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Lot 554
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.
Lot 234
(Modern Art) A large collection of exhibition catalogues Thirty nine, almost all in vg to fine condition, including Howard Hodgkin, Sutton Taylor, Henry Moore, Michael Cardew, David Martin, Peter Blake, Christopher Wood, Hamish MacDonald, Sam Lock, Peter Wileman, Sam Hall, Sophie Ryder, David Martin, Anthony Caro, Sam Francis &c. &c. (39)A wonderful collection
Lot 1
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.
Lot 310
Ladi Kwali (Nigerian 1925-1984); An Abuja biscuit ware studio pottery grain pot, of large proportions, the unglazed body sgraffito engraved with abstract forms and patterns, the neck incised with L.K. mark, H36cm. Provenance - Oxshott Pottery and the Wren collection: Denise Kate Wren (Australian/British 1891-1979) & Henry Wren (1884-1947), Rosemary D Wren (1922-2013) and Peter Crotty. The vase is accompanied by a hand written note explaining how Ladi Kwali, accompanied by Michael Cardew, held a demonstration at the art workers guild in London. Ladi Kwali was to make a pot from scratch, and then decorate a previously made pot. This pot was the one decorated, and made from Oxshott clay. Please see accompanying photograph of the letter in question.
Lot 156
A Michael Cardew Abuja Pottery mug by Ladi Kwali, bearing plaque to front "Abuja" and two impressed marks to base of handle, 15 cm high CONDITION REPORTS Is filthy and in need of a clean. Has significant firing faults throughout including some roughness / unevenness to the rim. General wear and tear conducive with age and use. See images for further detail.
Lot 438
ARR Michael Cardew ( 1901-1983) for Wenford Bridge Pottery a studio pottery bowl, treacle glaze with cream glaze interior, impressed marks, 24.5cm diameter x 15.5cm high and another studio pottery bowl with green glazed interior, impressed IR marks to base, 24cm diameter x 10cm highoverall good condition
Lot 96
Biddy HOLDEN (1920-2017) Peacock Double linoprint, signed within plate, 37.5cm x 23.5cm, 50cm x 35cm framed. Bridget (Biddy) moved back from Egypt ti Rye, Sussex in 1923 and stated she was inspired by Paul Nash who lived there at the time. Pre-war, she had studied art in Paris and Florence and studied at The Slade. Biddy moved to North Cornwall with her husband, Dr John Holden, in 1947 to take over Delabole Medical Practice, where they remained for the rest of their lives. In her early years in Cornwall, Biddy painted mainly watercolours, before then moving onto other mediums including linocuts, printing and mixed media. She was keenly involved in the Cornish art scene and helped to found the Camel Art Society in Wadebridge and was involved also from the beginning in founding St Endellion Music Festival. She held and annual art exhibition at the North Cornwall Museum and Art Gallery in Camelford which was usually combined with a pottery exhibition by Michael Cardew or Svend Bayer. Biddy continued to exhibit and sell her artwork well into her nineties and her family are now happy to release a few of her remaining pictures to be sold in aid of her chosen charities. In-house postage to UK postcodes would cost £25.22.
Lot 181
Biddy HOLDEN (1920-2017) Two Peacocks Linoprint, signed within plate, 35cm x 27.5cm, 48.5cm x 37.5cm framed. Bridget (Biddy) moved back from Egypt ti Rye, Sussex in 1923 and stated she was inspired by Paul Nash who lived there at the time. Pre-war, she had studied art in Paris and Florence and studied at The Slade. Biddy moved to North Cornwall with her husband, Dr John Holden, in 1947 to take over Delabole Medical Practice, where they remained for the rest of their lives. In her early years in Cornwall, Biddy painted mainly watercolours, before then moving onto other mediums including linocuts, printing and mixed media. She was keenly involved in the Cornish art scene and helped to found the Camel Art Society in Wadebridge and was involved also from the beginning in founding St Endellion Music Festival. She held and annual art exhibition at the North Cornwall Museum and Art Gallery in Camelford which was usually combined with a pottery exhibition by Michael Cardew or Svend Bayer. Biddy continued to exhibit and sell her artwork well into her nineties and her family are now happy to release a few of her remaining pictures to be sold in aid of her chosen charities. In-house postage to UK postcodes would cost £25.22.
Lot 297
Biddy HOLDEN (1920-2017) Birds from Doorway, Kilpeck Church, Herefordshire Lithoprint, signed, 29.5cm x 19cm, 42cm x 32cm framed. Bridget (Biddy) moved back from Egypt to Rye, Sussex in 1923 and stated she was inspired by Paul Nash who lived there at the time. Pre-war, she had studied art in Paris and Florence and studied at The Slade. Biddy moved to North Cornwall with her husband, Dr John Holden, in 1947 to take over Delabole Medical Practice, where they remained for the rest of their lives. In her early years in Cornwall, Biddy painted mainly watercolours, before then moving onto other mediums including linocuts, printing and mixed media. She was keenly involved in the Cornish art scene and helped to found the Camel Art Society in Wadebridge and was involved also from the beginning in founding St Endellion Music Festival. She held and annual art exhibition at the North Cornwall Museum and Art Gallery in Camelford which was usually combined with a pottery exhibition by Michael Cardew or Svend Bayer. Biddy continued to exhibit and sell her artwork well into her nineties and her family are now happy to release a few of her remaining pictures to be sold in aid of her chosen charities. In-house postage to UK postcodes would cost £25.22.
