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
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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 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
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 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
An English delftware Popish Plot tile, circa 1680-1700Painted in manganese with 'Coleman writeing a declaration and letters to la Chess', Edward Coleman seated at his desk, composing a letter to Francois de la Chaise, a man on horseback, possibly Titus Oates, hurrying off to deliver the message to France, 12.8cm squareFootnotes:ProvenanceFelton House, North SomersetThe Eight of Hearts playing card is the source for this tile.Edward Coleman (or Colman) was a Catholic courtier and secretary to Mary of Modena, the wife of James, Duke of York, while Francois de la Chaise was Louis XIV's confessor. Titus Oates claimed that he had delivered a letter from Coleman to La Chaise in November 1677. Oates also claimed to have seen the reply in which La Chaise offered £10,000 to finance King Charles' assassination. By an extraordinary stroke of good luck on Oates' part (and bad luck on the part of the accused) Coleman's papers were ordered to be searched. No evidence of a plot of rebellion or regicide was found, but Coleman had advocated for the dissolution of Parliament in his letters. This was enough for the jury, who found Coleman guilty of treason. He was hung, drawn and quartered on 3 December 1678 and his journey to Tyburn is illustrated on another of Barlow's playing cards, the Six of Hearts.A tile almost identical to the present lot was sold by Bonhams on 3 March 2004, lot 17. Care has been taken to follow the composition of the playing card exactly, including the arrangement of items on Coleman's desk.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 Pair of 18th Century English Peacock Pattern Delftware Drug Jars, English, probably Southwark, London, Early/Mid 18th Century, each with domed shoulder and turned foot, painted in cobalt and manganese with the Peacock design, a basket of fruit, cherub head, labels inscribed C. CARYOPHII and E. DIASATYR: height 19cmCondition: both with typical loss to the tin glaze, small chips to edges, both with holes in bases and some hairlines as shown in the images, no restorationCaryophyllene, a prominent constituent found in various essential oils, particularly clove oil, has a long history of medical uses. It belongs to the class of compounds known as sesquiterpenes and exhibits remarkable therapeutic properties. Caryophyllene has been widely recognized for its anti-inflammatory, analgesic, and antioxidant effects. It interacts with the body's endocannabinoid system, specifically targeting CB2 receptors, which play a crucial role in regulating inflammation and pain. Its historical use traces back to traditional medicine, where it was employed for its analgesic and antiseptic properties.Diasatyr, probably a compound of Satyrion, also known as Satyrion root or Orchis mascula, has a rich history of medical uses. This perennial plant, native to Europe and Asia, has been valued for its potential therapeutic properties for centuries. In traditional medicine, Satyrion was believed to possess aphrodisiac qualities and was used to address sexual dysfunction and enhance libido. It was also utilized to alleviate symptoms associated with menopause and promote hormonal balance. Additionally, Satyrion was thought to have diuretic and anti-inflammatory effects, making it beneficial for conditions like urinary tract infections and joint pain.
A London delftware commemorative plate, c.1785, painted in green and manganese with a hot air balloon in flight above a building, trees and an ornamental fence painted in blue, the rim with a flower garland border, 19.6cm.The plate depicts the balloon ascent of the Italian aeronaut Vincenzo Lunardi, whose first British flight took place in 1784. Lunardi executed several flights between 1784 and 1785, including at least one that took off from Southwark, near the delftware potteries.
Five English Delftware plates, circa 1760-80, comprising one with the 'Ann Gomm' pattern, one polychrome with a seated Chinese figure, another with a polychrome version of 'Plantation' pattern, a blue and white London plate with a shepherd and shepherdess and an octagonal deep plate with a version of 'La Pêche' pattern, 22cm-23cm diameter/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: Ann Gomm pattern plate - with chipping to rim, the largest of which is 2.5cm wide, with spreading hairline crack from rim into body of plate.Plate with seated Chinese figure - rim chip at 9 o'clock, 1.5cm wide. with associated hairline crack. Blue and white plate with shepherd and shepherdess - cracked across and restuck with areas of glue deposits, small associated losses. Octagonal soup plate - with large loss to rim which spans 11cm, another small losser to one corner which is 3cm wide, further smaller chipping to rim. A polychrome delftware plate with Oriental shrubs - long hairline crack from rim into body at 12 o'clock, thumbnail sized glaze chip at 11 o'clock and another smaller chip.
