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 St Ives studio pottery pot  possibly by Bernard Leach, having a cut out foliate design and tenmoku glaze, with impressed marks - approx. 16cm high

§ Bernard Leach (1887-1979), an earthenware footed bowl, circa 1920s, the body slip decorated with tenmoku and persimmon over an oatmeal ground, impressed St Ives and potter seal marks to underside12 x 19.5cmThere is a notable chip to the exterior of the rim (see images), as well as some other minor rim fritting.  Crazed all over.

Minagawa Masu (1874-1960) a Mashiko teapot, cream ground with brown and green glaze, 16cm highwith a signed letter from Bernard Leach dated '61 'The photo which you enclosed which I return herewith is undoubtedly of a Mashiko teapot painted by Masu Minagawa early in the century, I worked with her and have examples of all the patterns which she inherited...Crack to lide, chip to spout

YANAGI, Soetsu (editor). Shoji Hamada, Tokyo: Ashi Shimbum Publishing Company 1961,. Japanese text with notes (one by Bernard Leach), annotations and list of plates in English, 140 plates in b&w and colour, orig. cloth spine, pattern washed boards, creasing to endpapers, folio, in orig. card box

Bill PAYNE (XX-XXI) 'Bernard Leach' & Gurnard's Head Hotel Embossed copper Signed to frame verso Largest 11cm x 15.5cm Shipping is available from £25.22 to a UK Mainland address.

Bernard Leach Stoneware Jar & Cover BL & St Ives Marks  Height: 17cm  2 Small nicks to rim, Age related wear.

Large Bernard Leach Stoneware Bottle Vase Tenmoku Type Glaze BL & St Ives Marks  Height: 37cm  No chips or cracks, Age related wear.

Bernard Leach Stoneware Vase Tenmoku Type Glaze BL & St Ives Marks  Height: 17cm  Width: 19cm  Crazing, No chips or cracks, Age related wear.

Large Bernard Leach Stoneware Bottle Vase Tenmoku Type Glaze BL & St Ives Marks  Height: 36cm  No chips or cracks, Age related wear.

Bernard Leach Stoneware Vase Of Square Form Tenmoku Type Glaze BL & St Ives Marks  Height: 19cm  Width: 12cm No chips or cracks, Age related wear.

Large Bernard Leach Stoneware Vase BL & St Ives Marks  Height: 37cm  Width: 28cm No chips or cracks, Age related wear.

Large Bernard Leach Stoneware Vase Tenmoku Type Glaze BL & St Ives Marks  Height: 32cm  Crazing throughout, no chips or cracks, Age related wear and firing fault to rim.

Large Bernard Leach Stoneware Vase Tenmoku Type Glaze BL & St Ives Marks  Marks obscured by glaze. Height: 25cm  Width: 23cm  No chips or cracks, Age related wear.

Bernard Leach Stoneware Vase Impressed Marks Probably BL & St Ives Marks  Marks Obscured. Height: 24cm  No chips or cracks, Age related wear.

Attributed To Bernard Leach Unmarked Stoneware Bottle Vase Of Square Form Pale Grey With Alternating Blue Glaze Checkerboard Squares And Iron Oxide Trailed Tree Design   Height: 18.5cm  Width: 12cm No chips or cracks, Age related wear.

Bernard Leach Style Stoneware Vase Unmarked Height: 10cm  No chips or cracks, Age related wear.

Asian Ceramics.- Ayers (John) The Baur Collection [Chinese Ceramics], vol. 1 only (of 4), jacket with small tear at spine head and a occasional other light wear, 1968 § Miller (Andrew Roy) Japanese Ceramics, colour plates tipped-in, within original card slipcase, 1963 § Leach (Bernard) Kenzan and His Tradition, within original card box, 1966, all profusely illustrated, original cloth, dust-jackets; and c.40 others on ceramics, mainly Chinese and Japanese, v.s. (c.45) 

Bernard Howell LEACH (1887-1979) Bottle vase Ceramic, personal and Leach Pottery seals to base, height 19.5cm.

Bernard Howell LEACH (1887-1979) A tobacco jar This early earthenware St Ives lidded jar is inscribed BROTHER BILL - HIS BACCY Height 13cm impressed St Ives sealThis mug was commissioned from Bernard Leach by St Ives fisherman, Edward Bassett who was known to Leach and Hamada as Old Bassett. In Leach's book Hamada Potter, Old Bassett..(born c.1846-1926), is mentioned several times. He regularly gave them fish. Hamada would go out fishing with Old Bassett, and cooked a rice meal for him. In the book Leach refers to a letter to him from Hamada saying that Old Bassett brought some ashes, from the kipper place, Hamada noticed in washing they contained a considerable amount of sand but they would do for some glazes like tenmoku, and would send some to Murray for testing and if suitable would get some more. their friendship lasted even after Hamada left. When old Bassett died Bernard Leach made a piece for his grave in Barnoon cemetery.This unrestored jar has one major crack and various hairline cracks. There is a chip inside the lid.

