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A mid century Alan Caiger Smith large wood fired bowl 32cm diameter , damage and repair throughout one side.

Alan Caiger-Smith (British 1930-2020), Aldermaston Pottery jug with red and gold lustre design with painted artist's monogram and date cypher to base 2005, 24cm. Estimate: £80-120

An Aldermaston Pottery bowl, with artist monogram for Alan Caiger Smith to base. Estimate: £80-120

Alan Caiger-Smith (1930-2020) at Aldermaston potterystudio pottery goblet with lustre decoration, signed to the base, 16cm high overall and a possibly Mauder studio pottery bottle vase, with painted mark to the base, 20cm high overall (2)Goblet has hairline crack. Some glaze/firing faults to both as expected.

Isnik and Persian ceramics titles - Atasoy Nuhan and Raby Julian ' Iznik Pottery of Ottoman Turkey'  Alexandra Press 1989, elephant folio,  Watson 'Oliver 'Persian Lustreware'  Faber and Faber 1985 -, Caiger-Smith Alan ' Tin-Glaze Pottery in Europe and the Islamic World'  Faber and Faber 1973 and related volumes _ 2 boxes)

A group of Aldermaston pottery vessels comprising: an Alan Caiger-Smith small vase, of tapering cylindrical form with everted rim with stylised foliate design in red and gold lustre, monogram and other painted marks; an Andrew Hazelden vase, of baluster form, painted with abstract patterns in blues and browns, painted monogram: a small bowl, painted with two fish in red and gold lustre, painted marks; and a footed bowl, painted in shades of blue and red. (4) First 11cmCondition: no loss or damage, good overall condition

Alan Caiger-Smith, a lustre earthenware jar and cover, signed to base, 20cm high, together with two Prattware plaques (3)

Quantity of Exhibition Posters, including by Geoffrey Whiting, Mick Casson, Takeshi Yasuda Ceramics, Alan Caiger-Smith, and contemporary British Crafts.

A group of Bourne (Denby) stoneware designed by Glyn Colledge comprising: three baluster jugs, each painted with leaves, signed to the base; together with a Glyn Colledge tankard; and an Alan Caiger-Smith mug, monogram to base; and a Buchan stoneware mug. (6) Tallest jug 18cm

Alan Caiger-Smith, Aldermaston pottery pedestal goblet decorated in red lustre glazes, 5.25ins high together with a similar mug decorated in black and green glazes, 5ins high and a bowl decorated in red glaze, 10.75ins diameter (rim repairs)Bowl has been repaired, hairline crack to goblet. Mug in good condition.

AN ALDERMASTON ALAN CAIGER SMITH CHEESE DISH COVER ON WOOD STAND, A COPELANDS BOWL AND PLATE, A PAIR OF DUX TYPE FIGURINES, VARIOUS BLUE AND WHITE WARES, AND A GILT BRASS TABLE LAMP ETC.

Art reference books to include Alan Caiger-Smith, Tin-glaze Pottery, Nigel Ramsay, Heralds and Heraldry in Shakespeare's England, Charles Tracy & Hugh Harrison, The Choir Stalls of Amiens Cathedral, D'Ancona & Aeschlimann, The Art of Illumination, Tsareva, Rugs & Carpets from Central Asia etc. (16)Chris Pickvance Collection

Alan Caiger-Smith "Aldermaston" blue and white pottery jug with zigzag decoration, monogram to base (12 cm tall)

Alan Caiger-Smith (1930-2020), a rare studio model of a fox, tinted lustre with painted markings signed, 19 cm long. Note: Not commercially released, a model uniquely made only for friends and family.

Alan Caiger-Smith (1930-2020), a blue and red lustre pottery bowl with alternating panel of leafage on blue/grey ground, signed and dated 1998, Dia. 21 cm

Alan Caiger-Smith (1930-2020), a peach vanilla and orange glazed pottery bowl with elaborate scrolling leaves on a tinted lustre ground, signed, painted marks, Dia. 26.5 cm

Alan Caiger-Smith (1930-2020), A twin handled copper and red lustre dish painted with an out stretched bird, signed painted marks and numbered ?75?, W. 20.5 cm overall. Provenance: By repute the vendor believes this to be one of the very last pieces made.

