2. Probably made in Brislington, or perhaps in London, this rare and unusual eight-lobed tin-glazed earthenware Flower Vase is elaborate in construction. Set with eight flared tubular nozzles around the shoulder, the panelled decoration of various flowering shrubs in blue on a pale blue ground derives from Ming Transitional porcelain.

Late 17th Century. 7¾ in.

The English tin-glaze potters do not appear to have emulated on any scale the huge Dutch Delftware ornamental flower ‘pyramids’, urns and vases that were purchased by William and Mary and their courtiers, who ‘elevated the taste to the highest fashion’; thus this flower-vase is one of the nearest English equivalents.

Atkins 1996, no. 4, for another elaborate English tin-glazed earthenware flower vase.

SOLD

3. A London tin-glazed earthenware blue and white Flower Vase, of less elaborate construction than the foregoing, the thrown spherical body set with three flared tubular nozzles alternating with double-scrolled ‘horns’ positioned around the shoulder. Also painted in a manner derived from Ming Transitional porcelain, the decoration shows a ‘Chinaman-in-grasses’ on the body, while the hollow conical foot has a scrolling Kangxi porcelain style border.

Circa 1680-90. 5¾ in.

Glazed and biscuit fragments excavated at several sites in London show that similar vases were made throughout the second half of the 17th Century, and excavated fragmentary examples confirm that they were utilized in colonial America. Fragments of a vase of this form were excavated at Jamestown Island in Virginia, and a nearly complete example, but with the glaze lacking, from the cellar of a house at Newington Plantation, South Carolina, that was burned down in about 1715 during the Yamassee War (see Austin, p. 18).

The hollow conical foot, together with the style of decoration, indicates that this particular vase was made in the late 17th Century, earlier examples (Atkins 2001, no. 5, for example) having a rounded circular foot that is only very slightly concave on the underside.

Illustrated: Garner, pl.26A, and Garner & Archer, pl. 43A.

Atkins 2006, no. 3, and Austin, p. 250, nos. 599 & 600, for flower vases of similar form and with related ‘Chinaman-in-grasses’ decoration.

Lipski & Archer, p. 356, no. 1567, and Rijksmuseum, no. 56, for a similar vase dated 1683 (Fitzwilliam Museum, Cambridge, Glaisher Collection no. 1643). SOLD

5. Remarkable for its extremely small size, this very rare London tin-glazed earthenware Bottle, with a squat body, has been left in the white.

Mid 17th Century. 4in.

Plain white English delftware wine bottles are extremely rare in comparison to inscribed and dated examples. It is likely that a number of the recorded decorated bottles were ‘improved’ in the late 19th or early 20th Century (see Lipski & Archer, p. 308).

Atkins 2005, no. 3, Atkins 2000, no. 12, and Atkins 1991, no. 2, for similar undecorated delftware wine bottles.

SOLD

8. Standing and seated figures, ornamental rockwork and grasses painted in tones of blue and ‘trekked’ in dark manganese-purple, in a manner derived from Ming Transitional porcelain, provide a continuous landscape scene around the exaggerated body of this large and impressive London tin-glazed earthenware baluster-shaped Storage Jar. The landscape decoration is complemented by the formal stiff-leaf border below.

Late 17th Century. 12 in.

The mouth has a flattened everted rim, designed to take a parchment cover that would have been tied tightly down to keep the contents fresh, suggesting that this jar was perhaps intended as a pharmaceutical container. Drug jars of similar form, emblazoned with the arms of the Apothecaries’ Company and the City of London, are in the Colonial Williamsburg and Burnap Collections (see Austin, p. 232, no. 564, and Burnap, p. 46, no. 91).

Austin, p. 252, no. 602, for a comparable small vase, and Fair as China Dishes, p. 44, no. 22, for a ‘bleu persan’ example.

SOLD

9. The sinuous dolphin in the centre of this London or Brislington tin-glazed earthenware moulded low octagonal Plate appears to be flying above the water and completely dwarfs the highly stylised sailing vessels. Painted in tones of blue and delineated in dark manganese purple, the pendant demi-florets and tassels around the rim draw the eye towards this extraordinary scene

Late 17th Century. 8¼ in.

