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A series of letters from Bernard Leach (1887-1979), seven letters to the poet Arthur Caddick, 1955-68, to include signed examples, most in response to news of Caddick's financial crises, responding to one with £5 and a description of his own situation, 'I ought to make it £25, as you propose, but I want more assurance that I'll get it back. I cannot afford to lose it as I did with Guido. You don't know my responsibilities; you'd understand if you did. I could tell you a bit, but not until I get back from Scotland where I have to go on Thursday to lecture & make a little money. I've had two wives, six children & eleven grandchildren & the pottery is not mine any more...' (1965), also a typed letter signed following a celebration, at the end of which Leach had fallen downstairs and collided with a refrigerator (1967), a poem to Caddick by Leach (1968), and two postcards and a further four blank examples of Japanese postcards used by Leach (16)

Bernard Leach (1887-1979) Early dish, 1927slipware with galena glaze, depicting two figures on a rock, sat underneath star constellationssigned and dated to the base36.5cm x 38cm diameter x 8cm high. The glassy glaze is with craquelure. There does not appear to be any obvious cracks or chips. The bowl does have a few bloats where the glaze does not cover the clay. There are other smaller specks without glaze cover. The rim does have a section around 5cm where restoration may be, here the colour is slightly different and it looks like there's a sort of cover substance, it looks duller. Some raised dabs of clay. Other minuscule nips on glaze. Glaze has a few sections where it is not smooth. A further smaller restoration mark to another part of rim, this you can see the paint stroke/hairs of the brush.Nibs, nabs, little holes, little specks. Looks like a large full circular crack all around base rim line. This presumably a natural occurrence rather than a faulty break.Most of these things happened during the firing process.Warped.Please see condition report photos.

Charlotte Epton (1902-1970) at Leach PotteryCanister and cover, circa 1927-1930green glaze with incised white patternsimpressed potter's and pottery seals15cm high. Charlotte Epton was a potter who worked with Bernard Leach in St. Ives between 1927 and 1930, and with Michael Cardew at the Winchcombe Pottery. A fire at the Leach Pottery meant most of her work from the St. Ives period was destroyed. She exhibited at the Beaux Arts Gallery in Bond Street in 1928. She was married to Edward Bawden after meeting at the Royal College of Art. old chip to base rim. Three firing cracks to the body near the base. Otherwise good.

Bernard Leach (1887-1979) at St Ives Pottery Vaselustrous persimmon glazeimpressed potter's seal and pottery marks to the base11cm high. Some small chips and imperfections to the footrim. Minimal glaze and firing faults. Otherwise seems ok.

Bernard Leach CBE (1887-1979), attributeda Leach Pottery stoneware egg cup, painted with simple fish in blue and brown on a speckled oatmeal ground,impressed seal mark, 4.5cm. diam.

'Saint Francis' a Compton Pottery plaque designed by Mary Seton Watts, rectangular, cast in low relief, painted in colours, a Leach Pottery plate and side plate the design attributed to Bernard Leach, incised with oak leaf motif, under a celadon green glaze and a Leach Pottery pepper pot, impressed factory marks, plates chipped, 17 x 11cm (Compton plaque), (4) ProvenanceThe collection of Rosslyn Hill.

Dr Allan Peacey Studio Pottery - Four slipware dishes with crinkle borders and combed finish, average diameter 28 cm, the majority signed.Biography of Dr Allan Peacey, on the instructions of executors - Dr Allan Peacey dec'd of Stroud, Gloucestershire, initially working in 1952 with Lew Groves at the Taena Community nr Gloucester, studied under Harry Cox and Tony Davies (1958-62) masterclass with Bernard Leach at St Ives (1963) influenced by Michael Cardew, Sam Hailes and English earthenware's of all periods. Many objects being replicas of historical pieces, see page 389 of Bristol Studio Potters Marks by Yates-Owen & Fournier for further brief details and schedule of impressed marks and signatures - the majority of the pieces are in someway marked, others not, but all have been removed from his studio/workshop.

