MUGMid 18th century Of slender baluster form with ribbed handle, painted in blue and manganese with a chinoiserie landscape, 15.75cm highCondition Report:  The mug is definitely delftware, not pearlware, Note; Haircrack to the rim, approx. 9cm length. Quite a number of rim chips. Haircrack across the base. Two chips around footrim

An English delftware flower brick, circa 1750Probably London, painted in blue with panels of mimosa-like flowers alternating with diaper or trellis, 15.8cm wideFootnotes:ProvenanceWith Alistair Sampson AntiquesFor further information on this lot please visit Bonhams.com

An important Vauxhall armorial ale jug, circa 1755Of baluster shape, the wishbone handle with scrolled terminals and a high thumbrest, painted in English delftware style in tones of blue with a lady and gentleman walking in a romantic landscape, apparently engaged in conversation, a ruinous building behind them, the reverse with a full coat of arms for Axtell, inscribed 'ALE' to the right of the handle, 16.7cm highFootnotes:ProvenanceBonhams, 1 December 2010, lot 122Sylvia and Alan Low CollectionThis important jug is one of a small number of Vauxhall pieces painted in European style, the figure group taken from The Ladies Amusement, p.32. It is recorded by Bernard Watney, The Vauxhall China Works, 1751-1764, ECC Trans, Vol.13, Pt.3 (1989), p.220. The decoration is very similar to that on a mug in the Schreiber Collection, illustrated by Roger Massey, A Curious Odyssey: a Vauxhall Workman and some Dated Pieces, ECC Trans, Vol.16, Pt.3 (1998), p.302 and is probably by the same hand. A rather more naïve version of this European style is seen on a group of teawares illustrated by Massey, Marno and Spero, Ceramics of Vauxhall (2007), p.74.For further information on this lot please visit Bonhams.com

A London delftware square bulb pot, circa 1760Probably Lambeth, of tapering square shape, the recessed top pierced with five large and twelve smaller holes, the sides each painted in blue with the same Chinese river scene, 10cm highFootnotes:ProvenanceWith Jonathan HorneThe small pierced holes were presumably for cut flowers or for watering bulbs planted in the larger holes. For an almost identical flower pot see Michael Archer, Delftware in the Fitzwilliam Museum (2013), p.304, fig.I.6. A related but smaller example with fewer apertures from the Liane Richards Collection was sold by Bonhams on 13 April 2016, lot 34.For further information on this lot please visit Bonhams.com

A set of six English delftware plates, circa 1780Probably London, each painted in blue with a Chinese riverscape, tall rocks, trees and pavilions on two islands, with a narrow diaper border at the rim, 23.2cm diam (6)For further information on this lot please visit Bonhams.com

