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PHILIP WADSWORTH (1910-1991); a waisted stoneware vase covered in white glaze with polychrome decoration, incised PSW mark and number/year codes, probably made 1950s, height 12.5cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR - Wadsworth was a student of Staite Murray and a contemporary of Sam Haile, Percy Brown and Henry Hammond at the RCA. He exhibited relatively little and consequently his work is less well known than it should be.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

PHILIP WADSWORTH (1910-1991); a large stoneware bottle with red and green copper floral decoration on mottled grey ground, incised PSW mark, probably made late 1930s, height 28.5cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

REGINALD MARLOW; a stoneware bottle with iron and copper floral decoration on mottled pale grey ground, impressed and incised RM marks, height 20cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

URSULA MOMMENS (1908-2010); a stoneware bottle covered in tenmoku breaking to kaki glaze, impressed UD mark, made 1980/90s, height 16cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Ursula asked much higher prices for her tenmoku pots than similar forms in other glazes. When I asked her why she said: ‘because the ingredients are more expensive’. I assumed it was a joke and that she simply thought tenmoku suited her work best.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

URSULA MOMMENS (1908-2010); a stoneware bowl covered in tenmoku breaking to kaki glaze, impressed UD mark, made 1980/90s, diameter 20cm. (D)Provenance: Ross Hill collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

URSULA MOMMENS (1908-2010); a stoneware bowl with striped decoration, impressed UD mark (partially glaze filled), diameter 15cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Additional InformationShort firing crack to base, 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

URSULA MOMMENS (1908-2010); a stoneware footed bowl with cobalt decoration on mottled pale grey ground, impressed UD mark, made 1980/90s, diameter 17cm. (D)Provenance: Ross Hill collection. Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

HENRY HAMMOND (1914-1989); a stoneware footed bowl with iron fish and floral decoration and circular design to well, impressed HH mark, made 1970s, diameter 20cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

HENRY HAMMOND (1914-1989); a stoneware bottle with iron widgeon decoration, impressed HH mark, made 1970s, height 22cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Henry was adamant that his birds were widgeons. If you called one a pigeon or a dove he got quite peeved.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

HENRY HAMMOND (1914-1989); a stoneware yunomi with white dot decoration on blue/grey ground, impressed HH mark, made 1970s, height 9cm. (D)Provenance: Sue James collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

PERCY BROWN (1911-1996); a stoneware vase partially covered in oatmeal glaze with unglazed bands, painted PB mark, made 1950/60s, height 21cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Brown has been very overlooked – but was one of William Staite Murray’s most interesting students. His work is rare but I have been fortunate in finding quite a few pieces.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

GWILYM THOMAS (1914-1995); a deep stoneware vase with slightly splayed foot, iron wash to interior and lower exterior, incised G mark and dated 1970, height 31cm. (D)Provenance: The artist.Exhibited: Gwilym Thomas: a retrospective exhibition, Glynn Vivian Art Gallery, Swansea, 1997; Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Literature: Illustrated in Paul Rice, British Studio Ceramics (Crowood Press, 2002), p. 247.PR – Gwilym Thomas was, almost certainly, the most eccentric (and one of the best) of William Staite Murray’s students. I tried repeatedly to put on an exhibition – he always said he was very keen and then quoted astronomical prices. His family later told me that he never had an exhibition or sold any work. His output was small and he either gave away or smashed most of it. After his death, the family organized three small retrospectives – two at museums and the third at my gallery where most of the best pieces went to museums. This and the next lot are two of the four I bought.Additional InformationNick to 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

GWILYM THOMAS (1914-1995); a porcelain 'breast' pot on splayed foot, incised G mark and dated 1976, height 19cm. (D)Provenance: The artist.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Thomas’s ‘breast pots’ are especially rare. He made a few taller ones in stoneware and a very small number of these smaller porcelain ones.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

HELEN PINCOMBE (1908-2004); a stoneware chawan with wax resist decoration on tenmoku ground, impressed HP mark, made 1960s, diameter 15cm. (D)Provenance: Sue James collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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