Two English Delftware plates, mid 18th Century, one probably Liverpool, with a Chinese figure by a tree, panelled border, 22.8cm, the other probably London with an unusual 'cracked ice' pattern in blue and manganese, 23cm diameter/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: Cracked ice plate - with two rim chips, the largest being 3cm wide, with a further smaller chip to the underside of the rim, a hairline crack from rim to centre, another shorter crack and further glaze crazing and cracking.Plate with Chinese figure - with two glaze chips to rim, one to front and the other to the back, further minute glaze chipping. Otherwise ok.
Two London Delftware tavern measures, circa 1790-1820, baluster shape with grooved necks, crude blue decoration on the fronts (one lacking the loop handle) and three white Delftwareminiature cups (5)/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: As described, one measure is lacking its handle, some typical chipping to glaze at footrim and rims overall, the other measure with some chipping to footrim and losses to glaze at handle, some crazing and scratching to body. Two small mugs - one with chip to footrim and the other with hairline cracks, glaze chipping to rims. The small cup with short hairline crack and minor glaze flaking to rims.
A collection of apothecary bottles and ointment pots, late 17th or 18th Century, all excavated by Henry Sandon from archaeological sites in Worcester, comprising two English green glass phials, 8.7cm, a larger glass apothecary jar, 12cm (broken rim section), together with ten pottery ointment pots including London Delftware jars of albarello form (some incomplete), one larger partially complete jar with blue zigzags (13)/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: The larger blue and white delftware pot - with large loss to body, cracked out and restuck to the body into at least 6 sections. With old areas of in-filling to cracks, chipping and in-filling to footrim. One of the small green phials with two large chips to the upper rim, a larger pale green glass bottle with a large rim chip and some inclusions and scratching. All of the smaller ointment pots with some chipping, losses and cracking. All in a condition typical of excavation.
An English blue and white delftware bottle vase, probably London, may be Vauxhall, Mary or Jonathan Chilwell, circa 1750, decorated with floral quatrefoil cartouches upon a powdered blue ground, h.24cm Reference: Archer M (1997) Delftware, B.71, p.149Some light loss of glaze to the rim and some crazing to the white panels.Otherwise generally in good order for delftware.
An English blue and white delftware dry drug jar, probably London, circa 1720, of typical form, decorated with birds and foliage flanking a basket of fruit, inscribed 'LOHOC:SANU' above a winged mask, h.18cm References: Archer M (1997) Delftware, K.6, p393 and Grigsby L (2000) The Longridge Collection, D.403, p.452With the usual losses of glaze to the rim and footrim.Restored in places and some hairlines as shown in the images.
An English blue and white delftware shoe, probably London or Bristol, circa 1730, decorated with flowers, h.8cm Reference: Archer M (1997) Delftware, L.6, p.404The usual losses to the glaze on the edges.It appears to have been broken in two at some stage as there is a restored crack around the centre.Further small section of restoration to the upper left as shown in the images.A couple of hairline cracks.
A London blue and white delftware oval dish, circa 1750, decorated with flowers, w.16cm, together with a Delft blue and white vase, circa 1760, of wrythen form, decorated with flowers, marks for Petrus van Marum of De Romeyn to the underside, h.23.5cm, and an English blue and white delftware cornucopia wall pocket, probably London, circa 1785, relief decorated with a bird perched upon a branch.18.5cm (3) References: Hume I N (1977) Early English Delftware from London and Virginia, 52, 53, 54 and 333, p.50 and 180, Fourest H (1980) Delftware, 54 and 55, p.191, Archer M (1997) Delftware, I.27, p.376
An English blue and white delftware posset pot, probably London, circa 1700, the serpentine spout flanked by scrolled handles, decorated with fruit amongst foliage, lacking lid, h.12.5cm References: Archer M (1997) Delftware, D.16, p.264 and Grigsby L (2000) The Longridge Collection, D.281, p.307With the usual glaze losses to the rim and handles.Spout has been restored, as has a penny-size section to the rim, and one of the scrolls to the handles.There is a hairline to the rim and another to the lower body.