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

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'The body of Sir E.B.G carry'd to Prim rose hill on a Horse', the supposed murderers Robert Green, Lawrence Hill and Henry Berry taking the slumped body of magistrate Sir Edmund Berry Godfrey to the foot of Primrose Hill, his corpse depicted a second time lying run through with his own sword, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Five of Spades playing card is the source for this tile.On 28 September 1678 Titus Oates and Israel Tonge, a fanatic protestant minister implicit in the fabrication of the Popish Plot, presented their testimony to magistrate Sir Edmund Berry Godfrey. The disappearance of Godfrey on 12 October and the subsequent discovery of his dead body at Primrose Hill five days later caused uproar and those seeking to benefit from the exposure of a Catholic Plot stoked the fire. It was assumed that Godfrey was murdered by the Jesuits in connection with his taking Oates' and Tonge's deposition.Other playing cards from the same series depict Godfrey's supposed murder by Green, Berry and Hill. The perjured evidence given by Oates, William Bedloe and Miles Prance was enough to condemn the three men. Lord Chief Justice, Sir William Scroggs presided over the trial and did very little to supress his anti-Catholic bias. The three of spades depicts the 'murderers' hanging from the gallows. The true circumstances of Godfrey's death remain unsolved, but suicide has been presented as more than likely.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A rare London delftware fuddling cup, circa 1630-50Probably Southwark or Rotherhithe, formed by four small conjoined vessels linked by intertwined handles, left in the white, 8.2cm highFootnotes:ProvenanceMoor Wood Collection, Sotheby's, 15 May 1979, lot 6Bonhams, 2 November 2015, lot 64A four-vessel fuddling cup dated 1649 is illustrated by Michael Archer, Delftware in the Fitzwilliam Museum (2013), p.190, no.D.5. An example left in the white in the Museum of London is attributed to Southwark, see Frank Britton, London Delftware (1986), p.117 and Mary White's paper, A Bovey Tracey Fuddling Cup, ECC Trans, Vol.19, Pt.3 (2007), p.503, fig.4.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with an interior scene, 'Capt Berry and Alderman Brookes are offer'd 500l to cast the Plot on the Protestants', two papists, possibly Netterville and Russell, approaching Bury and Brooks, and holding a money bag, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Six of Clubs playing card is the source for this tile.In early 1679, the Secretary of State, Sir Joseph Williamson heard two depositions later published as 'A True narrative of the late design of the papists to charge their horrid plot upon the protestants by endeavouring to corrupt Captain Bury and Alderman Brooks of Dublin, and to take off the evidence of Mr Oats and Mr Bedlow'.Captain John Bury spoke of a Mr Netterville and an Irishman, Mr Russell, who encouraged him to take a bribe of £500 to assassinate the King and turn the focus of the plot away from the Catholics. Alderman William Brooks told Williamson that when speaking to the same Mr Netterville on 16 January that year'...he told me, if I would but joyn and assist to villify the Evidence of Oats and Bedlow, those two Rogues',then he too would be rewarded. Bury and Brooks were presented as upstanding royalists, defending the Protestant faith by coming forward with this information. Their implication that the £500 offered to kill the King ultimately came from 'the Lords', namely the Catholic peer William Howard, Lord Stafford, contributed to the trial and eventual execution of Stafford on 29 December 1680. Titus Oates corroborated this 'evidence', stating he had seen a letter from the Pope naming Stafford as a conspirator to kill the King. Lord Stafford was beatified as a Catholic martyr in 1929.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A London delftware wine bottle, dated 1648The globular body raised on a small, spreading foot, the strap handle with a pointed lower terminal applied at the back, the front inscribed in blue 'SACK 1648' above a simplified flourish, 16.5cm highFootnotes:A bottle of the same date, with the same style of lettering and flourish is illustrated by Lipski and Archer, Dated English Delftware (1984), p.322, no.1354. Two similar bottles also dated 1648, inscribed 'WHIT' and 'CLARET', are in the Norwich Castle Museum (inv. no.56.1826) and are illustrated by Lipski and Archer on p.323, nos.1363 and 1364.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with a courtroom scene at the Old Bailey, 'The Tryall of Sir G Wakeman & 3 Benedictine Monks', Justice Scroggs flanked by two other judges, possibly North and Jeffreys, in full regalia, the accused standing in the dock and a rather abstract jury just visible above, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Four of Clubs playing card is the source for this tile.The trial of Wakeman and three Benedictine monks on 18 July 1679 marked a turning point in the narrative of the plot. Only four days earlier the last of the five Jesuits, Richard Langhorn, had been executed. Sir George Wakeman was royal physician to Queen Catherine of Braganza. Oates said he had witnessed him at a Jesuit meeting accepting a bribe to poison the King. The Queen herself was subsequently implicated. At this time, persons on trial for treason were not entitled to counsel and it was with admirable vigour and gall that Wakeman and his co-accused, William Marshal, William Rumley and James Corker, defended themselves. It became apparent that Oates could not identify Wakeman's handwriting, even though he swore to have seen incriminating letters written by him. Weak evidence was also given by Dugdale, Prance and Bedloe. Justice Scroggs, whose anti-Catholic rhetoric was well-recorded, was unimpressed. The jury pronounced all four men not guilty. There was widespread outrage at the verdict and the next day Scroggs had a dead dog thrown into his carriage. However, the credibility of the plot was irreparably damaged. Wakeman left London but returned to give evidence against Titus Oates in May 1685, when Oates himself was on trial for perjury.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.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 London delftware fuddling cup, circa 1630-50Probably Rotherhithe or Southwark, formed as three small conjoined vessels with neat spreading feet, linked by twisted handles, left in the white, 8.3cm highFootnotes:Louis Lipski and Michael Archer suggest that the earliest fuddling cups have a cordon around the neck, revealing a likely metal prototype for the shape. The present lot retains a groove at the junctions of the necks and bodies, which may indicate an early date. Fragments of glazed fuddling cups have been found at Southwark and biscuit examples have been excavated at Rotherhithe. A fuddling cup of similar proportions, attributed to Southwark based on its decoration was sold by Bonhams on 18 May 2011, lot 5.For further information on this lot please visit Bonhams.com

