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A large Italian Maiolica centrepiece painted in typical colours modelled as a cherub supporting a large bowl, standing on a circular base, late 19th/20th Century, 70cm high

A Wardle teapot with pink Maiolica style decoration together with a further large treacle glazed teapot and cover

Two 20th Century Italian Maiolica Albarello and Covers, tallest 32cm high, both bearing marks for Deruta (2)From the Estate of John Stoddart - Part I Equestrian painted example - flat chip to the side of the top rim, no firther damage and free from repair Second example - good condition

Pair of Maiolica vases or jars Italian, on circular pedestal bases, one decorated with a stag, the other with a hunting dog, unmarked, 27cm high (2)Provenance: The property of a Gentleman, from a period Winchcombe Town House. With overall signs of wear age and use. Surface dust and dirt. One with large area of damage/repairs to the foot/base. Both with some damages and losses to the glaze.

An Italian maiolica baluster 'portrait' jug and a Moroccan pottery jug the first 20th century in 16th century style, 24cm; the second with floral and geometric decoration, late 19th/20th century, 22cm [2].

An Italian maiolica teapot and jug and a Talavera maiolica vase, 25cm high (3). Condition - jar good, teapot restored and cracked

Attributed to the workshop of Virgilio Calemelli, a late 16th century Italian maiolica Dish well painted in compemdario colours with a large figure of a child saint with halo and carrying a cross with a banner within a stylised floral border typical of Calemelli's workshop, 9 1/2" diameter.

Italian maiolica 'Ascos' jug, 19th century in 16th century Urbino style, decorated with Neptune, sea serpents and a sea nymph, beneath recumbent animals to rim, the scroll handle with moulded putto to base, 23.5cm high, (faults)

A SPANISH MAIOLICA COMMEMORATIVE CIRCULAR BOX AND COVER DATED 1860 Decorated with swag bands in shades of ochre, blue and manganese, lid and base inscribed PEDRO BUSTILLO, ANNO DE 1860, and with flanking handles 13cm high, 21cm wide Provenance: Private Collection Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Some chips, please see additional images Condition Report Disclaimer

A large Italian Giovanni DeSimone maiolica pottery charger, decorated figures by beach huts, 50.5 cm diameter

A large Italian Giovanni DeSimone maiolica pottery charger, decorated fishermen in a boat near a lighthouse, 50 cm diameterlooks to have a crack

An Italian maiolica pottery porringer type vessel decorated to the bowl with a harpy, 23cms wide.

A large maiolica pottery wall bracket depicting cherubs holding a basket, signed, approx 54cms wide (a/f).

A Cantagalli pottery plaque depicting a classical lady, 9.5 by 14.5cms; together with a Naples porcelain tankard decorated in relief with drinking scenes, 15cms high; and a maiolica ewer, 28cms high (3).

An Italian maiolica two-handled vase with Arabesque design, 16cms high.

An Italian maiolica drug jar with a Moor or Muslim wearing a turban, workshop of Maestro Domenico, Venice, 16th C.H 27 cm

An Italian Maiolica ewer, 19th century, with griffon handle and hand painted panel, signed under base, height 24cmHandle has chip on 1 side, also small chip under front of the rim and several old chips around the foot, no cracks or restoration

A Hispano-Moresque style maiolica dish, 37cm. Condition - good

New Kingdom, Ca. 1550 - 1069 BC. A stunning funerary scarab made of two coloured Maiolica. The top displays characteristic insectile features, such as a miniscule head, thin folded legs underneath a large body, and two dome-shaped wings. The underneath is smooth and without inscriptions. For similar see: The Metropolitan Museum of Art, Accession Number: 36.3.28. Size: 55mm x 35mm; Weight: 20g Provenance: Prince collection, 1990s-2014, acquired on the US art market; Ex. Artemis Gallery, Ancient Art, 2007. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A Wedgwood Maiolica centrepiece with a large shell supported by three dolphin type fish, 18cm high

ASSORTED EUROPEAN CERAMICS including a West German mid-century floor vase, 52cms (h), another West German mid-century vase, 30cms (h), Maiolica type wet drug jar, 37cms (h), German stoneware jug having pewter cover, 26cms (h), etcProvenance: private collection Conwy

A Cantagalli maiolica wall plaque depicting the Virgin and child, 19th century, after Della Robbia, initialled verso EvH 329, 33cm wide, 43cm high. Condition - fair to good

A pair of Schutz Cilli Majolica Chargers c1880-1900 Maiolica 31cm diameter

A large 18th/19th century Maiolica platter. 62 cm long.