Five publications "Tony Giles", John Branfield. Mingoose Books."Concept and Form" Bernard Leach. Exhibition catalogue. Headland Printers."Ceramics", Jason Wason. Published by Austin Desmon Fine Art."Two Impressionists - Father and Daughter", Norman and Alethea Garstin. Exhibition catalogue. 1978."The Cornish Show". Exhibition catalogue. 2007.

Bernard Howell LEACH (1887-1979) An historic documentary mug An early St Ives earthenware mug slip decorated with the Cornish shield and William Bassett 78 Years Height 11.5cm Impressed St Ives sealEdward Bassett was known to Leach and Hamada as Old Bassett. In Leach's book Hamada Potter, Old Bassett..born about 1846 and died in 1926, is mentioned on pages 46,54-56, and 86. they thought highly of him and he spent a lot of time with them, he was a fisherman and regularly brought some of his catch to them as a gift. Hamada would go out fishing with Old Bassett, and even cooked a rice meal for him. On page 55 Leach refers to a letter to him from Hamada saying that Old Bassett brought some ashes, from the kipper place, Hamada noticed in washing they contained a considerable amount of sand but they would do for some glazes like tenmoku, and would send some to Murray for testing and if suitable would get some more. their friendship lasted even after Hamada left. when old Bassett died leach made a pottery piece for his grave in Barnoon cemetery,it is long gone.This unrestored mug has multiple glaze chips to the rim, several hairline cracks and minor glaze losses

Ben NICHOLSON (1894-1982) Abstract Composition (1973) Lithograph, 66 x 79cm, 70 x 83cm framed.Part of The Penwith Portfolio, 1973, published by Penwith Galleries Ltd, St Ives. The portfolio included works by Barbara Hepworth, Peter Lanyon, Bernard Leach, Robert Adams, Alan Davie, Merlyn Evans, Duncan Grant, Ben Nicholson, John Piper, Michael Rothenstein, F. E. McWilliam and Henry Moore. This lithograph has not been examined out of it's frame, yet there are signs of yellowing to it's perimeter (please see additional images). To the right hand side of the sheet there appears to be a rather large water mark, this does not spread on to the lithograph itself (please see additional images).

LEACH STONEWARE; three pieces including mug, footed bowl with painted detail, also a Pottery's Book Bernard Leach (4). Condition Report: Mug height 12cm, glaze crazing throughout. bowl diameter 13cm good condition. twin handled bowl width 15cm fine hairline cracks running through. 

▲ Bernard Leach CH (1887-1979) 'Owl'signed with monogram l.r., pencil11.5 x 11.5cmCondition ReportFramed: 32 x 29.5cmTime staining. There is a small brown speck to the centre of the right edge, please see images. On close inspection the paper has a lightly creased surface texture. Overall, well presented and ready to hang. Not examined out of glazed frame.

Bernard Leach (1887-1979) - A 20th Century Bernard Leach ceramic studio pottery stoneware bowl with drip glaze decoration to the top half and untreated / mottled to the bottom half. Impressed markings to base. Measuring approximately 8cm x 17cm diameter. 

Warren MacKenzie (1924-2018). Studio pottery ceramic faceted bowl with tripod feet. Stoneware in a dry shino glaze, marked along the underside.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 3 in x diameter: 5 1/2 in.Condition:There are no visible cracks, losses, or chips. There is wear to the feet along the underside, as expected from age and use. There are no visible signs of restoration under UV light.

Warren MacKenzie (American, 1924-2018). Large studio pottery ceramic dish or platter. Glazed stoneware with finger-swipe decoration along the interior. Double stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 2 1/2 in x diameter: 14 in.Condition:The platter is in good condition with no chips, cracks, losses, or restorations. Very light wear to the footrim.

Warren MacKenzie (American, 1924-2018). Studio pottery ceramic vase. Stoneware vessel with a celadon glaze, stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 7 3/4 in x diameter: 3 3/4 in.Condition:There are no major chips, cracks, or losses. There is faint crazing throughout the surface. There is light wear to the footrim, as expected from age and use. There are no signs of restoration under UV light.