LEACH, Bernard Potter and Artist Exhibition catalogue by Oliver Watson; together with Eve Arnold: In Rertrospect, Sinclair-Stevenson, 1996, printed in the United States of America; and two of David Penpraze characterful books, focussing on Porthleven and Newlyn people, each signed. In-house postage is available for £19.76 to a UK address.

Bernard Leach, "A Potter's Book", 1948, together with related catalogues

Bernard Leach CBE (1887-1979): a Leach pottery (St Ives) stoneware jug, 1950's, of bluster form with simple drawn handle, impressed St Ives mark and BL, England, 22cms high.

Warren MacKenzie (American, 1924-2018). Studio pottery ceramic covered dish. Stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 3 1/2 in x diameter: 6 in.Condition: There are no breaks, losses, or signs of restoration. Light wear to the rim, where the lid meets the vessel. Light accretions along the footrim. Light wear to the footrim.

Warren MacKenzie (American, 1924-2018). Studio ceramic lidded pentagonal box. Stoneware with a buttermilk glaze. Not marked.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 7 in x width: 7 1/2 in x depth: 7 1/2 in.Condition: There are no major cracks, losses, or restorations. Extremely faint scratch along one side of the lid and another along the side of the bowl, possibly original to the artistic production. There are two small areas along the underside with adhesive residue. Light wear along the footrim.

ARR Bernard Leach (1887-1929) a studio pottery dish in grey and cream glazes, impressed seal mark to base, 16cm diameterA very small nick to the glaze near the rim on the underside, 4mm long approx. possible repair to the rim 1cm long approx.

ARR Bernard Howell Leach (1887-1979)Study of a Thistlesigned and dated lower right '58pen and ink23cm x 16cm

BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY VASE impressed maker's and pottery marks, stoneware, tenmoku glaze, with iron glaze design motif to the body 17.5cm high (7in high) Private Collection, U.K.

BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY BOWL painted BL initials and impressed pottery mark, stoneware, with painted Pagoda design 4.5cm high, 12.2cm diameter (1 ¾in high, 4 ¾in diameter) Paul Rice, London, 1983;Collection of Professor John Chambers.

BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY VASE painted maker's initials and impressed pottery mark, stoneware, dark iron brushed foliate design 9cm high (3 ½in high) Private Collection, U.K.

BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY PILGRIM FOOTED BOWL, c. 1968 impressed maker’s and pottery marks, stoneware, with wax resist design of Pilgrim walking through the mountains 6.5cm high, 33cm diameter (2 ½in high, 13in diameter) Bonhams, London, Contemporary Ceramics: Potters of International Renown, 30 June 1993, lot 19;Collection of Professor John Chambers.

BERNARD LEACH C.H., C.B.E. (BRITISH 1887-1979) AT LEACH POTTERY 'LEAPING FROG' TILE, c. 1939 painted maker's monogram (lower right), impressed pottery seal (to reverse), stoneware 10cm x 10cm (3 7/8in x 3 7/8in) Bonhams, London, International Contemporary Ceramics, 16 October 2007, lot 7;Private Collection, London.

▲ Bernard Leach CH (1887-1979), a Leach studio pottery stoneware marmalade pot and cover, with brushwork cobalt and iron decoration, painted 'BL' monogram and impressed St Ives seal, 11.5cm high (2) Condition ReportSome rubbing and brown staining to the base of the body. Subject to this, it appears in good overall condition.

Studio Pottery - teapot 17cm tall, 'ES' cauldron posy bowl, lidded bowl, etc (8) and Bernard Leach book - One Tray.

Two Kevin Francis figures - Bernard Leach (148 of 200, with certificate) and Sir Henry Doulton (226 of 350), both approx. 23 cm high.

Bernard Howell LEACH (1887-1979) The Lone Fisherman Etching, edition 1/15, authenticated by Janet Leach verso with Janet and Bernard Leach stamps, plate 12cm x 15cm, 24.5cm x 27.5cm including margin.

Bernard Howell LEACH (1887-1979) Night on the Thames Etching, plate 15cm x 19.5cm, 28cm x 37.5cm with margin. Please see additional images. Light foxing can be found on the paper. Ink can be found paper yet we believe this to have come from the artists hand.

