There are 4230 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeFour Lambeth delftware botanical tiles, c.1760-80, finely painted in blue, each with a single flower stem including peony, ranunculus and rose, with stylized corner motifs, 12.8cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Illustrated: Anthony Ray, English Delftware Tiles, pl.48, nos. 471-474.
Six delftware Biblical tiles, c.1750-75, mostly London, painted in blue and manganese, four within circular panels, with scenes of the Crucifixion, Abraham dismissing Hagar, Joseph being put into a pit, the Mocking of Elisha, and two with the Baptism of Christ, one broken and restuck, 12.9cm max. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Eight delftware tiles, c.1725-50, London and Bristol, variously painted with octagonal and shaped panels of flowers in vases and baskets, reserved on a powdered manganese ground with carnation and quarter flowerhead corners, some damages, 12.8cm max. (8) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Five delftware tiles, c.1760-90, three probably Liverpool and painted in manganese with baskets of flowers over diaper panels, two other Liverpool and painted with vases of flowers in blue or manganese, and a Dutch Delft tile painted with a vase of flowers within fleur de lys corner motifs, the latter broken and restuck, 13.3cm max. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Six delftware Biblical tiles, c.1720-50, two Liverpool and decorated with the Stoning of Stephen and Christ appearing to Mary Magdalen, within octagonal panels on a powdered blue ground, the rest London and painted with Daniel in the lions' den, the Mocking of Elisha, and two with Jonah under the gourd, 13cm max. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Four delftware tiles, c.1755-75, probably Liverpool, each painted in manganese with a curved flower stem within feathery corners, a few small chips, 12.5cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, pl. 45 for tiles with the same designs in a Fazackerly palette.
Four Liverpool delftware tiles, c.1725-50, well painted in blue with large flower arrangements issuing from two-handled vases decorated with lion masks, within quarter flowerhead corners on a powdered blue ground, 12.5cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, p.215, no. 500.
Four delftware tiles, c.1750-70, Bristol or Liverpool, two painted in blue with buildings on an island, one in manganese with a cow grazing beneath trees, the last in manganese with a flower spray, all within studded borders with sunflower corners, some chipping, 13cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Jonathan Horne, English Tin-Glazed Tiles, p.41, no.184.
Four Liverpool delftware tiles, c.1750-75, painted in blue with octagonal panels containing figures in landscapes, within 'Louis XV' borders with diaper corners, three with a corner lacking, 12.5cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, pl.21 no.208.
Four delftware tiles, c.1750-70, Bristol or Liverpool, two painted in blue and two in manganese with a stylized flowering plant within a continuous floral scroll border, some chipping, 12.8cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, pl.44, no. 442 for a manganese tile attributed to Bristol. Sherds of this pattern in blue were excavated at the Gilbody site in Liverpool in 1966.
Two Liverpool delftware woodblock printed tiles, c.1756-7, printed in blue by John Sadler, one with a European couple taking tea at a table beneath a rococo arbour, the other with three figures at a Chinese altar, within 'Louis XV' borders with floral corners, some chipping, 12.8cm. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
An unusual pair of delftware tiles, c.1700, probably London, painted in a bright blue with a circular panel of a shepherd and a shepherdess tending their flock, reserved within a flowerhead panel on a powdered manganese ground, with heart-shaped motifs to the corners, 12.7cm. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, pl.9, no.102 for a similar tile.
Three delftware bird tiles, c.1750-70, probably Bristol, painted in manganese, each with a large bird strutting beside low rocks, two with their heads turned, some chipping, 13.2cm max. (3) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Whilst sharing attributes with pheasants or peacocks, these birds probably derive from those being depicted on English porcelain (especially at Worcester and Chelsea) of the same period.
Two Liverpool delftware woodblock printed tiles, c.1756-7, printed in blue by John Sadler, one with a gallant kissing the hand of a maiden, the other with hunters beside a rococo fountain, within octagonal panels enclosed by 'Louis XV' borders, some damages, 12.7cm. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. The decoration on both tiles is taken from Johann Esaias Nilson's 'Coffee, Tea and Tobacco Ornament'.
Two rare delftware tiles, c.1750-70, probably Liverpool, simply decorated in blue with a central flower sprig, the corners with unusual flower stem motifs, some glaze chipping, 12.7cm. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Anthony Ray, English Delftware Tiles, pl.44, no.435 for a tile with the same corners.
Two delftware animal tiles, c.1760-75, probably Bristol, painted in manganese, one with a large cat standing with his back to the viewer, the other with a recumbent cow and sheep, one broken and restuck, 13.4cm max. (2) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Jonathan Horne, English Tin-Glazed Tiles, p.50, no.253 for an identical cat tile. Horne suggests that these may have been adapted from drawings in The Ladies Amusement.
Three delftware tiles, c.1750-70, probably Liverpool, two painted in manganese with two goats lying or standing in a meadow, the last in blue with a single billy goat standing with head slightly turned, restoration to two, 13.3cm max. (3) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. The designs on these tiles derive from etchings by the Dutch artist, Nicolaes Berchem (1620-83).
