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A Michael Cardew large Abuja jug and four conforming beakers. Shipping category D.

An Abuja Pottery stoneware flagon with screw top in the Michael Cardew tradition, strap handle. Brown, iron and greenish glazes with wide oval and straight line detail. Impressed Abuja seal below handle partially filled and a personal seal completely filled with glaze. 27.5cm high. No obvious signs of damage or restoration to the flagon or the screw top.

§ Michael Cardew (British 1901-1983) at Winchcombe Pottery Large Cider Flagon, circa 1935 impressed artist and pottery seals, earthenware, with black slip and sgraffito foliate design Dimensions:48cm high (18 7/8in high) Provenance:LiteratureMuriel Rose, Artist Potters in England, Faber and Faber, 1955, pl.49 for a similar example.

† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a calligraphic slipware mug covered in galena glaze, inscribed seriffed lettering 'Duke Edward for Ever 1936', impressed MC and pottery marks, height 11cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a large stoneware flagon with screw top covered in tenmoku breaking to kaki glaze with incised decoration, impressed MC and pottery marks, height 35.5cm.Provenance: Cardew family collection.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† MICHAEL CARDEW (1901-1983) for Abuja Pottery; a stoneware sugar shaker with screw top covered in tenmoku breaking to kaki glaze with incised decoration, impressed MC and pottery marks, label written in the hand of Jutta Cardew (Seth's wife), height 15cm. Provenance: Cardew family collection.Condition Report: Kiln kiss to one side and small glaze flakes to underside of screw top, otherwise appears good with no further signs of faults, damage or restorations.

† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a fluted stoneware baking dish covered in green ash glaze, impressed MC and pottery marks, diameter 21cm, and a smaller example (2).Condition Report: Small glaze misses to rim of larger dish, otherwise appears good with no further signs of faults, damage or restorations.

Michael Cardew (1901-1983) an open earthenware bowl, treacle glaze, impressed marks to base, 23cm diameter x 7cm high CONDITION REPORT: small flat chip to outside edge of rim and a flat chip to footrim. 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