Winifred Nicholson (1893-1981) Castagnola, circa 1923 oil on board Verso: Kate Nicholson (1929-2019), Cumberland Landscape, circa 1950 oil on board 59 x 74 cm. Literature: Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920-1931, Philip Wilson Publishers, London, 2013, p. 15 (illustrated in colour). Winifred Nicholson and Ben Nicholson spent the first three winters of their married life in the Italian speaking part of Switzerland, near Lugano. Here, away from the London art world, and inspired by visits to Paris on their journeys to and from England where they admired works by Picasso, Rousseau, Derain, Modigliani, Van Gogh, Gaugin, Cezanne and Matisse, their experiments were 'fast and furious', as described by Ben Nicholson. They worked closely together and the depth of their creative partnership is vividly demonstrated by comparing Castagnola with Ben Nicholson's 1923 (Castagnola) (National Galleries of Scotland). For further information of their time in Lugano see The Allure of the South: the Nicholsons in Italy and Switzerland, 1920-23, Sebastiano Barassi, op. cit. pp. 8-17. Cumberland Landscape is characteristic of the early poetical landscapes by Kate Nicholson, Winifred's daughter. Although Winifred Nicholson often painted on the reverse of pictures due to a shortage of materials it is rare for her to have shared a support with her daughter, although not unknown (see for example Skye (Kettle's Yard, Cambridge) which has a portrait by Winifred on the reverse). For more Cumberland landscapes by Kate Nicholson see Kate Nicholson, Jovan Nicholson, Philip Wilson Publishers, London, 2019. We are grateful to Jovan Nicholson for his assistance in cataloguing this lot. 

‡ William Staite Murray (1881-1962) footed stoneware bowl, with ash glaze to foot impressed pentagon seal mark to foot, incised EPG K3 and painted 66 to base 21.5cm. diam, 12cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) a footed stoneware vase, covered to the foot with a pale celadon glaze over tenmoku, impressed pentagon mark, incised KB and painted 72 WIN, 16cm. diam, 11.5cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) footed stoneware bowl with tenmoku glaze to the foot, impressed pentagon mark, incised MP1 and painted FR147 to base, 20.5cm. diam, 11cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) a stoneware bowl, covered to the foot in a grey ash glaze, impressed pentagon mark to foot rim, chip to top rim, 20.6cm. diam, 9cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) a stoneware baluster vase with swollen neck, covered to the foot with a running pale blue glaze with lavender specks, and iron splashes to shoulder, impressed pentagon mark to base and incised R, 30cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) a stoneware ovoid vase, covered to the foot with rust brown glaze, impressed pentagon seal mark to side of foot, incised KI SKD and painted WI 6 to base, 25cm. high Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Giraffe drypoint etching on paper, mounted signed in pencil, W Staite Murray 9.5 x 7.5cm (image) Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Carthorse drypoint etching on paper, mounted signed in pencil W Staite Murray, to sheet, signed and titled to mount 26 x 18.7xm. (sheet). Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Condor drypoint etching on paper, mounted, signed in pencil W Staite Murray, to sheet, signed and titled to mount 38 x 25cm (sheet). Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Cacti drypoint etching on paper, mounted, signed in pencil W Staite Murray, 34.3 x 24.3cm (sheet). Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Wild Flowers in Earthenware Jug drypoint etching on paper, mounted signed in pencil W Staite Murray, and titled on mount., 37.2 x 25cm (sheet) Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Fresia in a William Staite Murray vase ink on rice paper unsigned 49 x 35cm. Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Red Garden Flowers in a glass vase watercolour on rice paper, red ink pentagon mark, torn 52 x 35cm. (sheet) Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) Wild Flowers in a William Staite Murray vase ink on rice paper, mounted red ink pentagon mark, 34 x 24.5cm (sheet). Provenance From the collection of William Staite Murray, thence by descent.

‡ William Staite Murray (1881-1962) a stoneware footed bowl with inverted rim, covered in a rich textured tenmoku glaze with rust rim and specks impressed seal mark, fine hairline to top rim,13.5cm. diam.

‡ William Staite Murray (1881-1962) a stoneware combed vase, shouldered form with cylindrical neck, the swollen body with finely combed decoration, glazed in brown and translucent ash glazes, impressed M pentagon mark, incised B and painted PF, 23cm. high Provenance Edward 'Eddie' Ball, Belvedere Kent Private collection.