Two unusual English delftware plates, circa 1750Painted in blue with a pair of harvesters in conversation, both holding farming implements, a house in the distance behind them, with a narrow scrolled border, 35.5cm diam and 22.2cm diam (2)For further information on this lot please visit Bonhams.com

A pair of Lambeth (Thomas Morgan and Abigail Griffith) delftware ballooning plates, circa 1785With the ascent of Vincenzo Lunardi's balloon painted in blue, the balloons and baskets highlighted in green and manganese, borders of floral festoons suspended from feathered rims, 23cm diam (2)Footnotes:Vincenzo Lunardi, 'The Daredevil Aeronaut' first demonstrated his hot air balloon in London on 15 September 1784, accompanied by a dog, a cat and a caged pigeon. Setting off from Artillery Ground in Finsbury, the Morning Chronicle reported that 'the general attention of the town and its inhabitants of all ranks, from the Countess to the Cobler's Wife, and from my Lady in St. James' square to my Lord. The little crooked shoe-shiner in an alley in Shoreditch, has been for some days past engrossed by Mr. Lunardi and his Balloon'. Spectators were estimated between 150,000 and 200,000 strong, including the Prince of Wales himself. The nearby pottery at Lambeth joined other tradesmen and artists in creating a memento of the day and of the new and exciting 'Balloon-mania', which had gripped the population. A single plate similar to the present lot was sold by Bonhams on 18 May 2011, lot 4.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Capt Bedlow examind by ye Secret Comitee of the House of Commons', William Bedloe standing before the Secret Committee, all seated around a table, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe King of Clubs playing card is the source for this tile.Both the Commons and the Lords had their secret committees investigating every aspect of the plot, not always in good faith. Bedloe went to the Commons 'Secret Committee' in early 1679 to accuse the lawyer Nathaniel Reading of attempting to bribe him. Reading had come to Bedloe's lodgings at Whitehall to persuade him not to incriminate his clients, some high-profile Catholic peers. Bedloe had witnesses in hiding in his chambers and on 16 April 1679 Reading was tried for 'a trespass and misdemeanour' by attempting to 'lessen and stifle' evidence. Reading was found guilty and the Knave of Clubs shows him in the pillory. The Queen of Clubs depicts 'Reddin endeavouring to Corrupt Capt Bedloe'. Bedloe did not come out of the trial untarnished; proceedings had hinted at his debauched lifestyle and even Justice Scroggs is reputed to have said 'at this rate that Mr Bedloe accuses men, none are safe, for he runs at the whole herd'. Doubts were being cast on the worthiness of evidence given by such a man.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