Ladi Kwali (Nigerian, circa 1925-1984)Tankard stamped 'Abuja' in Arabic/ 'LK' (base)glazed stoneware14.5 x 13 x 10cm (5 11/16 x 5 1/8 x 3 15/16in).Footnotes:ProvenanceA private collection. The present work a unique and rare example of Ladi Kwali's where she has opted not to use sgraffito in her work. Innovative nonetheless, the present work seems to bear a white slip and then a black slip on top of this, resulting in this rich dripping appearance we seen on it's surface. Given the colour technique that Ladi Kwali has opted for, the use of an 'AA' glaze (which is clear glaze) would enable the rhythmic flow of the slips to be experienced without any additional colour added by pigmentation in the glaze.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Asibi IdoTwo Beakers i)stamped 'A.I.'/ 'Abuja' in Arabic (base)glazed stoneware 10 x 8 x 8cm (3 15/16 x 3 1/8 x 3 1/8in).ii)stamped 'Abuja' in Arabic/ 'A.I.' (base)glazed stoneware 9.5 x 8 x 8cm (3 3/4 x 3 1/8 x 3 1/8in).Footnotes:ProvenanceA private collection.Wonderfully symptomatic of Asibi Ido's preference for smaller pottery works with a high level of decoration, the two small present beakers both display varying sgrafitto in differing compositions. Unique in her body of work as we know it, the present lots were easy fired with a slip glaze when completed, resulting in light matte colour. With a base of a light and high quality Body 44 clay with a dual use of both a black slip (the upper half of both works) and a white slip (the lower half of each work and the rim of each beaker), the present two works are fine displays of aesthetic adventurism practised by Ido.With each circle rhythmically incised in one of the beakers and the expressive scoring around the circumference of the other, there is a great sense here that Ido was thoroughly invested in the creation of these two works. They display her commitment to the craft and ambition in developing a modern Gwari pottery practise.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Lami Toto (Nigerian)Vessel stamped 'L.T' and 'Abuja' in Arabic (base)glazed stoneware 26.7 x 27 x 27cm (10 1/2 x 10 5/8 x 10 5/8in).Footnotes:ProvenanceAcquired directly from the Abuja Pottery Training Centre circa 1970s;Thence by direct descent.Stamped 'LT' at the base of this vessel, the zoomorphic design of the present work is beautifully executed by female potter Lami Toto. It is this zoomorphic concept and execution that is a central theme to the potters works and can be seen in on other works from the artist's oeuvre. Incised and glazed, this is a highly decorative collection of plates which possess a high level of attention to a visually intriguing aesthetic. High fired and used over a Body 44 clay, the present work is decorated by sgraffito into this glaze known as an Abuja slip-glaze, also known as 'Guinness Brown'. The form of the vessels is a traditional style Gwari pot, this synthetization of both Gwari form and motif aesthetic was commonly used by the female potters who joined the training centre, such as Ladi Kwali, Kande Ushafa, and in this case Lami Toto who joined the training centre in 1963.The exquisite execution of the vessel is a wonderful example of why Lami Toto is a prominent potter, not only in her position as one of the few female potters at the training centre, but also one of the most highly skilled and dedicated.BibliographyTanya Harrod, The Last Sane Man, Michael Cardew, Modern Pots, Colonialism and the Counterculture, (New Haven and London: Yale University Press, 2012), p. 294.John Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ladi Kwali (Nigerian, circa 1925-1984)Tankard stamped 'Abuja' in Arabic/ 'LK' (base)glazed stoneware 13.5 x 12.5 x 9cm (5 5/16 x 4 15/16 x 3 9/16in)Footnotes:ProvenanceA private collection.With a vibrant glaze, the present work by Ladi Kwali displays a white slip that has turned yellow in places, presumably during firing. On close inspection, blue flecks can also be seen in the work, suggesting that this is an Abuja Jun glaze, a glaze that was widely used by the potter in her more blue works. The unusual variation in colour in this present work distinguishes it as a remarkable piece to have been generated by the potter.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Asibi IdoFive Small Bowls all bear stamp 'A.I' and 'Abuja' in Arabic (to the bases)glazed stoneware 4.5 x 15 x 15cm (1 3/4 x 5 7/8 x 5 7/8in). (all measure the same)(5)Footnotes:Honoured by being selected to present President Azikiwe with one of her pots upon his visit to the Training Centre and further to her invitation to accompany Michael O'Brien (who worked at the Training Centre following Cardew) on a visitation to Britain in 1989, it is clear that Asibi Ido was a potter held in high regard within the Training Centre. Meticulously decorated with each dish possessing its own individuality, it appears that the 5 works were thrown, given Cardew's introduction to the centre of the pottery wheel, it could be argued that the sgraffito marks on the work were completed when the dishes were still spinning and clay still wet, given their precision. Made in the darker clay of Body 49 base and a black slip, the combination of the two along with the addition of the ridges enables a red-brown pigment to appear along the lines, sealed by what appears to be an Abuja Slip-Glaze. Given the shine of the five dishes, it can be concluded that these dishes were fired under a high heat.