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Live
Venue address
The Old Emporium
6/7 St John Street
Devizes, Wiltshire
SN10 1BD
United Kingdom
British and Continental Ceramics and Glass.
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Auction dates
Sep 23, 2026 10:00 AM BST
Viewing dates
Sep 21, 2026 10:00 AM - 04:00 PM BST
Sep 22, 2026 10:00 AM - 04:00 PM BST
Sep 23, 2026 09:00 AM - 10:00 AM BST
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Auction currency
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GBP |
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Buyer's premium
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28.20 % (inc. Sales tax) |
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3.60 % (inc. Sales tax) |
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There are 589 lots within this auction
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Featured lot
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61
A Pinxton coffee can, c.1800, painted with a rectangular landscape panel within a wide band of puce and gilt garlands on a red tendril ground, a pearlware spill vase painted with a roundel of a Classical head suspended from a gilt chain and reserved on a yellow ground, pattern number 1158, and a Paris saucer with a monochrome landscape reserved on a yellow ground, 12.8cm max. (3)
Provenance: Welford Park, Newbury.
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62
Six Derby yellow-ground tea cups and saucers, c.1800, painted with landscape roundels attributed to Thomas 'Jockey' Hill, reserved on a canary yellow ground, titled in blue with views including 'On the Thames' 'Near Windsor', 'Near Basingstoke', 'Near Edinburgh', 'Near Wanley Common', 'On the Canterbury Road, Kent', 'Near Maidenhead', 'Near Adriana, Italy', 'Distant View of Windsor Castle', 'Near Eltham', and 'Near Hampton Court', blue crowned D and crossed barons marks, some gilt wear, one cup associated, 13.8cm. (12)
Provenance: Welford Park, Newbury.
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63
Four Meissen figures of children, mid 18th century, seated with baskets of flowers, a hat and a lute, beside further flowers, raised on low bases with gilt scroll detailing, blue crossed swords marks, minor faults, 12cm. (4)
Provenance: Welford Park, Newbury.
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64
Nine Meissen serving dishes and a tureen and cover, 1st half 20th century, decorated in the Green 'Dragon and Phoenix' pattern with stylised dragons and confronting phoenix, blue crossed swords marks, one circular dish broken and restuck, 55cm max. (11)
Provenance: Welford Park, Newbury.
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65
Two Kutahya (Turkey) pottery cups or beakers and saucers, 1st half 18th century, decorated with stylised flowers in a palette of red, green, blue and black, one saucer associated and decorated with flower sprays including yellow enamel, the saucers with a deep trembleuse recess, 11.5cm. (4)
Provenance: Welford Park, Newbury. One beaker with a paper auction label for John Mathew Gutch Esq. FSA. John Gutch (1776-1861) was a journalist and historian and a contemporary of Samuel Taylor Coleridge and Charles Lamb. He founded the London Morning Journal with Robert Alexander and was later prosecuted for libelling George IV within this publication. He had an extensive library, which was sold by Sotheby & Wilkinson in 1858. It is likely the same firm handled the sale of his estate following his death in 1861. These cups were likely purchased at that sale by Charles Archer Houblon (1806-1886) who inherited Welford in 1831.
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66
A Staffordshire pearlware tulipiere or quintal, c.1800-10, printed in black with scenes of Classical maidens with various attributes, reserved on a rich canary yellow ground, each of the five apertures edged in blue, some old restoration to two apertures, 22.5cm.
Provenance: Welford Park, Newbury.
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67
A Castelli maiolica cup and a beaker, c.1740, the cup probably painted by a member of the Grue family with two female figures beneath trees, the beaker with figures in a continuous landscape before buildings and a ruined column, the cup's handle lacking, cracks to the beaker, 7.5cm. (2)
Provenance: Welford Park, Newbury.
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68
Two Italian maiolica apothecary syrup or oil jars, late 17th century, one painted with polychrome fruiting branches around a scroll inscribed 'Sy. Diepittimo' above a portrait of a haloed saint, the smaller painted in blue with stylised foliage around a banner with a partially obscured inscription 'Ol. Absin*', some damages and glaze loss, 23.5cm max. (2)
Provenance: Welford Park, Newbury.
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69
A Savona or Albisola maiolica pill or small ointment jar, 17th century, the small waisted form painted in blue with birds, plants and fences flanking a band inscribed 'Ung: Bassilici', black beacon mark, some chipping, a rim crack, 9.7cm.
