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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▲ 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.
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.
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.
Biddy HOLDEN (1920-2017) Ruins, The Medina Azhara, Nr Cordoba, Spain Linocut, signed, titled verso, 26cm x 25cm, 40.5cm x 38cm 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.
Biddy HOLDEN (1920-2017) Windows and Door, Blue, Venice Linoprint, signed, titled verso, 32cm x 41.5cm, 38cm x 48cm framed. Shipping is available from £25.22 to a UK Mainland address. 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.
Biddy HOLDEN (1920-2017) Venice Lithoprint, signed and titled verso, 40cm x 29cm, 56cm x 45cm 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.
Biddy HOLDEN (1920-2017) House, Seville, Spain Lithoprint, signed, further signed and titled verso, 43.5cm x 31cm, 62cmx 49cm 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.
Biddy HOLDEN (1920-2017) Venice Linoprint, signed, further signed and titled verso, 23.5cm x 37.5cm, 39cm x 51.5cm framed. Shipping is available from £25.22 to a UK Mainland address. 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.
A Michael Cardew for Winchcome Pottery glazed terracotta vase of flattened bulbous form with open handles and narrow neck, bearing impressed marks to bottom edge, 20 cm high (ARR) CONDITION REPORTS There is a small area of glazing missing to the inside rim. Unknown if this is firing fault or has been later done. There is also some roughness to the outside of the rim. The base has a ring running round it as though it may have come off or suchlike during the manufacture pre-firing. See images for further details. Otherwise general wear and tear conducive with age and use. In need of a light clean etc - see images for more details.
Attributed to Michael Cardew (1901-1983) at Winchcombe Potteryearly rectangular dish with trailed slipware decoration, impressed design to the border/rim, with pottery mark impressed to the base, 20cm wide x 3.5cm high x 14cm deep Overall ok, with age related wear etc. No major damage or restoration.
A good collection of works on art, pottery and sculpture. Roger Fry. 'Henri-Matisse,' first edition thus, cloth backed boards, colour plates tipped in, illustrations throughout out, some light finger soiling and toning but generally vg, A. Zwemmer, London, 1935; Jacques Guenne. 'Portraits D'Artistes,' original paper wraps debound with a tear towards the spine, b+w plates throughout, good to vg, Editions Marcel Seheur, Paris, n.d; 'Michael Cardew. A Collection of Essays,' introduction by Bernard Leach, staining to card wraps, b+w illustrations throughout, bibliography, vg, Crafts Advisory Committe, 1976; Nine exhibition catalogues including Ben Nicholson, Peter Startup, Garth Evans, Peter Brandes, Another View by Marion Whybrow, Pia Anderson &c. &c.; 'Picasso. From The Ballets to Drama 1917-1927' card slip, Kinemann, 1999; 'The Wood Engravings of Gwen Raverat'; 'Gwen John' by Mary Taubman; With seven other works mostly on art and illustration including 'The Greenman' by Jane Gardman & Mary Fedden, 'Albert Durer' by T. Sturge Moore &c. &c. (Q)
The current owner of the dish informs us that the plate was purchased by his late mother for his father as a gift in the 1920's who was a keen hunter. Dimensions - 21.5cm wide, 18.5cm depth, 5.5cm high 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.winchcombepottery.co.uk 12/7/24
An early dish believed to have been produced and decorated by Michael Cardew. The current owner of the dish informs us that the plate 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. We are advised by the pottery that the circles in the cat are very much in the style of Michael Cardew. Dimensions - 21.9cm width, 20.2cm depth, 4cm high 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.winchcombepottery.co.uk 12/7/24
![Three books relating to Winchcombe pottery, to include; Winchcombe Pottery: The Cardew-Finch Tradition by Ron Wheeler [1998],](https://cdn.globalauctionplatform.com/999b639d-2828-4eb2-9292-b19600c305d5/e2a5de8f-0a44-45b8-9f71-b1a40118a71a/468x382.jpg)
BOOKS: MICHAEL CARDEW & ALAN CAIGER SMITH. Two books: Michael Cardew, Crafts Advisory Committee 1976 & Alan Caiger-Smith, Stoke City Art Gallery & Museum 1985. Both paperbacks. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
AFRICAN BOWL. An African, turned wooden bowl, with typical turned ring decoration to the exterior. Diameter 36cm. Height 12cm. Note: Formerly the property of the late Dr. John & Mrs Biddy Holden. Dr. John Holden served in Ghana & Nigeria in WWII. The Holdens were close friends of Michael & Mariel Cardew. Condition Report: The bowl has in the past been affected by woodworm. This has been treated. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a stoneware ladle covered in pale grey glaze with iron decoration, impressed MC and pottery marks, length 21cm.Condition Report: Glaze miss to underside of tip and a patch of kiln debris adhering to underside of cup, 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.
† SID TUSTIN (1914-2005) for Winchcombe Pottery; a slipware oil and vinegar set, height 14.5cm, a small bowl, diameter 13.5cm, a soup by Charles Tustin, and an early Winchcombe dish probably by Elijah Comfort or Michael Cardew, circa 1930, diameter 13cm (5).Provenance: Nancy and Andrew Ramage collection.Condition Report: Early dish had chip to rim and hairlines, otherwise appears good with no further signs of faults, damage or restorations.
† Attributed to MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a large stoneware open bowl covered in pale green/grey glaze with iron decoration, impressed marks (completely glaze filled), diameter 31.5cm.Provenance: Nancy and Andrew Ramage collection.Condition Report: Glaze has bubbled and burst in numerous places, otherwise appears good with no further signs of faults, damage or restorations.