§ Alan Caiger-Smith (British 1930-2020) Albarello Jar, 1982 painted artist's monogram and date cypher, earthenware, with painted gold and red lustre designs(27cm high (10.6in high))

ALAN CAIGER-SMITH (1930-2020) for Aldermaston Pottery; a tin glazed earthenware charger covered in lustred red and gold decoration, painted ACS mark and glaze and date codes, made 1974, diameter 43.5cm. (D) Provenance: Henry Sandon collection; created for Henry Sandon.Additional InformationAppears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Alan Caiger-Smith, Aldermaston pottery pedestal goblet decorated in red lustre glazes, 5.25ins high together with a similar mug decorated in black and green glazes, 5ins high and a bowl decorated in red glaze, 10.75ins diameter (rim repairs)

Alan Caiger-Smith MBE (1930-2020), a tin-glazed lustre ware vase, 16cm tall, potter's mark to base; an Aldermaston Pottery tin-glaze tankard, potter's mark to base, (2).

Alan Caiger-Smith Aldermaston pottery canister with blue abstract design, 11cm high x 10.5cm diameter

ALAN CAIGER SMITH (1930-2020) SOUP TUREEN painted in purple, blue and green glazes with swirling decoration, 35cm high Condition Report:Available upon request

ANTONY GORMLEY (B. 1950)BREATHE 2016 signed, titled and dated 2016 on the reversecrude oil, linseed oil and petroleum jelly on paper256 by 134 cm.100 13/16 by 52 3/4 in. This work is from a series of 12 unique monoprints taken directly from the artist's body. Footnotes:ProvenanceAlan Cristea Gallery, LondonAcquired directly from the above by the present owner in 2016ExhibitedLondon, Alan Cristea Gallery, Antony Gormley: CAST, 2016, p. 33, no. 10, illustrated in colour LiteratureMartin Caiger-Smith, Antony Gormley, New York 2017, p. 407, illustrated in colourLe Gallerie degli Uffizi, Antony Gormley ESSERE, Florence 2019, p. 71, no. 3, illustrated in colour Born in London in 1950, Antony Gormley is not only widely acclaimed for his sculptures, installations, and public artworks, but also for a truly remarkable body of drawings. Not unlike a modern-day Leonardo Da Vinci, his drawings are tinged with washes, varnishes, dyes, oil, earth and even blood amongst more traditional media and they serve as much more than just a way to record his surroundings. Always with a workbook at hand, Gormley's drawings form an artistic corpus in its own right and whilst there are visual parallels with his larger three-dimensional work, they go far beyond mere preparatory studies. He is 'going places in the drawing that are not possible in life or sculpture: outer space or deep water' ('BODY AND LIGHT, 1990 – 1996', www.antonygormley.com, 22.02.2022), the process of drawing itself becoming a meditative as well as creative exercise. Gormley draws the viewer in, makes them both spectator and participant in his work by questioning and exploring where human beings as a whole and the human body in particular stand in relation to the space in which they exist; be it a small room, nature, or the cosmos. This was perhaps nowhere more palpable than in his recent critically acclaimed solo show at the Royal Academy where he filled the institution's thirteen vast main galleries with astonishing larger-than-life sculptures and installations. An entire room there was dedicated to drawing, showing the sheer diversity, range, and importance of this part of his oeuvre.Perhaps best known for Angel of the North near Gateshead, Gormley is a monumental figure, both in eminence and stature. His own 6ft 4in tall frame functions as a mould for his sculptural work and as a brush in his drawings which often involve the physical activity of the entire body. Works like the Clearing drawings convey considerable speed and velocity used in their creation, and in life-sized, ethereal Body Prints such as the present work, Gormley himself becomes the painting apparatus. The series of unique works was developed for the exhibition CAST at Alan Cristea Gallery in London in 2016, which explored how our own physical freedom and imaginative potential is progressively more conditioned by the environment we have built and the dependencies we have constructed around us. A number of large woodblock prints based on seven distinct body poses that reinterpreted anatomy in the language of architecture were interspersed with a series of crude oil and petroleum jelly Body Prints. Titles ranged from OPEN to FEEL, SEE, SHOW and the present work, BREATHE. Whilst the woodblock prints relate to Expansion Field (2014) a work which 'applies the principles of an expanding universe to the subjective space of the body' ('CAST, ALAN CRISTEA GALLERY, LONDON, ENGLAND, 2016', www.antonygormley.com, 22.02.2022), the use of crude oil in the artist's body prints has an avowedly political context. To create the transfer, Gormley covered himself in crude oil, linseed oil and petroleum jelly and, with the help of two assistants and two long poles, he would fall onto the handmade paper, the weight of his body creating a corresponding, ghost like imprint. As the 'blood of the earth' slowly seeps into the fabric of the sheet, a kind of halo forms around the figure, imbuing the work with a sacral feel. Having grown up in a devoutly Catholic home, Gormley turned away from the church at the age of eighteen towards Buddhism and became interested in vipassana meditation which he often uses in his artistic practice. The use of 350-million-year-old carboniferous Texan crude mixed with North Dakota oil to perfect the colour shade and effect is meant to highlight our dependency on petrochemicals. The oil represents the planet's DNA, its solar memory, a result of age-old photosynthesis in a time where we have our own capacity to harness the power of the sun and perform a sort of industrialised photosynthesis. The Body Prints act as a memorial to a time in which our dependency on fossil fuels was on the ebb though still pronounced. Antony Gormley was awarded the Turner Prize in 1994, the Praemium Imperiale in 2013 and has been a Royal Academician since 2003. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley's work has been widely exhibited throughout the UK and internationally with recent exhibitions at National Gallery Singapore, Singapore (2021); the Royal Academy of Arts, London (2019): Delos, Greece (2019); Uffizi Gallery, Florence (2019) and the Philadelphia Museum of Art, Philadelphia (2019). Permanent public works around the globe include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), Exposure (Lelystad, The Netherlands) and Chord (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA). Highly political in much of his oeuvre, he uses the strength of his market and public popularity to highlight injustice and confront us with our own needs, our relationship to the planet, other lifeforms and the cosmos.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A Salmon Platter by Alan Caiger-Smith, monogrammed on base, 20¼in L There is crazing and staining, some of which would clean off, otherwise condition is good

