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.
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A pair of Abuja Pottery stoneware studio pottery mugs - ovoid with moulded rim and angled handle, in an iron glaze with grey-green wavy lines and stripes, impressed pottery mark below handle, 10.7cm high; and a cup and saucer by Abuja Pottery, with incised foliate decoration, glazed in mottled blue-grey, the saucer 15.3cm diameter. (3) * Small frit to glaze to edge of one handle. Otherwise in good condition.
A collection of various studio pottery including a Daniel Boyle glazed pottery teapot bearing impressed mark to base, 17.5 cm high, a Fishley Holland green glazed bowl, 9.5 cm diameter, a small ochre glazed Catherine Ball bowl, 7.8 cm diameter x 5.4 cm high, a small Abuja bowl, two further bowls, a wrythen incised onion-shaped vase and a shallow dish CONDITION REPORTS The Daniel Boyle teapot - there is a chip to the inside of the lid. The Fishley bowl - has several small chips/losses to the glaze as well as crazing throughout. The Catherine Ball bowl has a couple of small chips/areas of roughness to the rim. The Abuja bowl has some roughness to the rim, crazing all over and the shallow dish has some chips to the underside of the rim. Otherwise all items have general wear and tear, in need of a light clean - see images for more details
Abuja Pottery, in the manner of Ladi Kwali and Halima Audu; a monumental earthenware water pot with impressed and incised decoration picked out in corn starch or white slip, made circa 1960, height 58.5cm.For a similar example see 'Pioneer Studio Pottery: The Milner-White Collection' by Sarah Riddick (Lund Humphries, 1990), pp 26-27. Provenance: The sculptor Adrian Sorrell collection; purchased from the Gordon Reece Gallery, Knaresborough. Condition Report: Minor nicks to rim, otherwise appears good with no further signs of faults, damage or restorations.
BAWA USHAFA for Abuja Pottery; a stoneware coffee pot covered in chun and iron glaze, impressed BUA mark, height 17cm, and an ash tray impressed 'Nigeria 1960', diameter 12.5cm (2).Condition Report: Coffee has chips to spout, rim and inside cover, otherwise appears good with no further signs of faults, damage or restorations.
HASSAN LAPAI for Abuja Pottery; a stoneware cup and saucer covered in mottled grey glaze, impressed HLP and pottery marks, cup height 5cm, saucer diameter 14.5cm.Condition Report: Glaze flake and re-glued rim chip to cup, otherwise appears good with no further signs of faults, damage or restorations.
Abuja Pottery; a near pair of stoneware dishes covered in mottled grey glaze, impressed pottery marks, largest diameter 21cm (2).Condition Report: Both dishes slightly warped, small chip to rim of one, chip to footring of other, otherwise appears good with no further signs of faults, damage or restorations.
Abuja Pottery; a near pair of stoneware plates covered in mottled grey glaze decorated with armadillos, impressed pottery marks, largest diameter 27.5cm (2).Condition Report: Chip to footring of slightly smaller plate, otherwise appears good with no further signs of faults, damage or restorations.
Abuja Pottery; a large stoneware casserole covered in tenmoku breaking to kaki glaze decorated with armadillos, impressed pottery mark, diameter 27cm.Condition Report: Chips to rim and edge of cover, tight hairlines extending 6cm from rim, otherwise appears good with no further signs of faults, damage or restorations.
Abuja pottery, Nigeria pouring vessel with celadon glaze mottled incised decoration to the shoulders. Unmarked. Height approx 11cm. No signs of damage. In 1950 the Nigerian authorities asked Michael Cardew to become 'Pottery Officer' with the aim of improving the quality of the local work. He spent most of the next fifteen years there, having set up the Pottery Training Centre at Abuja.There were exhibitions of Abuja pottery in London in 1958, 1959 and 1962, and another in Lagos in 1960. Cardew and some of the African potters, notably Ladi Kwali, gave lectures and demonstrations in various parts of the world and Philip Rosenthal sponsored a European tour for them in the mid-1960s.