Provenance: Welford Park, Newbury.
Sweet basil was used in the alleviation of digestive issues and nervous irritability.
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70
A Venice maiolica double portrait jar ( vaso a palla ), c.1560-70, of bombola form, one side painted with a figure wearing a ruff and a conical hat, the reverse with a haloed saint, reserved on a blue ground with flowerheads and scrolling foliage, some old damages and restoration, 28cm.
Provenance: Welford Park, Newbury.
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71
A Savona or Albisola (Ligurian) armorial maiolica stagnone jar, late 17th century, painted with the arms of Savona, within the initials GAR, above a scroll inscribed 'A.Lattucc' above a lion head spout, the reverse with deer, birds and other creatures beneath tall trees, the elaborate scroll handles above lion masks, detailed with hares and a snail, blue bell mark, small damages, 33.5cm.
Provenance: Welford Park, Newbury.
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72
A Montelupo syrup apothecary jar, late 16th/early 17th century, the tall ovoid shape inscribed with 'Sy. Di Scorz. D. Cedro' within a banner, reserved among scrolling leaves picked out in ochre and green on a blue ground, beneath the handle inscribed 'Ro' in a small cartouche, the spout replaced with a later mask boss, the handle lacking, a rim section lacking, 28cm.
Provenance: Welford Park, Newbury.
Syrup of lemon peel had a variety of medicinal uses, including in treatment of the plague.
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73
A pair of Savona maiolica albarelli, dated 1742, of tall waisted form, painted in blue with two figures before buildings and trees, the reverses inscribed '1742' beneath a crown and above a curlicue, a 3.5cm rim section of one lacking, 23cm. (2)
Provenance: Welford Park, Newbury.
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74
Two North Italian maiolica apothecary jars or albarelli, 1st half 17th century, of slightly waisted cylindrical form, painted in blue with bands of floral and foliate scrolls, one reserving a blank cartouche, the other inscribed 'Ell D Syco Ros', 19.5cm. (2)
Provenance: Welford Park, Newbury.
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75
A large North European tin-glazed storage jar, 17th century, decorated with clusters of houses amidst stylised trees and flowers, the shoulders with a similar band of decoration, the foot with a stiff leaf band, cracked, a rim section lacking, 32.5cm.
Provenance: Welford Park, Newbury.
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76
A fine Delft silver-gilt mounted tankard, early 18th century, the baluster body finely painted in blue with travellers beneath tall trees, an obelisk and a detailed townscape behind with a spired church or cathedral, the neck with a band of winged putti, the silver mounts chased with flowers and leaves around an inset Swedish Riksdaler coin dated 1644 and featuring Queen Christina, gilded to the interior, the thumbpiece formed as the heads of two putti, blue R mark for De Roos (The Rose), 25cm.
Provenance: Welford Park, Newbury.
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77
A rare Dublin or Liverpool delftware vase, c.1760, the ovoid form boldly painted in blue relief with large peony and chrysanthemum blooms amidst scrolling leaves and prunus blossom branches, a rim crack, the cover lacking , 26cm.
Provenance: Welford Park, Newbury.
Cf. Peter Francis, Irish Delftware, fig. 175 for a garniture of similar vases.
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78
A Giustiniani (Naples) Greek Revival amphora vase, 19th century, decorated with red Classical figures, one side with bacchanalian figures, the other with a winged figure crowning a despondent soldier with a laurel diadem, between key fret and palmette borders, the shoulders applied with ropetwist handles, incised G mark, 33.5cm.
Provenance: Welford Park, Newbury.
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79
A rare section of a pottery fountain of Palissy type, 1st half 18th century, the conical form moulded and applied with a coiled snake, lizards, a frog and various shells, decorated in green, umber and grey glazes on a textured pale blue ground, the cover lacking, minor losses, 33.4cm.
Cf. Sotheby's, 9th June 2026, lot 66 for a similar complete example formerly in the collection of Sir Charles Edward Isham. The catalogue entry records three other known but incomplete examples, of which this is one. Another is in the Victoria and Albert Museum, Accession No. 537-1865, formerly in the Soulanges Collection. The last is in the Musée de Picardie in Amiens. Extensive documentation relating to the Picardie example, confirms its dating to c.1600-50 and attributes the place of manufacture as Paris.
