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Lot 192
A Studio Pottery bottle shaped vase with drawn neck and green matt glaze, with impressed seal mark BL (possibly Bernard Leach), 16 cm high approx together with a further Studio Pottery pot and cover of squat circular form and a small Winchcombe Pottery rectangular slip glazed dish of rectangular form (on view on top of ceramic cabinet).
Lot 524
David Andrew Leach (1911-2005): A Porcelain Lidded Box, covered in a celadon glaze with pink crackle, impressed DL seal, 11.5cm; A Lowerdown Pottery Stoneware Vase, impressed L+ seal, 7cm; A Leach Pottery Porcelain Vase, covered in a tenmoku glaze, impressed pottery seal mark and ENGLAND, 8.5cm; and A John Maltby (b.1936) Stoneware Vase, signed Maltby and impressed SP (Stoneshill Pottery) 9cm (4)
Lot 297
Four pieces of Studio Pottery, to include a yunomi by Geoffrey Whiting, another yunomi and jug by Simon Leach,and a small bowl by Pierre Brayford impressed monograms (4) the jug measures 15cm high Condition report: The Brayford vase has a glaze chip to inner rim, outside this there are no other damages.
Lot 537
A Burmantofts Faience Pottery plaque by Harold Leach, model no. 1121, modelled in low relief with sailing vessels at sea, a galleon at anchor and cliffs in the background, glazed blue impressed marks, incised monogram,HL, restored rim chips, 45.5cm. diam. Literature Burmantoft Pottery Bradford Art Galleries & Museums & Leeds City Museums, 1984, page 52 catalogue number 63 for a comparable example.
Lot 105
Leeds. A History of the Town and Parish of Leeds, Compiled from Various Authors. To which are added, a History of Kirkstall Abbey and a Leeds Directory, Containing a List of the Merchants, Tradesmen, etc. in the Town of Leeds, 2 parts in one, published Leeds, [1797], title trimmed and relaid, three engraved plates, some dust-soiling and spotting, early 19th century calf, joints cracked and some wear to spine, 12mo, together with A Walk Through Leeds, Or, Stranger's Guide to Every Thing Worth Notice in that Ancient and Populous Town; with an Account of the Woollen Manufacture of the West-Riding of Yorkshire, Leeds: printed by J.H. Leach, 1806, two engraved plates, contemporary half calf, joints cracked and some wear to spine, 12mo, plus The Leeds Guide: Giving a Concise History of that Rich and Populous Town, the Circumjacent Villages, and Kirkstall Abbey, Leeds: printed for John Ryley by Edward Baines, 1808, lacking frontispiece, contemporary cloth, upper cover detached, 12mo, with Wardell (James), The Antiquities of the Borough of Leeds, Described and Illustrated, 1853, Large Paper copy, sixteen lithograph plates (some hand-coloured), original front wrapper bound-in, contemporary half calf by J.W. Jackman of Leeds, rubbed and scuffed, slim 8vo, and Kidson (Joseph R., & Kidson, Frank), Historical Notices of the Leeds Old Pottery with a Description of its Wares..., Leeds: J.R. Kidson, 1892, engraved portrait frontispiece, photogravure plates, edges rough-trimmed, original cloth gilt, spine slightly rubbed, 4to (limited edition 132/250), plus other Leeds related, 19th & 20th century publications (80)
Lot 384
A collection of reference books and pamphlets on studio pottery and potters, to include: LEACH (B), A POTTER IN JAPAN, Faber & Faber, 1960; LEACH (B), KENZAN AND HIS TRADITION, Faber & Faber 1966; LEACH (B), HAMADA POTTER, 2nd edition, 1978; YANAGI (S), THE UNKNOWN CRAFTSMAN, third edition, 1976; WILSON (R), THE ART OF KENZAN; KNIGHT (L), OIL PAINT AND GREASE PAINT, Nicholson & Watson, 1936; TIMMINS (H), TRETCHIKOFF, George G Harrap, LEACH (B), A POTTER'S PORTFOLIO, A SELECTION OF FINE POTS, London, Lund Humphreys & Co, 1951, with slip case, etc (Qty)
Lot 62
§ Thomas 'Sam' Haile (British, 1909-1948), a rare slipware dish, the elongated formdecorated with a fish, impressed seal mark to underside 44½cm (17in), together with accompanying publication 'Sam Haile, Potter and Painter 1909-1948, edited by Barry Hepton Other Notes: Had Sam Haile lived, he would arguably have become one of the leading figures in 20th century ceramics. Born in 1909, he studied ceramics at the Royal College of Art under William Staite Murray, a hugely influential potter. Murray was known to be a casual - bordering on disinterested - teacher who often completely ignored his pupils. Haile, however, attracted his attention, and Murray would go so far as to silently point with his stick at those few pots he felt should be saved from the soak bin. Haile and Murray continued a sporadic correspondence throughout Haile's short life. Haile painted alongside his ceramics and was hugely influenced by the Surrealist movement. His pots were decorated with symbolic figures and dream characters more than a decade before Picasso began working with clay. In 1938, he married Marianne de Trey (see lot 63) and introduced her to pottery. She became a recognised and important potter in her own right; being awarded the CBE in 2006, and died at the age of 102 in 2016. As Sam was a pacifist, they moved to the United States at the outbreak of war, returning to England towards the end of the war where he joined the British Army as a non-combatant. He left an indelible impact on the American potters. After the war, he and Marianne moved to Suffolk and started work at the Bulmer Brickyard where he had a period of making slipware. Eventually, on the advice of Bernard Leach, they settled in Dartington, where tragically after only one year, Haile was killed in a road accident. The critic, A C Sewter, wrote of Haile: '….confronted by pottery such as Haile has been making during the last ten years, even a person not normally interested in the crafts is forced to realise that pottery is an art with a range and power of expression not less than that of painting. In his hands, in fact, pottery seems to become at once painting and sculpture…here is an artist whose hands speak eloquent and varied poetry'. The Victoria and Albert Museum, London holds an extensive collection of Haile's work.
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