§ WILLIAM STAITE MURRAY (BRITISH 1881-1962) FOOTED BOWL impressed artist's mark, with partially dripped mottled brown glaze(7cm high, 20.3cm diameter (2.75in high, 8in diameter))

WILLIAM STAITE MURRAY (1881-1962); a deep stoneware bowl decorated with a bird, impressed mark and incised and painted number/year marks, diameter 21.5cm. (D)Provenance: The Nancy & Andrew Ramage collection.Additional InformationShort firing crack to base, 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

§ William Staite Murray (British 1881-1962) Vase dripped glaze, impressed artist's seal(40.5cm high (16in high))

Winifred Nicholson (British, 1893-1981)White Violets signed, titled and dated 'White Violets/Winifred Nicholson/1922' (verso)pencil and oil on board45.7 x 54.7 cm. (18 x 21 1/2 in.)Footnotes:ProvenanceWith Austin Desmond Fine Art, London, April 1984, where acquired byReuters Group Plc, where acquired by the family of the present ownerPrivate Collection, U.K.ExhibitedLondon, Mansard Gallery, Seventeenth Exhibition of the London Group, 16 October-11 November 1922London, W.B. Paterson Gallery, Paintings by Benjamin and Winifred Nicholson, May-June 1923, cat.no.27Ascot, Austin Desmond Fine Art, Aspects of Modern British Art, 24 March–28 April 1984, cat.no.40After Winifred and Ben Nicholson married in November 1920 they spent their honeymoon travelling around Italy looking for somewhere to live, eventually settling on a house at Castagnola, near Lugano, in the Italian speaking part of Switzerland. Here they spent three winters, travelling back to England via Paris where they admired works by Cézanne, Picasso, Braque, Rousseau, Matisse and Derain, absorbing what they had seen and experimenting furiously. Winifred described Paris as 'electric with innovation ... Its creative energy was not to be believed, so we always went back to Villa Capriccio and brooded our ideas'. (See Sebastian Barassi 'The Allure of the South: the Nicholsons in Italy and Switzerland, 1920-23' in Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920-1923, Philip Wilson Publishers, London, 2014). Many of the paintings then made have not survived, and White Violets, which was exhibited at the London Group show in the autumn of 1922 is the earliest known work from this pivotal moment in Winifred Nicholson's development. Winifred's White Violets and Ben Nicholson's 1922 (Bread) (Tate) give an indication of how closely the husband and wife worked together, but it was Winifred's painting which came to 'flowering point' the following winter, notably in Cyclamen and Primula (Kettle's Yard, Cambridge) and also exploring translucent white light, in an astonishing period of creativity that Winifred was never able to repeat. Winifred later wrote, 'You know how much I like buds, the beginnings of things, with all the promise to come implied, but not yet stated.' White Violets, with its white buds hovering expectantly and which introduces so many of Winifred's favourite ideas and themes, can be seen symbolically as just such a beginning with the promise implied. We are grateful to Jovan Nicholson for compiling this catalogue entry.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

‡ William Staite Murray (1881-1962) Two Bison dry-point etching on paper, framed signed W Staite Murray in pencil 26 x 21cm (image) Provenance Bocardo House Sale, Mallam's 6th November 2009, lot 45.

‡ William Staite Murray (1881-1962) Two Cactus etching on paper, framed signed W Staite Murray in pencil 22.5 x 17cm (image)

‡ William Staite Murray (1881-1962) a shouldered stoneware vase, painted with stylised flower stems, in iron on a translucent oatmeal ground impressed seal mark, 25.5cm. high Provenance 20th Century Decorative Arts, Bonhams, 23rd April 2012, lot 577

‡ William Staite Murray (1881-1962) a stoneware vase, painted with simple Flag Iris flower stems in iron on a speckled oatmeal ground, the shoulder and neck with iron bands, impressed seal mark, pencil number 18, 29.5cm. high Exhibited Leferve Gallery, 1931 catalogue number 18 lists an iris vase, probably this one. The 20th Century Aesthetic, 22nd May 2013, lot 181. 30 Pots, Woolley and Wallis, 2019 catalogue number 3.

‡ William Staite Murray (1881-1962) 'Dark Celadon White Birds' a fine tall stoneware vase, slender shouldered cylindrical form with stork neck and collar rim, slip decorated with three curlew in white with lavender translucency, on an oatmeal ground, impressed seal mark, paper exhibition label no.6, 40cm. high Provenance The Leferve Galleries, London, November 1931, catalogue number 6, priced at 15 guineas. International Contemporary Ceramics, Bonhams, 19th September 2006 lot 1. Exhibited The Leferve Galleries, 1931 30 Pots, Woolley and Wallis, 2019, catalogue number 28.

