There are 1696 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeDavid LEACH (1911-2005)A fluted porcelain vase with celadon glazeImpressed potters sealHeight 15cmStructurally sound, with no obvious signs of damage or restoration. Upon close inspection, there are a few glaze imperfections, predominantly to the rim of the vase and a very small chip to the foot, please see images, but this excepting, the work appears in very good overall condition. Height: 15cm, Diameter of shoulders: 18cm, Diameter of rim: 8.2cm.
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware cylindrical vase covered in kaki glaze with willow tree decoration, impressed DL and pottery marks, height 17cm. (D)Provenance: Purchased from the artist, 1990.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware teapot with cane handle covered in speckled grey glaze with foxglove decoration, impressed DL and pottery marks, height 14.5cm (excluding handle). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware jug covered in tenmoku breaking to kaki glaze, impressed DL mark, height 12cm, and a matching small Lowerdown cup (2). (D)Additional InformationRe-glued chip to inside rim of cup, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A pair of EMI Films original one-sheet movie posters, comprising;Percy's Progress 1974, produced by Betty E. Box, directed by Ralph Thomas, starring Denholm Elliott, Leigh Lawson and Elke Sommer, andThe Body, 1970, produced by Tony Garnett, directed by Roy Battersby, starring Vanessa Redgrave,both 101.5 x 68.5cmProvenance: Acquired by the present owner directly from Studio Canal at Pinewood Studios, the current owner of EMI films. A pair of EMI Films original one-sheet movie posters, comprising;That'll Be The Day,1973, produced by David Puttnam and Sanford Lieberson, directed by Claude Whatham, starring David Essex, Rosemary Leach, and Ringo Starr, and,All You Need Is Love - The Story of Popular Music,1976, produced by Richard Pilbrow and Neville C. Thompson, directed by Tony Palmer,both 101.5 x 68.5cmProvenance: Acquired by the present owner directly from StudioCanal at Pinewood Studios, the current owner of EMI films.Condition ReportPercy's progress with horizontal folding creases. Both rolled and unbacked. Both unlined and rolled. The All You Need is Love poster with some creasing along the edges.
DAVID LEACH (1911-2005) - a circa 1950s boat-shaped studio pottery dish, decorated in scrafitto with a sprig (46 x 15.5cm). Provenance: The Studio, Shinner's Bridge, Totnes. Together with another studio pottery dish of roughly circular form, swirling blue-glazed interior and with impressed mark to its underside (34.5cm in diameter). (2)Condition Report: Condition is excellent with no problems noted. Some wear and darkening to underside of cigar-shaped Leach dish. original good condition to both pieces.
Alfred Wallis (British, 1855-1942)Fishing Boat with Black Sky signed 'A. WALLIS' (upper right)oil and pencil on card18.4 x 46.7 cm. (7 1/4 x 18 3/8 in.)Footnotes:ProvenanceSven Berlin, from whom acquired by Elizabeth Leach (Bernard Leach's daughter-in-law), thence by family descent to the present ownerPrivate Collection, U.K.The present, and preceding two lots, were formerly in the collection of Sven Berlin before passing directly into the family of Bernard Leach. Both men were front and centre within the St Ives circle of creatives and their influence on contemporary and later artists, ceramicists and collectors cannot be overstated. Berlin was a dancer, painter and author, who published the first biography on Wallis, 'Primitive', in 1949. Leach, together with Shoji Hamada, founded the Leach Pottery in 1920 which remains, to this day, one of the most respected potteries in the world and is widely considered as the birthplace of British Studio pottery.At the end of the 1920s, a sudden interest in the work of Alfred Wallis coincided with a revival of arts and craft traditions and Wallis' paintings and Leach's pots shared an authenticity and immediacy that the young Herbert Read famously hailed as a vital 'truth to materials'. The importance of place and a focus on local traditions were common to both men, an aesthetic that was reassuringly familiar yet freshly expressed. The Leach pottery provided employment for significant names of the period, including Patrick Heron, and became a centre for social and professional exchange among the St Ives set but it was Sven Berlin, in particular, who formed a strong bond with the family.An opportunity arose for Berlin to work evenings at the Pottery to earn some extra money and before meeting the master, he met his son David who was living in Carbis Bay with his wife Elizabeth. They became close and would walk home together - 'in a very short time, the Leach Pottery became like a second home for Berlin' (David Wilkinson, The Alfred Wallis Factor. Conflict in Post-War St Ives Art, The Lutterworth Press, Cambridge, 2017, p.17) and he 'frequently spent the evenings in conference with Bernard and David Leach, sitting round the fireplace alongside their apprentices' (Op.Cit., p.46). Indeed, Berlin temporarily entrusted his beloved collection of Wallis paintings to Bernard's safekeeping when he went off to war and on Wallis' death in 1942, it was Bernard who made the tomb decoration for his grave - a series of glazed tiles depicting a tiny, lone figure entering a lighthouse. Elizabeth Leach, David's wife, acquired the present work (together with Lots 1 and 2) directly from Berlin for £1 each and they