Lot 398
† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a stoneware plate with Vume lily decoration, impressed MC and pottery marks, diameter 26cm.Condition Report: Short glaze filled firing cracks to exterior below rim, otherwise appears good with no further signs of faults, damage or restorations.
Lot 648
† SVEND BAYER (born 1946) for Wenford Bridge Pottery; a stoneware coffee pot covered in a mottled tan glaze with iron decoration, impressed SB and pottery marks, also incised 'Biddy Holden', height 22.5cm.The pot was made for the artist Biddy Holden - Bayer's mother-in-law - who regularly exhibited with Michael Cardew and Bayer. Condition Report: Re-glued chip to edge of cover, otherwise appears good with no further signs of faults, damage or restorations.
Lot 393
† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a miniature slipware vase partially covered in galena glaze with incised decoration, impressed MC and pottery marks, height 6.5cm. Condition Report: Nibbles to rim, otherwise appears good with no further signs of faults, damage or restorations.
Lot 399
† MICHAEL CASSON (1925-2003); a porcelain footed teapot covered in honey glaze, impressed MC mark (glaze filled), height 16.5cm, a salt glazed teapot by Jeremy Nichols, and a miniature teapot by Seth Cardew (3). Condition Report: Appears good with no obvious signs of faults, damage or restoration.
Lot 394
† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a stoneware coffee pot partially covered in Meldon stone glaze with incised decoration, impressed MC and pottery marks, made circa 1949, height 26cm.Condition Report: Bloat to base surrounded by short tight hairlines, one extending into body, glaze flakes to handle and edge of cover, otherwise appears good with no further signs of faults, damage or restorations.
Lot 395
† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a stoneware sauce boat and cover with original spoon covered in pale grey glaze with iron and cobalt decoration, impressed MC and pottery marks, diameter 14.5cm (including handle).Condition Report: Nicks to spout and footring, otherwise appears good with no further signs of faults, damage or restorations.
Lot 9125
An Abuja Pottery stoneware flagon with screw top in the Michael Cardew tradition, strap handle. Iron glazes with arched and straight line detail and pale blue ash glazes in the manner of Ladi Kwali. Associated wooden tap. No visible potters seal/marks. 35.5cm high. No obvious signs of any chips or cracks or of any restoration. The screw top works well and also shows no obvious signs of damage. The associated wooden tap currently doesn't turn and has a cork bung
Lot 405
Michael Cardew (1901-1983)Teapot and coverWenford Bridge stoneware, covered in a grey glaze with painted cobalt blue panel band, a stoneware teapot and cover by Michael Casson and four other pots and coversimpressed seal marks,12.5cm. high (12) ProvenancePaul Rice Gallery (Cardew pot)The collection of Rosslyn Hill.
Lot 53
§ Michael Cardew (1901-1983) for Wenford Bridge, a large studio pottery dish, circa 1975, with combed decoration to rim and centre over a dark olive ground, impressed seal marks and hand-painted 'P' to underside34 x 7cmThere is a crescent shaped crack, with another disecting it, to the rim of app. 11cm in length, more visible from the reverse, but can also be seen from the front - this may be a very neat repair. There are also a couple of small rim chips.
Lot 5
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
![*Michael Cardew [1901-1983] three pieces of stoneware, comprising an oviform vase under brown glaze, 15cm high; a squat vase](https://cdn.globalauctionplatform.com/1ef400b2-7fb6-479a-a7d3-b26000e27ce7/13bb15a2-e0ea-4908-9c0f-b26200b83efa/468x382.jpg)
Lot 62
*Michael Cardew [1901-1983] three pieces of stoneware, comprising an oviform vase under brown glaze, 15cm high; a squat vase with flaring neck with incised linear decoration under blue glaze, 17cm high and a pedestal bowl with lug handles with painted brown decoration, 12cm high, [chipped] all with impressed personal seals, the vases with Abuja seals the latter with Wenford Bridge seals.
Lot 346
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.
Lot 108
A Michael Cardew glazed terracotta two handled bowl, 15 cm wide including handles, 11 cm diameter not including handles, bearing Winchcombe Pottery and Michael Cardew impressed marks to base, together with a similar Winchcombe Pottery shallow dish with wavy line decoration, 8.4 cm diameter CONDITION REPORTS Bowl - has two hairline cracks as well as some areas of loss to the glazed work throughout. Has clearly had water or suchlike within as some limescale type residue evident to the inside of the bowl. Dish - has a chip to the outside edge as well as some areas of loss to the glaze, particularly to the lip of the dish. Both have heavy crazing to the glaze and general wear and tear conducive with age and use. See images for further detail.