LADI KWALI (1925-1984) for Abuja Pottery; a stoneware mug covered in iron glaze with incised decoration, impressed LK and pottery marks, height 16cm.Condition Report: Glaze has crawled slightly internally to edge of base, otherwise appears good with no further signs of faults, damage or restorations.
* Studio Pottery. A mixed collection, including a faceted cut sided vase by Nick Rees (1949 -) at Muchelney Pottery, covered in a dark blue glaze, impressed personal and pottery marks to base, 13.5 cm high, plus a stoneware coffee pot by Hassan Lapai for Abuja Pottery, blue brushwork decoration over a speckled grey glaze, impressed personal seal to base, 22 cm high, together with a small stoneware honey pot by Sid Tustin at Winchcombe Pottery, plus pieces by David Lloyd-Jones, Chris Keenan, Amanda Brier and Louise Darby, and some further unsigned workQTY: (11)
Abuja pottery, Nigeria 2 small bowls with pale blue glaze. Diameters approx 14cm & 11cm. Both unmarked. No signs of damage to either piece. In 1950 the Nigerian authorities asked Michael Cardew to become 'Pottery Officer' with the aim of improving the quality of the local work. He spent most of the next fifteen years there, having set up the Pottery Training Centre at Abuja.There were exhibitions of Abuja pottery in London in 1958, 1959 and 1962, and another in Lagos in 1960. Cardew and some of the African potters, notably Ladi Kwali, gave lectures and demonstrations in various parts of the world and Philip Rosenthal sponsored a European tour for them in the mid-1960s.
Abuja pottery, Nigeria 2 small brown glaze bowls. One marked Echeta to base, impressed mark to base of smaller item. Diameters approx 15cm & 10cm. No signs of damage. In 1950 the Nigerian authorities asked Michael Cardew to become 'Pottery Officer' with the aim of improving the quality of the local work. He spent most of the next fifteen years there, having set up the Pottery Training Centre at Abuja.There were exhibitions of Abuja pottery in London in 1958, 1959 and 1962, and another in Lagos in 1960. Cardew and some of the African potters, notably Ladi Kwali, gave lectures and demonstrations in various parts of the world and Philip Rosenthal sponsored a European tour for them in the mid-1960s.
Abuja pottery, Nigeria small plate with blue fish design on a green ground. Diameter approx 16.7cm. Impressed marks to the underside partially obscured by glaze. No signs of damage. In 1950 the Nigerian authorities asked Michael Cardew to become 'Pottery Officer' with the aim of improving the quality of the local work. He spent most of the next fifteen years there, having set up the Pottery Training Centre at Abuja.There were exhibitions of Abuja pottery in London in 1958, 1959 and 1962, and another in Lagos in 1960. Cardew and some of the African potters, notably Ladi Kwali, gave lectures and demonstrations in various parts of the world and Philip Rosenthal sponsored a European tour for them in the mid-1960s.
Michael Cardew (1901-1983) for Abuja Pottery - a studio stoneware footed table bowl, having a slightly rounded rim, ribbed body with stylised combed Tenmoku glaze, artist monogram and Abuja seal mark to outer edge of foot rim, dia.27.5cmApprox. 12x4mm surface chip to top edge of top rim.Small areas of roughness to interior surface due to glaze imperfections.Fine hairline to body of bowl, also running through footrim.Some light scuffs/scratches to glaze surface.
Abuja Pottery – Group of stoneware tea and coffee wares, to include four mugs by Bawa Ushafa, four Tanko Muhammed cups and saucers, a covered bowl by Abu Karo, and a large cup and saucer impressed marks; together with a stoneware coffee pot and two milk jugs attributed to Abuja, covered in speckled brown/grey glaze, 25cm high and smaller
Michael Cardew (1901-83) for Abuja Pottery - Stoneware cup and cover, grey-green glaze with bands of striated decoration, impressed ‘M C’ and Abuja seals, 11cm high overallThe pottery in Abuja Nigeria was founded in 1951 by Michael Cardew in his capacity as Pottery Officer to the Nigerian colonial authorities. Cardew's established reputation ensured that the pottery quickly attracted international interest leading to acclaimed exhibitions in London 1958 and 1959
Gugong Bong, an Abuja studio pottery mug, circa 1967-71, tankard form, tenmoku glazed with spiral design to the body, conical based cylinder form with pronounced thumbpiece, impressed seal mark GB, 15.5cm high Note: an almost identical example of the same form with the same spiral motif is in the British Museum, formerly belonging to Sir David Attenborough; Gugong Bong trained under Michael Cardew, and his work is also in the Victoria and Albert Museum, London.