A comparable Dutch Delftware plate in the Edwin van Drecht Collection shows a spouting ‘whale’ (see van Drecht, p. 225, no. 198).

SOLD

10. Previously unrecorded as a form in English delftware, this exceptionally rare Holy Water Stoup is moulded in relief with Christ crucified, flanked by harpies and below a winged angel’s head. The details are picked out in blue, with Jesus’ flowing blood detailed in iron-red, and the water receptacle is vertically striped in blue. The reverse of the stoup is unglazed, and a suspension hole is pierced below the angel’s head.

Early 18th Century. 6 in.

The blessing of Holy Water for use in the Roman Catholic Church has followed precise rites since at least the 9th Century when Hincmar, Archbishop of Reims, offered blessed water to the congregation to sprinkle over their houses, fields and livestock. The encouragement of religious images as an aid to strengthening belief was amongst the reforms that resulted from the Council of Trent, convened in 1566 to meet the perceived crisis of Protestant Reformation, after which the presence of domestic Holy Water stoups became increasingly widespread. During the 18th and 19th Centuries the domestic bénitier or aquasantiere became a common feature in homes throughout Catholic Europe, though it was previously thought that there was ‘no evidence of their manufacture in Protestant England before 1800’ (Constable, p. 341). Deterrents to their manufacture and sale in England would have been the overt anti-Catholicism that existed at that time and the fact that the early English tin-glaze manufactories were set up by Protestant artisans fleeing from Catholic persecution in The Netherlands.

The use of iron-red pigment to depict Christ’s flowing blood appears in the same manner on a dated English delftware powdered manganese-purple ground plate illustrated in Lipski & Archer, p. 11, no. 513 (now in a Midwest private collection).

Constable, pp. 339-348, for a paper devoted to the manufacture of ceramic Holy Water stoups.

SOLD

11. This very unusual inscribed and dated London tin-glazed earthenware armorial Dish was probably made at Norfolk House in Lambeth. The pale blue ground is painted in tones of blue with a resplendent central coat of arms and foliate mantling above the inscription ‘Iohn Borradale. Octô. ye. 1 day. 1693’. The elaborate armorial ornamentation is complemented by a simple ruyi-head border, while the flat rim has an ornate band of dense karakusa scrollwork reserving eight equally-spaced flower-heads.

Dated 1693. 13½ in.

The arms are for John Borradale (whose arms could be blazoned Sable on a Bend Argent three Fleurs de lis Sable in sinister chief a Roundel Argent) and his wife Mary, daughter of Dr. Thomas Arris (whose arms could be blazoned Argent on a Cross Azure five Fleurs de lis Argent). While they should be complemented by a griffin’s head crest it is possible that this was too difficult for the painter who, having already completed eight fleurs-de-lis on the shield, found a ninth easier to accomplish!

Borradale is a surname from Cumberland, though John Borradale married Mary Arris on 8th June 1682, at St. Peter’s, in St. Albans, where Mary’s father, Thomas, was a doctor and local M.P. Thomas Arris came from a family of eminent London physicians; his grandfather had been warden of the Company of Barber-Surgeons, and his father, Edward, was sergeant-surgeon to Charles I. Edward founded the Arrisian anatomy lecture in 1645 and become Master of his company in 1651. John and Mary Borradale’s eldest child, John, was baptised at St. Peter’s on 13th May 1683, but it appears that the family had moved to Nottingham by 1693 (the date on the present plate) when twin(?) daughters were baptised at St. Nicholas, Nottingham, on 3rd August of that year.

It is most unusual to find family arms, rather than those of a guild, on 17th Century English delftware, with only two other plates (each dated 1688 but with different, unidentified arms) being recorded in Lipski & Archer (p. 56, nos. 171 & 172).

Lipski & Archer, pp. 61-63, nos. 205, 210 & 215, for plates with similar borders, dated 1695, 1697 and 1698, and p. 66, no. 230, for a fragment of a related plate, dated 1701, that was excavated by F.H. Garner in Lambeth. SOLD

Atkins 2001, no. 10, for a rural landscape dish with a very similar karakusa scrollwork rim border

12. An extremely rare London tin-glazed earthenware blue and white octagonal Tea Bowl, decorated in the Japanese taste.

Circa 1680. 2¾ in.