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Ladi Kwali (Nigerian, circa 1925-1984)Water Vessel stamped 'Abuja' in Arabic/ 'LK' (to the base)glazed stoneware 20 x 20.5 x 20.5cm (7 7/8 x 8 1/16 x 8 1/16in).Footnotes:Joining the training centre in 1954, Ladi Kwali was already an established potter with the Emir of Abuja already holding a collection of her works. Her fame grew internationally, and Kwali joined Michael Cardew on his European (1962-63) and American (1972) demonstrative and educational tours. The result of her efforts and exposure would lead to her MBE that was awarded to her in 1962. In 1970, she was further awarded an honorary doctorate from Ahmadu Bello University in Zaria. Ladi Kwali's image is also used on the 20 Naira Nigerian bank note and a major street in Abuja has been named Ladi Kwali Road, emphasising her importance to the country also evident in her receiving the Officer of the Order of the Niger (OON) in 1981. Through these acknowledgments and artistic exposure and with a new found global respect for her practice, Kwali would influence a number of the next generation of potters and artists such as Magdalene Odundo.Born in the ancient potting region of Gwari, Ladi Kwali was trained in the traditional methods of production, building up her vessels in coils before firing them in the open air in a bonfire of dry vegetation. She achieved international recognition in 1954 after she was invited to join the famous British ceramicist, Michael Cardew, when he opened a studio in northern Nigeria. However, even with the introduction of equipment designed to make the production of pottery easier by Cardew, Kwali was known for remaining true to her traditional Gwari practise. True still was her commitment to her zoomorphic and geometrical that she would adorn her vessels (such as the present lot) with. Susan Vogel noted on her patriotist practise, 'over her whole working life she made just one change – the switch from earthenware to stoneware' this change was only due to the conditions and material available to the pottery. (Susan Vogel, Ladi Kwali, Michael Cardew and a Tangled Story of African Studio Pottery, ed, Kerstin Pinther, Alexandra Weigand, Flow of forms/Forms of flow, Design Histories between Africa and Europe, (Germany: Transcript publishing, 2018), p, 108).The present work is a beautiful example of the potter's iconic process. Hand coiled, it stands at half of the size of a traditional functional water vessel. On a Body 44 clay, which can be seen through the incised lines as lighter celadon green in comparison to the darker glaze possibly clear AA glaze aver a thin black slip, this work has been fired on a high heat to keep a shine to the surface of the work. Classically Kwali, the zoomorphic imagery is incised into the work in a geometric longitudinal fashion to contrast the wide bulbous drum of the vessel. Kwali's skill and talent is evident throughout the creative process of this vessel and it acts as a wonderful example of what has made Ladi Kwali a key figure in the pottery field and a national treasure to Nigeria.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Kande UshafaTwo Beakers i) stamped 'K.U' / 'Abuja' in Arabic (base)glazed stoneware 13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).ii) stamped 'K.U' / 'Abuja' in Arabic (base)glazed stoneware 13.5 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).(2)Footnotes:Kande Ushafa came from a family of craftsmen, weavers and potters. Traditionally, pottery was considered a woman's exercise due to the gender normative roles conventionally related to cooking and domestic displays. The Pottery Training Centre aimed to celebrate these traditional processes and having women such as Kande Ushafa enabled a higher level of ideological understanding of water vessels, dishes and beakers such as in the present lot. Consistent with the potter's overall body of work, Ushafa's skill and technique in designs via incised lines prior to firing is not only for aesthetic purposes, but alludes to local historical narratives and legends. In comparison to her contemporaries at the Abuja Training Centre, Ushafa has tended to veer away from zoomorphic imagery, opting instead for more decorative and geometrically symmetrical lines and shapes, offering a more open interpretation of her work to the viewer.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Ladi Kwali (Nigerian, circa 1925-1984)Two Beakers i)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).ii)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).(2)Footnotes:Both on a light celadon green Body 44, the two works presented coordinate in Ladi Kwali's incorporation of a white slip towards the base of both beakers. The precision of the sgrafitto on both works emphasis the clarity with which Ladi Kwali incises her works. The definition of the sgraffito is emphasised by the clear contrast of colour between the Body 44, the slip, and glaze. As Kwali did not take to throwing her vessels, the present works are unusual in her oeuvre as they are a rare example of Kwali using a pottery wheel to complete her work. BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Ladi Kwali (Nigerian, circa 1925-1984)Large Dish stamped 'LK' / 'Abuja' in Arabic (to the base) glazed stoneware 5 x 22 x 22.5cm (1 15/16 x 8 11/16 x 8 7/8in).Footnotes:Precision, delicacy and considered rhythmic pattern are terms that would easily be attributed to the present lot. The clay that appears through the sgrafitto etching could possibly be a Body 44 clay given its shade contrast to the glazing. The glazing, very brown in colour, can be concluded as being an Abuja Slip Glaze, or as nicknamed by Cardew, 'Guinness Brown Glaze'. Upon close inspection, shades of red and green come through, this colour variation occurs during the process of glazing has receded. The higher levels of iron in Body 44 clay as opposed to a Body 49 clay could also be relevant to the brown appearance of this dish.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com