‡ William Staite Murray (1881-1962) 'Persian Bird' a monumental stoneware vase, thrown in two sections, swollen conical body with cylindrical neck, the body incised and painted with two large peacocks, glazed with iron dots, on an oatmeal ground under a grey translucent slip graduating to white, impressed seal mark, painted IMG, 63 cm. high Provenance Lefevre Galleries, probably exhibited (suggested by Ian Bennett) alongside 'Persian Garden' in 1931, which was later purchased by Eric Milner-White. Richard Murray Exhibited Lefevre Galleries, London November 1931, Leicester Galleries William Staite Murray Retrospective,1958 30 Pots, Woolley and Wallis, 2019 catalogue number 30.

‡ William Staite Murray (1881-1962) Geese by The Reeds a fine stoneware vase, shouldered form with cylindrical neck, slip decorated with three preening geese amongst tall grasses, impressed seal mark, 31cm. high Provenance Patterson's Gallery, Old Bond Street, London, Exhibited between 1st-28th November 1928, catalogue number 24, priced at 40 guineas. Contemporary Ceramics, Bonhams 16th November 1995 lot 1 Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003 catalogue number 78. British Studio Pottery from Bernard Leach, Chichester Cathedral/Pallant House, 2005 catalogue number 37. 30 Pots Woolley and Wallis Auctioneer's, catalogue number 29.

‡ William Staite Murray (1881-1962) a fine stoneware footed bowl, conical form, painted and incised to the interior with a series of wavy bands, in rust on an oatmeal glaze under white translucent splashes, the exterior oatmeal with translucent runs, impressed seal mark, incised N, 22cm. diam, 11cm. high Provenance Christopher Wood Gallery, 1980 Contemporary Ceramics, Bonhams, 16th November 1989, lot 4. Ed Wolfe Collection, purchased by Daryl in 2004. Exhibited British 20th Century Studio Ceramics, Christopher Wood Gallery, 1980, British Studio Pottery From Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House, 2005, catalogue number 40. 30 Pots, Woolley and Wallis, 2019, catalogue number 8. Literature Things of Beauty Growing British Studio Pottery, Yale/Fitzwilliam, Museum, exhibition catalogue, page 250-251, catalogue number 50 for a comparable bowl entitled Vortex illustrated.

‡ William Staite Murray (1881-1962) a stoneware footed bowl, painted with a face to the well in iron and blue on a speckled tan ground impressed seal mark, 19.5cm. diam. Provenance Sotheby's Bond Street circa 1987 Richard Dennis Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery 2003 catalogue number 62. British Studio Pottery from Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House, 2005, catalogue number 39.

‡ William Staite Murray (1881-1962) a stoneware conical bowl, painted to the interior with a simple flower spray in iron on an oatmeal ground, impressed seal mark, 21cm. diam. Provenance Applied Arts, Phillips, 19th November 1996, lot 409 Gorgeously Grotesque Worthing Museum & Art Gallery, 2003, catalogue number 67. Literature George Wingfield Digby The Work of the Modern Potter in England, plate 17 for a comparable bowl illustrated.

‡ William Staite Murray (1881-1962) a stoneware footed conical bowl, covered to the foot in a rich, dark brown speckled glaze, impressed seal mark, painted CEL, 20.5cm. diam. Provenance The Design Age International Studio Ceramics, Mallam's, 12th December 2013. Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 16.

‡ William Staite Murray (1881-1962) a stoneware footed bowl, covered to the foot with a rich brown glaze to the foot, impressed seal mark, incised CM and painted 6, 18cm. diam. 10cm. high Provenance Studio Ceramics, Sotheby's 3rd July 1980 lot 181. Contemporary Ceramics, Bonhams, 13th July 1994 lot 10. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003, catalogue number 64. 30 Pots, Woolley and Wallis, 2019, catalogue no.14.

‡ William Staite Murray (1881-1962) a stoneware footed bowl, flaring conical form painted with simple brushed motif, on oatmeal ground, impressed seal mark, 21cm. diam. Provenance Contemporary Ceramics, MAAK, 19-22 May 2014, lot 2

‡ William Staite Murray (1881-1962) 'Sun and Air' a fine stoneware vase, painted with a hot-air balloon flying amongst seagulls and clouds, the reverse a large sunflower. rust on an oatmeal ground highlighted with blue, impressed seal mark, 22.5cm. high Provenance William Paterson Gallery, London exhibited 1-28th November 1928, priced at 25 guineas. Contemporary Ceramics, Bonhams, 13th November 1996 lot 5. Exhibited Gorgeously Grotesque, Worthing Museum and Art Gallery, 2003 catalogue number 79. British Studio Pottery from Bernard Leach to Lucie Rie, Chichester Cathedral/Pallant House. 30 Pots, Woolley and Wallis, 2019, catalogue number 4, Literature Dr Jeffrey Jones, Studio Pottery in Britain 1900-2005, A & C Black,. page 57 this vase illustrated.