have remained in the Leach family until now.Wallis's time at sea was spent in sailing vessels, but during his lifetime he witnessed the last days of commercial sailing ships as they were replaced by steamships. Many of the paintings acquired from Wallis were given titles by the purchasers rather than by Wallis himself and the subject was often mistakenly identified. This may be the case in Fishing Boat with Black Sky as the vessel depicted is very similar to the steamships that appear in other paintings by him. Wallis perfectly captures the power and movement of the single steamship using directional brushwork and rich impasto to depict the icy blue sea she cuts through at pace. Steam from the rear funnel trails behind in her wake and white surf is churned up at the bow with the speed of her passage. A small lifeboat and seven crew members can be seen on deck, all bravely facing into the wind and set against a moody horizon.For further information on this lot please visit Bonhams.com
A David Leach studio pottery jug, mid-20th century, the swollen, gently ribbed body covered in a streaked brown glaze, impressed seal mark, height 20.5cm, together with a small group of other studio pottery, including a vase, probably by Robin Welch, height 15cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
ARCHIBALD THORBURN (BRITISH, 1860-1935)PARTRIDGES IN THE SNOWWatercolour and bodycolourSigned (lower right)13 x 26cm (5 x 10 in.)With an inscription (on the reverse): To David Campbell, with every good wish for Christmas 1931. New Year 1932 from Dorothy + Burleigh Leach, Corston, PembrokeshireCondition Report: Under glass and unexamined out of frame. Acid staining around the edge. Several specks of discolouration in the paper, including what appears to be specks of white mould. No signs of damages or restorations and paper appears flat. Condition Report Disclaimer
§ David Leach OBE (British, 1911-2005), a Lowerdown pottery teapot and two tea bowls, each decorated with a pink stained crackle glaze over a white ground, the teapot fitted with a looped cane handle, impressed seal marksthe teapot 17cm high, the tea bowls 7cmA firing crack to the base of the spout, otherwise in generally good order.
§ David Leach OBE (British, 1911-2005), a large Lowerdown Pottery 'foxglove' vase, of collared, globular form, the stoneware body decorated with a tenmoku glaze and brushed in iron with a stylised foliate motif, impressed seal to underside35cm highProvenance:Sale; Bonhams, Tuesday 18 May 2004, lot 78In seemingly good condition, free from damage or repair. A few small bubbles within the glaze.
§ David Leach O.B.E. (British 1911-2005) Tea Set impressed artist's seal, porcelain, celadon glaze and fluted decoration, comprising teapot, milk jug, sugar bowl and six tea cups and saucers(the teapot 19.5cm wide (7.7in wide))Provenance: Gainsborough's House, Sudbury, 1988; Private Collection, UK.
DAVID LEACH (1911-2005) for Lowerdown Pottery; a porcelain bowl covered in celadon glaze with incised decoration, impressed DL mark, diameter 10.5cm, and a box and cover with iron and cobalt decoration, diameter 10cm (2). (D)Additional InformationFiring crack inside base of box, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a porcelain box and cover covered in celadon glaze with iron and copper red decoration, impressed DL mark (glaze filled), diameter 10.5cm. (D) Provenance: Luke Herrmann collection; purchased from Bonhams, 1991.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware globular vase covered in tenmoku breaking to kaki glaze with wax resist decoration, impressed DL mark, made circa 1989, gallery label, height 20cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware preserve jar and cover covered in mottled oatmeal glaze, impressed DL mark, height 9.5cm, and a Jeremy Leach cut sided bowl, diameter 11.5cm (2). (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware square vase covered in dolomite glaze with willow tree decoration, impressed DL mark, height 17cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware square vase covered in green glaze with iron and cobalt decoration, impressed DL and pottery marks, height 20cm. (D)Additional InformationFiring crack extending 3cm from inside rim, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
DAVID LEACH (1911-2005) for Lowerdown Pottery; a stoneware vase covered in tenmoku breaking to kaki glaze with wax resist decoration, painted DL and impressed pottery marks, height 23cm. (D)Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
BERNARD LEACH (1887-1979) for Leach Pottery; a large stoneware cut sided jar and cover covered in tenmoku breaking to kaki glaze, impressed BL and pottery marks (glaze filled), height 28cm, with an authentication note signed by David Leach. (D)Additional InformationSmall shallow chip just below rim, otherwise appears good with no further signs of faults, damage or restorations. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
A large collection of books on studio ceramics (27). Provenance: Adrian Lewis-Evans collection. Some books have annotations made by Lewis-Evans including on the title page of the book on David Leach by Emmanuel Cooper: 'Dear old David, a friend for over 50 years, died on 15th February 2005. Johnny told me of nearly his last words when with Jeremy and Elizabeth at his bedside. A muffled voice came through David's oxygen mask - 'You know, I might just as well pop off if this present level of conversation doesn't get a little more stimulating'.