Gugong Bong, an Abuja studio pottery mug, circa 1967-71, tankard form, tenmoku glazed with spiral design to the body, conical based cylinder form with pronounced thumbpiece, impressed seal mark GB, 15.5cm high Note: an almost identical example of the same form with the same spiral motif is in the British Museum, formerly belonging to Sir David Attenborough; Gugong Bong trained under Michael Cardew, and his work is also in the Victoria and Albert Museum, London.

A group of studio pottery items,comprising a Bernard Rooke vase, 29.5cm high, two lidded pots, the first by Michael Cardew, the second by Sidney Tustin, an Alderney Pottery vase, 11.4cm high, a Phil Rogers footed vase, 9.4cm high, a Marianne De Trey footed bowl, 15cm diameter, 7.2cm high, two Jim Malone footed bowls, largest 14.5cm diameter, and a Paul Young dish, 24.5cm diameter (9)Condition ReportMinor frits and wear commensurate with nature of the items. No major chips or cracks.

Michael Cardew (1901-1983) for Abuja Pottery - a studio stoneware footed table bowl, having a slightly rounded rim, ribbed body with stylised combed Tenmoku glaze, artist monogram and Abuja seal mark to outer edge of foot rim, dia.27.5cmApprox. 12x4mm surface chip to top edge of top rim.Small areas of roughness to interior surface due to glaze imperfections.Fine hairline to body of bowl, also running through footrim.Some light scuffs/scratches to glaze surface.

Michael Cardew (1901-1983) for Abuja Pottery - a large studio stoneware footed table bowl, having a raised and flattened rim, ribbed body with combed and drip Tenmoku glaze, artist monogram and Abuja Pottery seal to outer edge of foot rim, dia.34cm Approx. 10x4mm glaze chip to outer upper edge of top rim.Small pitted glaze hole just beneath this area also.Otherwise very good.

Michael Cardew (1901-1983) for Abuja Pottery - a studio stoneware footed table bowl, of ribbed form, with combed Tenmoku glaze, Abuja Pottery mark to outer edge of footrim, dia.26.5cmNo chips, cracks or losses.Some general pitting to areas of glaze.Faint wear to inside of bowl (only visible on very close inspection).Overall very good.