An unusual Italian maiolica circular dish, late 19th/early 20th century, painted in Arts & Crafts style, the central concave well with a Cupid talking to a frog perched on top of a toadstool, the wide rim with water nymphs swimming amidst fish and other marine creatures, unmarked, diameter 26.5cm.

An Italian Sicilian maiolica albarello, probably Palermo, second half 17th century, of typical waisted form, painted with a bird within a large oval cartouche against a ground of orange fruit on scrolling leafy tendrils, between bands of foliage and entwined ribbons, height 24cm (faults).

A pair of Castelli style maiolica circular chargers, 20th century in a 17th/18th century style, the first depicting Venus and Cupid, the second two women attending a child, both with putti, mask, fruit and foliate decoration to the rims, unmarked, diameter 32.3cm.

Small Italian maiolica lustre bowl, circa 1900, of hemispherical form internally decorated with a profile bust portrait of St. Justina of Padua, entitled to banner 'Guistina', within arcaded banding, 12.7cm diameter x 5.2cm high, handwritten label beneath 'Villa Demidoff di V. S. Donato'Villa San Donato was build 1827-1831 for Nikolay Demidov / Demidoff, the Russian Ambassador to the Court of Tuscany, on land bought from the Catholic Church, at Polverosa north of Florence. The 42 hectare estate included rivers, lakes, churches, a menagerie, a silk factory, a zoo, gardens and a railway, as well as a 14-room private museum housing Demidoff's private collection.

An Italian blue and white Maiolica wet drug or syrup jar. Early 18th century, with foliate scroll decoration and labelled for 'Sci Di Cinque Radice', height 20.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A matched pair of Italian Maiolica albarelli or dry drug jars. Probably Venetian, early 17th century, of waisted form, the pale blue ground painted with trailing foliage, and labelled 'Ping Vaccin' and 'Vapostol', height 24cm (2). Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A pair of Italian Maiolica albarelli or drug jars. One dated 1742, of moulded waisted form, polychrome decorated with flower and scroll edged panels, one painted with a building, and the other with fruit, height 20cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

An Italian Maiolica small albarello. 17th century, of slightly waisted form, painted in blue with naive flowerheads and foliage, height 13.5cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A North Italian blue and white Maiolica wet drug or syrup jar. 17th century, with floral painted decoration and strapped handle with scroll terminal, labelled 'S. de Cichocrh', height 23cm. Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024

A French faïence istoriato armorial charger, after the original from the Isabella d’Este service painted by Nicola da Urbino, early 20th century, impressed mark and incised E. 100, the centre painted with the impaled arms of Gonzaga and Este with putti supporters and an impresa of a musical score below, the well with palmette and floral scroll bianco sopra bianco ornament, the border with The Gathering of Manna in a mountainous landscape with two further imprese of the candelabrum and a cauldron, the reverse with an underglaze inscription in Russian and French: A. Prokoryeva (?) / COLLECTION SPITZER / Faïences Italiennes / Nicolo da Urbino / XVIme siècle., 50.5cm diameterFootnotes: Note: This charger is a copy of one of the two largest pieces of the celebrated maiolica service which was made for Isabella d’Este (1474-1539), Marchioness of Mantua, who was one of the most active and important art collectors and patrons of the 16th century.  Scholars have established that the service was almost certainly made in 1524 and it was a present from Isabella’s daughter (the Duchess of Urbino) to her mother for her personal use at her villa at Porto, her retreat just outside Mantua. The scenes on the two largest pieces of the service were taken from engravings after Raphael.  There is no unity to the subjects of the service, but the unifying feature is the coat-of-arms and the use of Isabella’s personal devices, or imprese, which conveyed particular significance to her (for example the candelabrum on the present lot stands for sufficit unum in tenebris – ‘one [light] is sufficient in the darkness’). For the two d’Este pieces in the British Museum and a discussion of the service, see Dora Thornton and Timothy Wilson, Italian Renaissance Ceramics, London, 2009, pp. 230-236.  The original charger that the present lot is after is in the Museum für Kunst und Gewerbe, Hamburg, and is illustrated by Jörg Rasmussen, Museum für Kunst und Gewerbe Hamburg, Italienische Majolika, Hamburg, 1984, no. 116.  Condition Report: Overall this charger is in good condition – the principal fault is a small chip to the glaze of the rim at 11.30 o’clock with slight associated cracks to the glaze (this is relatively minor).  There is another small chip to the glaze at the edge of the well at 5.30 o’clock – this is minor.  There is a firing fault to the border at 4 o’clock (this looks like a slightly indented curved line across the border) – this is minor and dates from the time of manufacture.   

