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Lot 259
MICHAEL CARDEW (BRITISH, 1901-1983)Vase, circa 1932Earthenware, white slip beneath an amber glaze with iron brushed and incised patterns.13.2 cm high, 16 cm diameter Impressed with artist's and Winchcombe Pottery seals.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
Lot 8
Michael Cardew (1901-1983) for Wenford Bridge, a studio pottery plate with line decoration on a grey ground, a Ray Finch (1914-2012), Winchcombe Pottery, small bowl with brown banded decoration set four shields with mottled base, 10cm diameter and a Leach Pottery, St Ives cream ground plate with brown and blue ground decoration, 27cm diameter with impressed seal and England mark The smaller plate with some rim fritting. The larger plate and bowl in good condition
Lot 427
A large studio pottery vase by John Solly. Signed to base 'John Solly 76 & Sheila Young', Height 30cm, John Solly 1928 - 2004 studied at the central school of arts and at Camberwell, he also worked at Rye and Winchcombe pottery.Signed to base, Small chip to base. Otherwise no condition issues.
Lot 119
Robin Welch (1936-2019) small stoneware bowl with black interior glaze, impressed potter's mark to base, 7cm high, two Winchcombe Pottery mugs, impressed marks to base, 10.5cm high, and two Charlie Tustin, Winchcombe Pottery lidded preserve jars, impressed marks to base, 7.5cm high (both with damage) (5)
Lot 41
§ 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.
Lot 101
A box containing a quantity of mid-20th Winchcombe pottery utilitarian ware, a jug by Pat Groom (1947-1954) other jugs, bowls, butter dish and cover, slip ware beaker, salt and pepper, jam jar and cover, a orange glazed jug by Sid Tustin and a M.K.M ceramic flask (good overall condition).This lot includes another box containing seven Winchcombe pottery jugs with various colourful glazes including blue, maroon, yellow and the traditional brown.
Lot 459
† Attributed to RAY FINCH (1914-2012) for Winchcombe Pottery; a set of six slipware side plates covered in yellow galena glaze with different iron trailed decoration, made circa 1953, diameter 19cm (6).For a similar example from the last firing of the Winchcombe bottle kiln in 1953, see Ron Wheeler, 'Winchcombe Pottery: The Cardew - Finch Tradition' (White Cockade Publishing, 1998), p. 127. Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 528
† SID TUSTIN (1914-2005) for Winchcombe Pottery; a slipware salt and pepper set covered in pale yellow/green glaze, impressed ST and pottery marks, and a pair of side plates and pair of coasters, largest diameter 16cm (5).Condition Report: Chip to rim of one coaster, blow to edge of the other, otherwise appears good with no further signs of faults, damage or restorations.
Lot 461
† Attributed to RAY FINCH (1914-2012) for Winchcombe Pottery; a slipware mug partially covered in yellow galena glaze with iron trailed meander decoration, impressed pottery mark, made circa 1953, height 11.5cm, another Winchcombe mug partially covered in green galena glaze, and a jug by George Greening, made 1949-54 (3).Condition Report: Chips to rim and handle of Finch mug, otherwise appears good with no further signs of faults, damage or restorations.
Lot 376
† 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.
Lot 451
† RAY FINCH (1914-2012) for Winchcombe Pottery; a salt glazed teabowl partially covered in pale green glaze with iron decoration, impressed WP. mark, diameter 11.5cm, and a similar slightly smaller example (2).Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 458
† Attributed to RAY FINCH (1914-2012) for Winchcombe Pottery; a set of six slipware dinner plates covered in yellow galena glaze with iron trailed meander decoration, made circa 1953, diameter 24cm (6). Condition Report: Blow to centre of one plate, otherwise appears good with no further signs of faults, damage or restorations.
Lot 457
† Attributed to RAY FINCH (1914-2012) for Winchcombe Pottery; a set of six slipware cups and saucers covered in yellow galena glaze with iron trailed meander decoration, made circa 1953, cup height 6.5cm, saucer diameter 14.5cm (6).For a similar example see John Edgeler (ed), 'Ray Finch: Craftsman Potter of the Moderen Age' (Cotswolds Living Publications, 2006), p. 41. Condition Report: Chip to footring of one saucer, and small glaze flake to rim of one cup, otherwise appears good with no further signs of faults, damage or restorations.