Four delftware tiles, c.1750-75, one Bristol and painted in manganese with a figure punting in an island scene, another probably Liverpool and painted with two stylized swans swimming before harbourside buildings, another painted in blue with a panel of boats and buildings, the last with a scribbled manganese design to each corner, some chipping, 12.8cm. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Five Liverpool delftware tiles, c.1740-60, painted in manganese with varying scenes including a haymaker, two travellers in the countryside, a ship at sail, a swan swimming, and a village landscape, all with tall trees, 12.7cm. (5) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Five delftware tiles, c.1750-70, probably Bristol and Liverpool, painted in blue and manganese with a vase of flowers perched above a diaper panel with flowerheads, the corners with pomegranate motifs, two with manganese numbers to the reverse, 13cm max. (5) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Jonathan Horne, English Tin-Glazed Tiles, p.72, pls. 417 and 418.
Three Liverpool delftware tiles, c.1750-75, painted in blue with octagonal panels of buildings and boats, one with a water mill, another with two swans in a harbour scene, within 'Louis XV' borders with diaper corners, 12.7cm. (3) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
Eight Lambeth delftware tiles, c.1725-60, each painted in blue with a large rosette or stylized rose design, some glaze chipping, 12.5cm. (8) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Cf. Victoria and Albert Museum, Accession No. C.5-1955 for an identical tile given by R J Charleston and probably from the same set. Garner excavated many sherds with this rosette from the Lambeth site.
Ten Liverpool delftware Fable tiles, c.1770-85, printed by John Sadler in a dark red with scenes from Aesop's Fables, including The Lark and her Young Ones, the Hare and the Tortoise, the Crow and the Pitcher, the Fox and the Crow, the One-Eyed Doe, the Fox and the Lion, the Two Travellers and the Bear, the Fox and the Monkey, the Hunter, the Fox and the Tiger, and the Jackdaw and the Sheep, within '88' borders, damages and repairs, 12.8cm. (10) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. Many of the engravings were taken from Samuel Croxall's edition of the Fables, published in 1722. Others were taken from the earlier version by Ogilby, published in 1665 by Thomas Rycroft.
Four Liverpool delftware printed tiles, c.1775-80, printed in black by John Sadler, three with scenes of dandified gentleman, 'A Six Weeks Tour to Paris', 'A Macaroni at a Sale of Pictures' and 'The Marquis and his Valet', mounted in later wooden frames, the fourth tile with a Cleric drinking wine with two gentlemen, all within '88' borders, 13.8cm overall max. (4) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent. The scene of the first tile is taken from a print titled The Englishman in Paris after John Collet; the other two are adapted from prints by Brandoin.
Six early printed Liverpool delftware tiles, c.1757-65, printed by John Sadler in black with scenes including a boy watching a girl blowing bubbles, a man having a tooth extracted, figures carousing in front of a tavern, three with a shepherd surprising a sleeping shepherdess, broken and repaired, 13cm. (6) Provenance: Louis Lipski; gifted to R J Charleston and thence by descent.
A Liverpool delftware tile, c.1755-75, well painted in polychrome enamels with a lady seated before a stone balustrade, wearing a yellow dress with ochre bodice, mounted on a later wooden board, restoration to one corner, the tile 12.6cm. Cf. Anthony Ray, English Delftware Tiles, pl.22, no.215.
A rare delftware tile, c.1750-75, probably London, painted in manganese with a square panel containing a chinoiserie design of a single figure travelling through a landscape, within a blue geometric design, 12.7cm. Cf. Anthony Ray, English Delftware Tiles, p.231, no.576 for a similar example. Provenance: the collection of David & Jan Birley.
Five delftware tiles, mid 18th century, two London and painted in blue with foxes or dogs beside small fringed trees, two Liverpool and painted in manganese with a bull and two stags, one with flowerhead corners, the last Liverpool and painted in blue with two sheep, in a later glazed frame, the tiles 13cm max. (5)
Two delftware animal tiles, c.1760-75, one probably Lambeth and painted with a boar being attacked by dogs, within an octagonal panel on a powdered manganese ground, the other Liverpool and painted in blue with a stag and doe within a shaped cartouche, the corners with quarter flower motifs, 12.7cm max. (2) The design of the Liverpool tile is taken from The Ladies' Amusement but omits a fawn.
Two London delftware bin labels, c.1770-80, of coat hanger form, one inscribed 'CONSTANCIA', the other 'MADEIRA', both in manganese, 13.5cm across. (2) Constantia was a South African dessert wine that was widely exported to Europe during the 18th and 19th centuries. It is referenced in Jane Austen's Sense and Sensibility when Mrs Jennings recommends for Marianne a glass of "finest old Constantia wine" to cure her broken heart.
