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Click here to subscribeMARGARET REY (b.1911-2010): A large stoneware vase with shouldered form and various ash glazes. Impressed potters mark to lower rim, 25cm high. Renowned student of William Staite-Murray and shared a studio with Sam Haile in the 1930's. The vase shows no obvious signs of any damage or restoration.
William Staite Murray (1881-1962)Fain, a stoneware footed bowl, flaring conical form, covered in a speckled grey and rust glaze to the foot, a stoneware bowl in the manner of Bernard Leach painted with cobalt fish, nine studio pots and a part service by Honiton designed by Maryse Boxer glazed matt black, comprising three square plates, one large circular plate and three side plates with a circular mirror display, impressed pentagon seal mark, 16cm. diam. (19)
Φ William Staite Murray (1881-1962)a stoneware footed bowl, glazed to the foot with crazed ash glaze, painted with stylised forms to interior and simple grass motif to exterior in cobalt, impressed pentagon mark, applied paper labels, small chip to top rim, 20cm. diam, 9.5cm.high ProvenanceThe Daryl Fromm Collection. Catalogue notesThe paper labels have a hand written note 'William S Murray 1930s survived German plane crashing into Worthing house'.
† WILLIAM STAITE MURRAY (1881-1962); a stoneware teabowl covered in grey glaze with iron staining, impressed M mark and incised code K14 DLJ GA8, height 8cm.Provenance: Purchased from Christie's, Contemporary Ceramics, 18 December 1986, lot 88 (part).Condition Report: Chip to rim, otherwise appears good with no further signs of faults, damage or restorations.
† WILLIAM STAITE MURRAY (1881-1962); a stoneware teabowl covered in oatmeal glaze with iron staining and running blue/grey rim, impressed M mark and incised code K14 DLJ, auction house sticker, height 8.5cm.Provenance: Purchased from Christie's, Contemporary Ceramics, 18 December 1986, lot 88 (part).Condition Report: Appears good with no obvious signs of faults, damage or restoration.
† WILLIAM STAITE MURRAY (1881-1962); a stoneware teabowl covered in white and pale blue glaze, impressed M mark and painted code, auction house sticker, height 7.5cm, and a similar example covered in grey and tenmoku breaking to kaki glaze (2).Provenance: Purchased from Christie's, Contemporary Ceramics, 18 December 1986, lot 88 (part).Condition Report: Restoration to rim of white/pale blue teabowl and short hairline to rim, chips to rim and hairline to tenmoku teabowl, otherwise appears good with no further signs of faults, damage or restorations.
William Staite Murray (1881-1962)Vasestoneware, with an iron glaze and single gold patch detail to the bodyimpressed potter's seal, incised 'KI/SKD' and painted '49'20cm high. Provenance:The collection of Paul Whitfield (1942–2018).Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall good condition, with minimal glaze and firing faults.
Constance Dunn (20th Century)Vaseoatmeal glaze with a tenmoku repeating patternimpressed potter's seal16cm high. Constance Dunn exhibited under her maiden name, Wade, until her marriage in 1928. Trained at Cambridge School of Art, 1921-4, Royal College of Art, 1924-7. Pupil of William Staite Murray. Good
A William Staite Murray (1881-1962) studio pottery vase. Signed and dated on the base, with drip glaze, 8.5cm high, 15cm wide Condition Report: condition is very good,Nicely signed under with wikipedia printed off resume folded and kept within. It is obvious that it was always held in high regard, hence it is in such good orderBuy with confidence, it could not be in better order !
Tow publications. Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray: Art and Life 1920-1931. Jovan Nicholson. Published 2013 by Philip Wilson Publishers. Hardback.Winifred Nicholson: Liberation of Colour. Jovan Nicholson. Published 2016 by Philip Wilson Publishers. Softcover.