The form and decoration of this tea bowl copies a Japanese porcelain original of the same period. A silver example of corresponding shape is in the Victoria and Albert Museum.

Provenance: F. H. Garner Collection.

SOLD

13. Another rare London delftware survivor is this small Pouring Vessel, possibly intended as a cream jug. The exterior of the rounded body is painted with a spray of flowers, while the everted rim and pinched lip has an inner border of C-scrolls.

Circa 1730. 1¾ in

Provenance: Louis L. Lipski Collection (Sotheby’s, London, 17th November 1981, lot 321).

SOLD

15. The monarchs depicted on this decorative polychrome London tin-glazed earthenware Plate are William III and Mary II. Flanking their crowned heads are the initials ‘WMR’ (for ‘William and Mary Rex/Regina’) and the date 1690, while the initials ‘SC’ above relate to the intended recipient of the plate. The flat rim has a band of dense karakusa scrollwork in iron-red and blue.

Dated 1690. 8 3/8 in

William of Orange (1650-1702), champion of the Protestant cause in Europe, succeeded as Stadholder of Holland in 1672 and devoted his life to opposing the expansion of France under Louis XIV. William married Mary, the eldest daughter of James II, in 1677, and in April 1689 they were proclaimed joint sovereigns of England, Scotland and Ireland. The new monarchy was established without resorting to bloodshed, an achievement that was deemed to be a ‘Glorious Revolution.’

SOLD

16. A remarkable London tin-glazed earthenware William III commemorative Medallion, moulded in relief with the initials ‘W.R’ below a crown, the details picked out in blue. The reverse of the medallion is unglazed.

Circa 1690. 2 in.

It is likely that this exceptionally rare medallion was intended as a token of allegiance to the newly proclaimed William III. Given that William’s heart lay with his homeland, and that the royal couple and their courtiers ordered numerous huge ornamental flower ‘pyramids’, urns and vases, large plaques, tiles and tableware from the Grieksche A (Greek A) factory in Delft, it would be fitting for such a token to have been produced in London in the same medium.

A dated tin-glazed earthenware livery button (the nearest comparable article) described as a ‘cheap substitute for brass or silver’, is in the Victoria and Albert Museum (see Archer, p. 404, no. L.7, col. pl. 247, and Lipski & Archer, p. 422, no. 177

SOLD

17. Demonstrating allegiance to George I and commemorating the suppression of the Jacobite Rising (the ‘15’), this English delftware blue and white Plate, which was probably made in Bristol, is inscribed ‘God Save King George’ and dated 1715 within a central stylised wreath formed by blue rhomboidal brushstrokes.

Dated 1715. 9 in.

The failure of the 1715 Jacobite rebellion, when James Francis Edward Stuart, the ‘Old Pretender’, established a court at Scone, Perth, while ‘Bobbing John’ Erskine, the Earl of Mar, attempted to raise the standard for ‘James III’, is also commemorated on a plate of the same date inscribed ‘King George Defender but no Pretender’ (Lipski & Archer, p. 73, no. 276). The Rising (the ‘15’) was suppressed at Preston and Sherrifmuir, and the Old Pretender spent most of his remaining years in Rome.

The characteristic style of the decoration can be seen on a number of similar plates dating from 1715 to 1742.

Provenance: Sir John Evans (sold at Christie’s, London, on 14th February 1911, lot 33).

Illustrated: Lipski & Archer, p. 74, no. 277. SOLD

20. An initialled and dated Bristol delftware oblong octagonal Tea Canister, painted in blue with a ‘Long Eliza’ figure on either side, flanked by upright diaper-painted chamfered side panels. The unglazed base is initialled ‘M B’ above the indistinct date 175(6).

Dated 175(6). 3¼ in.

‘Long Eliza’ is the anglicised version of the Dutch term Lange Lijzen, which refers to the curiously elongated figures of Chinese women as seen on Kangxi porcelain and adapted by European pot-painters (see Limehouse, p. 43, no. 93, and Spero, Smith, pp. 78-80, nos. 8-11, for example).