A fine Great War C.M.G., scarce ‘North West Frontier 1908’ D.S.O. group of eleven awarded to Brigadier-General P. T. Westmorland, Royal Warwickshire Regiment, late Bedfordshire Regiment and West India Regiment, attached Army Pay Department, who served as a Brigade Commander during the Great War, and over the course of his career was three times Mentioned in Despatches for services on three different continents The Most Distinguished Order of St. Michael and St. George, C.M.G., Companion’s breast badge, silver-gilt, gold appliqué and enamel, with integral gilt riband buckle; Distinguished Service Order, E.VII.R., silver-gilt and enamel, with integral top riband bar; East and West Africa 1887-1900, 1 clasp, 1893-94 (Capt: P. T. Westmorland. 1/W.I.R.); Ashanti Star 1896, the reverse privately engraved ‘P T W’; Queen’s South Africa 1899-1902, no clasp (Major P. T. Westmoreland [sic], 3/W. India. Rgt.) engraved naming; Africa General Service 1902-56, 1 clasp, Gambia (Major P. T. Westmorland, 3/W. India. Rgt.) engraved naming; India General Service 1908-35, 1 clasp, North West Frontier 1908 (Major P. T. Westmorland. 1st. R. War. R.) rank officially corrected; 1914-15 Star (Lt: Col: P. T. Westmorland. 19/Lond: R.); British War and Victory Medals, with M.I.D. oak leaves (Brig. Gen. P. T. Westmorland.) minor enamel damage to the first two; light pitting and contact marks to the three VR awards, and minor edge bruising to the AGS, otherwise very fine and better (11) £6,000-£8,000 --- C.M.G. London Gazette 14 January 1916. D.S.O. London Gazette 14 August 1908: ‘In recognition of services in connection with the recent operations against the Zakka Khel and Mohmands.’ Percy Thuillier Westmorland was born on the 25 July 1863, the son of Colonel J. P. Westmorland, Royal Engineers, and the late Rose Julia, eldest daughter of the late General Sir Henry Thuillier, C.S.I., Royal Artillery. He was educated at Wellington College and the Royal Military College, Sandhurst, and was commissioned into the Bedfordshire Regiment on 9 September 1882, being promoted Captain on 28 August 1889. He was transferred to the West India Regiment on the 7 December 1892 and was employed with the Army Pay Department from 12 May 1894 to 31 December 1897. Westmorland served on the West Coast of Africa in 1894, with the Expedition of the Gambia against Fodey Silah, for which services he was Mentioned in Despatches (London Gazette 4 May 1894). He next saw service with the Ashanti Expedition of 1895-96 and was promoted Major on 22 December 1897. He saw further service in the South Africa during the Boer War 1899-1900 as Staff Officer, Glencoe and in command at St Helena, before proceeding to West Africa in 1901 with the Expedition of Gambia. Transferring to the Royal Warwickshire Regiment, Westmorland served with the 1st Battalion on the North-West Frontier of India and in 1908 took part in the operations in the Mohmand country, for which service he was again Mentioned in Despatches, and was awarded the Distinguished Service Order for the action near Matta Mughal Khel on 24 April 1908: ‘While the left column under Colonel Unwin was occupying the attention of the right flank of the Mohmand position, General Anderson's right column was going into action near Matta. Here up to 8,000 tribesman (mainly from the Baezai clan) had constructed a series of strong sangars stretching for about one and a half miles along a line of low foothills. The right column made up of 1150 infantry drawn from six different corps included 300 men from the 1st Royal Warwickshire’s under the command of Major Westmorland. They prepared to advance up the slopes to the west, which were covered with flags and the sangars of the tribesmen who were clearly present in great strength along a front of one and a half miles. Anderson brought forward all of his infantry in line and prepared to attack. The action began at 07.00 and lasted until 10.20. Anderson's orders forbade him from doing anything more than driving the enemy to his right as the dominating feature, he ordered the men of the Warwickshire Regiment under Major Westmorland to seize the knoll and clear it. The general advance had not progressed very far when the tribesmen opened a heavy fire, the Royal Warwicks charged straight on their objective, the small hill, pushing parties up the slopes, then collecting together in an area of dead ground near the crest before rushing the summit with fixed bayonets and taking the hill. Eventually the position was won and the tribesmen fell back into the hills towards the Burjina Pass after having received - and given out - a fair degree of punishment.’ (Frontier and Overseas Expeditions from India refers). Westmorland retired from the service on 4 December 1912, but was recalled following the outbreak of the Great War and served initially as Commanding Officer, 19th Battalion, London Regiment on the Western Front from 10 March 1915, and later as Commanding Officer of the 5th Battalion, Lincolnshire Regiment. For his services during the Great War he was Mentioned in Despatches for a third time (London Gazette 1 January 1916) and was created a Companion of the Order of St. Michael and St. George. He saw further service with the Lincolns in Egypt in 1916, before returning to the Western Front as Commanding Officer of the 9th Battalion, Royal Scots, and was promoted Brigade Commander, 151st Infantry Brigade, in September 1916. Following the cessation of hostilities he joined the Territorial Force Reserve, and was latterly employed with the Ministry of Munition. He was one of the 134 descendants of the Rev. C. Cardew, D.D. (1747-1831), Rector of St. Erme, Cornwall, who served in the British forces in the Great War. He died in London on 4 June 1929. Sold with copied research, including a photographic image of the recipient. Note: The recipient’s miniature awards were sold in these rooms in September 2008.

† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a deep stoneware bowl covered in pale grey glaze with iron and cobalt decoration, impressed MC and pottery marks, diameter 24.5cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a slipware mug covered in motted yellow/green galena and iron glaze, impressed MC and pottery marks, height 8.5cm. Provenance: Kevin de Choisy collection.Condition Report: Chips around rim and to one side of handle, re-glued handle, otherwise appears good with no further signs of faults, damage or restorations.

† MICHAEL CARDEW (1901-1983) for Abuja Pottery; a stoneware cup, impressed MC and pottery marks, height 7.5cm, and a screw top salt pot by Tanko Mohammud, height 10cm (2).Provenance: Kevin de Choisy collection.Condition Report: Nibble to cup rim, otherwise appears good with no further signs of faults, damage or restorations.