Marcel BreuerEarly and rare 'Long Chair', designed 1935-1936, produced circa 1935Laminated birch plywood.69.5 x 62.5 x 137 cm Seat manufactured by Venesta, Estonia for Isokon Furniture CompanyLtd., London, United Kingdom. Front of seat stamped MADE IN/ESTONIA. Frame manufactured by Isokon Furniture Company Ltd., London, United Kingdom. Footnotes:ProvenancePrivate collection, LondonAcquired from the above by the present owner LiteratureChristopher Wilk, Marcel Breuer Furniture and Interiors, exh. cat., Museum of Modern Art, New York, 1981, pp. 127, 145Jack Pritchard, View from a Long Chair: the memoirs of Jack Pritchard, London, 1984, front cover, frontispiece, pp. 90, 113, 120, 179Martin Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991, p. 35Magdalena Droste, Manfred Ludewig and Bauhaus Archiv, Marcel Breuer Design, Germany, 1994, pp. 29, 132-133James Peto and Donna Loveday, eds., Modern Britain: 1929-1939, exh. cat., Design Museum, London, 1999, pp. 90, 92Charlotte and Peter Fiell, eds., Decorative Art - 1930s & 1940s, Cologne, 2000, pp. 319, 384Alastair Grieve, For Ease For Ever, London, 2004, pp. 4, 28, 30, 33, 42Hugh Aldersey-Williams, British Design, New York, 2010, p. 70Christopher Wilk, Plywood A Material Story, London, 2017, front coverGive and Take: The Cosmopolitanism of British DesignBy Glenn AdamsonINDEPENDENT WRITER AND CURATOR, NEW YORKOn the second of June, 1961, the SS Canberra - billed as the 'ship of the future' - set sail from Southhampton, bound for far-off Australia. On board were over two thousand people, about half of them intending to emigrate permanently, and a wealth of art and design. There was a restaurant and pool by Sir Hugh Casson. Harry Bertoia's diamond chairs for Knoll, upholstered in canary yellow, graced the 'crow's nest.' And down in the cleverly titled Pop Inn – a jukebox lounge – an interior by John Wright was enlivened with pyrography murals by a 23-year-old artist by the name of David Hockney.Wright's armchairs from the SS Canberra are an obvious reminder of the internationalism of British design; they were literally sent on the high seas as emissaries of a newly energised nation. But many other objects in the present sale performed similar roles, or conversely, reflected global currents of influence. Marcel Breuer's prewar 'Long Chair,' a masterwork by the great German designer, was principally manufactured in Estonia of high-quality Baltic birch. Aluminium die-casting, which Ernest Race used to such effect in his iconic BA3 chair, was pioneered in America, and first applied to furniture by Otto Wagner in Austria. Race adopted it in 1945 to take advantage of British manufacturing capacity in the metal, which had dramatically increased during World War II. Lucie Rie, born and raised in Austria, is considered the most significant of all British potters, having emigrated in 1938 to find refuge from the Nazis. Though her flared bowl with its luminous gold rim was made many years later, it reflects the refined sensibility she imbibed in prewar Vienna. Today, when Britain's role in the world is hotly debated, it is salutary to remember how very cosmopolitan its design history has been, even (and perhaps especially) in the years when its empire was breaking apart. This is true of ideas just as much as technology. The potter Bernard Leach, despite his reputation for introverted traditionalism, was actually a marvelously syncretic thinker. The 'Tree of Life' that appears on the vase in the present sale was originally inspired by ancient cave paintings in China. Leach loved the motif above all, though, because it appears in the art and mythology of so many cultures. Meanwhile, at first glance, William Plunkett – who, as it happened, created designs for another ocean liner, the QE2 – would seem to be the most British of designers. Trained at Kingston School of Art, he operated his own small manufactory in Croydon and even liked to upholster his seating in Harris Tweed. Yet he was born in India, a child of empire, and while his Epsom chair may be named for a town in Sussex it takes its stylistic cues primarily from contemporaneous French designers like Pierre Paulin.At the other end of the aesthetic spectrum from Leach's earthy earnestness and Plunkett's finely calibrated modernism, there is the rough and tumble phenomenon known as Creative Salvage. This was the design equivalent of New Wave, the post-punk movement in music, and similarly combined sharp intellectualism with a freewheeling experimental spirit. Though the movement wasn't named until 1985 (by Mark Brazier-Jones, Nick Jones, and Tom Dixon), its progenitor was Ron Arad, who had relocated to London from Tel Aviv to study architecture. His shop One Off, founded in 1981, quickly became the