An English blue and white delftware urn, probably London, circa 1760, the body flanked by press moulded masks, decorated with a rock beside a gate, standing upon a flared foot, h.12.5cm References: Archer M (1997) Delftware, I.15-17, p.370 and Grigsby L (2000) The Longridge Collection, D.370, p.412With the usual losses to the glaze at the extremities.Some nibbles to the rim and footrim.A crack from the rim to the bottom of one of the flanking masks.
A Bristol polychrome delftware charger, probably Richard Frank of Redcliff Back, circa 1755, decorated with flowers and bamboo, dia.33cm, together with an English blue and white delftware charger, probably London or Bristol, circa 1760, decorated with flowers and bamboo, 35cm, and a Liverpool blue and white delftware charger, probably Drinkwater, Duke Street, circa 1777, decorated with swans before a pagoda, 30cm (3) References: Archer M (1997) Delftware, B.148, p.186, and B.136, p.182 and Garner and Archer (1972) English delftware, plate 110A
A pair of English blue and white delftware plates, probably London, circa 1750, decorated flowers and bamboo, dia.22.5cm, together with another blue and white delftware plate, attributed to Lambeth, circa 1740, in the same pattern, dia.23.5cm, and another, attributed to Liverpool, circa 1780, in the same pattern, dia.24cm (4) Reference: Archer M (1997) Delftware, B.136, p.182
A blue and white delftware pill slab, in the 18th century London style, of shield shape, decorated with the arms of The Worshipful Society of Apothecaries and inscribed 'OPIFERQUE: PER: ORBEM: DICOR', h.21cm x w.19.5cm, together with a blue and white heraldic delftware plate, in the 18th century style, dia.24.5cm, and a blue and white delftware dish, in the 17th century style, of lobed form, the well decorated with a heraldic shield, dia.26.5cm (3)Plate – crazed and with hairline to the rim.Lobed dish – hairline to the rim.Slab – appears to have been artificially aged with glaze loss and crazing.
A set of four English blue and white delftware tiles, possibly London, 18th century, depicting a church within an octagonal cartouche within a powdered cobalt ground and flower corners, 12.5 x 12.5cm, together with a pair of English blue and white delftware tiles, possibly Bristol, 18th century, depicting a landscape, 13 x 13cm References: Ray A (1973) English delftware tiles, 241 and 269, p.160 and 166Fisherman – nibble upper left, chip to glaze upper right.House – large chips upper right.Set of four – with the usual minor chips to glaze on the edges, some surface scratching.
An English blue and white delftware tankard, probably London, circa 1760, decorated with a pagoda within an eastern landscape, the handle with a diaper motif, h.16.5cm References: Archer M (1997) Delftware, C.20, p.25 and Grisgby L (2000) The Longridge Collection, D.271, P.296Some crazing.The usual losses of glaze from the rims and the handle.There is a large restored crack down one side of the foot.Further small sections of restoration to the rim and footrim.
A Wincanton delftware plate, circa 1739, decorated with a river scene within an hexagonal cartouche upon a manganese ground, dia.18.5cm, together with another English delftware plate, probably London, 18th century, decorated with manganese sprigs, dia.22.5cm Reference: Archer M (1997) Delftware, B.29, p.132Smaller – with the usual losses of glaze to the rim, small restored crack to the rim, some light crazing, small chip to the rim.Larger – with the usual losses of glaze to the rim, hairline crack from the rim, light crazing.
Collection of ceramicscomprising of: a Lambeth of London delftware dish in the 'Ann Gomm' style pattern, 26cm across, a New Hall cabinet plate with floral decoration, 22cm across, a Chinese export mug or cup, with floral swag decoration, 6cm high, a 19th Century jug with floral design, 14cm high and a tin glazed lidded tankard with pewter mounts, 17cm high approx overallAll with overall wear, scratches, crazing and marks. Some have been written on with permanent marker. Delftware plate with Firing faults, possible restoration. Chinese export piece with firing faults. Jug is restored. The lidded tankard with faults and cracks.
A London delftware drug or apothecary jar, c.1680, painted in blue with two peacocks and leafy branches flanking the haloed head of Apollo, above an oval cartouche inscribed 'E.E.BACCIS.LAUR', above an angel mask and tasselled garlands, a short rim crack, 17.5cm.Bay Laurel berries were used to promote the appetite, remove blockages, and to stimulate blood flow in the pelvic region.