Warren MacKenzie (American, 1924-2018). A pair of studio pottery ceramic bowls. Stoneware with Dolomitic Matte glaze dipped over Tenmoku glaze. Each stamped along the foot rim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.(Each) Height: 2 1/2 in x diameter: 5 1/2 in.Condition:There are no visible cracks, chips, or losses. There is light wear to the footrim, as expected from age and use. There are no signs of restoration under UV light.

Warren MacKenzie (American, 1924-2018). Group of three ceramic vessels including one vase, one bowl, and one cup. High-fired stoneware with copper green oribe style glaze. The vase and the cup are marked along the underside.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height ranges from 1 3/4 in to 5 in; diameter ranges from 3 in to 5 3/4 in.Condition:There are no chips, cracks, losses, or restorations. Crazing to the glaze throughout. Light wear along the underside consistent with age and use.

A collection of books on or by Bernard Leach and the Leach Pottery (11).

A collection of books on or by Bernard Leach, Shoji Hamada etc (8).

'The Works of Shoji Hamada 1921-1969' (Tokyo, 1969), English and Japanese text by Bernard Leach and Shoji Hamada, 127 colour plates, in original case.

Warren MacKenzie (American, 1924-2018). Large studio pottery bowl. Stoneware with a titanium matte glaze with hints of iron oxide. Double stamped along the footrim.Provenance: Private Minnesota Collection.Lot Essay:Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 5 1/4 in x diameter: 14 in.

Leach Potterya stoneware plate, painted with a willow tree design in cobalt and tenmoku on ash, a Leach Pottery pot and cover by Bernard Leach, a Leach Pottery preserve pot and cover incised with an oak leaf, two Leach Pottery tankards and a collection of Standard Ware,impressed seal marks, 17cm. diam. (a lot) ProvenanceThe Estate of Richard Batterham

William Staite Murray (1881-1962)Fain, a stoneware footed bowl, flaring conical form, covered in a speckled grey and rust glaze to the foot, a stoneware bowl in the manner of Bernard Leach painted with cobalt fish, nine studio pots and a part service by Honiton designed by Maryse Boxer glazed matt black, comprising three square plates, one large circular plate and three side plates with a circular mirror display, impressed pentagon seal mark, 16cm. diam. (19)

Φ Bernard Leach CBE (1887-1979)a Leach Pottery stoneware vase, ovoid with short, collar rim, covered to the foot with a pitted olive green, impressed seal marks, 18.5cm high

ARR Wenford Bridge Pottery a stoneware cider jug, with incised decoration, impressed seal mark 29cm high and Bernard Leach (1887-1979), a cider flagon glazed in orange and brown, 30cm highIn good condition, no damage or repair Thumb sized flat chip to neck, two tiny chips to rim, light wear and some glaze scratches

Art Books related to Barbara Hepworth, Bernard Leach, Terence Coventry, Patrick Heron and others Twelve publications in total. Postage is available on this lot from £35.50 to a UK address.

St Ives Artists Series Ten publications Artistic biographies of: Roger Hilton, Bryan Wynter, Terry Frost, Peter Lanyon, Barbara Hepworth, Christopher Wood, Ben Nicholson, Bernard Leach, Alfred Wallis and Patrick Heron; the Patrick Heron publication signed and inscribed by the author, Michael McNay. Tate Publishing. Postage is available on this lot from £19.76 to a UK address.

Various Cornish art related volumes including St Ives Artists, Alfred Wallis, Bryan Wynter, Bernard Leach, John Miller Memorial Exhibition catalogue 2003, George Fagan Bradshaw, Paul Feiler and others, etc

Bernard Leach. Four works. Bernard Leach. 'Exhibition of the Art of Bernard Leach', exhibition catalogue for 'Meeting of East and West' at the Ohara Museum of Art, pictorial card wraps, bilingual, profuse in illustrations, vg, Tsuchiyama printing co, Kyoto 1980; Emmanuel Cooper (ed). 'Concept and Form. Bernard Leach', exhibition catalogue, card wraps, illustrations, Penlee House gallery and museum, n.d; with two other works about Bernard Leach. (4)

Signed Bernard Leach 'Bernard Leach', a retrospective exhibition of his work by the Tenmaya Department Store, Okayama, signed by the potter with inscription reading 'From Bernard to Mabel with love, 1973', mostly Japanese text, with 153 examples of pottery and 96 examples of his etchings/paintings; 1971Edmund de Waal, 'Bernard Leach - St Ives Artists', signed by David Leach, Tate Gallery Publishing, 1999; 'Exhibition of the Art of Bernard Leach - His Masterpieces Loaned by British Museums and Collectors', mostly Japanese text,1980 (3)