An English delftware flower brick, circa 1750Of small size, painted in blue with a Chinese riverscape, a figure in a rowboat approaching a house on a leafy island, 11.8cm wideFor further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'The Consult at Wild House', two monks wearing habits standing at a table in discussion with two seated men, one in Jesuit robes, the other probably Edward Coleman, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Eight of Diamonds playing card is the source for this tile. During the trial of Edward Coleman on 27 November 1678, Titus Oates spoke of a number of Jesuit meetings or 'consults' having occurred in April and May of that year where the plot was discussed. According to Oates, he witnessed Coleman at one such meeting at Wild House near the Strand and here he gave his approval to the regicidal plot.Wild (or Weld) House was a significant mansion and gardens owned by the recusant lawyer and MP Humfrey Weld. Oates reported that he had attended mass with him at Wild House and that Weld had then received a dispensation from the general of the Jesuits to 'take the oaths and the Test', so that he might defend Catholic interests in Parliament. Weld vehemently denied these accusations. The fact that a portion of Wild House was sublet to the Spanish ambassador did not help dispel rumours of it being a hotbed for popish treachery.The scene has been simplified slightly in its translation from playing card to tile. On the card, two further figures, probably another monk and a second Jesuit gather around the table.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Capt Bedlow carrying letters to Forraigne Parts', William Bedloe on horseback, approaching the coast where a ship waits at anchor, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Ten of Clubs playing card is the source for this tile.When the informer William Bedloe enters the narrative of the Popish Plot, he already had a reputation as a confidence trickster and a criminal, having recently spent time in prison for fraud. When Bedloe first appeared before the bar in the House of Commons he embraced his criminal reputation, proclaiming 'Mr Speaker, I have been a great rogue, but had I not been so I could not have known these things I am about to tell you'. That his inconsistent and often 'newly recollected evidence' was taken seriously is testament to the severity of anti-Catholic bias and public hysteria that allowed men like Bedloe to be temporarily presented as heroes. He offered some corroboration of Oates' testimony and it was necessary to have two witnesses when prosecuting for treason. Bedloe saw an opportunity to use his knowledge of both the Jesuits and the criminal underworld to weave together his story with that of Oates. Bedloe implicated various Jesuits and officials in the plot to kill the King and also the murder of Sir Godfrey. In addition, he had been granted a share of the £500 reward for bringing Godfrey's 'murderers' to justice. Like Oates, Bedloe had been a messenger for the Jesuits and a personal servant to Fr Harcourt. Harcourt admitted under cross-examination that Bedloe had carried letters for him between England and the Continent in 1675, but denied any involvement in a plot to kill the King.The Felton House Tiles: Important English delftware tiles depicting the Popish Plot, circa 1680-1700The 'discovery' of the Popish Plot in the autumn of 1678 and the subsequent trials, political upheaval and mass hysteria that erupted in England, reads like a modern-day soap opera. The supposed Catholic conspiracy to assassinate King Charles II, replace him with his papist brother James, Duke of York, and overthrow the Protestant establishment turned out to be the invention of a disreputable priest named Titus Oates, whose many lies and inventions appealed to the anti-Catholic sentiment of the time. Oates was eventually convicted of perjury, but not before over a dozen innocent men were executed and others imprisoned, as the flames of anti-Catholic hatred and suspicion were fanned throughout the country.A set of playing cards depicting various scenes from the plot, printed from engravings by Francis Barlow, was first advertised in the newspaper True Domestick Intelligence in December 1679. A complete set of these Popish Plot playing cards is in the British Museum (inv. no.1896,0501.915.1-52). These designs were subsequently copied onto some of the earliest delftware tiles produced in England. The timing of the plot coincides with a warrant granted to the Dutch potter, Jan Ariens van Hamme, who had come to London'to exercise his trade and calling of making Tiles...after the way practised in Holland...whichhath not been practised in this our kingdome'.Several distinct versions of Popish Plot tiles were produced. One of these is painted in blue and the scenes are reserved in circular panels. These blue and white tiles have corner motifs and include inscriptions copied directly from the playing cards. See Frank Britton, London Delftware (1987), p.176 where three such tiles are illustrated. Anthony Ray suggests that these blue painted tiles were probably made at Vauxhall by van Hamme, who died in 1680, see English Delftware Tiles (1973), p.35. When found in manganese, each scene fills the available space save for a rectangular reserve at the bottom of each tile. An extremely rare set of twenty-one manganese Popish Plot tiles, matching the Felton House Tiles, was sold by Sotheby's on 15 March 1971, lot 21. A single tile depicting 'The Consult at Somerset House' was sold by Bonhams on 21 May 2014, lot 21. It has been suggested that the manganese examples were made a few years after their blue counterparts. However, the discovery of the Felton House Tiles adds weight to the argument that these were produced much closer to 1680, whilst the satirical playing cards were still topical. Indeed, close examination of the tiles show that they were copied from a deck of the Popish Plot playing cards and not from the blue and white versions.Felton House in North Somerset is a late 17th century house, confirmed by a date stone for 1684. Recent restoration of the building involved the removal of a mid-18th century fireplace which revealed an earlier fireplace behind, retaining the remains of other Popish Plot tiles from this set. The seven tiles included in this sale were removed from the fireplace in the 1950s and were recently discovered tucked away in a box. Presumably they were installed around 1684 - the date inscribed on the datestone - when the furore of the plot was still fresh in the country's consciousness. King Charles II died just a year later and the fear upon which the fictitious plot was based came to be realised; Charles II was succeeded by his brother who became king James II of England and James VI of Scotland, a Catholic monarch.For further information on this lot please visit Bonhams.com

A fine Longton Hall coffee can, circa 1755 Of cylindrical form with a thin loop handle, finely painted in blue with the 'Folly' pattern of an obelisk on an island amongst sponged trees and bulrushes, a man walking with a stick to the left, two houses in the distance, 6.1cm high Footnotes: Provenance With Roderick Jellicoe Sponged decoration is rare on early porcelain and the 'Folly' pattern was therefore probably inspired by English delftware, where sponged trees often feature. A can from the Watney Collection in this pattern was sold by Phillips on 22 September 1999, lot 70 and another from the Barbara Leake Collection was sold by Bonhams on 12 March 2008, lot 49. 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