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GEORGE II ENGLISH DELFT 'MERRYMAN' PLATE, dated 1730, probably London, inscribed in the centre 'To Entertain is (sic) Guest' beneath the number 3, inside a stylised laurel wreath 19.6cms diam.Provenance: private collection SwanseaAuctioneer's Notes: Merryman plates satirize the perennial tussle between husband and wife and were made in sets of six, often numbered, each decorated with part of a well-known drinking verse:1. What is a merryman 2. Let him do what he can 3. To entertain his guests 4. With wine and merry jests 5. But if his wife do frown 6. All merryment goes down Dated examples range from 1682 to 1752, illustrating the popularity of the sentiment. A set dated 1734 is illustrated by Frank Britton, 'London Delftware' (1987), p 143 and an earlier one of 1717 in Louis Lipski and Michael Archer, 'Dated English Delftware' (1984), p 76.Comments: fritting, glaze imperfection to letter 'o' of 'To'.

A London delftware Royal blue dash charger, c.1690-95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, within a blue dash and yellow border rim, the underside with a buff lead glaze, a section broken out and cleanly restored, 35.3cm.

A rare English delftware night light holder, c.1770, probably London, the cylindrical jar shape with an everted rim, pierced with five small arched windows, the rest painted with flying insects around flowering branches, with a concave base, 12cm.Cf. Michael Archer, Delftware, pp.328-329, Nos. G5 and G6 for similar examples.

A large English delftware posset pot and cover, c.1720, London or Bristol, the large body painted in blue with birds perched atop flowering branches, the strap handles with blue dashes, the narrow spout with a foliate scroll design, a good repair to the rim, 25.3cm. (2)

Ceramics.- Garner (F.H.) English Delftware, first edition, Michael Archer's copy interleaved with his notes and additional illustrations in preparation for a second edition, 1948 Garner (F.H.) & Michael Archer. English Delftware, second, enlarged & revised edition, Archer's interleaved copy with some corrections, 1972 § Ray (Anthony) English Delftware Pottery in the...Ashmolean Museum, Oxford, inscribed to Archer by the author, 1968 § Britton (Frank) English Delftware in the Bristol Collection, 1982 § Francis (P.) Irish Delftware, 2000 § Austin (John C.) British Delft at Williamsburg, Williamsburg, Va. & London, 1994 § Grigsby (Leslie B.), Michael Archer & others.  The Longridge Collection of English Slipware and Delftware, 2 vol., 2000, plates and illustrations, many colour, original cloth or boards, the first rebacked preserving part of dust-jacket on upper cover, rubbed, the last five with dust-jackets, the last also with slip-case; and c.20 others on English Delftware, mostly pamphlets, 4to & 8vo (c.30)

A delftware tin-glazed earthenware punchbowl, c.1785, English, London, the centre with a chinoiserie scene and a hot-air balloon, with floral motifs to the rim and sides in greens, blues and reds, 30cm wide12cm highCondition ReportThe bowl has been broken into several places, repaired and repainted, however, it is now stable. A couple of chips to the paint. Overall in fair cosmetic condition. See additional photos.