An English blue and white delftware chinoiserie punch bowl of straight sided tapering form with tall footrim, painted with alternating panels of a dancing chinaman in a garden and floral sprays with a flying moth, numeral 3 mark, possibly London, circa 1730-50, 27cm diameter [minor chips/glaze losses].
Two 18th Century Delftware chinoiserie plates and a dish, the first with two figures in an interior flanking a lantern, hand written label verso "Plate based on the same design in Williamsburg Cat. 250 attributed to Liverpool. Flower Brick in Archer & Garner closer in design, attributed to Lambeth c. 1750", 26cm diameter (rebuilt); another, with central urn of fruit and segmented border of alternate urns and figures, 23cm diameter (chips), and a shallow dish with lone figure in a garden, "See Britten's Bristol Cat 12.60 for very similar design. Poss London 1760", 22.5cm diameter (a/f), (3)
A pair of delftware drug jars,c.1670, London, Lambeth, each of ovoid form and decorated with a scrolling panel surmounted by a cherub's head, one inscribed 'C. Lujulae', the other 'U. Nervin',17.5cm high (2)Condition ReportBoth jars with extensive cracks, chips and losses to the glaze. The rim of one has been damaged and subsequently repaired. Some manufacturing imperfections and pitting. See additional photos.
Fayence. Hochhackiger, spitzer Barock-Schuh mit reliefierter Schnalle. Dekor in kobaltblauer Scharffeuermalerei aus Vögeln, Blüten und Ornamenten. Dat. 1707. Ger. best.; H. 12 cm.A rare English Delftware blue and white faience shoe. Dated 1707. Minor chips.England. Wohl London oder Bristol. 1707.
A London delftware drug jar, circa 1680Of ovoid shape, painted in blue with a 'ribbon label panel' inscribed 'V ÆGYPTIAC' surmounted by an angel's head and its outstretched wings, 17.5cm highFootnotes:Unguentium Aegyptiacum or 'Egyptian ointment' was made from basic copper acetate, vinegar and honey and was used in the treatment of ulcers.For further information on this lot please visit Bonhams.com
A large London delftware wine bottle, dated 1650The 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 1650' above a curlicue flourish, 18.8cm highFootnotes:A wine bottle inscribed 'CLARET 1650', also of generous size, was sold by Bonhams on 1 December, lot 2. The lettering, numbers and flourish are very similar, possibly even by the same hand.For further information on this lot please visit Bonhams.com
A rare and early London delftware charger, circa 1640Southwark or Rotherhithe, painted in blue with a central daisy-like motif with radiating strokes like the spokes of a wheel, the panelled border with abstract chrysanthemum flowers and conch shells, a blue line at the rim, the underside with a lead glaze, 32.5cm diamFootnotes:Fragments featuring both the border and central motifs have been excavated in London. The abstract designs on the borders are derived from Chinese export kraak porcelain. Leslie B Grigsby illustrates two similar chargers, see The Longridge Collection of English Slipware and Delftware (2000), D171 and D173.For further information on this lot please visit Bonhams.com
A rare London delftware wall pocket, circa 1750Probably Lambeth, of distinctive shape, painted in blue with a Chinese figure standing on a terrace overlooking a garden, a flying insect above, formal motifs below, drilled with two holes for suspension, 19cm longFootnotes:A similar example, formerly in Harry Garner's collection, is in the Victoria and Albert Museum (C.72-1967) and is illustrated and discussed by Michael Archer, Delftware (1997), p.375, I.23.For further information on this lot please visit Bonhams.com
Two London delftware plates, circa 1715-40Of so-called 'pancake' shape, painted in blue and manganese with an urn overflowing with flowers, a tramline border with dashes below the rim, 22.6cm diam, the other possibly Vauxhall, and painted in blue with black outline, a naïve multi-storeyed building flanked by trees, a border of dots and dashes linked by wavy lines, 22.3cm diam (2)For further information on this lot please visit Bonhams.com
A London delftware tulip charger, circa 1680-90Painted in blue, green, yellow and ochre, with a large central tulip, smaller tulips, carnations and seed pods also growing from a low mound, within a yellow line and blue dash rim, 33.3cm diamFootnotes:Michael Archer illustrates a similar charger in the Victoria and Albert Museum (C.245-1911), Delftware (1997), A.32. See also a small tulip charger from the John Philip Kassebaum Collection, sold by Sotheby's on 1 October 1991, lot 6 and more recently by Bonhams on 17 May 2017, lot 91. The brownish tones on both chargers appear to be a misfired red, which began to be used towards the end of the 17th century.For further information on this lot please visit Bonhams.com