Bernard Howell LEACH (1887-1979) Boats and tree (1912) Etching, edition 2/25, authenticated by Janet Leach with Bernard and Janet Leach stamps verso, 15cm x 20cm, 28cm x 38cm.

λ BERNARD LEACH (BRITISH, 1887-1979) LIDDED POT, CIRCA 1965 Porcelain, with pale celadon glaze Impressed artist's BL and St Ives seals 8.8cm high, 8.8 diameter The Crafts Council, UK, holds one of these pots in its collection. Condition Report: In good condition, with some flecks and imperfections to the glaze - in the firing/making.Condition Report Disclaimer

English studio pottery stoneware coffee pot, possibly Bernard Leach (British, 1887-1979). Crack running from internal, chip to underside of lid. Height 19cm.

A Muchelney Pottery salt glaze jug (the pottery run by the grandson of Bernard Leach) together with three other items.

† BERNARD LEACH (1887-1979); 'The Great Oak', an ink on paper poem, signed and dated 1972 lower right, 41.5 x 25cm, framed and glazed, and a signed 'Happy Returns' letter from Leach to 'Paul' (2).Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† BERNARD LEACH (1887-1979) for Leach Pottery; a large deep oval stoneware bowl covered externally in pitted tenmoku breaking to kaki glaze and internally in cream glaze, impressed BL (missing top half) and pottery marks, diameter 33cm.Condition Report: Repaired kiln kiss and glaze flakes to rim and staining to the well, otherwise appears good with no further signs of faults, damage or restorations.

Kevin Francis Ceramics, Staffordshire; 'Bernard Leach', a limited edition character jug modelled by Douglas V Tootle, edition no. 120/200, height 22cm.Condition Report: Appears good with no obvious signs of faults, damage or restoration.

† Attributed to BERNARD LEACH (1887-1979); a group of ink on paper sketches of coffee sets, square bottles, casseroles, jugs, etc, largest 20 x 25cm (7).Although unsigned, the sketches are consistent with Leach's style and the ink and paper he used. Provenance: Cornish collection. Condition Report: Clay stains and creasing, otherwise appears good with no further signs of faults, damage or restorations.

† Attributed to BERNARD LEACH (1887-1979) for Leach Pottery; a square stoneware tile covered in pale grey glaze, washed in cobalt to two edges and decorated with flowers, painted pottery mark, 10 x 10cm. Condition Report: Chips to two edges and one corner, otherwise appears good with no further signs of faults, damage or restorations.

A quantity of ceramics books including "Ceramics of the 20th Century" by tamara Preand and Serge Gauthier" 1st English edition published by Phaidon-Christies Ltd, "A Potters Book" by Bernard Leach, "The Craft of the Potter" by Michel Casson and "The Professional Potter" by Thomas Shafter 1st edition 1978, also five "Pottery Quarterly" magazines

Φ Bernard Leach CBE (1887-1979)Conical bowlLeach Pottery, porcelain bowl, the well with simple flowerhead motif, pale celadon glazeimpressed seal marks,18.3cm. diam. ProvenanceThe collection of Rosslyn Hill.

Φ Bernard Leach CBE (1887-1979), attributedPilgrim chargera stoneware charger resist decorated with a ghostly figure, in tenmoku,unsigned, small flat chip to rim,32cm. wide

MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004) ⊕ MIRIAM SACKS (SOUTH AFRICAN-BRITISH 1922-2004)STARRY NIGHT signed with initials lower right; signed and dated Miriam Sacks 1962 on the reversehandmade tapestry81 x 103cm; 32 x 40 1/2in unframedMIRIAM SACKS (1922-2004) (LOTS 80-87)Introduction Miriam Sacks’ work is something of which one can properly use the word unique; it is the only one of its kind I know of, and it is a very particular and extraordinary kind. Maxwell FryMiriam Sacks’ remarkable tapestries cover a wide range of themes with her work capturing a variety of images and ideas. Some are abstract, some symbolic and some realistic; all deploy vivid colours and explore diverse themes relating to man’s condition and struggles, his relationship with nature and mechanisation. Sack's artistic vision was inspired by her childhood in South Africa: its distinctive landscape and coastline, its fauna and flora and its ethnic diversity. Her rigorous schooling was also formative: she became a talented pianist, studied ballet and was awarded a Masters in Social Anthropology at Cape Town University. But it was a trip to New York in 1956, and a visit to The Cloisters, an outpost of the Metropolitan Museum of Art, that transformed her artistic production. At The Cloisters Sacks was captivated by the seven late sixteenth century tapestries that comprise The Hunt of the Unicorn. Immediately thereafter she embarked on her unique, highly distinctive and much-fêted method of tapestry making. Sacks had moved from South Africa to London after the Second World War while her husband was studying medicine at Oxford. Upon his graduation as an eye surgeon in 1950 they moved to Bulawayo, Southern Rhodesia (now Zimbabwe). There Sacks collaborated with the painter Thea Hunt who had trained at the Slade School of Art and had set up an art school offering lessons for children. After Hunt stepped back from teaching due to ill health, Sacks took over running the school and championed the showing of children’s art both in the USA in the late 1950s and in London at the International Exhibition of Children’s Art in 1961. The following year she had her own first solo exhibition of her work at the Henry Lidichi Gallery, Cape Town. Returning to the UK in 1964, Sacks’ gained international prominence when her tapestries were exhibited at the British Embassy in Washington. Four were shown to great acclaim at the Embassy in May 1965; the following year Sacks sent over a further sixteen works to form the highlight of a group exhibition promoting British tapestry in the Embassy’s Rotunda; the exhibition subsequently toured to other locations across America. Sacks’ acclaim in the USA brought her to the attention of curators in the UK. In 1967 her work was included in exhibitions at the Design Centre, the Whitechapel Art Gallery and Camden Art Centre. And two years later she had a solo exhibition at the Ben Uri Gallery, then in Soho, where the opening address was given by the prominent architect, artist and writer Maxwell Fry. In 1970 she shared an exhibition at Kettle’s Yard in Cambridge with leading potters Bernard Leach (1887-1979) and Lucie Rie (1902-1995), and her work was shown in Edinburgh, Leicester and at the Stellenbosch Museum in her native South Africa. More exhibitions followed: at Royal Festival Hall (1971), the Victoria and Albert Museum (1971 & 1973), the South African National Gallery, Cape Town and the Bevilacqua La Masa Art Foundation, Venice (1972), and a series of shows at Leighton House (1977, 1981, 1985, 1988). The last international exhibition of her work was at the Irma Stern Museum, University of Cape Town in 1996. It was post-apartheid, Nelson Mandela was President and the exhibition was opened by the new South African Minister of Culture. As well as medieval tapestries, Sacks acknowledged other formative influences in her work including Louise Bourgeois, whose mother had been a weaver, and Jean Lurçat, arguably the leading tapestry maker of the twentieth century. However, she found the latter’s loom woven tapestries too machine-like and precise in surface finish for her taste. Describing the influences that shaped her work over the years Sacks wrote ‘Threads physically and spiritually interconnect with my life experiences, talents and knowledge, gained over decades. It combines sight and insight, enhanced by my knowledge… as a social anthropologist… as well as music, not to mention dance. It goes back to memories of childhood.’

AR * Leach (Bernard Howell, 1887-1979). Coptic Leopard, circa 1952, pen and ink on headed 'Black Mountain [College], N. C.' paper, a profile view of a richly patterned and decorated leopard with annotations, another drawing entitled 'Lifter' to sheet verso, fixed to floating mount board with tape to top margin to sheet verso, gallery label to frame verso, sheet size 10.5 x 13.8 cm (4 x 5 ins), framed and glazed (29.5 x 33 cm)QTY: (1)NOTE:Bernard Leach taught at Black Mountain College in North Carolina in the early 1950s, giving pottery seminars alongside Shoji Hamada.