An Italian maiolica istoriato crespina, second half 19th century, painted with the story of the Judgement of King Midas, with Pan and Apollo playing instruments near a shore, Midas with donkey’s ears, with distant buildings and mountains beyond, 25.8cm wideProvenance: The George Farrow Collection.  Footnotes: Note: This footed dish, or crespina, is decorated with the story of the musical contest between Pan and Apollo. Pan was foolish enough to challenge Apollo to a contest. Although Pan’s music played on pipes was more rustic than Apollo’s music played on the lyre, Midas, who worshiped Pan, objected to Apollo being declared the winner. As a punishment for his depraved ears and judgment, Apollo gave him donkey’s ears. The author of this dish appears to have confused the myth, depicting Pan with a lyre, and Apollo with pipes.  Condition Report: The foot has been removed and ground flat.  This may have been removed in order to fit the dish into a frame (which was common in the 17th and 18th centuries, but as this piece is of later date it may have been deliberately removed to give the appearance of an older object).  There is a very slight (minor) chip to the edge of what remains of the foot.  There is heavy wear to the reverse in places which does not appear to have accrued slowly with time – instead, it looks as though it has been added, and it was presumably added to ‘age’ the piece.  

A Continental istoriato maiolica charger, probably second half 19th century, painted with the conversion of Saul, with Saul in Roman armour, lying on the ground with his hand raised to shade his eyes, his companions astonished and in disarray, God appearing from clouds above, surrounded by cherubs, the reverse with concentric ochre bands, the centre with remains of an armorial wax seal, 46.4cm diameterProvenance: The George Farrow Collection. Condition Report: There is a large firing crack (which dates from the time of manufacture) which runs from the rim at 7 o’clock into the lower part of the scene.  This has been secured with metal staples / ties to the reverse some time ago, probably in the 19th century, and on the front the unglazed area has been retouched in places in an attempt to disguise it.  There is some slight re-touching to flaking of the glaze near the rim.  There are further slight cracks to the glaze, but these are minor.  

Idria in white and blue majolica. Marked on the bottom. Savona. 18th century. Slight defects. 44x33x30 cm approx. Idria in maiolica bianca e blu. Marcata sul fondo. Savona. XVIII secolo. Lievi difetti. 44x33x30 cm ca.

A group of three Maiolica albarellos, one painted with a woman by a viaduct, 28cm high; another with the head of a nobleman, 25cm high and the other with the head of a Moorish man, 14cm high (3)The viaduct one has usual areas to the rims where the glaze hasnt taken. Chips to the underside of the footrim. Same condition for the nobleman one. The smaller one has chips to the footrim and firing faults to the body 

A Maiolica pottery figure of Leda and the swan, 18th century, Leda seated supporting the swan with cupid by her side23cm highThere is quite a bit of damage to the piece, the head of both Leda, the swan and the cherub has been off and glued. Loss of enamel, restoration in quite a few place, including thea head and the swan

A documentary Gubbio maiolica dish, workshop of Maestro Giorgio Andreoli, dated 1531Decorated in blue, green and shades of copper lustre with a profile bust in the centre flanked by grotesque scrollwork and reserved against a blue ground with trophies, the reverse inscribed in reddish copper lustre with the date and 'Mo. Go.' surrounded by scrolls, 22.3cm across (some damage)Footnotes:A similarly decorated dish with a panel enclosing two dragon heads in the centre and similar trophies on a blue ground was offered by Pandolfini, Florence, 26 October 2022, lot 16.Another related dish with a profile bust of a man in the centre is in the Louvre (inv. no. OA 1921).For further information on this lot please visit Bonhams.com