A highly important engraved 'Adam and Eve' marriage goblet, dated 1714The generous round funnel bowl with a solid base, naively decorated in diamond-point with the 'Fall of Man', the semi-nude figures of Adam and Eve wearing leafy sprays around their waists, standing either side of the Tree of Knowledge, its branches laden with fruit and the serpent entwined around its trunk, a rabbit and a fox behind, the initials 'A/ I*E' to the left and the date '(17.14)' below the rim, a bestiary alternating with trees arranged in three tiers to the rest of the bowl, the animals including an elk, a dog, a seated fox, a unicorn, a lioness, a parrot perched on a branch, a large spotted elk, a recumbent lion and a doe, on a six-sided moulded stem containing an elongated tear, over a folded conical foot, 18.7cm highFootnotes:ProvenanceReverend and Mrs M de la Hey, North Cerney, GloucestershireMajor R M O de la Hey Collection, Sotheby's, 13 June 1977, Lot 69Stephen Pohlmann CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CI, no.1F Peter Lole, 'Limpid Reflections', Glass Circle News, no.109 (December 2006), pp.12-13Dwight Lanmon, The Golden Age of English Glass (2011), p.153, figs.87a-dStephen Pohlmann, 'An Eclectic Collector', Glass Matters, no.14 (June 2022), p.21, fig.2The scene on this remarkable goblet depicts the Fall of Man in the biblical book of Genesis, in which Adam is seen accepting from Eve the fruit from the Tree of Knowledge of Good and Evil. The engraving is filled with symbolism. The parrot on a branch represents wisdom and other animals are emblematic of the four humours: cruelty, melancholy, sensuality and lethargy. The present lot is one of just six goblets decorated with similar depictions of Adam and Eve in diamond-point, and also represents the earliest dated glass with a moulded stem. The initials relate to an unknown couple whose surname began with A, with 1714 perhaps referring to the date of their marriage.Two early goblets of very different form to the present lot depict The Fall in diamond-point, both dating to the last quarter of the 17th century. One has a short swirled quatrefoil stem and is illustrated by W A Thorpe, A History of English and Irish Glass (1929), pl.XXXVII, reproduced by Dwight P Lanmon, The Golden Age of English Glass (2011), p.152, fig.85. Another virtually identical depiction features on a gadrooned goblet sold by Bonhams as part of the James Hall Collection on 17 December 2008, lot 22, illustrated by Lanmon (2011), p.152, fig.86. The scenes on both glasses are so similar to one another that they must have been inspired by the same source print, if not produced by the same hand, but are earlier than the present lot and thus of unrelated manufacture.Only two other goblets with moulded stems which depict The Fall would appear to be recorded, both with eight-sided stems. One of these is illustrated and discussed by Lanmon (2011), pp.148-53, no.45 and has a remarkably similar bestiary of animals and trees on the bowl, although the scene of Adam and Eve is a mirror image of that on the present lot. It bears the slightly later date of 1716 and features an octagonal stem moulded with 'GOD SAVE KING GEORGE' around the shoulder. In spite of some stylistic differences in the execution of the main scene and the date, close similarities in the rendering of the animals and trees suggests both this glass and the present lot were probably engraved by the same artist, perhaps using the same source print.The second is a fragmentary Dutch goblet applied with diamonds to the shoulder of the stem, excavated in Utrecht and illustrated by Ina Isings et al., Schitterend! (2009), pp.130-1 and front cover. Only the figure of Adam, the base of the tree trunk and serpent's tail, and the legs and hand of Eve holding the apple remain, but it is clearly a different interpretation of the scene. The reverse is decorated with the Crucifixion of Christ, with the scenes titled 'De Boom de Doods' (The Tree of Death) and 'De Boom des Levens' (The Tree of Life) respectively.The only other goblet recorded with The Fall is a heavy baluster of circa 1720 in the Ashmolean Museum (inv. no.HM477), illustrated by Lanmon (2011), p.153, fig.88. Whilst the engraving is slightly less naïve, Lanmon suggests that this goblet is likely