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80
A School of Palissy circular dish or low tazza, 17th century, moulded in relief with Perseus attacking the sea monster, Cetus, to save the chained Andromeda, watched by centurions and other figures in Classical dress, decorated in a palette of green, blue, grey and ochre, the underside with mottled manganese decoration, all raised on a low circular foot, 23.5cm dia.
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81
A Palissy type maiolica oval dish, probably 19th century, modelled in high relief with Jesus as a child holding hands with St Joseph beneath a tree, the rim moulded with formal flower motifs and picked out in green, blue and yellow on a manganese ground, a mottled glaze to the underside, a small rim repair, 28.7cm.
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82
A rare Palissy pouring vessel or Gondola cup, late 16th/early 17th century, modelled in relief with Ceres and Bacchus entwined as if in a bath, their modesty protected by small loin cloths, reserved on a blue ground, one narrow end moulded with seven scrolled lappets, all raised on a low oval foot, broken and restuck, 20cm across.
Cf. Victoria and Albert Museum, Accession No. C.2311-1910, and Ashmolean Museum, Accession No. AN1685.B.585. These novelty but useful wares would have graced the tables of nobility, combining form with function and creating an amusing talking point as the cup's contents drained away.
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83
A School of Palissy pilgrim flask, 17th century France, probably La Chapelle des Pots in Saintonge, the barrel shape moulded with a panel of cornucopiae to one end, below the spout with a lion rampant brandishing a sword, decorated in mottled blue, green, ochre and manganese glazes, raised on an oval foot, 19.5cm high.
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84
A School of Palissy pilgrim flask, 17th century France, probably La Chapelle des Pots in Saintonge, the barrel shape moulded with a mythical bird to one end, below the spout with a fleur de lys roundel, decorated in blue, green, ochre and manganese glazes, chequered at one end and striped to the back, raised on an oval foot, 19.5cm high.
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85
A green-glazed faïence stove tile, dated 1733, France or Switzerland, inscribed ' en tout travail il y a quelque profit: mais le babil des lévres ne tourne qu à disette ' (in all work there is profit, but mere talk only leads to poverty', Proverbs 14 verse 23, above the date 17*33, some glaze chipping, 20cm across.
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A large Bavarian faïence plaque, late 18th/19th century, moulded in relief with a full length portrait of St Florian holding a Bavarian flag in his left hand and a bucket of water in his right, with buildings on fire behind him, within an integral green-glazed frame, 57cm.
St Florian is the patron saint of firefighters. It is possible this wall plaque came from the St Florian Monastery in Sankt Florian, Austria. It was seized by the Gestapo in 1941 but returned to the monks after the end of the Second World War. Today it houses the Upper Austrian Fire Brigade Museum.
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A rare Portuguese faïence posset pot, mid 17th century, possibly made for the German market, the squat globular form painted in blue with stylised floral roundels on a continuous foliate ground, the scroll handles with blue dash decoration, the interior fitted with a strainer, 13.5cm high.
Cf. Victoria & Albert Museum, Accession No. C.92-1951 for a pot of the same shape.
Faïence made in Lisbon between c.1620 and c.1670 was exported to Hamburg and other destinations around the area, sometimes bearing German armorials. At this time, the tin-glazed pottery produced in Portugal was of the highest quality being produced in Europe (before being overtaken by Dutch Delft towards the end of the 17th century).
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88
An early Spanish (Seville) cuerda seca tile for the Palace of Sintra in Portugal, c.1500-10, decorated in green, blue and ochre glazes with an armillary sphere, reserved on a white ground, chipping and glaze loss, 13.7cm.
Cf. Victoria & Albert Museum, Accession No. 186-1853 for an identical tile. These tiles were made for King Manuel I, who financed numerous Portuguese navigators and explorers. During his reign, the maritime route to India was discovered by Vasco di Gama. The armillary sphere is a prominent motif at the Palace of Sintra, representing the country's Golden Age of Discovery.
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89
A small Nevers faïence tile, mid 17th century, brightly painted with a scene of Jonah and the whale within a copper lustre border, damages, 12.5cm.
Cf. The Louvre Museum, Accession No. MR 2211 for a large dish with the same scene.
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90
A delftware ointment or storage jar, c.1700, probably London, the cylindrical form painted with two bands of five concentric blue lines, with everted rim, some chipping, water degradation to the glaze, 6.5cm.
Provenance: from a private London collection.