The form of this tea canister derives from a Chinese export porcelain original that was in turn inspired by European metalwork forms. While the Chinese had been familiar with ceramic containers for storing tea since before the Ming period, they do not appear to have exported porcelain canisters until the late 17th Century. These were usually of small size (reflecting the high cost of tea in the West) and until about 1720 the covers (which were intended to double-up as measures) were often poorly fitting as they were only matched to individual canisters on arrival at their final destination.

The numeral ‘5’ within the date on this canister is remarkably similar to that incorporated in an equally indistinct date (thought to be 1750) on the base of one of a pair of tea canisters at Colonial Williamsburg (see Austin, p. 118, no. 128, and Lipski & Archer, p. 343, nos. 1520 & 1520A).

Lipski & Archer, p. 344, nos. 1525 & 1528, for dated tea canisters of similar inspiration, and Agnew, Doxey & Marno, p. 43, nos. 24 & 26, Atkins 2005, no. 18, Atkins 1992, no. 27, Austin, p. 119, no. 130, Britton, p. 132, nos. 9.19 & 9.20, and Longridge, p. 373, no. D338, for undated examples. SOLD

23. The Old Testament subject on this Liverpool delftware Plate, depicted in a fine blue ‘pencilled’ style, is ‘Elijah Fed by the Ravens’ (1 Kings 17, verse 5). The central scene shows the prophet seated beneath a tree, being approached by two ravens in flight. Both this and the following plate are edged with a thin brown enamel band, in emulation of oriental porcelain.

Circa 1750. 8½ in.

English Tinglazed Tiles, p. 89, nos. 521 & 522, for delftware tiles painted with the same subject.

SOLD

25. The unusual drinking rhyme on this Liverpool delftware Puzzle Jug reads:

‘From Mother Earth I took my Birth I’m Made a joke by Man … And now I’m here Filld with Good Cheer Come taste it if you Can ….’

All the decoration is in blue, including the large ‘Tudor rose’ spray below the tubular handle.

Circa 1750. 8 in.

Provenance: F. H. Garner Collection (Sotheby’s, London, 6th October 1964, lot 102).

Illustrated: Garner, pl. 52, and Garner & Archer, pl. 100. SOLD

27. A very rare and attractive London delftware small circular Basket, the rounded sides pierced with four identical lattice panels delineated in blue and forming a square-outlined central reserve pierced with a hole at each corner. The interior base is painted with the Chinese ‘lotus pattern’ of six radiating petal-shaped panels, each enclosing a lotus flower set against a background of scrolls representing water, around a central medallion with a single bloom and buds.

Circa 1750. 6¼ in

The ‘lotus pattern’ is one of the few designs on British delftware to have been copied without alteration from a Kangxi original. The pattern has been used on Chinese porcelain from at least the early years of the 15th Century.

Archer, p. 335, no. G.15, Archer & Morgan, p. 117, no. 83, Atkins 2006, no. 10, and Cockell, Hardwick, pls. 63-68, for further examples of the ‘lotus pattern’ on British delftwares.

SOLD

28. This press-moulded flat-bottomed delftware Spoon Tray, which is supported on four integral crescent-shaped feet, was most probably made in Liverpool. The interior base is painted with chinoiserie island scenes, within a panelled diaper border around the Rococo raised bracket-moulded rim.

Circa 1760. 6¼ in

Spoon trays, like teapot stands (No. 14 in this catalogue, for example) were an optional part of a tea service and were an entirely Western invention resulting from the use of sugar to sweeten tea and coffee. It was found that lumps of loaf-sugar dissolved more quickly when hot beverages were stirred, and the small spoons used for this purpose, becoming both hot and wet, could be laid on these small trays after use.

Initially spoon trays were made in silver, the earliest recorded example being hallmarked for 1706/7, but the form was soon demanded in Chinese export porcelain and in 1710 the London directors of the English East India Company were ordering ‘12,000 boats for the teaspoons’. Examples of English ceramic spoon trays can also be found in white salt-glazed stoneware, lead-glazed earthenware and porcelain.