A BROWN-GLAZED FOLIATE-RIMMED DISH, LIAO TO EARLY SONG DYNASTY 遼至宋初蓮瓣口褐釉盤Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 11th-12th century. Finely potted with flaring sides neatly divided into ten lobes supported on a short tapered circular foot, covered overall with a thin black-brown glaze, pooling at the edges and recesses, and stopping unevenly at the base to reveal the grayish-buff body.Provenance: R&G McPherson Antiques, London, United Kingdom, 2014. The private collection of Grahame Clarke, acquired from the above and thence by descent. Copies of the original description and invoice from R&G McPherson Antiques, each confirming the dating above, accompany this lot. Robert McPherson is an English dealer and highly regarded expert in Chinese ceramics, a committee member of the Oriental Ceramic Society, and on the board of ‘Asian Art in London’. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age. Wear and firing flaws, including small firing cracks, spur marks, and glaze recesses. Few smoothened chips to the rim, one small chip to the foot. The rim with minor glaze touchups.Weight: 148.2 gDimensions: Diameter 12 cm Literature comparison:Compare a closely related lobed dish in the Fitzwilliam Museum, Cambridge, accession no. C29-2007. Also compare another closely related lobed dish in the Art Institute of Chicago, reference number 1964.1221. And another related dish illustrated in R. Krahl, Yuegutang, A Collection of Chinese Ceramics in Berlin, G+H Verlag, Berlin, 2000, p. 227, pl. 181. 遼至宋初蓮瓣口褐釉盤中國，十一至十二世紀。十瓣蓮瓣口，淺圈足，薄黑褐色釉，邊緣和凹陷處有積釉，底部不平，露出灰黃色的胎。 來源：英國倫敦R&G McPherson Antiques藝廊，2014年；Grahame Clarke私人收藏, 購於上述藝廊，保存至今。該拍品附有 R&G McPherson Antiques 的原始描述和發票副本，每份都確認了上述日期。 Robert McPherson 是一位英國經銷商、備受推崇的中國陶瓷專家、東方陶瓷學會的毫米級成員以及“倫敦亞洲藝術”的董事會成員。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：品相良好，磨損和燒製缺陷，包括小的燒製裂紋、毛刺痕跡和釉面凹陷。邊緣局部有已經平滑的缺口，腳部有一小塊缺口。邊緣有輕微的釉面修飾。重量：148.2 克 尺寸：直徑12 厘米文獻比較： 比較一件非常相近的葵口盤，收藏於Fitzwilliam博物館，劍橋，館藏編號C29-2007。另一件非常相近的葵口盤， 收藏於芝加哥藝術館，館藏編號1964.1221。另一件相近的葵口盤， 見R. Krahl，Yuegutang，《A Collection of Chinese Ceramics in Berlin》，G+H Verlag，柏林，2000年，頁227，圖181。

A WHITE-GLAZED JAR, TANG DYNASTY 唐代白釉罐Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke’s work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie’s 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie’s New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm).

AN ENGLISH DELFTWARE BLUE AND WHITE LARGE PLATE, MID-18TH CENTURY PERHAPS BRISTOL OR LONDON. Painted with a couple in landscape before sponged trees and sailing boats, 34.2cm diam.With a series of restored, overpainted and discoloured rim chips, some flaking to glaze at rim, typical glaze blow outs to reverse.

TEN REFERENCE BOOKS AND AUCTION CATALOGUES ON BRITISH AND EUROPEAN DECORATIVE ARTS, MOSTLY DELFTWARE, to include: 'Delftware' by H.P. Fourest, Thames and Hudson published 1980; two copies of 'Faianca Portuguesa Seculos XVIII.XIX' by Arthur de Sandao, Christie's London - 'The Collection of The Barons Nathaniel and Albert Von Rothschild, 1999, and others (10)Odour of cigarette smoke. In used condition.

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A near pair of London delftware chargers, c.1740, William Griffith, decorated with a rare design of a stylised pavilion on a bridge amongst sponged manganese foliage, within a border of interlocking circles in red, yellow and manganese, the rims with six formal flower sprays, a few restored rim chips to one, 34.5cm max. (2)Paper labels for Jonathan Horne Antiques Ltd.Cf. Michael Archer, Delftware, p.133, nos. B31 and B32 for a similar design.

Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A rare delftware vomit pot, c.1700, probably London, painted in blue with long-tailed birds in flight above and perched among flowering plants, the inside rim with stylised tied scroll motifs, a chip to the foot, 16.5cm across.The small size would suggest this is a vomit pot rather than a chamber pot. Household utensils of this type are rare survivals. Cf. Frank Britton, London Delftware, p.116 for similar undecorated pots.

A rare delftware stand, c.1710-30, probably London or Vauxhall, the circular top painted in blue with a central flowerhead roundel between flower sprigs and demi mon panels, the piecrust rim with a formal leaf band, raised on three baluster feet, 22.3cm dia.

Two London delftware plates, 1720-40, one painted in manganese with two grazing rabbits flanking a tree, the other in blue with a peasant family walking beneath tall sponged trees, a church with a spire visible beyond, some damages, 23cm max. (2)

Nine delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (9)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A rare small delftware dish, c.1695, London or Bristol, painted in blue and ochre with a bird perched beneath a sponged tree, the rim with a blue dash border, the underside decorated in a buff lead glaze, restored, 22.3cm.Paper label for Jonathan Horne Antiques Ltd.