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91
A delftware apothecary jar or albarello, c.1700, probably London, the squat form painted in manganese with a chain border flanked by concentric lines, with everted rim and splayed foot, broken and restuck, the glaze degraded by water, 9cm high.
Provenance: from a private London collection.
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92
A London delftware apothecary or drug jar, late 17th/early 18th century, of cylindrical albarello form, painted in manganese with eight concentric stripes flanking a band of dash motifs, a large rim crack, 18.3cm.
Provenance: from a private London collection. Formerly the Lipski Collection, no. 365.
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93
A rare miniature Delft pewter-mounted jug or enghalskrug, early 18th century, of spiral moulded baluster form, left in the white, beneath the base with a numeral mark in manganese, 17cm.
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94
A creamware apothecary jar, c.1800, painted with a turquoise-edged cartouche inscribed 'Ungt. Sambuce', beneath two sphinxes flanking an urn and above a lion mask suspending berried leaf garlands, the cover lacking, 17cm high.
Provenance: from a private London collection.
Ointment of Elderberry has anti-inflammatory properties and was used in the treatment of rheumatic complaints and arthritis.
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95
A pair of Italian creamware syrup jars, early 19th century, each inscribed in manganese with 'Sirop Corte di Ced' and 'Sirop di Viole', beneath pink rose sprigs tied with blue ribbon, the sides applied with bearded masks, 17.8cm. (2)
Provenance: from a private London collection.
Sirop Cortecie di Cedro (Cedar bark Syrup) has pharmaceutical uses as an antiseptic, anti-inflammatory and diuretic. Syrup of Violets has soothing properties and was used in the treatment of sore throats and respiratory problems.
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A small French or Northern Italian faïence drug jar or albarello, c.1740, inscribed in black with 'Pil. De Cynoglose' within a blue cartouche of serpent, shell and foliate motifs, raised on a circular foot, 13.3cm.
Cynoglossum (known as Hound's Tongue or Chinese Forget-Me-Not) was widely used in medical preparations, especially in Chinese medicine. Uses included treatment of wounds, relief of abdominal pain, sexual diseases, burns and dandruff. However, the plant is also known to cause complications with the liver, and ingestion has proved fatal in some cases.
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97
A large Delft drug jar and cover, mid 18th century, the cylindrical form painted in blue with peacocks flanking a basket of fruit above a cartouche inscribed 'ROB'RIBESIOR:' above an angel mask and flower garlands, a rim crack, a large chip beneath the foot, 28.2cm.
Provenance: from a private London collection.
Blackcurrant syrup had a range of anti-inflammatory uses including against sore throats and fevers.
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98
An Italian maiolica albarello or storage jar, dated 1812, painted in muted polychrome enamels with a bird perched on a leafy branch above a cornfield, the reverse inscribed 'DD 1812' in manganese, 19cm.
Provenance: from a private London collection.
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99
A Delft pewter-mounted jug or ewer, c.1720, painted in blue with a bird perched above flowering plants, flanked by stylised stiff leaf borders in the Chinese Transitional manner, the pewter mount with a shell thumbpiece, an area of repainting to one side, 27.5cm.
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100
An early delftware tile, c.1650, possibly Pickleherring, painted in a rich blue with a leaping dog or lion above stylised plants, within a circular panel and geometric line corners, together with a later tile decorated in powdered manganese with a central star and heart corners, a little chipping to the first, 13.3cm across. (2)
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101
Two Liverpool delftware tiles, c.1750-70, one painted in Fazackerly enamels with a bird perched on a vase of flowers, the other in manganese with a vase of flowers within a shaped cartouche and sunflower corners, 13cm max. (2)
Cf. Jonathan Hone, English Tin-Glazed Tiles, p.64, no.358 for the manganese example.
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102
A delftware bin label, c.1770, of coathanger form, inscribed in manganese with 'PORT', and a pair of Spode creamware bin labels decorated in black with 'Champaigne' and 'Bucellas', 14cm max. (3)
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103
Three delftware bin labels, c.1770-90, of coathanger form, one titled in manganese with 'MADEIRA', two in blue with 'MOSELL' and 'W:PORT', some damages, 13.3cm max. (3)
Moselle is a dry white wine, mostly produced in Germany, which saw a rise in popularity in England during the Georgian period. Its high price at this time kept it as a luxury for royalty and nobility, making bin labels comparatively rare.
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104
A delftware bin label, c.1770-80, of coathanger form with a circular suspension ring, painted in manganese with 'MADEIRA', 13.8cm.