Austin, p. 119, no. 131, Garner, pl. 107B, Garner & Archer, pl. 65B, and Longridge, pp. 368 & 369, no. D334, for corresponding spoon trays, and Britton, p. 136, no. 9.35, for a polychrome example.

SOLD

30. A very attractive London delftware press-moulded gadrooned Dish, uncommonly decorated in blue, red and green. The convex centre is painted with a stylised floral spray in a roundel, while around the lobed rim there is a continuous stylised foliate border.

Circa 1700-10. 85/8 in.

Blue, red and green decoration was popular on English delftware in the 1720s and 1730s but it is unusual to find such ornamentation on a gadrooned dish made in the first decade of the 18th Century.

Atkins 2005, no. 2, for a similar example.

SOLD

32 The rounded sides of this very rare and extraordinarily colourful Liverpool delftware Colander Bowl are painted in ‘Fazackerly’ style with a profusion of full-blown flowers by ornamental fence-work attracting a butterfly with red and yellow wings. The perforated concave top is embellished with radiating bands of various decorative devices, around a central circular aperture.

Circa 1760. 8¾ in.

Colander bowls are often referred to as ‘cress-bowls’ reflecting their use as drainers for salads, the aperture on the side being used for pouring off water from the interior.

Only one dated (1751) delftware colander bowl is known (Burlington, case E, no. 82, Lipski & Archer, p. 357, no. 1569, Pountney, pl. XXXIII, and Ray, fig. 5 & pls. 39 & 78, cat. no. 76), though ‘Sallad Dishes’ appear in contemporary references: Mary

Provenance: F.H. Garner Collection (Sotheby’s, London, 6th October 1964, part of lot 30).

SOLD

33. A small cylindrical delftware Vase, possibly made at the Lancaster Pottery, painted with a distinctive simple upright coloured floral sprig. The flared neck and foot with a blue-line border, on the interior and the exterior respectively.

Circa 1760-70. 3½ in.

The recent publication of a paper on ‘Lancaster Delftware Pottery’ by Barbara Blenkinship (Journal of The Northern Ceramic Society, Vol. 25, 2008-2009, pp. 40-70), following excavations on the site of the Lancaster Pottery, has opened up the opportunity of attributing 18th Century English delftwares to a newly rediscovered centre of production.

SOLD

35. An inscribed and dated London salt-glazed brown stoneware ‘Shop Pott’, made to contain snuff. The upper half of the thrown ring-turned ovoid body has a ferruginous dip and is incised ‘Willm Danniel, fine Snuf, 1739’.

Dated 1739. 9½ in.

Numerous fragments of this type of jar have been excavated at Fulham and Vauxhall. At Fulham, they formed only a very small part of 17th Century production and appear to have remained a ‘sideline’ until about 1725, after which time they became a staple product, indicating a shift in emphasis away from the Pottery’s reliance on tavern wares. In addition to domestic uses, some jars are termed ‘Shop potts’ in the 1795 London brown stoneware price-fixing agreement (see Green, p. 337).

Browne Muggs, pp. 30 & 48, nos. 17 & 85, and English Brown Stoneware, p. 55, pl. 22, for jars of similar type.

SOLD

36. Probably also made in London, this thrown salt-glazed brown stoneware Mug has an impressed ‘A:R’ ale-measure mark that is partially concealed beneath the silver mount on the rim. The dipped cylindrical body is unusually decorated with three raised horizontal bands formed by impressed-diamond textured vertical striping.

1702-14. 5¼ in.

The increasing popularity and complete lack of any regulation of tavern mugs led to William III’s Act of 1700 for ‘Ascertaining the Measures for retailing Ale and Beer’, whereby vessels were to be checked during manufacture and stamped with ‘WR’ below a crown. In reality it was not feasible to check the capacity of an unfired clay pot, which would shrink considerably during firing, and it seems that the potters were entrusted with marking their own products. The terms of the Act of 1700 were so poorly understood that the royal cipher was substituted by ‘AR’ by some potters during the reign of Queen Anne.

SOLD

37. A rare Staffordshire ‘mottled ware’ thrown cylindrical Mug, with a waistband and foot-band formed by numerous wheel-turned grooves. The pale-buff earthenware fabric is covered inside and out with a brown-mottled translucent lead glaze.