AR * Leach (Bernard Howell, 1887-1979). Band and Single, circa 1940, pen, ink and pencil on wove paper, a design for a globular pot with motif and band decoration, 'V / 16 p. 34 le(?)' inscribed in pencil to the top left corner of the sheet, small area of correction in white around the word 'Band', tipped-on to another sheet of wove paper, this sheet fixed to mount with tape to verso, gallery label to frame verso, illustrated sheet size 7.2 x 6.8 cm (2 3/4 x 2 3/4 ins), framed and glazed (29.5 x 29.5 cm)QTY: (1)NOTE:This design was conceived to illustrate brushwork in Leach's A Potter's Book (Faber and Faber, 1940) but wasn't included in the published version.

AR * Leach (Bernard Howell, 1887-1979). All-over repeat, circa 1940, pen, ink and pencil on wove paper, a design for a globular pot with repeated motif decoration, tipped-on to another sheet of wove paper, this sheet fixed to mount with tape to verso, gallery label to frame verso, illustrated sheet size 7 x 6.7 cm (2 3/4 x 2 3/4 ins), framed and glazed (29.5 x 29.5 cm)QTY: (1)NOTE:This design was conceived to illustrate brushwork in Leach's A Potter's Book (Faber and Faber, 1940) but wasn't included in the published version.

AR * Leach (Bernard Howell, 1887-1979). Design for a vase, pen, ink on paper, signed with initials lower right, a design for a vase decorated with gazelles (or mountain goats), banding and undulating, vertical and horizontal lines, gallery label to frame verso, mount aperture 17 x 13 cm (6 3/4 x 5 ins), framed and glazed (32 x 28 cm)QTY: (1)NOTE:This vase form is comparable to Bernard Leach's famous 'Tree of Life' stoneware vase, circa 1958.

AR * Leach (Bernard Howell, 1887-1979). Coiling, throwing and heating, Japan, pen, ink on wove paper, a potter sits at a traditional kick-wheel and works on a large pot with various tools placed beside him, gallery label to frame verso, mount aperture 8 x 10.5 cm (3 1/4 x 4 ins), framed and glazed (23.5 x 26 cm), together with Coiling a Pot, ink on wove paper, a potter in traditional Japanese dress hand-builds a large vessel, mount aperture 5 x 4 cm (2 x 1 1/2 ins), framed and glazed (23 x 22 cm)QTY: (2)

Collection of Studio Pottery Items This collection features a cohesive group of handmade stoneware pottery, likely British studio pottery, with muted tones and semi-matte glazes in greens, blues, and earthy neutrals. The set includes: 1. **Large Bottle Vase**: Approx. 30-40cm tall, with a slender tapering neck and subtle textural markings. Finished in a speckled blue-green matte glaze. 2. **Teapot**: Rounded body with a curved spout, loop handle, and fitted lid, approx. 20-25cm wide. Blue-green semi-matte glaze with pooling effects. 3. **Goblets (5 pieces)**: Approx. 15-18cm tall, bowl-shaped tops, narrowing stems, and flared bases. Speckled green glaze with horizontal banding and slight crafting variations. 4. **Small Pitcher**: Approx. 8-10cm tall, cylindrical with a small spout and handle. Pale green glaze with light speckling. 5. **Bowls (6 pieces)**: Small to medium, some broader and shallow, others deeper. Finished in various muted tones like grey, off-white, and light green, with one bowl featuring decorative ridges on the rim. The craftsmanship suggests functional yet artistic design, with visible wheel-thrown details. The subdued colours and simple forms align with mid-20th to contemporary studio pottery, potentially influenced by Bernard Leach or similar traditions. All items made by Peter Vost.

Cornish Art Interest "Artists of the Newlyn School", Caroline Fox and Francis Greenacre. Exhibition catalogue, 1979. "Painting in Newlyn", Caroline Fox. Exhibition catalogue, 1985. "John Milne". Auctioneers catalogue. 1988. "John Milne; Sculpture and Drawings". Exhibition catalogue. Marjorie Parr Gallery. 1972 "Concept and Form - Bernard Leach". Published by Headland Printers. "Pottery; the technique of throwing", John Colbeck. Published 1969 by F E Bording Ltd. "Craftsmen Potters Associtation Newsletter". September 1962. "Studio Potter". Published by Daniel Clark Foundation.