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105
Two Continental tin-glazed pickle dishes, in two sizes, of deep leaf form, each painted with a pagoda beside a curved bridge with birds in flight above, within wide trellis borders, 13.2cm max. (2)
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106
A rare polychrome Liverpool delftware wall pocket, c.1750, of cornucopia form, the upper section moulded with a mask between flower sprays, decorated in the Fazackerly palette, a section of the back rim restuck, 19.5cm.
Cf. John C. Austin, British Delft at Williamsburg, p.261 for a similar pair with a central flower instead of the mask. The mask is an unusual addition to this model, as is the polychrome decoration.
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107
A pair of Liverpool delftware wall pockets, c.1750-60, each formed as a spiral-moulded cornucopia painted in blue with flower sprays, the rims moulded with a flowering rose spray, some retouching to one tip, 19.5cm. (2)
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108
A Wincanton delftware plate, c.1740, the well painted in blue with an octagonal panel of boats sailing before a harbour fortress, reserved on a powdered manganese ground with further small panels of stylized flowerheads, 22.2cm.
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109
A small delftware plate, c.1720, possibly Bristol, painted in blue with a central sunflower, the rim with a stylised swag border, 19.5cm.
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110
A delftware tile or plate centre, early 18th century, painted in blue with Adam and Eve beneath the Tree of Knowledge, the serpent wrapped around the trunk, in a circular oak frame carved with a continuous design, broken and restuck, 17cm overall.
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111
A small and rare delftware bowl, c.1760-70, the flared form painted to the interior with stylised flower sprays in a pencilled blue, the exterior decorated in a powdered manganese ground, brown line rim, a little rim chipping, 10.5cm dia.
Paper label for Jonathan Horne Antiques.
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112
Twenty three English delftware tiles, c.1760-80, probably Liverpool, painted in blue with a central rose or peony bloom, the corners with stylised flower stems, 13cm. (23)
Cf. Jonathan Horne, English Tin-Glazed Tiles, p.67, pls. 374-376 for various treatments of this design. While Horne suggests Liverpool as the likeliest attribution he states that other areas of production should be considered, including an Irish attribution.
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113
A Bristol delftware plate, c.1720, of pancake shape, painted in blue, red and green with a central tulip within a panelled border of stylised flower stems on a red trellis ground, together with a Bristol shallow bowl, painted in blue with a Chinese figure before an ornamental fence, the bowl broken and restored, 26.5cm max. (2)
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114
A Delft vase, late 17th century, the octagonal baluster form painted in the Chinese Transitional manner, in blue with figures seated in a garden and standing beneath trees and rockwork, the flared neck with a swollen knop, 30cm.
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115
A Nove di Bassano faïence monteith, 19th century, the moulded form painted with bold flower sprays, the interior and foot with garlanded flowering branches, blue 7 mark, together with a similarly decorated small plate, blue star mark, 23.5cm across. (2)
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A large Delft pewter-mounted tankard, early 19th century, the baluster body painted in polychrome enamels with a peacock standing amidst flowering foliage, together with an 18th century plate, painted in blue and manganese with a panelled design of simple flower sprigs, 27.5cm max. (2)
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A rare Lambeth delftware commemorative 'ballooning' dish, c.1785, painted in blue, green, yellow and manganese with a hot air balloon in flight above a building, fence and trees, the rim with a stylised garland border and feathered blue rim, some glaze chipping to the rim, 22.8cm.
The plate depicts the balloon ascent of the Italian aeronaut Vincenzo Lunardi, whose first British flight took place in 1784. Lunardi executed several flights between 1784 and 1785, including at least one that took off from Southwark, near the delftware potteries. The inclusion of yellow enamel is a rare addition.
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A large London delftware charger, c.1740, painted in blue, red, green and yellow with a large bird diving down onto a seated figure flanked by stylised plants and tussocks, some glaze chipping to the underside rim, 33.5cm.
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A Delft marriage plate, dated 1690, painted in blue with two winged griffins flanking a cartouche inscribed with the letter E over 'R C' and '1690', the bottom of the cartouche with fringed tassels, two glaze chips, 22cm.
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A rare Glasgow 'Delftfield' delftware plate, c.1760, painted in blue with a boat at sail before a small building, the rim with leaves and grapes, 23.7cm.
Cf. Michael Archer, Delftware, p.223, no. B258 for a similar example.
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