Circa 1700-20. 3¾ in.

This type of pottery was referred to as ‘manganese-glazed ware’ in excavation reports of the 1970s and 1980s, and the streaked appearance of the glaze suggests that it is possibly the ‘Motley-colour’ referred to by Robert Plot on p. 123 of his Natural History of the Countie of Stafford-shire, published in 1686, ‘which is procured by the blending of the Lead with Manganese, by the Workmen call’d Magnus’. However, it is conjectured that Plot, or the workmen he interviewed, could have been confusing manganese with magnas, an iron-ore.

Excavated evidence shows that utilitarian ‘mottled ware’ vessels were in common use in the early 18th Century, but examples are rarely found today other than in an unearthed context.

Atkins 2004, no. 2, for a similar, but smaller, mug, and Talbot Hotel, pp. 120-127, for Staffordshire ‘mottled ware’ vessels excavated from the Talbot Hotel, Tetbury.

SOLD

39. A Staffordshire white salt-glazed stoneware Tankard, with silver-mounted rim. The thrown cylindrical body, which shows a good translucency, has a flared base and is simply decorated with horizontal ring turnings. The extruded ribbed strap handle has a prominent pinched and flattened ‘kick’ to the lower terminal.

Early to mid 18th Century. 6½ in.

Fragmentary white saltglaze vessels with similar prominent ‘kick’ terminals were excavated at Shelton Farm, Stoke-on-Trent, and are attributed to the short-lived production there by John Fenton (in partnership with Thomas Hill 1720-21) in the early 1720s - see Edwards & Hampson, p. 203.

After his unsuccessful early experiments with porcelain production at Fulham, John Dwight promoted his late 17th Century ‘fine white’ or ‘white china’ fine stonewares as ‘being as Cleare and transparent as that which comes from China’ (Green, p. 125). A degree of translucency is also sometimes apparent on other types of fine white salt-glazed stoneware (see Edwards & Hampson, p. 224, fig. 229, for example), and this may be explained either by over-firing or by further porcelain-making trials.

Atkins 2004, no. 29, and Atkins 2005, no. 38, for Fulham stoneware tankards with silver mounts in the same style.

SOLD

40. Probably made at Thomas Whieldon’s Fenton Vivian factory, Staffordshire, the thrown cylindrical body of this very rare Staffordshire brown stoneware Mug was first white-dipped and then turned back on the exterior, leaving horizontal bands of raised stringing. Moulded-applied decoration including a fleur-de-lis, a long-beaked exotic bird, and floral and foliate sprigs, were subsequently added to the front of the mug.

Circa 1750. 4½ in.

A similar mug, in the Potteries Museum, Stoke-on-Trent, is illustrated in Weldon II, p. 84, and a tankard of similar type is in Luxmoore, pl. 25.

A teapot decorated with the same mould-applied devices is illustrated in Weldon II, p. 85, no. 39, and was previously exhibited in London (E.C.C. 1948, pl. 12, no. 71, E.C.C. 1977, pl. 31, and Horne XVI, no. 464). Another, in the Glaisher Collection (Glaisher, pl. 44 D, Luxmoore, pl. 12, Burlington, pl. XXVII, case F, no. 71, and Rackham, pl. 39A), is decorated with mould-applied Royal Arms that are from the same mould as those on an unfinished red earthenware teapot in the Victoria and Albert Museum (No. C83A – 1925) found on the site of Thomas Whieldon’s pottery.

This type of pottery conforms to Ralph Shaw’s patent of 1733 which describes wares ‘whose outside will be of true chocolate colour, striped with white, and the inside white, much resembling the brown China ware, and glazed with salt’ (see Edwards & Hampson, p. 118, col. pl. 90, and Mountford, pp. 41 & 42, and pl. 73). A number of pieces of this type of ware have been excavated on a domestic site at Temple Balsall (see Post-Medieval Archaeology, Vol. 18, 1984).