A large Bristol delftware plate, c.1750-60, probably Temple Back pottery, painted in blue with a Chinese lady holding a fan beneath a tree, and a delftware shallow bowl, probably Lambeth, painted with a Chinese figure carrying a stick, the rim with flower sprays on a powder blue ground, 29cm max. (2)
A delftware plate and a saucer dish, c.1750, probably London, painted to the wells in a bold polychrome palette with Oriental flower sprays and a two-storey pagoda, the rims with flying insects and flower sprays detailed in yellow on a powdered manganese ground, 22.5cm max. (2) Provenance: the collection of Sir Frederick Warner; acquired from Christie's, 2nd June 1975, lot 232, formerly in the collection of Mrs G I Cameron.
A small delftware plate, 18th century, possibly London, painted in blue with a footed bowl of fruit and flowers, the rim with a stylized swag design, and a Delft plate in a near identical design, 21.2cm max. (2) The English plate with a paper collection label for the Lipski Collection, no.879.
A large Bristol delftware charger, c.1760-70, painted in blue with figures in a boat and fishing beside a fence in an island landscape, within a bianco-sopra-bianco border, and another charger painted with a landscape scene within a wide border enclosing four shaped panels between chrysanthemum spray motifs, some chipping, 34.2cm max. (2)
Three delftware plates, c.1760, one Lambeth (Abigail Griffiths) and painted with a Chinese figure seated in a landscape, another London and decorated with flowering peony and holey rockwork, the last a Bristol soup bowl painted in blue with a Chinese landscape, the scalloped rim with bianco-sopra-bianco scrolls, some restoration to two, 22.8cm max. (3)
A large study collection of Dutch and English delftware fragments, 17th and 18th centuries, including a number of charger centres decorated in blue and in polychrome enamels with tulips, pomegranates, animals, flowers and geometric designs, some fragments of early faïence and maiolica, together with a copy of the Northern Ceramic Society Journal Volume 30, 2014, in which some of the fragments are illustrated, and two copies of the journal of the Netherlands Friends of Ceramics Association. (A lot) Provenance: The Dr John Black Collection.
Four delftware plates, c.1740-70, one small plate of primitive shape painted in blue with a squirrel, another with simple stylized floral design, one in red, blue and green with a bird perched in a tall tree, and a plate painted with a reclining Chinese figure conversing with a standing figure gesticulating towards a bird, some faults, 23cm max. (4)
A London delftware drug or apothecary jar, c.1680, painted in blue with two peacocks and leaf sprays flanking the head of Apollo, above a cartouche inscribed 'C. SALVIAE', beneath with an angel and floral garlands, the base drilled, 17.6cm. Sage (Salvia) is high in anti-oxidants and continues to be used in the treatment of a number of digestive ailments. It is also thought to be effective in counteracting the effects of memory loss and depression.
Two English delftware drug jars, c.1700-40, painted in blue, one with a shaped cartouche inscribed 'U: SAMBUCIN' beneath a basket of fruit flanked by birds, the other titled 'U: ALBUM' beneath a shell flanked by angels, and a creamware syrup jar painted in brown with 'SYR: VIOLAE', c.1780, the reverse with a straight spout moulded with a mask, some damages, 19.3cm max. (3) Oleum Sambucinum is a liniment made by boiling elderflowers in olive oil and was used to treat colic. Unguentum album combines white lead, white wax, egg white, oil of roses and rose water to create an ointment used to treat burns.
A group of five 18th century English blue and white delftware tiles: comprising a lady standing by a lake with a swimming swan and buildings beyond, Bristol; a small boat on a lake, two sailing boats and buildings by a bridge beyond, Bristol; a man fishing with two sailing boats in the distance; a river scene with three fishermen on a boat, two windmills and sailing boats beyond within 'Louis XV' border, Liverpool; and one other with a large Dutch-style sailing boat approaching a tower [some chips] 5.
A group of six 18th century English blue and white delftware tiles: floral subjects comprising a set of three painted with a basket of flowers, the corners with foliage, probably Liverpool; a pair painted with a single flowerhead, probably London; and one other painted with a vase of flowers within a scalloped border and cherub-heads on a powder blue ground, probably, Bristol [some chips] 6.
A group of six 18th century English blue and white delftware tiles: comprising ruined buildings with a tower in the background within an octagonal panel with foliate and diaper border, Bristol [drilled]; four others with buildings and a mill in lake and river landscapes; and one other with a mill by a drawbridge, Liverpool [some chips] 6.
A group of six 18th century English blue and white and manganese delftware tiles: comprising buildings with smoking chimneys and distinctive tall trees to either side, Bristol, in oak frame; a tower by an estuary with two sailing boats, Bristol or Liverpool; a man kneeling in a landscape within a concentric circles and scalloped border on a manganese ground, Bristol; and three Biblical subjects 'The Return of the Progical Son' 'Christ carrying the Cross' [drilled] and 'Moses receiving the Tables of the Law' [some chips] 6.
Two 18th century English blue and white delft wet drug jars, of bulbous form, inscribed 'O.ABSYNTH' and 'S:E SPIN: CE' within cartouches supported by winged cherubs, 18.5cm high, together with two 18th century Delftware dishes (4)Condition report: The drug jars are missing their handles, and one has a repair to the base with a piece missing. Some other chips and glaze wear.
Loading...