† MICHAEL CARDEW (1901-1983) for Wenford Bridge Pottery; a small stoneware casserole covered in iron glaze, impressed MC and pottery marks (glazed filled), diameter 20cm (including side handles), with original receipt.Provenance: Purchased from Ruskin Antiques, Cheltenham, 1997.Condition Report: Some crazing and crawling of glaze to interior, otherwise appears good with no further signs of faults, damage or restorations.
Φ Michael Cardew CBE (1901-1983)a Winchcombe Pottery slip-decorated earthenware cider jar, slip decorated with a stylised bird between leaf motif, in sand-yellow on an umber ground,impressed seal marks, paper collection label39cm. high Provenancefrom an English private collection, Sussex. LiteratureMuriel Rose Artist Potters in England, Faber and Faber, plate 44 for a comparable example dated to 1936.
ARR Michael Cardew (1901-1983), a bowl in a light brown glaze with darker brown linear decoration, 27cm diameter and Sid Tustin (1913-2005) a jug in a green slip glaze with decorative lines, 12cm high and a Wenford Bridge Pottery lustre glazed jug with banded decoration, 13cm highChipping around the outer and inner rim and with an associated short hairline crack. Crazing to thick glaze in centre
AR * Cardew (Seth, 1934-2016) at Wenford Bridge. A stoneware plate, brushwork decoration to the rim with a bird and foliage to the well, over an off-white ground, impressed 'SC' and pottery seal to base, 27 cm diameterQTY: (1)NOTE:Seth Cardew was the eldest son of the famous potter Michael Cardew (who set up Wenford Bridge pottery in 1949) and brother of the composer Cornelius Cardew. He studied at Chelsea School of Art and at Camberwell School of Art. He took over Wenford Bridge Pottery following his father’s death in 1983.
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) Fruit bowl, grey glaze with brown decoration, a crane and vegetation on the interior and two cranes and vegetation in the top band of the sidesDiameter 24 cm, height 11 cmImpressed MC and Wenford Bridge Pottery seals Viewed under UV, there are no signs of any restoration. there are various lumps and firing flaws from when it was created, but in excellent condition overall.
Michael CARDEW (1901-1983) A lidded flour jar, brown and cream glaze with sgraffito band in black with the word FLOURCirca 1930Height 17cm including lidImpressed MC and Winchcombe Pottery seals Nibbles to the interior and exterior of the lip, as well as the handle to the lid. Glaze discolouration from firing.
A dark brown decorative teapot molded to imitate a cabinet hutch with mini tea set in Old Country Roses pattern with gilt trims. The lid is shaped as a newspaper with a green book on top. Michael Doulton signed. Royal Albert backstamp. Artist: Paul CardewIssued: 1996Dimensions: 6.25"L x 2.5"W x 4.5"HManufacturer: Royal AlbertCountry of Origin: EnglandCondition: Age related wear.
A whimsical decorative white teapot molded as cloth covered table, with a lid decorated with a mini teapot, teacup with saucer, and sandwiches. Adorned with the rose pattern decor and gilt accents. Michael Doulton signed. Royal Albert backstamp. Artist: Paul CardewIssued: 1996Dimensions: 6.25"L x 3.75"W x 45"HManufacturer: Royal AlbertCountry of Origin: EnglandCondition: Age related wear.
Autographs. An album of signed photographic publicity cards, c. 1950s, to include Laurel & Hardy; Morecambe & Wise; Peter Cushing; George Formby; Sooty & Harry Corbett; Frankie Vaughan; Spike Milligan; Peter Sellers; Frankie Howerd; Arthur Askey; David Nixon; Norman Evans; Donald Peers; Joyce Grenfell; Jack Buchanan; Dave Morris; Charlie Chester; Eve Boswell; Brian Reece; Eamonn Andrews; Avril Angers; Ethel Revnell; Michael Denison; Peter West; Arthur English; Pearl Carr; Cyril Stapleton; Douglas Cardew Robinson; Max Robertson; Peter Martyn; Harry Secombe; Wilfred Pickles; Benny Hill; Patrick Barr; Jimmy Edwards; Ruby Murray; Ronnie Hilton; The Four Aces; Beryl Reid; George Cole; Leslie Welch; Jimmy Wheeler; Robb Wilton; The Five Smith Bros.; Terry Thomas; Sam Costa; Billy Cotton, and others, some with a personal dedication to the album's owner. The album also includes a number of publicity cards bearing printed/stamped signatures, including Fred Astaire; Richard Attenborough; Laurence Olivier; Petula Clark; Donald Sinden; Jack Warner; Anthony Steel; Tony Curtis; Janet Leigh; Max Bygraves, and others, as well as many unsigned cards, including Marilyn Monroe; Marlon Brando; Humphrey Bogart; Alec Guinness; Burt Lancaster; Frank Sinatra; Elizabeth Taylor; Victor Mature; Grace Kelly; Rita Hayworth; Ava Gardner; Judy Garland; John Wayne; Audrey Hepburn, and others. Most of the publicity cards are postcard-sized (approx. 14 x 9cm), but around 30 are in a smaller format (approx. 9 x 6.5cm). The cards are corner-mounted and appear to be pasted centrally. Most of the cards are very good & bright, only a few have surface wear, and there is slight cockling to the pages from mounting. Quarto, green cloth album lettered in gilt, 'My Film Favourites', housing a total of 210 cards
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