SOLD

41. The mould-applied reliefs on this Staffordshire salt-glazed stoneware Mug have been stained with cobalt to stand out in contrast against the plain white ground. The front of the thrown cylindrical body has a rampant lion above a stylised foliate spray, while there is a courant stag and a unicorn on the sides. The extruded strap handle has a pinched ‘kick’ to the lower terminal.

Second quarter 18th Century. 6¼ in.

Similar mould-applied rampant lion reliefs can be seen on a saltglaze teapot in the Winterthur Museum Collection (Edwards & Hampson, p. 53, fig. 51) and on a saltglaze porringer in the Henry H. Weldon Collection (Weldon I, p. 131, pl. 51a). Another surmounts Royal Arms on a lead-glazed red earthenware jug (Weldon II, p. 231, pl. 154), below a frieze of courant stags similar to those on the present mug.

Emmerson, p. 52, pl. 16, no. 10, Glaisher, pl. 39C, Mountford, pls. 71 & 72, and Walton, p. 41, nos. 112 & 113, for Staffordshire saltglaze wares with similar cobalt-stained relief-work.

SOLD

42. The form of this, and the following, Staffordshire white salt-glazed Mug is very similar to the Tankard in this catalogue (No. 39). The thrown body has simple horizontal ring turnings, and the extruded strap handle has a pinched ‘kick’ to the lower terminal.

Mid 18th Century. 5 in.

44. A cream-coloured earthenware screw-top Box, modelled as a full-face likeness of an illustrious gentleman, probably intended to be the Duke of Cumberland, his eyes picked out in dark brown slip. The exterior of the circular cover is rouletted with an overall tightly spaced dot pattern and glazed in translucent green, the same colouration continuing around the lower part of the box.

Circa 1760-65. 2½ in

William Augustus, Duke of Cumberland (1721-65), was the third son of George II who distinguished himself in many military arenas but was most widely celebrated for his success in April 1746 against Charles Edward Stuart, the ‘Young Pretender’, at Culloden.

Atkins 1994, no. 35, for a similar example modelled as George III.

Edwards & Hampson, p. 106, col. pl. 106, for a similar box in white salt-glazed stoneware.

SOLD

45. A rare English cream-coloured earthenware double-walled reticulated and enamelled Teapot and Cover, possibly made at the Swinton Pottery, South Yorkshire. The outer wall of the thrown cylindrical body is pierced with large circular motifs picked out in turquoise, representing stylised chrysanthemum flowers, and these are reserved on a purple cell-diaper ground, the cover being correspondingly pierced and enamelled. The name ‘M.Admigall’ is inscribed on the shoulder, above the spout.

Circa 1775. 5½ in.

A very similar style of piercing and enamelling is found on Kangxi porcelain, and a creamware beaker and saucer of the same design are illustrated in Weldon I, p. 51, together with a Chinese counterpart.

This teapot has an unusual angular handle, a different version of which appears on a creamware coffee pot that is attributed to the Swinton Pottery (see Horne 2005, no. 05/25, and Creamware & Pearlware Re-Examined, p.129).

‘Miscellany of Pieces’, E.C.C. Transactions, Vol. 19, Part 2, 2006, p. 414, no. 3, and Creamware & Pearlware, p. 68, no. 18, for a teapot of the same design. Atkins 2001, no. 64, for a matching jug.

SOLD

47. This impressive Yorkshire dated double-handled pearlware Mug is dedicated to the products of the Bentley Eshaldwell Brewery and was probably made at the Swillington Bridge Pottery, near Leeds. One side of the thrown cylindrical body is painted with a barrel, hops and barley, in muted tones of yellow, green and brown, while the other bears the printed inscription:

‘Eshaldwell Brewery, is known very well For brewing good ale none can it excel Pay off your old scores and order again For i’m sure of the ale you cannot complain’

A border of flowers above and below the inscription is over-enamelled in colours, the lower border incorporating the date 1829.

Dated 1829. 8 in.

All of the known identical mugs, and corresponding beer jugs, originated in the Woodlesford area of Yorkshire and were presumably commissioned by the Bentley Eshaldwell Brewery in Aberford Road, Woodlesford, which was founded in 1828. The brewery was taken over by Whitbread in 1968 and closed in 1972.

Walton, p. 220, no. 932, for an identical mug.