A London delftware dish or shallow bowl, c.1720-30, painted in red and blue with a central simple floret within a further flowerhead design, the rim with a continuous scrolling foliate border, some surface scratching and rim chipping, 29.7cm.

Eight delftware tiles, late 18th century, probably London, unusually decorated with manganese landscapes within a square panel, a geometric border in a strong green, with ochre flower motifs to the corners, some faults, 15.2cm. (8)Provenance: removed from a fireplace at Arford House, Hampshire. Arford House was built by William Ewsters in Headley, Hampshire at the turn of the 19th century.

A group of seven London delftware tiles, mid 18th century, painted in polychrome enamels with a central flower spray, the corners with blue foliate motifs, some damages, 12.6cm. (7)

A Dutch Delftware tobacco jar and brass cover, De Drie Klokken (The Three Bells) factory, second half 18th centuryOf ovoid form, painted in blue with a framed rectangular scene of a tobacco plantation depicting the preparation and packing in barrels of tobacco leaves, titled above 'DE TABAKSPLANTAGIE' and with an oval frame flanked by leaves below inscribed 'No 5', the slightly domed brass cover with a ball finial, 31cm high, 'three bells' mark in blue (glaze losses to edge of rim)Footnotes:Provenance:Acquired in 1987Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 1;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 3;S. Fellner, Die lasterhafte Panazee (1992), no. I/71Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988;Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992The potters at Delft were among the earliest to produce large tobacco jars with a large capacity that were intended for shops and tobacco producers rather than for personal use. Many such jars are inscribed with numbers or the names of different tobacco and some also bear the V.O.C, monogram of the Dutch East India Company.For further information on this lot please visit Bonhams.com

A Delft Posset Pot, London or Bristol, circa 1710, of ovoid form with flared neck and strap handles, painted in blue with chinoiserie foliage beneath a scroll border25cm wideFor a similar example see Archer (Michael) Delftware: The Tin Glazed Earthenware of the British Isles, pg.264Cover lacking. Chips and fritting to the circumference of the rim. Fritting and abrasions to the sides of the handles and tip of the spout. Internally the spout hole with glaze chipping and a small pin prick in the belly of the spout. Two large conjoined pieces broken out of the rim and profesionally restored. Another section broken out and restored, extending between the handle terminals.

Assorted items of pottery and porcelain including an English mid-18th century delftware blue and white plate, London or Bristol, painted with Oriental flower sprays, a 19th century French faience polychrome dish painted with flowers and leaves within blue linear borders, two Pratt Ware pot lids, one titled 'Strathfield Saye, the seat of the Duke of Wellington', another with crowned bear, cockerel and a lion, a pair of Staffordshire pottery greyhounds, a Tuscan china crested figure of a monkey, three Japanese dishes, two in the Imari palette and one in the Kakiemon palette, and other items Condition ReportAddition photos uploaded

A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看

A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。

A Dutch blue and white delftware model of a longcase clock containing a late 18th Century watch movement the case painted with figures in landscapes and flower sprays, the movement by Thomas Haley, London, the circular enamel dial signed Lis Woirol, Paris, the case late 19th century, 31.5cm. high [some damage].

Delftware Reference books - including Delftware (Michael Archer), Irish Delftware (Peter Francis), British Delftware at Williamsburg (John C. Austin), Delftware at Historic Deerfield (Amanda E. Lange), London Delftware (Frank Britton), English Delftware Pottery (Anthony Ray), Early English Delftware from London and Virginia (Ivor Noel Hume), English Delftware (F.H. Gardner and Michael Archer), English Delftware in the Bristol Collection (Frank Britton), London's Delftware History, English & Irish Delftware 1570-1840 (Aileen Dawson), and The Longridge Collection of English Slipware and Delftware (14)

Archer, (Michael); 'Delftware: The Tin-Glazed Earthenware of the British Isles, pub. The Stationery Office, London, 1997, in association with the Victorian and Albert Museum, with dust jacket and in card slip case.