A BERNARD LEACH porcelain small bowl, the exterior decorated under glaze with horizontal banding. Celedon glaze interior. Impressed personal & Leach Pottery marks. Diameter 9cm. Condition: Appears to be no damage, repairs or restoration. Three small surface glaze marls to exterior, possibly originally had a lid.

An early dish believed to have been produced and decorated by Michael Cardew. Another example can be seem from the photos. The current owner of the dish informs us that the dish was purchased by his late father for his mother as a gift in the 1920's. Making this the first time it has come to the open market Dimensions - 24cm width, 2.5cm height " WINCHCOMBE POTTERY - HISTORY There has been a pottery on the current site in Greet since at least 1800, 1 mile (1.6 km) north of Winchcombe. Known as Greet Potteries under the management of R A Beckett (who died in 1913), it produced a range of farmhouse ware, advertised as "Garden, Sea-Cale, Rhubarb, & Chimney Pots". Closed in 1914 at the outbreak of World War I, it did not restart again after the war. Bernard Leach is credited with restarting craftsman pottery in Britain in 1920. One of his early students was Michael Cardew who, at 25, was looking for a suitable site for his own pottery and in 1926 rented the old pottery buildings. Influencing his choice were the availability of local clay and the original bottle kiln. Cardew recruited two locals, critically Elijah Comfort, aged 63 and who had worked before in the pottery, and inspirationally, in 1927, Sidney Tustin (aged 13). Cardew wanted people to use his pottery in regular daily use, as has been the tradition in early centuries. He followed the classic English slipware style using the red earthenware Winchcombe clay. After a difficult star and many trials, he managed to start slipware production. Experiments with firing the pots in the bottle kiln were eventually successful. For the produce of three men, the bottle kiln was really too large but it was what they had. A firing went on for three days. Gradually Cardew's skills and hard work were recognised. In 1935 he had one of his pots exhibited in the Victoria and Albert Museum. In 1935 the team was expanded to include Charlie, Sid's younger brother. A young chemist called Ray Finch tried to join the pottery staff in 1935 but was sent away by Cardew to gain some pottery experience. Finch returned in 1936, aged 22, and was able to convince Cardew that he now knew enough and he joined the team." Source www.winchombepottery.co.uk 12/7/24

Various Artists,  The Penwith Portfolio, 1973;  comprising an incomplete set of 7 lithographs in colours on wove,  to include works by F.E. McWilliam, John Piper, Michael Rothenstein, Bernard Leach, Merlyn Evans, Robert Adams & Alan Davie,  each signed and numbered 32/90 in pencil,  published by the Penwith Society, St. Ives,  each sheet: 55 x 76 cm,  (unframed)  (ARR)  Note: this portfolio only includes 7 of the original 12 prints. Together with original brown fabric covered card portfolio box.  

(Signed and Inscribed) Bernard Leach Kenzan's Edo Densho (1964 facsimile edition), string bound with a paper label on the front wrap bearing Bernard Leach's initials and date handwritten. The front free endpaper includes an inscription: 'Exact reproduction of the Edo Densho described & translated in my book Kenzan and His Tradition. These are Ninsei's notes written out in black by Kenzan whose own comments are added in red ink', The work is housed in a card case, also initialed and dated by Leach, accompanied by a supplemental booklet by Yamato Bunkakan. Both are enclosed in a cloth clamshell box, in a fine condition.Bernard Leach. 'Kenzan and His Tradition. The Lives and Times of Koetsu, Sotatsu, Korin and Kenzan,' first edition, unclipped dj, illustrations throughout, vg to fine, Faber and Fabe, London, 1961.The Borough of St. Ives, Cornwall booklets for Barbara Hepworth & Bernard Leach to commemorate the conferment of the Honorary Freedom of the Borough, 1968. In the original acetate slipcase.'Bernard Leach Ceramics-Oriental Objects d'Art,' sales catalogue, W. H. Lane & Son, Thursday 29th May 1980, Penzanze. (5)

(Signed) Bernard Leach Drawings, Verse & Belief Signed by the author,, 210/500, light spotting to original cloth, card slip, vg, Jupiter Books, London, 1973.