An Abuja Pottery stoneware flagon with screw top in the Michael Cardew tradition, strap handle. Brown, iron and greenish glazes with wide oval and straight line detail. Impressed Abuja seal below handle partially filled and a personal seal completely filled with glaze. 27.5cm high. No obvious signs of damage or restoration to the flagon or the screw top.
† MICHAEL CARDEW (1901-1983) for Abuja Pottery; a stoneware sugar shaker with screw top covered in tenmoku breaking to kaki glaze with incised decoration, impressed MC and pottery marks, label written in the hand of Jutta Cardew (Seth's wife), height 15cm. Provenance: Cardew family collection.Condition Report: Kiln kiss to one side and small glaze flakes to underside of screw top, otherwise appears good with no further signs of faults, damage or restorations.
Asibi IdoTwo Beakers i)stamped 'A.I.'/ 'Abuja' in Arabic (base)glazed stoneware 10 x 8 x 8cm (3 15/16 x 3 1/8 x 3 1/8in).ii)stamped 'Abuja' in Arabic/ 'A.I.' (base)glazed stoneware 9.5 x 8 x 8cm (3 3/4 x 3 1/8 x 3 1/8in).Footnotes:ProvenanceA private collection.Wonderfully symptomatic of Asibi Ido's preference for smaller pottery works with a high level of decoration, the two small present beakers both display varying sgrafitto in differing compositions. Unique in her body of work as we know it, the present lots were easy fired with a slip glaze when completed, resulting in light matte colour. With a base of a light and high quality Body 44 clay with a dual use of both a black slip (the upper half of both works) and a white slip (the lower half of each work and the rim of each beaker), the present two works are fine displays of aesthetic adventurism practised by Ido.With each circle rhythmically incised in one of the beakers and the expressive scoring around the circumference of the other, there is a great sense here that Ido was thoroughly invested in the creation of these two works. They display her commitment to the craft and ambition in developing a modern Gwari pottery practise.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Lami Toto (Nigerian)Vessel stamped 'L.T' and 'Abuja' in Arabic (base)glazed stoneware 26.7 x 27 x 27cm (10 1/2 x 10 5/8 x 10 5/8in).Footnotes:ProvenanceAcquired directly from the Abuja Pottery Training Centre circa 1970s;Thence by direct descent.Stamped 'LT' at the base of this vessel, the zoomorphic design of the present work is beautifully executed by female potter Lami Toto. It is this zoomorphic concept and execution that is a central theme to the potters works and can be seen in on other works from the artist's oeuvre. Incised and glazed, this is a highly decorative collection of plates which possess a high level of attention to a visually intriguing aesthetic. High fired and used over a Body 44 clay, the present work is decorated by sgraffito into this glaze known as an Abuja slip-glaze, also known as 'Guinness Brown'. The form of the vessels is a traditional style Gwari pot, this synthetization of both Gwari form and motif aesthetic was commonly used by the female potters who joined the training centre, such as Ladi Kwali, Kande Ushafa, and in this case Lami Toto who joined the training centre in 1963.The exquisite execution of the vessel is a wonderful example of why Lami Toto is a prominent potter, not only in her position as one of the few female potters at the training centre, but also one of the most highly skilled and dedicated.BibliographyTanya Harrod, The Last Sane Man, Michael Cardew, Modern Pots, Colonialism and the Counterculture, (New Haven and London: Yale University Press, 2012), p. 294.John Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Asibi IdoFive Small Bowls all bear stamp 'A.I' and 'Abuja' in Arabic (to the bases)glazed stoneware 4.5 x 15 x 15cm (1 3/4 x 5 7/8 x 5 7/8in). (all measure the same)(5)Footnotes:Honoured by being selected to present President Azikiwe with one of her pots upon his visit to the Training Centre and further to her invitation to accompany Michael O'Brien (who worked at the Training Centre following Cardew) on a visitation to Britain in 1989, it is clear that Asibi Ido was a potter held in high regard within the Training Centre. Meticulously decorated with each dish possessing its own individuality, it appears that the 5 works were thrown, given Cardew's introduction to the centre of the pottery wheel, it could be argued that the sgraffito marks on the work were completed when the dishes were still spinning and clay still wet, given their precision. Made in the darker clay of Body 49 base and a black slip, the combination of the two along with the addition of the ridges enables a red-brown pigment to appear along the lines, sealed by what appears to be an Abuja Slip-Glaze. Given the shine of the five dishes, it can be concluded that these dishes were fired under a high heat.