JORGE LEWINSKI (1921-2008): portrait of Bernard Leach: vintage silver gelatin print, 1970, signed and titled in white ink to lower margin by photographer, approx 50 x 40cm, mounted on card with photographer's stamp to verso. (1)

Leach Pottery (St Ives): A Stoneware Cut-Sided Bottle, ash glaze, impressed Leach pottery seal and ENGLAND,18cm highLeach Pottery (St Ives): A Stoneware Footed Bowl, tenmoku glaze, incised lines, impressed Leach pottery seal and ENGLAND,8cm high, 14cm diameterLeach Pottery (St Ives): A Stoneware Japanese Teapot, tenmoku glaze, impressed Leach pottery seal and ENGLAND,13cm highRose (Muriel), Artist-Potters in England, London: Faber and Faber, 1955, Leach (Bernard), A Potter's Book, London: Faber and Faber, 1953 (reprint),Bernard Leach: Fifty Years a Potter, The Arts Council, 1961Leach Pottery 1920-1952, Printed by Wightman MountainBottle has a restored rim. Tiny nick to spout of Japanese teapot. Bowl is in good order.

Bernard Leach (1887-1979) A Stoneware Marmalade Jar, with iron decoration on blue/grey ground, painted BL and impressed Leach pottery seal and ENGLAND,12cm highIn good order. See extra images. Came in together with Lot 78, no further information.

A ‘JUN-IMITATION’ BRUSH WASHER, QING DYNASTY, TL TESTED 清代仿鈞釉筆洗Please note this Lot is to be sold at No Reserve. 本拍品不設底價Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 2 February 2024, based on sample number P124b31, sets the firing date of two samples taken between 200 and 80 years ago. A copy of the report, signed by Helen Mason for Oxford Authentication, accompanies this lot.China, probably Juntai in Henan province, 1820-1940. Resiliently potted with deep rounded sides supported on a short and rather broad foot, rising to an everted rim with a distinctively overhanging lip. The mouth festooned with five lobed petals, serving as the brush rests. Covered overall in a rich, opaque, finely crackled, streaked glaze of sky-blue and lavender tones, thinning to mushroom at the edges, with the foot rim left unglazed revealing the ware, partially burnt to orange in the firing.Provenance: French trade. Condition: Very good condition with expected old wear, traces of use mostly to the well, and firing irregularities, such as including pitting, glaze recesses, and kiln grit. The foot slightly polished, possibly the result of extended usage over centuries, with some nibbling to foot rim. Two holes to foot from sample drilling.Weight: 499.9 g Dimensions: Diameter 19.1 cmExpert’s note: Although in the Song and Yuan dynasties Jun wares do not seem to have had a very high status, from the early Ming period onwards they acquired a very high reputation among collectors. Several Qing emperors had a particular predilection for Song dynasty Jun wares and encouraged potters to recreate their thick luscious glazes of intense coloration. However, earlier imitations of this flamboyant glaze, which had an immense appeal to the literati and nobility of the Ming dynasty, exist as well.As Jessica Harrison-Hall explains, Linru on the Ru River in Henan was the main production center for jun wares in the Song dynasty. They are particularly appealing and were made in lavender blue, purple, purple-splashed blue and green. The blue color is achieved by an unmixing of the glaze into silica- and lime-rich glasses at high temperatures while the purple color results from extra copper ore painted on to the glazed but unfired vessel. Such colors inspired major European studio potters, like Bernard Leach, to experiment with Chinese glazes.The shape of the present brush washer shares some similarities to Ming dynasty wares produced at Jingdezhen from the Chenghua to the Wanli reign. Song-style glazes were much appreciated in the late Ming era, but following more recent excavations in China it now seems likely that this brush washer dates to the early 15th century and was made not at Jingdezhen, but at Juntai in Henan province. See (Li Baoping, ‘Numbered Jun Wares: Controversies and New Kiln Site Discoveries, in Transactions of the Oriental Ceramic Society, vol. 71, 2006-2007, pp. 65-77).Literature comparison: Compare a related Jun dish with a similar glaze, 14.2 cm diameter, dated to the Ming dynasty, 1368-1435, in the British Museum, registration number PDF.54. Compare also a related jun-type lavender-glazed dish, Ming Dynasty, 17.5 cm diameter, dated 1400-1435, in the British Museum, registration number 1936,1012.88. The feet of both items above are remarkably similar to the foot of the present lot, where the naked ware, burnt to orange in the firing, and worn down through centuries of usage, clearly denotes a Ming dynasty origin.Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 5 October 2016, lot 3641 Price: HKD 3,800,000 or approx. EUR 503,000 converted and adjusted for inflation at the time of writing Description: A rare ‘Jun-imitation’ handled washer, late Ming dynasty Expert remark: Compare the closely related glaze. Note the different form.