to be by the same hand as the two dated moulded-stem examples, including the present lot, based on compelling stylistic similarities. The Ashmolean goblet is thought to have been acquired in Bristol. Goblets depicting The Fall have traditionally and almost certainly erroneously been attributed to Bristol on account of it being a centre for the production of delftware 'Adam and Eve' chargers in the 17th and 18th centuries, see Lanmon (2011), p.150.The contrapposto stance of Adam and Eve in the scene on this important group of goblets, with Adam's right arm distinctively raised, bears a number of similarities to Albrecht Durer's celebrated 1504 engraving of the couple, which inspired a number of later artists. The source is in fact likely to be De Royaumont's History of the Bible, translated from the original French and first published in London as two volumes in 1688 (History of the New Testament) and 1690 (History of the Old Testament) by Richard Blome. Third and Fourth editions were published in London in 1705 and 1712 which both expanded upon the previous versions. Containing many detailed and beautiful plates by various artists, 'The Fall of Adam' was engraved by the Dutch draughtsman Johannes Kip (1653-1722) after George Freman. Indeed, the two distinctively placed rabbits in the foreground of the engraving are almost exactly reproduced on the Ashmolean goblet, leaving little doubt as to the source.The distinctive way in which the figures on these glasses are executed, with very dense opaque scratching filling the bodies, but details including the facial features and breasts left completely blank to denote shadow, is seen on several 18th century glasses engraved in diamond-point in the Netherlands, including the aforementioned fragmentary example. Another Dutch engraved moulded-stem goblet featuring three Commedia dell'Arte figures engraved in a very similar style, attributed to Thomas van Borckelo, is illustrated by Anna Laméris, 'Lead Glass in Eighteenth-Century Holland', in Frides Laméris, Canes, Serpents and Ships (2018), p.43. A heavy baluster goblet signed by van Borckelo and dated 1748, featuring an orange tree engraved in very similar style to the Tree of Knowledge on the present lot, is in the Victoria and Albert Museum (inv. no.C.163-1956). Whilst these glasses post-date the present lot by some years, the stylistic similarities raise the interesting possibility that a Dutch hand may have been responsible, perhaps working in England.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 mid 18th century London Delftware punch bowl, having manganese purple ground to exterior and painted in blue, diameter 22.6cm, height 10.9cm. Condition note: loss of glaze to rim, restored with visible lines to interior of bowl in circle where pedestal foot has been re-joined and in two vertical lines from this ring to bowl rim (see images)
A Lambeth delftware ballooning plate: of small size, the balloon painted in green and manganese and flying over a riverside house, the rim with floral garlands and feather edged rim, circa 1785, 20cm.* The subject celebrates the famous twenty-four mile balloon flight made by Vincenzo Lunardi in 1784 from the Honourable Artillery Company, Finsbury, London to North Mymms.
An English delftware punch bowl, London, c1750-60, painted to the exterior with a continuous landscape with sponged trees, ruins and a man with raised right arm and pointing hand, 30cm diam A remarkeably similar but slightly smaller example in the collection at the Victoria and Albert Museum is discussed Archer (Michael) - Delft Ware: The Tin-Glazed Earthenware of the British Isles, London 1997, fig. F.29. The museum's example features a pointing lady; another bowl with a pointing lady and a man leaning on a stick some distance away, with similar sketchily painted landscape was illustrated Horne (J) - Collection of early English Pottery Parts I-X, No 255 Foot chipped, localised flaking around rim, the interior stained
Two London delftware drug or apothecary jars c.1740-50, each painted in blue with a cartouche surmounted by a shell flanked by putti holding flower stems, one inscribed 'UNG. ALB. C.', the other 'UNG: CAERUL', some glaze loss and stabilising, 19cm max. (2) Unguentum Album was an ointment made with white lead, egg white and oil of roses, used in the treatment of burns. Unguentum Caeruleum (The Blue Ointment) was made from mercury, hog's lard and turpentine and was thought to guard against venereal disease.
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