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Ladi Kwali (Nigerian, circa 1925-1984)Water Vessel stamped 'Abuja' in Arabic/ 'LK' (to the base)glazed stoneware 20 x 20.5 x 20.5cm (7 7/8 x 8 1/16 x 8 1/16in).Footnotes:Joining the training centre in 1954, Ladi Kwali was already an established potter with the Emir of Abuja already holding a collection of her works. Her fame grew internationally, and Kwali joined Michael Cardew on his European (1962-63) and American (1972) demonstrative and educational tours. The result of her efforts and exposure would lead to her MBE that was awarded to her in 1962. In 1970, she was further awarded an honorary doctorate from Ahmadu Bello University in Zaria. Ladi Kwali's image is also used on the 20 Naira Nigerian bank note and a major street in Abuja has been named Ladi Kwali Road, emphasising her importance to the country also evident in her receiving the Officer of the Order of the Niger (OON) in 1981. Through these acknowledgments and artistic exposure and with a new found global respect for her practice, Kwali would influence a number of the next generation of potters and artists such as Magdalene Odundo.Born in the ancient potting region of Gwari, Ladi Kwali was trained in the traditional methods of production, building up her vessels in coils before firing them in the open air in a bonfire of dry vegetation. She achieved international recognition in 1954 after she was invited to join the famous British ceramicist, Michael Cardew, when he opened a studio in northern Nigeria. However, even with the introduction of equipment designed to make the production of pottery easier by Cardew, Kwali was known for remaining true to her traditional Gwari practise. True still was her commitment to her zoomorphic and geometrical that she would adorn her vessels (such as the present lot) with. Susan Vogel noted on her patriotist practise, 'over her whole working life she made just one change – the switch from earthenware to stoneware' this change was only due to the conditions and material available to the pottery. (Susan Vogel, Ladi Kwali, Michael Cardew and a Tangled Story of African Studio Pottery, ed, Kerstin Pinther, Alexandra Weigand, Flow of forms/Forms of flow, Design Histories between Africa and Europe, (Germany: Transcript publishing, 2018), p, 108).The present work is a beautiful example of the potter's iconic process. Hand coiled, it stands at half of the size of a traditional functional water vessel. On a Body 44 clay, which can be seen through the incised lines as lighter celadon green in comparison to the darker glaze possibly clear AA glaze aver a thin black slip, this work has been fired on a high heat to keep a shine to the surface of the work. Classically Kwali, the zoomorphic imagery is incised into the work in a geometric longitudinal fashion to contrast the wide bulbous drum of the vessel. Kwali's skill and talent is evident throughout the creative process of this vessel and it acts as a wonderful example of what has made Ladi Kwali a key figure in the pottery field and a national treasure to Nigeria.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Kande UshafaTwo Beakers i) stamped 'K.U' / 'Abuja' in Arabic (base)glazed stoneware 13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).ii) stamped 'K.U' / 'Abuja' in Arabic (base)glazed stoneware 13.5 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).