engine room of avant garde British design – a space where the new was both made and shown. Arad's use of found objects and materials, as seen in his Rover Chair and Tree Light, were pragmatically expedient, but also indebted to the Duchampian Readymade – an import from France and the USA. As a final example, consider Deborah Thomas, who operated in the wider orbit of Creative Salvage. She made her way into design from the London theatre scene, and showed primarily at the Notting Hill gallery Theme and Variations. All very British, you might say. Yet it's impossible to look at her compositions of shattered glass without seeing the impact of Arad's work, or equally, her anticipation of sculptural lighting that followed in the succeeding decade, notably by the German designer Ingo Maurer (whose famous Porca Miseria! fixture, made of broken crockery, was designed in 1994). So far as I know, nobody ever decked out an ocean liner with Thomas' ferociously brilliant chandeliers and sent it around the world, bearing a message of Britain's deep connections to everywhere else. Maybe the time has come?This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Bernard LeachLarge vase with 'Tree of Life' design, circa 1958Stoneware with three incised 'tree of life' designs.34.5 cm high, 29.5 cm diameter Impressed with Leach Pottery seal. Together with a copy of a letter of authenticity and correspondence from David Leach.Footnotes:ProvenanceJ.M.W. Crowther, London, circa 1958Thence by descent to the present ownerLiteratureSarah Riddick, Pioneer Studio Pottery: The Milner-White Collection, London, 1990, pl. 1 for a comparable vaseOliver Watson, Bernard Leach: Potter and Artist, exh. cat., Crafts Council, London, 1997, pl. 125, 127 for comparable vases Edmund de Waal, Bernard Leach, London, 1999, cover, p. 60 for a comparable vaseMr J.M.W. Crowther was a prolific collector of British studio ceramics, including works by Bernard Leach, Michael Cardew, Katharine Pleydell-Bouverie, Lucie Rie and Hans Coper, amongst others, and visited the latter at his studio. Mr Crowther was a great collector and admirer of Leach's work, loaning several pieces from his collection to the artist's 1977 retrospective at the Victoria and Albert Museum, London.Comparable examples of the present vase are held in the collections of the Leicester City Museums and the Cooper Hewitt, New York.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
David Leach (1911-2005), a stoneware footed bowl, with ribbed sides, foxglove design, seal mark, 23cm diameter CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
David Leach (1911-2005), two Lowerdown Pottery jam pots with lids, one painted foxglove pattern, the other painted bands, impressed marks, 9cm diameter CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
David Leach (1911-2005), a rose crackle glaze covered dish, 1981, of domed form, impressed seal mark, 8cm high, 10cm diameter/Provenance: Westminster Gallery, MA, USA 1983 CONDITION REPORT: Small indent (glazed) on outer rim of the base, otherwise condition good. ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk
‡ Ray Finch (1914-2012) a Winchcombe Pottery charger, the well with combed design, six small Winchcombe bowls, a small bowl by Seth Cardew, a flask by Svend Bayer, a rectangular box and cover by David Frith,a bellied jug attributed to John Leach, two bowls and a twin-compartment dish by Sidney Tustin, and a bottle vase by John Bedding painted with a volcano erupting, impressed seal mark, minor damages, 38cm. diam. (16)
‡ David Leach OBE (1911-2005) a Leach Pottery stoneware vase made for the Dartington Exhibition, compressed ovoid form with collar rim, painted with a band of concentric circles in tenmoku, over blue, on a speckled ash glaze to the foot, sold with a copy of the Dartington 60 Years of Pottery 1933-1993 catalogue, impressed DL and Leach pottery seal marks, 13cm. high, 18cm wide. (2) Provenance Private collection Literature Dartington 60 Years of Pottery 1933-1993, page 28 for a comparable example illustrated, made in the 1950s for the Elmhirst collection). This painted design is taken from a plate in Bernard Leach's collection, an 18th or 19th century Seto ware dish with a horse eye or Una No Me abstract design.
Collection of studio ceramics and pottery consisting of: a Leach pottery (St. Ives) jug, 23cm high, a pottery 1/2 pint tankard, 11cm high, two David Leach mugs, 9cm high, a David Leach tin glazed cup, 8cm high and a Muchelney studio pottery 'Sun' plate, 16cm across (6)Condition report: Overall wear, with glaze and firing faults as expected. The tankard has the handle broken off, with pieces present. The large jug has small chip and some tiny hairlines (possible glaze faults) to the rim.
Loading...