A Pavia maiolica circular dish, Rampini workshop, late 17th/beginning 18th centuryAttributed to Siro Antonio Africa, painted with a statue of Hercules wearing the lion skin and holding a club, on a pedestal with a female bust portrait, against a massive column and arches with figures in the background and a distant town and lake visible through the arches, 31.3cm across, AF monogram below a Maltese cross and crown in manganese (restored)Footnotes:For the attribution of the mark, see Marino Marini, Maiolica and Ceramics in the Museo Nazionale del Bargello, 2024, cat. 343b.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 Deruta maiolica stand for a ewer, circa 1500The raised centre painted with a medallion inscribed 'LUCRETIA. ROMANA' bordered by a raised laurel wreath border, flanked by medallions of Caesar Augustus and Achilles facing each other divided by panels of cornucopia, grape bunches, and birds on an orange ground bordered by a banner with Latin inscription to the outer edge of the cavetto reading: 'PER VERTU SAQUISTA ONORE / FAMA RENGNANTES PER SUPERPBIA / PER ESTIMATO EST / FIDELIS USQUE AD MORTEM [With virtue one acquires honour / Fame reigns over pride / ? / Faithful unto death.' The reverse decorated with a central monogram 'PNO' depicted at the centre of a sunflower, the underside rim decorated with S-shaped scrollwork on a cobalt-blue ground. 34.1 cm diam., NOP to reverse minor restorationFootnotes:This stand is related to an armorial example in the Wallace Collection with the monogram 'CB' on the reverse, perhaps a reference to Cristoforo Bourbon di Petrella (1436-1502), Bishop of Cortona which would date it to before 1502. Another related piece in The National Gallery of Art, Washington, is inscribed 'L' on the reverse. This stand or basin would have supported an ewer which would have contained water, scented with rosemary or chamomile, for washing one's hands after dining. A fork was a novelty in 16th-century Italy, and since diners used their fingers when eating such an ewer was an essential part of dining practice.A similar, if less carefully drawn, monogram reading 'NOQ' appears on the back of a lustred Deruta ewer stand at the British Museum (acc. no. 1855,1201.81). Giulio Busti has not been able to identify the monogram with any of the known Deruta potters of the early 16th century, it could also refer to the owner.For further information on this lot please visit Bonhams.com

A maiolica istoriato panel, 19th century, Italian, decorated in polychrome with 'The Abduction of Helen from Troy' after engravings by Marco Dente da Ravenna and Marcantonio Raimondi, after a design by Raphael, with a label to the reverse indistinctly inscribed 'EIE-RUE',27.5 x 41.5cm

A pair of maiolica table lamps, 20th century, in chinoiserie style, each with a white ground painted with bamboo and cranes, the base with a 'TS' painted monogram and dated '1987',50cm diameter 55cm high including shade (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.Condition ReportGood condition overall. Some crazing. One with chip to foot - see images. Lamps at widest point 20cm, base of lamp 10cm, shades 50cm diameter, height without shades 40cm.

Two maiolica blue and white albarelli, 18th century, Italian, one example inscribed with 'NVG.ROSAT', the other 'VNG.PLVMB', and decorated with pastoral figures in a landscape, losses,larger 13.5cm diameter20cm high (2)

Paar AlbarelliMajolika. Schlanke, hoher Form. Flächendeckender, polychromer Scharffeuerdekor, schauseitig Wappenschild mit Turm, drei Sternen und Vogel, gerahmt von einer Rollwerkkartusche mit Helmzier und Federbusch. Besch. u. rest.; H. 25,2 cm.A pair of Italian probably Palermo or Trapani polychrome painted maiolica albarelli with coat of arms. Major flaws and restorations.Italien. Wohl Sizilien. Palermo oder Trapani. 17. Jh.

Apothekenflasche der Renaissance für Betonica officinalisMajolika. Konischer, abgesetzter Fuß, kugeliger Korpus. Flächendeckender, polychromer Scharffeuerdekor, schauseitig große, Inschriftkartusche "AQ.(UA) BETTONICA" in einer Rahmung mit Grotesken und Maskarons, rücks. große Blumenstängel, der Hals mit vertikalem Banddekor. Am Boden altes Auktionsetikett von 1913 mit Nr. 260 u. Bez. "Maison de Ventes Lino Pesaro, Milan (/) Vente de la Galerie et du Musée de M.(onsie)r le Chev(alier). P.(ietro) Foresti". Partiell rest., Glasurchips. H. 22,5 cm.Der Heilpflanze der Echten Betonie (Betonica officinalis) wurden im Mittelalter und in der Frühen Neuzeit diverse pharmakologische und wundersame Wirkungen gegen unterschiedlichste Krankheiten zugeschrieben, sogar als Schutzmittel gegen Hexerei.Provenienz: Aus der bedeutenden Sammlung von Pietro Foresti (1854 - 1926), Carpi; Auktion Lino Pesaro, Mailand 1913, Nr. 260. An Italian Renaissance polychrome painted pharmacy maiolica bottle for Betonica officinalis. Old auction label on the bottom from the collection of Pietro Foresti, sold in Milan 1913. Partially restored, glaze chips.Italien. 16. Jh.