Three Delftware blue and white wet drug jars, possibly London, circa 1740-60, named for; Syr: Cary: Rub, Syr: Spin: Cerv, Mel: Rosae, in a strapwork cartouche with shell, cherubs and flowers, 16cm high CONDITION REPORT: Cary syrup with a hairline crack to the front, approx. 6.5cm long. Mel Rosae with an impact crack to the rim above the shell, extending down approx. 3cm, and 6cm horizontally. Another hairline crack travelling around the lower part of the body. Spin syrup with a crack from the rim near the spout which travels diagonally down, 9cm long. A shallow footrim chip. All with some glaze chipping

A pair of English Delftware blue and white powder ground plates, circa 1760, painted a central Chinaman in a garden, the border with four flowerhead medallions and scrolls, petal shaped rim, probably London, 23cm wide CONDITION REPORT: Chips to rim particularly in glaze, hair lines to glaze to reverse, fire marks, surface scratches 

Two delftware plates, c.1720-40, probably London, one painted in manganese and yellow with a dog carrying a stick between tall sponged trees, the other in blue and black with a leaping stag beneath sponged trees within a scalloped blue border, some rim faults, 21.8cm max. (2)Provenance: from the collection of the late Jonathan Horne.

A large delftware charger, c.1720-30, probably London, painted in polychrome enamels with Chinese figures in a garden setting, the rim with further figure vignettes, repaired, 36.7cm.Provenance: from the collection of the late Jonathan Horne.

Eight delftware tiles, c.1720-80, two Biblical and painted in blue and manganese with Job Smitten with Boils, The Return of the Prodigal Son, another London and painted with a shipwreck showing figures hanging from the rigging, another with figures and dogs reclining in a landscape, the others with figures in landscape scenes, one Bristol in the Bowen manner, 13cm max. (8)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, fig.79 for the shipwreck tile; fig.115 for the Bowen manner tile; fig. 167 for the tile with the figure blowing the horn.

A large London delftware tile, c.1725-50, painted in blue with a stag hunt scene showing two dogs in pursuit, on a sponged blue ground with leaf corners, and a larger tile painted with a soldier holding a lance and a shield, within a circular panel, 18.5cm max. (2)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.48, no.230 for the stag hunt tile.

Two delftware tiles, the first London c.1760-90, painted in blue with a smoking kiln and other buildings before a hayrick, the second Bristol and painted in manganese with a smoking kiln chimney, with flowerhead corners linked by a cell diaper band, some chipping, 13cm. (2)Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, English Tin-Glazed Tiles, p.46, figs.221 and 223.

Two London delftware tiles from a larger tile panel, c.1770-90, probably Lambeth, finely painted in blue with an equestrian figure and another standing figure before a tavern, a woman peering from behind an open door, mounted on a later wooden frame, 26cm across.Provenance: from the collection of the late Jonathan Horne.Illustrated: Jonathan Horne, Tin-Glazed Tiles, p.120, fig.678.

A London delftware Royal Blue Dash charger, c.1702-14, painted in blue, yellow and green with a standing portrait of Queen Anne, holding an orb and sceptre and flanked by sponged trees around the letters 'AR', with a buff lead glaze to the reverse, broken in half and cleanly restored, further restoration to the rim, 34.3cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

A London delftware Royal blue dash charger, c.1690-95, painted with a full length standing portrait of King William III, crowned and holding an orb and sceptre, wearing a long ermine robe, flanked by trees, inscribed 'WR3', within a blue dash and yellow border rim, the underside with a buff lead glaze, a faint rim crack, 34.5cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.Sir Henry Sutcliffe-Smith was born in Halifax, the only surviving son of Frederick Smith and Martha Sutcliffe. From school he joined Edward Ripley & Sons, Bowling Dyeworks and followed an illustrious career in the textile industry. A special tableaux he designed for the Brussels Exhibition in 1910 earned three Grands Prix for the worsted industry of Bradford and earned Sir Henry a special diploma and a gold medal from the Belgian government. His career was largely centred around Bradford where he held positions including President of the Society of Dyers and Colourists, President of the Colour Council, Chairman of the Colour Users’ Association, Chairman of the local Conservative Association and Chairman of the Bradford branch of the RNLI. He had a keen interest in art and antiques, putting together a collection at his home at Ingerthorpe Grange, Ripon, that drew the attention of Queen Mary when Sir Henry entertained her at a tea party in 1935. He established a collection of Lord Nelson memorabilia which is housed at the National Maritime Museum in Greenwich. His love of art led him to become a Fellow of the British Institute of Industrial Art, and of the Royal Society of Arts.