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).

Norah BRADEN (1901-2001) A globular vase, stoneware with bands of brown and cream glazesHeight 12.5 cm, diameter 16 cm,Various reference numbers to foot and impressed NB seal.Collector's note"Bernard Leach thought that Norah Braden was the most gifted of his students. She left St Ives in 1926 to join Katherin Pleydell-Bouverie at Coleshill in Wiltshire, where both made pottery and experimented with glazes. In 1936 she moved to Sussex, living at Rock Cottage, an almost derelict building on a country estate. In later life, she was evicted and the cottage was sold. The new owners discovered some fifty tea chests full of pots wrapped in newspaper. This item was among them." This charming piece is in good condition, with no areas of concern.

Bernard LEACH (1887-1979) A vase of stoneware tapered cylindrical formAll over ochre glaze with brown speckles, and alternating combed and impressed design around the bodyHeight 30.5 cm,Impressed BL and Leach Pottery, St Ives seals.A smaller example illustrated in Bernard Leach, Hamada and their Circle, the Wingfield Digby collection, page 77Provenance – previously in the collection of Annemarie Fernbach, a student of Leach at Dartington circa 1938

John LEACH (1939-2021) A tall Medieval-style jugHeight 36 cmStamped JL Muchelney 01Catalogue noteJohn Leach was the grandson of Bernard Leach and the son of David Leach. He set up his own pottery at Muchelney in Somerset. In excellent, unrestored condition with very clear maker's marks.

'Bernard Leach - Life & Work' by Emmanuel Cooper 2003 together with 'Shoji Hamada - A Potter's Way & Work' by Susan Peterson, 2004 edition.

Bernard LEACH (1887-1979) Bread crock or large lidded jar circa 1960, including lid, stoneware iron glaze over fluted bodyHeight 27 cmImpressed BL and Leach Pottery sealsCatalogue NoteThe Chara Museum of Art catalogue shows a similar example, plate 355 Structurally sound, the work appears to be in very good overall condition. There is a superficial flaw, perhaps formed during firing to the exterior surface of the lid measuring approximately 9cm, this is not visible to the interior (please see image).

Bernard LEACH (1887-1979) A mediaeval style jug, brown speckled salt glaze with thumbnail decoration, circa 1920sHeight 20cm,Impressed with BL St Ives and England sealsProvenance - Wills Lane Gallery This piece is in good condition, with no signs of damage.

Bernard LEACH (1887-1979) Tall vaseStoneware, mottled cream glaze with blue/brown painted design of two undulating grapevines contained within horizontal bandsHeight 33 cmImpressed BL and Leach Pottery seals This impressive bottle vase appears to be in excellent overall condition, there are no obvious signs of damage or repair. Please see additional images of the base and marks.

Philip LEACH (1947) A large pitcher with sunflower sgraffito decoratio, signed Philip W Leach and dated 14-3-2009Height 34 cmImpressed Springfield Pottery, Hartland and personal marksCatalogue NotePhilip Leach is a grandson of Bernard Leach and the son of Michael Leach, Bernard Leach’s younger son

Bernard LEACH (1887-1979) A large ovoid bottle vase with tall neck and fluted sidesOatmeal glaze with unglazed band to baseHeight 37 cm,Impressed BL and Leach Pottery, St Ives seals.ExhibitedOn loan to the Leach Pottery from 2011 to 2013 This striking piece is in excellent condition, with no obvious signs of damage or repair. There are no cracks and the piece rings well.

Bernard LEACH (1887-1979) A bud vase, oatmeal glaze with three formal red and black spot designsHeight 8.5 cmPainted initials BL and impressed Leach pottery and England seals This delightful piece is in good condition but for a near-invisible repair to the rim. Additional photographs have now been uploaded.

William Fishley HOLLAND (1889-1969) A large harvest jug, circa 1949Height 21.5 cm, 17 cm diameterCatalogue noteSlipware in the North Devon tradition of Fishley Holland's grandfather, William Fishley. Sgraffito design of a farmer and his wife, farmhouse, animals and harvest fruits, with a motto around the shoulder reading 'Fill me full of liquor sweet. For that is good when friends do meet. When friends do meet and the liquor plenty. Fill me again when I.B.M.T'. Incised WF Holland to baseA very similar jug gifted to Bernard Leach by Fishley Holland is now in the Crafts Study Centre Collection. This pot has no damage and no restoration. There are no firing flaws but for the usual pin-holes and other firing features that are associated with country pottery.