‡ William Staite Murray (1881-1962) a shouldered stoneware vase, incised and painted with stylised foliate panels, in brown and white slip under a translucent glaze, impressed seal mark, painted FB.5, 25.5cm. high Exhibited 30 Pots Woolley and Wallis, 2019, catalogue number 1.

‡ William Staite Murray (1881-1962) a stoneware tea bowl, glazed to the foot with a translucent glaze and simple brush decoration, impressed seal mark to base and paper collection label, 10cm. diam. Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 27.

‡ William Staite Murray (1881-1962) a stoneware footed bowl, the flaring conical bowl covered to the foot with a brown hare's fur glaze impressed seal, painted Frich and 19, 20.5cm. diam. Provenance Contemporary Ceramics, Bonhams, 13th July 1994 lot 14 Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 63. 30 Pots, Woolley and Wallis, 2019, catalogue number 20.

‡ William Staite Murray (1881-1962) a stoneware tea bowl on narrow foot, covered with a running chun glaze of purple olive and red, impressed seal mark, incised 6SE painted C.6, 9cm. high, 12.5cm diam. Provenance Anthony Pugh-Thomas collection. Contemporary Ceramics, Bonhams 10th May 2004, lot 10 Exhibited 30 Pots Woolley and Wallis, 2019, catalogue number 23.

‡ William Staite Murray (1881-1962) a hand-built stoneware tea bowl on narrow foot, covered to the foot in a rich tenmoku glaze, impressed seal mark to foot, 8cm. high Provenance Applied Arts, Phillips, 14th July 1998 lot 574. Exhibited Gorgeously Grotesque, Worthing Museum & Art Gallery, 2003, catalogue number 68. 30 Pots Woolley and Wallis, 2019, catalogue number 22.

‡ William Staite Murray (1881-1962) a hand-built stoneware tea bowl, on narrow foot, covered to the foot with a rich chestnut brown glaze, impressed seal mark, 9cm. high, Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 23.

‡ William Staite Murray (1881-1962) a stoneware tea bowl dated 1924, narrow, footed form, covered with a tan/oatmeal glaze painted with a simple abstract linear design in rust, impressed seal mark, Godden Reference label, 11.5cm. diam, 8cm. high Provenance The Godden Reference Collection. Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 15. Literature Things of Beauty Growing British Studio Pottery, Yale/Fitzwilliam Museum exhibition catalogue, page 106 figure 52 for a reproduction from The Studio 1935, of a comparable, possibly the same, tea bowl from the Eumorfopoulos collection.

‡ William Staite Murray (1881-1962) a stoneware large tea bowl or charwan, footed form, the rounded body glazed to the foot with a tan/oatmeal glaze painted with simple scroll brush repeat in rust, impressed seal mark, 14cm. diam. 9.5cm. high Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 19.

‡ William Staite Murray (1881-1962) a stoneware vase compressed ovoid form, painted with a running horse in iron on a pitted oatmeal ground, impressed seal mark, 13cm. high Provenance Decorative Arts, Sotheby's 4th December 1985 lot 345 Contemporary Ceramics, Bonhams 26th March 1992 lot 94 Exhibited Gorgeously Grotesque Worthing Museum & Art Gallery, 2003 catalogue number 61. 30 Pots, Woolley and Wallis 2019, catalogue number 13 Literature Ronald Cooper, The Modern Potter, John Tiranti Ltd, 1947, page 32, catalogue number 39 for a comparable vase titled Tiger. Dr Jeffrey Jones Studio Pottery in Britain 1900-2005, A&C Black Publishers, illustrated page 58.

‡ William Staite Murray (1881-1962) a heavy stoneware vase, ovoid with knopped neck, covered in a thick pitted off white glaze, painted with abstract design in blue, impressed seal mark, 18.5cm. high Exhibited 30 Pots, Woolley and Wallis, 2019, catalogue number 7.

‡ William Staite Murray (1881-1962) a squat stoneware vase with collar rim, dated 1923, covered to the foot with a high-fired Chun glaze in silver and purple, incised W S Murray 1923 London, 12.5cm. high Provenance Brian Page Antiques, Brighton Exhibited 30 Pots, Woolley and Wallis, 2019 catalogue number 5