A Bernard Leach lithograph 'Tree Jar' signed in pencil and numbered 36/100 - unframed

A Bernard Leach lithograph 'Black Jar' signed in pencil and numbered 22/100 - unframed

LAKE, ALAN (21st century) British (AR), "Homage to Bernard Leach" oil on board, signed and dated '87, framed. 12 x 14 cm.

Paper Ephemera - Early - Mid XX Century, signed letters from prominent society figures including 'My Religious Faith' signed Bernard Leach and dated 1966 (unverified); Cuming Walters cuttings and publishers correspondence relating to the publication 'Charms of Lancashire'.

Bernard LEACH (1887-1979) Lion Tile, 1974 Lithograph, signed in pencil to the margin, numbered 98/100, image 43 x 52cm, framed 74.5 x 93.5cmPublished by Curwen Studio in 1974

A Potter's Book Bernard Leach With introduction by Soyetsu Yanagi and Michael Cardew. Published Faber and Faber Limited. Hardback.Please see additional images. A tear can be found on page 99. Light foxing marks can be found on the end papers as well as the edges of the pages. There are some marks to the cover of the book as well as the spine.

Warren MacKenzie (American, 1924-2018). Group of two studio ceramic pottery vessels. Glazed stoneware including one tripod lidded vessel and one cup. Each marked along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.(Lidded vessel) height: 7 1/4 in x diameter: 6 in. (Cup) height: 5 in x diameter: 5 1/2 in.Condition: There are no major losses. There is a small chip on the outer rim of the lidded jar (left), a 1/4 inch in length. The jar also has 2 hairline cracks that have been glazed over in the firing, but do not carry through to the inside of the vessel. There is no visible cracks, chips, or losses, to the footed bowl (right). There are several small pen/pencil marks inside the footed vessel. There is wear as expected from age and use.

A STUDIO POTTERY TAPERING HEXAGONAL SHAPE VASE, in the manner of Bernard Leach. 15cms high.

A collection of seven English books related to the decorative arts, with subjects such as antiquities, Wedgwood, and ornamental design, comprising, KIRK. Outlines from Figures and Compositions upon the Greek, Roman, and Etruscan Vases of the late Sir William Hamilton with Engraved Borders. London: T. McLean, 1814. Calf. Engraved plates. Boards detatched, lacking spine, spotting; Together with, T. A. WORLIDGE. A Select Collection of Drawings from Curious Antique Gems. London: Drydem Leach, 1768. Calf spine over patterned cloth boards. Engraved plates. Fading and wear to boards, lacking spine, contents with intermittent toning and stains; METEYARD, ELIZA. Choice Examples of Wedgwood Art...[and] Wedgwood and His Works... London: George Bell and Sons, 1879, and London: Bell and Daldy, 1873. Both in publisher’s cloth. Laid down photographic prints. Bindings worn and defective almost detatched from textblock, dampstaining to contents, mostly in margins; and JAMES MILLINGEN. Ancient Unedited Monuments: Painted Greek Vases... London: 1822. Color printed plates in black and orange. Worn, with text block detaching from binding; and OWEN JONES. The Grammar of Ornament. London: Bernard Quaritch, 1868. Publisher’s cloth, gilt. Color printed plates. Large losses to cloth at spine; and with GEORGE TURNBULL. A Treatise on Ancient Painting... London: A Millar, 1740. Contemporary brown speckled calf, gilt. Engraved plates. Worn, joints cracked with hinges holding by a few cords, occasional spotting to contents, this lot of seven books is sold as is.

Bernard Leach CBE (1887-1979) a Leach St Ives pottery Tile, depicting a stylised ibex in tenmoku and deep blue glaze on oatmeal ground, artist's monogram to lower right corner and studio mark to lower left and four further impressed marks verso, 10cm x 10cm.

Bernard Leach CBE (1887-1979) a Leach St Ives pottery Tile, depicting a pair of aquatic animals in tenmoku on oatmeal glaze, artist's monogram to lower left corner and studio mark to lower right, four further impressed marks verso, 10cm x 10cm.