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery footed bowl, painted to the interior with stylised panels in blue and pink-red on a tin-glaze painted ACS monogram 29cm. diam., 12cm high Provenance Clarice Cliff, Art Deco & Design, 9th March 2011, Woolley and Wallis Auctioneers, lot 1114

‡ Alan Caiger-Smith MBE (1930-2020) a large Aldermaston Pottery footed bowl, dated 1962, painted to the interior with a stylised bird, in blue on a tin-glaze painted monogram and date mark for 1962 38.5cm. diam, 14cm high.

‡ Alan Caiger-Smith MBE (1930-2020) a large and impressive Aldermaston Pottery footed bowl, painted to the interior with stylised flowers and foliage in red and copper lustre on a tin-glaze painted ACS monogram 43.5cm. diam, 16cm. high Provenance Laurimore Gallery Suffolk, purchased in 1986.

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery single-handled vase, painted in ruby lustre with an owl standing between two stylised leaves, on a tin-glaze painted ACS monogram, 24cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery footed vase, ovoid, painted with stylised flowers and foliage in ruby and gold lustre on an unusual green ground, painted ACS monogram, applied retail label 14.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery Albarello vase from the final exhibition, 1993, waisted cylindrical form with cylindrical neck, painted in golden lustre with stylised flowers, highlighted in ruby lustre on a deep blue ground, painted ACS monogram, applied paper label 27.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) a small Aldermaston Pottery footed bowl, painted to the interior with a foliate design in gold lustre on a tin-glaze painted ACS monogram to base, 17.5cm. diam.

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery jug, ovoid form, painted with stylised foliate panels in blue and brown on a tin-glaze painted ACS monogram, datemark possibly for 1969 or 1970 245cm high

‡ Alan Caiger-Smith MBE (1930-2020) An early Aldermaston Pottery bowl, dated 1963, shallow form, painted and resist decorated to the interior with stylised foliage, in shades of yellow and green on a tin-glaze painted ACS mark and datemark for 1963. 26.5cm. diam, 9cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery footed bowl, dated 1978, painted to the well with stylised flower stems in green and rust on a tin-glaze painted ACS monogram and datemark for 1978, hairline to rim, 30.5cm. diam, 10.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery vase, ovoid with cylindrical neck, painted with stylised flower and foliage frieze in ruby and yellow lustre on tin-glaze painted ACS monogram, chip to top rim, 29cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery twin-handled vase, swollen, shouldered form, painted with flower and foliage stems in ruby and gold lustre on a tin-glaze painted ACS monogram, later drilled 31.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery planter, flaring conical form, painted with stylised flowers and foliage in ruby and gold lustre on a tin-glaze painted ACS monogram to base 18.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery Loving cup, circa 1987, twin-handled form, painted with simple brush design in ruby and gold lustre on a tin-glaze, and a cylindrical storage jar and cover by Alan Caiger-Smith painted mark, 13.5cm high (3) Catalogue notes Alan Caiger-Smith wrote a letter to the vendor in 1995 confirming the piece was probably a trial piece painted by him circa 1987, although made by an apprentice, which explains the lack of an ACS monogram.

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery footed bowl, dated 1966, painted to the well with a stylised flowerhead, in a rich golden lustre on tin-glaze, painted ACS monogram and date mark 28cm. diam.