(2)Footnotes:Kande Ushafa came from a family of craftsmen, weavers and potters. Traditionally, pottery was considered a woman's exercise due to the gender normative roles conventionally related to cooking and domestic displays. The Pottery Training Centre aimed to celebrate these traditional processes and having women such as Kande Ushafa enabled a higher level of ideological understanding of water vessels, dishes and beakers such as in the present lot. Consistent with the potter's overall body of work, Ushafa's skill and technique in designs via incised lines prior to firing is not only for aesthetic purposes, but alludes to local historical narratives and legends. In comparison to her contemporaries at the Abuja Training Centre, Ushafa has tended to veer away from zoomorphic imagery, opting instead for more decorative and geometrically symmetrical lines and shapes, offering a more open interpretation of her work to the viewer.BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Ladi Kwali (Nigerian, circa 1925-1984)Two Beakers i)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 8.5 x 8.5cm (5 1/8 x 3 3/8 x 3 3/8in).ii)stamped 'L.K' / 'Abuja' in Arabic (base)glazed stoneware13 x 9 x 9cm (5 1/8 x 3 9/16 x 3 9/16in).(2)Footnotes:Both on a light celadon green Body 44, the two works presented coordinate in Ladi Kwali's incorporation of a white slip towards the base of both beakers. The precision of the sgrafitto on both works emphasis the clarity with which Ladi Kwali incises her works. The definition of the sgraffito is emphasised by the clear contrast of colour between the Body 44, the slip, and glaze. As Kwali did not take to throwing her vessels, the present works are unusual in her oeuvre as they are a rare example of Kwali using a pottery wheel to complete her work. BibliographyJohn Edgeler, Michael Cardew and stoneware, continuity and change, (Winchcombe: Cotswolds living Publications, 2008)For further information on this lot please visit Bonhams.com
Gugong Bong, an Abuja studio pottery mug, circa 1967-71, tankard form, tenmoku glazed with spiral design to the body, conical based cylinder form with pronounced thumbpiece, impressed seal mark GB, 15.5cm high Note: an almost identical example of the same form with the same spiral motif is in the British Museum, formerly belonging to Sir David Attenborough; Gugong Bong trained under Michael Cardew, and his work is also in the Victoria and Albert Museum, London.
Michael Cardew (1901-1983) for Abuja Pottery - a studio stoneware footed table bowl, having a slightly rounded rim, ribbed body with stylised combed Tenmoku glaze, artist monogram and Abuja seal mark to outer edge of foot rim, dia.27.5cmApprox. 12x4mm surface chip to top edge of top rim.Small areas of roughness to interior surface due to glaze imperfections.Fine hairline to body of bowl, also running through footrim.Some light scuffs/scratches to glaze surface.
Michael Cardew (1901-1983) for Abuja Pottery - a large studio stoneware footed table bowl, having a raised and flattened rim, ribbed body with combed and drip Tenmoku glaze, artist monogram and Abuja Pottery seal to outer edge of foot rim, dia.34cm Approx. 10x4mm glaze chip to outer upper edge of top rim.Small pitted glaze hole just beneath this area also.Otherwise very good.
Michael Cardew (1901-1983) for Abuja Pottery - a studio stoneware footed table bowl, of ribbed form, with combed Tenmoku glaze, Abuja Pottery mark to outer edge of footrim, dia.26.5cmNo chips, cracks or losses.Some general pitting to areas of glaze.Faint wear to inside of bowl (only visible on very close inspection).Overall very good.
† MICHAEL CARDEW (1901-1983) for Abuja Pottery; a stoneware cup, impressed MC and pottery marks, height 7.5cm, and a screw top salt pot by Tanko Mohammud, height 10cm (2).Provenance: Kevin de Choisy collection.Condition Report: Nibble to cup rim, otherwise appears good with no further signs of faults, damage or restorations.
Gugong Bong, an Abuja studio pottery mug, circa 1967-71, tankard form, tenmoku glazed with spiral design to the body, conical based cylinder form with pronounced thumbpiece, impressed seal mark GB, 15.5cm high Note: an almost identical example of the same form with the same spiral motif is in the British Museum, formerly belonging to Sir David Attenborough; Gugong Bong trained under Michael Cardew, and his work is also in the Victoria and Albert Museum, London.
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