Lot 406
† PATRICK ROLLET (born 1950); a stoneware plate partially covered in mottled copper red glaze decorated with a landscape, incised signature, diameter 28cm, and a Winchcombe Pottery twin handled jar and cover, height 14cm (2).Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 455
† RAY FINCH (1914-2012) for Winchcombe Pottery; a stoneware teabowl partially covered in tenmoku breaking to kaki glaze with incised decoration, impressed WP. mark, diameter 11.5cm, another salt glazed example, and a jug by Joe Finch, height 16cm (3). Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 156
† EDDIE HOPKINS (1941-2007) for Winchcombe Pottery; a tall stoneware bottle partially covered in tenmoku breaking to kaki glaze with combed decoration, impressed EH and pottery marks, made 1992, height 39cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 527
† SID TUSTIN (1914-2005) for Winchcombe Pottery; a set of six slipware bowls covered in yellow galena glaze with different iron decoration, impressed ST and pottery marks, made circa 1953, diameter 15cm (6).Condition Report: Blistering to some bowls and kiln debris attached to side of one, otherwise appears good with no further signs of faults, damage or restorations.
Lot 203
Six items of studio pottery to include a Paul Dennis bowl, a hakeme glaze vase, Winchcombe pottery and an oval apple decorated dish CONDITION REPORT: 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 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
Lot 107
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
Lot 109
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
Lot 106
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
Lot 101
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
Lot 108
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
Lot 104
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
Lot 393
Group of Studio pottery jars and covers by Ray Finch at Winchcombe Pottery with various titles including Felspar, Flint Soda, China etc, all with tube lined decoration and indistinct impressed monogram to baseLot 393 condition is good overall with minor areas of glaze loss unfortunately unable to pack in-house at present
Lot 309
Group of pieces to include six Poole Pottery pieces, all with stamps to the base, including a grey/white speckled small cup or bowl, numbered 276 to the base, a shallow bowl, grey/white speckled with an aquamarine inside, numbered 299 to the base, and a soft-brown shallow dish, 'B' stamped to the baseBeswick Sam Weller character teapot, 16.5cm high, a Deborah Sears hand-painted blue and white flower brick, decorated with various forms of architecture on hills amongst trees and other plants, 16cm wide x 10cm high, a hand-painted Honiton Pottery milk jug, 12cm high, a 19th Century cream-colored jug, decorated with leaves, with a diamond mark to the base, 16.5cm high, a Lustreware jug, 12.5cm high, a jug in the form of an owl, in the style of Archibald Knox, 14cm high, and a tin-glazed tea caddy, with floral decoration, 6cm wide x 9cm high (15)Provenance: From the Property of a Gentleman, from a Period Winchcombe Town House. Some pieces with signs of wear consistent with age and use. Some pieces with natural firing imperfections, minor rusting, marks, staining, chips, cracks and/or crazing.
Lot 296
Group of pieces including a Robert Sinclair Thomson ARSA RSW miniature slipware vase, with a blue and brown glaze, decorated with yellow/green dripped stripes, 7.5cm high, a Penrith Pottery salt pig, 23cm high, a 19th Century treacle-glaze puzzle jug, possibly Yorkshire Pottery, 18.5cm high, a Dunster Pottery vase, signed to the base, 10.5cm high and other pieces (17)Provenance: The Property of a Gentleman, from a Period Winchcombe Town House. All with overall wear consistent with age and use. Some losses/damage, chips, and cracks. Some pieces with crazing throughout.
Lot 256
Leeds Pottery puzzle jug with cream glaze, 'Leeds Pottery' inscribed to the base, the main body bearing the inscription 'Gentlemen come try your skill I'll hold you sixpence if you will. You cannot drink unless you spill', 18cm high, the other of brown glaze, 1793, 20cm high (2)Provenance: The property of a Gentleman, from a period Winchcombe Town House. Cream glaze jug in generally good condition. With crazing. Wear to the base consistent with age and use. Some staining, marks, and natural firing imperfections. Brown glaze jug with overall wear consistent with age and use. With losses.
Lot 292
Collection of studio potteryto include a cobalt-blue Indian-style vase, decorated with peacocks and flowers, 15cm high, a blue and white candlestick holder, 12cm high x 10.5cm diameter, a Whichford Pottery yellow/brown dish with scalloped detail, 16.5cm wide x 22cm long x 4.5cm deep and various Slipware pieces (18)Provenance: The Collection of a Gentleman, from a Period Winchcombe Town House. All pieces with signs of wear consistent with age and use and natural firing imperfections. Some pieces with crazing throughout. Some damage. Some chips. Some discolouration.
Lot 255
Two salt-glazed puzzle jugs by Brampton Pottery, Chesterfield18th or 19th Century, decorated with various animals amongst foliage, with further pierced decoration, 20.5cm high, the other decorated with various figures, a windmill, and a tree, with further pierced decoration, 18.5cm high (2)Provenance: The property of a Gentleman, from a period Winchcombe Town House. Both with signs of wear consistent with age and use. Both with natural firing imperfections. Handle repair on the larger jug with evidence of glue. One jug with some cracks.
Lot 421
RAY FINCH. A Ray Finch, Winchcombe Pottery vase Height 18cm. Impressed, personal Winchcombe mark. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
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1939 item(s)/page