LADI KWALI (1925-1984) for Wenford Bridge Pottery; a small stoneware bowl covered in pale grey glaze with iron and cobalt Vume Lily decoration, impressed LK and pottery marks (personal mark partially glaze filled), diameter 13cm.Invited to Britain by Michael Cardew in the early 1960s, Ladi Kwali gave a number of demonstrations, including at Wenford Bridge Pottery where this piece was made.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a stoneware Gwari casserole with incised decoration, impressed MC and pottery marks, diameter 27.5cm.Provenance: Purchased by Bill Ismay from the annual Wenford Bridge exhibition at Camelford in the late 1970s and gifted to Jim Malone.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

A small collection of books by or about Bernard Leach, Shoji Hamada and Michael Cardew (5).Provenance: Kevin de Choisy collection.

† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a deep stoneware bowl covered in pale grey glaze with iron decoration, impressed MC and pottery marks, diameter 28cm, height 15cm.Condition Report: Patch of glaze a different shade of grey due to over firing, otherwise appears good with no further signs of faults, damage or restorations.

Gugong Bong, an Abuja studio pottery mug, circa 1967-71, tankard form, tenmoku glazed with spiral design to the body, conical based cylinder form with pronounced thumbpiece, impressed seal mark GB, 15.5cm high Note: an almost identical example of the same form with the same spiral motif is in the British Museum, formerly belonging to Sir David Attenborough; Gugong Bong trained under Michael Cardew, and his work is also in the Victoria and Albert Museum, London.

Barbara Hepworth & Bernard Leach. 'On the occasion of the conferment of the Honorary Freedom of the Borough...In Recognition of Their International Contribution to the Arts',' 'Borough of St. Ives, Cornwall, 23rd September, 1968,' two card bound compediums of both artists respectively, titled clear glassine case, b+w photographs throughout, W. J. Rowe, St. Ives, [1968]; 'Barbara Hepworth. Sculptress,' collected amnd edited by Lillian Browse, original cloth, illustrations, Ariel Books on the Arts, The Shenval Press, Faber & Faber, n.d; 'Bernard Leach. A Potter's Work,' first edition, original cloth, unclippped dj, plates, Evelyn, Adams & MacKay, London, 1967; Michael Cardew. 'A Pioneer Potter. An Autobiography,' first edition, original cloth, unclipped dj, plates, vg, Collins, 1988; with four other works by and about Leach including a signed Marion Whybrow; With one other work about Laura Knight. (9)

Michael Cardew Winchcombe pottery pot and lid. Impressed marks, height 18cm together with a 60's Marylin Raw (Porthleven potter) slab vase. (2)Chip to the inner rim of the lid, two hairline cracks to the body of the jar.

Winchcombe Pottery, either Michael Cardew or Ray Finch Studio Pottery and Contemporary Ceramics Large slipware jug with wavy line and spots between banded decoration, circa 1950 Glazed earthenware Seal obscured by glaze 28.8cm high 

After Louis Villeminot (1826-c1914)small gilt bronze model of a bird, on a marble rectangular base, signed, 10cm long x 7.2cm deep x 7.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. With original glass eyes, some wear and marks and a small chip to the underside of the base.

Michael Cardew (1901-1983)a Winchcombe Pottery footed bowl, slip decorated in brown and buff, a Winchcombe plate titled Rhoda and a small Sidney Tustin bowl,impressed seal marks, 21xm. diam. (3)

Michael CARDEW (1901-1983) Mug Ceramic, impressed makers mark to base, height 10.5cm.An almost unnoticeable small nibble to the rim. No other issues. Please view extra image. The piece came to us from a local collector. 

Attributed to Michael Cardew, a tureen and cover with scrolling decoration and twin handles, 28cm wide

Robin's egg glaze model of a duckChinese, 18th/19th Centurythe standing bird with head turned slightly to the left, 17cm long x 13cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. The duck appears to have an old professionally repaired break across the middle. Some further wear.

Pair of model cockerelsChinese, 19th/20th Centurythe red ground birds on rocky type bases, 22cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some wear and firing dots/imperfections.

Monochrome pale blue porcelain moon flaskChinese, 19th Centurywith a tulip shaped top and scroll handles, part glazed footrim and traces of an old paper label, 29cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Old repair and crack near to the top. Overall crazing.

Monochrome pale blue ovoid jarChinese, 19th Centuryof plain form, with a carved hardwood associated lid, the vase 21cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some overall scratches and fritting/chips around the rim.