A delftware Royal charger, c.1690-1700, probably London, painted with a full-length standing portrait of King William III in armour, holding an upright sword in his right hand and with his left on his hip, inscribed 'WR' above, within a double manganese line border, the underside with a pale lead glaze, a 13cm rim crack, 34cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

A London delftware Royal portrait plate or shallow dish, c.1690, painted in blue and ochre with the double portrait of King William and Queen Mary, each wearing a crown, William III in an ermine-edged robe, titled 'W M R' between the figures, all within two narrow concentric blue bands, some rim chipping, 21.4cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent. Old paper label for Stoner & Evans.

A London delftware Royal portrait plate, c.1690, painted in blue and yellow with the double portrait of King William and Queen Mary, each wearing a crown, William III in an ermine-edged robe, titled 'W M R' between the figures, all within two narrow concentric blue bands, some glaze wear and crazing, 21.3cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent. Ins £2000

A London delftware large plate or charger, c.1765, painted in blue, green, yellow and manganese with a lady beckoning to a gentleman holding a tricorn hat as she sits beneath tall trees flanking a five bar gate, rim chips, 29cm.Provenance: Sir Henry Sutcliffe-Smith (1864-1938) and thence by descent.

A rare delftware reticulated plate, c.1760, London or Liverpool, the well painted with a gillyflower spray within smaller scattered sprig, the rim pierced with abstract shapes, 24.3cm.Reticulation of this type is rare on delftware and the mould may have originally been intended for porcelain. This, coupled with the Gillyflower design, would suggest a Liverpool attribution is more likely.

A London delftware sugar box and cover, c.1720, the baluster body painted in blue with formal floral motifs beneath a ruyi scroll band, restored, 10cm. (2)

Three delftware plates, c.1750-70, one probably London and painted with an ornamental fence in an octagonal panel reserved on a brown powdered ground, the other probably Bristol, with a Jumping Boy in a panel on a powdered manganese ground, the last Bristol and painted with a Chinese figure in a landscape, some damages, 23cm max. (3)The last plate with a paper label for the Warren Collection, no.635.

A rare London delftware salt, mid 17th century, the square form with formally reticulated sides, the top set with a circular recessed well, left in the white, a section broken and restuck, 9.2cm high.Cf. Garry Atkins, Exhibition of English Pottery, March 2001, p.6, no.6 for an identical example.

A London delftware part food warmer or veilleuse, c.1765, the cylindrical base painted in blue with a parrot perched on an ornamental fence beside trees, rocks and a pagoda, applied with two masks, the warming section decorated with a continuous formal border, lacking a cover and bowl, some chipping, 21cm overall. (2)Cf. Michael Archer, Delftware, p.359, No.H.21 for a warmer with the same unusual mask, that was excavated in Lambeth.

A rare and early London delftware 'Merry Man' plate, c.1720, inscribed in red with '(2) Let him do What he Can' within a continuous formal leaf border in blue and green, 22.8cm.Old paper shipping label for Robert Fisher Ltd, London, relating to Herbert Schiffer Antiques in Philadelphia. Cf. Bonhams, 12th November 2014, lot 19 for an identical plate from the S J McManus Collection.

A good and rare London delftware 'Merry Man' plate, dated 1735, painted in blue with '(6) All Merryment Goes Down 1735', within a continuous leaf border, minor rim chipping only, 22.5cm.Cf. Victoria and Albert Museum, Accession No. C.9-2016 for a very similar example dated 1727.

AN ENGLISH DELFTWARE BLUE AND WHITE BOWLCirca 1770 painted with a dragon amongst cloud scrolls, continued on the exterior, 22.75cm diameter; also a pearlware blue and white `dragon bowl', 21.5cm diameter. Provenance: the delftware bowl with Jonathan Horne Antiques, London (2)Delftware bowl- small restoration around the rim which has since been chipped. Some small chips and loss of glaze around the rim. Some small chips around the footrim. Some overall crazing to the glaze.Pearlware bowl- haircrack to the rim, approx. 6cm. A line of brown staining from the rim, approx. 3cm length. Some small chips and glaze chips around the rim.

Antique Ceramic Reference. Mundy (Major R.G.), English Delft Pottery, Edition de Luxe copy no. 45/100, signed and numbered by the author, London: Herbert Jenkins Limited, 1928, b/w plates, original vellum gilt over cloth boards, top-edge gilt, others uncut, 4to The first monograph on English delftware.

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

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

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

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

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

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

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