A monumental Minton majolica 'Bacchus' vase, circa 1870Of tremendous size, the urn form applied with three satyr's masks alternating with bunches of grapes and other fruits garlanded by a purple rope, on an attractive yellow ground with details picked out in orange and mauve, the interior turquoise, raised on a square base, 93cm high, impressed MINTONSFootnotes:Minton's 'Majolica and Palissy Ware' was a great success at the Great Exhibitions of the mid-19th century. This vase is a superb example of Minton's large-scale majolica in Renaissance revival style. The yellow colourway is particularly rare and recalls the vibrancy of the Italian maiolica that acted as inspiration to Art Director Léon Arnoux and the potters at Minton. An example in darker tones of blue and green is in the Victoria and Albert Museum (inv. no.C.63-2019).For further information on this lot please visit Bonhams.com

An unusual pottery dish with Iznik design to the centre within brown glazed Maiolica border, probably French, 29cm diameter

A pair of Ginori late 19th century Italian Maiolica pilgrim flasks, each with satyr masks to the shoulders, shoulders with screw caps, Ginori marks to the base, H29cm Both of the screw lids are visibly chipped around the edge, otherwise good overall condition, some surface scratches and wear

A pair of early 19th century Italian Maiolica jars, decorated with manganese yellow and copper green, each with panels depicting figures and a village, lion mask ring handles with marks to the base for Angelo Levantino, H25cm1 of the jars has a 8cm re-glued chip along the top edge, 1 of the lion mask handles has also been broken off and re-attached, clearly visible, quite poorly done, visible cracking through the neck, hairline crack through the neck also. The other vase in good condition, just a couple of minor chips around the bottom of the foot, both have some wear

A Victorian maiolica jardiniere stand, probably Minton, height 78cm. Condition - poor

A Cantigalli maiolica lustre dish and a Hispano-Moresque style maiolica dish, 38cm in diameter. Condition - good

Six Italian maiolica Urbino style 'Istoriato' side plates, 19th Century, each polychrome painted with a classical scene within a border of cherubs among foliage, each 20.5cm diameter (6) (at fault)

An Italian maiolica Urbino style 'Istoriato' shallow bowl of large proportions, late 19th or early 20th century, the well polychrome painted with putti supporting a portrait of a nymph, set within an acanthus leaf border, 39.5cm diameter; with a similarly decorated 20th century plate, 28.5cm diameter (2) (at fault)

A maiolica glazed pharmacy jar, painted with crest to the front, glaze losses to rims, height 14cm, discovered whilst mudlarking in the Thames

Wilhelm Schiller & Son (Bohemia) late 19th century maiolica two handled urn shape vase. Impressed marks to base, #2728. H24cm

An Italian maiolica style pedestal albarello jar - late 20th century, painted monogram 'HBR' to base, of globular form with flared pedestal foot, painted in blue and yellow with a central cruciform armorial within a laurel wreath, on a diaper ground, 25.5cm high.

† STEPHEN DIXON (born 1957); 'Tattow', a tin-glazed Maiolica earthenware plate decorated with in-glaze transfers of the Mona Lisa brandishing a rifle, impressed marks, disc plate hanger, diameter 31.5cm. Condition Report: Appears good with no obvious signs of faults, damage or restoration.

Albarello mit WappenkartuscheMajolika, Blaudekor, eisenrot und gelb überstaffiert. Unglasierter abgedrehter Boden ohne Marke. Glasurchips, Risse. H 14,4 cm.Apulien / wohl Laterza, drittes Viertel 17.Ein identischer Albarello aus derselben Apotheke befindet sich in der Sammlung des Museo della Maiolica laertina in Laterza. Leider ist das Wappen nicht identifiziert.ProvenienzRheinische Privatsammlung, 1957 erworben.