Matched pair of Wucai porcelain vases and coversChinese, Transitional periodeach painted in enamels with long robed ladies, some carrying fans with attendants and children playing around them, all set on a terrace and with painted cracked ice, rockwork and floral borders. The covers painted with children and with blue finials, 41 and 40.5cm high (slight differences to the pair)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Tudor House, Broadway, circa 1910 see photographWear and scratches overall and some losses to the glaze mainly around the rims of the covers. Chips to one cover. There are some hair cracks to both vases and firing faults and marks to the glaze on both including holes in the glaze.(Amended 22/05/2023)

Famille verte fish tankChinese, 19th Centurypainted in enamels with blossom and butterflies, and with auspicious symbols to the rim, 36cm diameter x 30.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.With some firing faults and wear.

Bronze archaic form vaseChinese, 19th Centuryof diamond form and with tao-tie panelled designs, three character seal mark to the base, 19.7cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear and marks around the base.

Bronze archaic style vaseChinese, 18th/19th Centurywith tao-tie designs and ruyi handles each with a short loop, 31cm high The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some surface marks and wear.

Blue and white porcelain baluster vase and coverChinese, late 17th/18th Centurydecorated with trailing dragon and flowering peonies, within banded and leaf borders, 36cm highThe collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Hair crack in the body of the vase. Overall scratches and wear to the glaze and some chips to the lid.

Bronze lobed vaseJapanese, 19th Centurywith three dogs mask head supports, and on a stepped circular base, 26.5cm highProvenance:- The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some surface marks and wear. Old imperfection under the footrim as part of the casting.

A small cup made in Abuja, Nigeria, 6cm high, 9cm diameter, (acquired in Nigeria in the 1960's when Michael Cardew was teaching there, notably Ladi Kwali) and a tankard, 15cm high, (acquired from a pottery in Jos, North Nigeria in the 1960's), (2).

Jennifer Durrant (b.1942)Small Blue, 1990/91acrylic on board25.5 x 30cm. Provenance:Francis Graham-Dixon Gallery, London;The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some wear and abrasion to the edges and corners of the board, and also some patchy wear to the surface. Minor scratches, surface dirt and discolouration.

Joe Juster for William De Morgan (1839-1917)Jugpainted with Persian-style blue birds within scrolling foliage, the handle with purple glazeimpressed De Morgan mark and painted 'JJ 91/2'20cm high. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Crack running from rim, approx 6cm. some minor glaze chips to the rim. otherwise ok.

Leonard Rosoman (1913-2012)Looted Chinese Gravesigned (lower left)oil on canvas20.5 x 33cm. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Katherine Hartnell (1886-1970)Cottage with Figures Outsidesigned (lower right)oil on board42 x 54cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

Michael Cardew (1901-1983) at Winchcombe PotteryDishslip decorated depicting a birdimpressed pottery and potter's seal and incised initials for Elijah Comfort32cm diameter.The dish appears in good condition with no signs of damage or restoration. The surface does have some light surface scratches from use. Some glaze imperfections.

Graham Sutherland (1903-1980)Cottage in Dorset, Wood End, 192720/60, signed and numbered in pencil (in the margin)etching16 x 19cm. Provenance:Colnaghi & Co., London; The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Appears in good condition. Minor marks and dirt to margins. Framed and glazed.

Michael Cardew (1901-1983) at Wenford BridgePlatterpoured glazesimpressed potter's and pottery seals37cm across. Provenance:Bonhams, 2001

Margaret Gere (1878-1965)Cactussigned and titled (to artist's label on the reverse)oil on board32.5 x 25cm Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection..Painted onto glass. Small chip to glass very top centre.Taken out of frame for condition report - please see photos. Photos of front and back.

Alan Peters (1933-2009)'Chinese/Gothic' coffee tableyew and cherry woodstamped 'Alan Peters' to the underside42cm high, 142cm wide, 55cm deep. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Structually solid, minor surface ware but nothing major.

David Tindle (b.1932)Rocky Coastline, 1957inscribe and dated (to reverse)watercolour26 x 29cm. Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.

William Staite Murray (1881-1962)Vasestoneware, with an iron glaze and single gold patch detail to the bodyimpressed potter's seal, incised 'KI/SKD' and painted '49'20cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall good condition, with minimal glaze and firing faults.