Lot 699
Attributed to Michael Cardew (1901-1983) at Winchcombe Pottery Two slipware dishesboth with combed decorationthe lighter coloured dish with impressed pottery seal to the base, the other unmarked19cm overall (2). At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Lot 643
Michael Cardew (1901-1983) at Winchcombe PotteryJugslipware with combed decorationimpressed potter's and pottery seal marks to the base20cm high. Minor chip to edge of handle. Some small areas where the glaze has not caught. Otherwise appears OK with some firing dots and roughness as you'd expect.
Lot 219
Ara Cardew (born 1962)a Wenford Bridge stoneware bowl , painted with geometric design to well, in blue and ochre on a silver-grey ground, another smaller, a small footed bowl by Seth Cardew and and sixteen other piecesimpressed seal marks, 28cm. diam. (19) ProvenanceThe Collection of Michael and Henrietta Gough
Lot 553
Michael CARDEW (1901-1983) Bowl Stoneware, impressed seals to base, diameter 31cm.There are a number of areas where the glaze has come away from the pot, some of these appear to be firing flaws and others are small chips (please see additional images). There is another flaw present on the side of (see additional image).
Lot 145
λ MICHAEL CARDEW (BRITISH 1901-1983) OVAL DISH Ceramic with brown and ochre glazes Impressed maker's 'MC' mark and Wenford Bridge Pottery seal (to underside) 27 x 36cm (10½ x 14 in.) Condition Report: In very good condition. A few small shallow 'dinks' at the edge, and smoothed, could be slight damages, or in the making.Condition Report Disclaimer
Lot 480
† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a slipware dinner plate with yellow slip trailed decoration on chestnut ground and kintsugi repair to the rim, impressed MC mark, made 1935-36, diameter 24cm. Condition Report: As well as the kintsugi there remains an area of glaze flaking to the rim, otherwise appears good with no further signs of faults, damage or restorations.
Lot 479
† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a slipware baluster jug with yellow slip decoration on chestnut ground, impressed MC mark, height 25.5cm (a/f). Provenance: From the artist's personal reference collection. Condition Report: Glaze misses and blistering throughout, otherwise appears good with no further signs of faults, damage or restorations.
Lot 481
† MICHAEL CARDEW (1901-1983) for Winchcombe Pottery; a slipware side plate with yellow slip trailed decoration on chestnut ground, impressed MC mark, made 1935-36, diameter 19cm. Condition Report: Some glaze rubbing to rim, otherwise appears good with no further signs of faults, damage or restorations.
Lot 214
Bawa Ushafa for Abuja Pottery A stoneware charger, stamped 'B.U.A' and 'Abuja' in Arabic to the base. 40.5cm dia. Footnote: The Abuja pottery, located in Nigeria, has a rich history closely tied to British potter Michael Cardew. In 1951, Cardew was invited by the Nigerian government to establish a pottery training center in Abuja, aiming to merge traditional African pottery techniques with modern European methods. His vision was to create a sustainable craft industry that empowered local potters and elevated Nigerian ceramics on the global stage.Cardew’s approach focused on integrating indigenous skills with technical knowledge of glazing, kiln-building, and stoneware production. Under his guidance, the Abuja Pottery Training Centre became a hub for innovation, producing functional and aesthetically refined pottery that blended Nigerian cultural elements with Cardew’s European techniques.One of the most notable outcomes of this collaboration was the development of Abuja Ware, characterized by its unique forms and rich glazes, made from local clays. The center also trained renowned Nigerian potters like Ladi Kwali, whose works gained international recognition. Michael Cardew's influence left a lasting legacy, establishing Abuja pottery as a celebrated craft tradition that continues to thrive.
Lot 207
▲ Michael Cardew (1901-1983), a large Winchcombe Pottery stoneware teapot, of bellied form with a medial band and two applied handles, finished in a tenmoku glaze, impressed seal marks, complete with a letter signed by Michael Cardew outlining the delivery of the teapot to the original purchaser,36cm wide27cm high (2)Condition ReportNo chips or cracks. Minor surface wear commensurate with age. Some rubbing to the glaze towards the lower section. Othwerwise structurally sound. Please see additional images.
Lot 74
A quantity of pottery Reference Books, to include 'Art Potteries of Barnstaple' Audrey Edgeler, 'The English Country Pottery - Its History and Techniques' Peter C. D. Brears, 'North Devon Pottery: The Seventeenth Century' Alison Grant, 'Michael Cardew: A Pioneer Potter' autobiography, a quantity of SCANDY - the Magazine of the Torquay Pottery Collectors Society, etc. approximately 30 books overall (a lot) Provenance; The Margaret Squance Collection of Fishley and North Devon pottery; Margaret Squance is the great great granddaughter of Edwin Beer Fishley.
Lot 4
Michael Ambrose Cardew (1901-1983): at Wenford Bridge Pottery: A Stoneware Jug and Cover, tenmoku glaze with incised decoration, impressed MC and Wenford Bridge Pottery marks,25cm highSvend Bayer (b.1946): at Wenford Bridge Pottery: A Stoneware Jug, wood fired, impressed SB and Wenford Bridge Pottery marks,21cm high (2)Firing fault on front of Cardew jug (just below spout and top of decoration) Bayer jug is over fired, firing peel. See extra images of the marks on-line.
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