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery vase, ovoid with flaring neck, painted and resist decorated with columns in shades of brown, green and blue, on a tin-glaze, and two Aldermaston Pottery tin-glazed jugs painted marks, 21cm. high (3)

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery vase, shouldered, ovoid form with collar neck and flaring rim, resist decorated with panel design in blue on a tin-glaze, another Aldermaston vase, a red lustre candlestick and a golden lustre goblet, all with painted ACS monograms, chip to one vase 12.5cm high, (4)

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery footed bowl, painted with a broad band to the interior, in brown and dark blue on a tin-glaze painted ACS monogram 29.5cm. diam, 12.5cm. high

‡ Alan Caiger-Smith MBE (1930-2020) Celia, an Aldermaston Pottery low tureen and cover, circular twin-handled form, the cover painted with a hen, the circular finial painted inscription Celia, in brown and blue on a tin glaze, painted ACS monogram, 33cm. wide (2)

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery shallow bowl, painted with stylised foliate motif in silver lustre on a blue lustre ground, painted ACS monogram and CFD 24cm. diam. Provenance Clarice Cliff, Art Deco & Design, Woolley and Wallis Auctioneer's 9th March 2011, lot 1112

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery plate, painted to the rim with a border of flowers in red, green and black on a grey tin-glaze, and a Peter Lane bowl covered with a running and pitted pink glaze over off-white painted monogram and date mark for 1969, 26.5cm. diam. (2)

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery bowl and cover, dated 1977, ovoid form with tall loop handle, painted with simple brush design in red lustre on a tin-glaze ground, painted monogram, WA monogram and date code, 11.5cm. diam, 13.5cm. high, (2)

‡ Alan Caiger-Smith MBE (1930-2020) an Aldermaston Pottery tankard, painted in rich red lustre glaze, an Aldermaston Pottery vase, a footed bowl by Julian Bellmont, a small Aldermaston Pottery goblet and bowl, and a twin-handled vase resist decorated with a geometric band, painted marks, chip to vase rim, 11.5cm. high (tankard), (6) Provenance Private collection.

‡ Alan Caiger-Smith MBE (1930-2020) Dream City, 1985 a large and impressive Aldermaston Pottery charger, golden-red lustre on a tin-glaze painted signature, datemark, applied ACS paper label, 60cm. diam Provenance Purchased directly from Alan Caiger-Smith. Literature Alan Caiger-Smith and Aldermaston Pottery, 1955-1993, final exhibition catalogue 1993 catalogue number 129 illustrated page 18.

Alan Caiger-Smith (1930-2020) at Aldermaston pottery studio pottery bowl with lustre decoration, signed and dated to the base, 26cm acrossCondition report: Glaze/firing faults. Minor display wear, otherwise seems ok.

Alan Caiger-Smith, Aldermaston pottery pedestal goblet decorated in red lustre glazes, 5.25ins high together with a similar mug decorated in black and green glazes, 5ins high and a bowl decorated in red glaze, 10.75ins diameter (rim repairs)All are marked Alan Caiger-Smith.Various rim repairs to bowl, other two items in good condition

ASSORTED ALDERMASTON / ALAN CAIGER SMITH POTTERY, including blubous ewer and 8 goblets, milk jug, and 4 coffee cans, various marks (14)

An Aldermaston Pottery large tea pot, by Alan Caiger Smith, lacking cover and chip to spout, height 9.5ins

A Poole pottery red glazed vase, 21cm high, together with a studio pottery bowl with iridescent glaze, indistinctly signed, 19.5cm diameter, a small green glazed vase marked 'Y' to base, 9cm high, and a brown speckle glazed bowl, possibly Alan Caiger-Smith, 12cm diameter (4)

Alan Caiger-Smith [1930-2020] a pair of pottery goblets: decorated with calligraphic designs in blue and pink on an ivory ground, painted mark and datecode for 1977, 16cm high, [slight chip to one foot].

Alan Caiger-Smith (1930-2020) for Aldermaston Pottery; a jug and four goblets with blue decoration, each with artist's monogram to base, jug 23cm high (a/f - one goblet has a broken bowl)

A c1970s Aldermaston Pottery large candlestick by Alan Caiger-Smith, 33cm, chip to base, in terracotta with grey and red lustre glaze

Alan Caiger-Smith M.B.E. (1930-2020) a tin-glazed albarello, decorated in ruby and gold lustre against a buff ground, painted marks to the base. 27cm

Alan Caiger-Smith (1930-2020)Bowlred and gold lustresigned 17cm diameter. Provenance:The Daphne Swann Collection.Condition report: Some variation in the firing. Marks not clear. No restoration or damge.

Alan Caiger-Smith (1930-2020)Large bowldecorated with blue and green repeating pattern with dashes of red and ochresigned30.5cm diameter.