Set of ten original vintage art exhibition advertising posters. 1. Eugene Atget (b. 1857) exhibition Photographs of Old France in Serpentine Gallery, Kensington Gardens W2, 25 February - 25 March 1984, open daily 10-5.30, admission free, from Museum of Modern Art New York, Art Council of Great Britain. The poster features the photograph of a town square at Pontoise, Place du Grand-Martroy, France, 1902. Eugène Atget was a French photographer documenting the architecture and street scenes. Good condition, creasing, folds, minor staining. Country of issue: UK, , size (cm): 76x51, year of printing: 1984.; 2. What's new at the Victoria & Albert Museum? Summer 1987 featuring announcements of various art exhibitions - Wally Gilbert and Thomas Gentile Jewellery Gallery, Alvar Aalto in association with the Museum of Modern Art MOMA New York, Judaica from the V&A, Susie Cooper Productions, Francis Williams Exhibition Contemporary book and magazine illustration, Zika Ascher - Fabric Art Fashion. Good condition, creasing, folds, pinholes. Country of issue: UK, designer: Unknown, size (cm): 76x51, year of printing: 1987.; 3. Step Into Summer 1985 Victoria & Albert Museum, featuring photographs of three centuries of shoes in the Dress collection, a yellow silk shirt with caption - Explore the decorative riches of the East, One of our 15000 plates most are in the ceramics Galleries, Take tea in the Restaurant or strawberries and cream in the Garden - with a couple seated under a red umbrella. Good condition, creasing, folds, pinholes, minor staining. Country of issue: UK, size (cm): 76x51, year of printing: 1985. 4. Spring Events Calendar 1985 by Victoria & Albert Museum, featuring artwork inviting to visit various exhibitions - The People and Places of Constantinople Watercolours by Amadeo, Count Preziosi; William Staite Murray and His Pupils Studio Pottery of the 1920s and 1930s; From Manet to Hockney Modern Artists' Illustrated Books; Frances Bendixson Contemporary Jewellery; Mouton Rothschild Paintings for the Labels; Handel in St. Martin's Lane Theatre Museum in association with English National Opera. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1985.; 5. What's New at the Victoria & Albert Museum? Spring 1986, inviting to visit the museum for various exhibitions - Designs for British Dress and Furnishing Fabrics 18th Century to the Present; Photographs by Roger Mayne; Characters in Cloth Textile Portraits; Chess in Art and Society - French 18 Century Drawings - Swiss Stained Glass Designs of the Formation; American Dolls The Lawrence Scripps Wilkinson Collection; and The New Restaurant reviewed by The Guardian. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 6. What's New at the Victoria & Albert Museum? Summer 1986, inviting to visit the museum for various exhibitions - Characters in Cloth Textile Portraits; American Dolls The Lawrence Scripps Wilkinson Collection; Knit One Purl One; 17th Century Tapestries; American Potters Today. Good condition, creasing, folds, pinholes. Country of issue: UK, size (cm): 76x51, year of printing: 1986.; 7. Edward Middleditch (b. 1923) exhibition in Serpentine Gallery, Kensington Gardens W2, A South Bank Centre touring exhibition, 9 April to 15 May 1988, open daily 10am to 6pm, admission free, supported by City of Westminster and funded by Art Council. The poster features the painting Flowers, Chairs and Bedsprings, 1956 and travel information: Underground: South Kensington or Lancaster Gate, buses: 9 52 73 12 88. The poster is designed by Trilokesh Mukherjee, printed by Expression Printers Ltd. London N7. Good condition, creasing, folds, minor staining, tears on edges. Country of issue: UK, designer: Trilokesh Mukherjee, size (cm): 76x51, year of printing: 1988.; 8. Lights at the Crafts Council. An Exhibition of Innovative Lighting 17 November 1982 - 30 January 1983 in Crafts Council Gallery 12 Waterloo Place Regent Street London SW1 4AU. The poster features a collage of a photo of a lamp and its scheme and another advertisement of The Well Dressed Christmas Tree. Nine Craftspeople Decorate Christmas Trees 17 November 1982 - 9 January 1983. Trees provided by the British Christmas Tree Growers Association. Crafts Council is the organisation for contemporary craft in the UK. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1982.; 9. What’s New In the Arts Council Collection in Wolverhampton Art Gallery, Lichfield Street Wolverhampton, 9 February - 16 March 1985, Monday to Saturday 10am - 6pm, Arts Council of Great Britain. The poster features artworks Toy by Richard Wentworth (b.1947), Bingo Bango Bongo by Bruce McLean (b. 1944), Head of Miss DeianTaylor by John Clinch (b. 1934), Study for Massacre of the Innocents by Jacqueline Morreau (b. 1929). The Arts Council Collection is a collection of modern and contemporary British art. Good condition, creasing, folds. Country of issue: UK, size (cm): 59x42, year of printing: 1985.; 10. David Drew Baskets, A Crafts Council touring exhibition with documentary photographs of Chris Chapman Provision for blind and partially sighted and exhibition by Vanessa Robertson Woven ikat Rugs 22 January - 30 March 1986 in Crafts Council Gallery 12 Waterloo Place, Lower Regent Street, London SW1. The poster features two photographs of artists with baskets and a loom by Chris Chapman. Good condition, creasing, folds. Country of issue: UK, size (cm): 76x51, year of printing: 1986.
WILLIAM STAITE MURRAY (1881-1962); an early stoneware vase covered in pale yellow glaze with swirling iron decoration, incised 'W S Murray London 1924' with code marks, height 15.5cm. (D)Additional InformationSome glaze misses to inside rim (inherent to manufacture), otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
‡William Staite Murray (1881-1962) a stoneware combed vase, shouldered form with cylindrical neck, the swollen body with finely combed decoration, glazed in brown and translucent ash glazes, impressed M pentagon mark, incised B and painted PF, 23cm. high Provenance Edward 'Eddie' Ball, Belvedere Kent Private collection.
Attributed to ROGER FRY (1866-1934) for Omega Workshops; a shallow tin glazed buff bodied earthenware dish with painted indigo decoration on cream ground, diameter 17.5cm.Provenance: William Staite Murray collection.PR – The dish is unmarked so I have shown it to a number of specialists on this period. It remains a mystery with a strong suspicion it came from Omega Workshops. I bought it with a group of pieces which had been owned by William Staite Murray.Additional InformationChip to footring and glaze chips to rim, otherwise appears good with no further signs of faults, damage or restorations.
WILLIAM STAITE MURRAY (1881-1962); an early stoneware vase with iron decoration on oatmeal ground, incised WSM mark, made early 1920s, height 13cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Additional InformationStable hairline extending from rim over shoulder and into body, kiln kiss to one side, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
WILLIAM STAITE MURRAY (1881-1962); a tall stoneware bottle with fluted body and iron decoration to shoulder, impressed M mark and painted number/year code, made early 1930s, height 39cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
MARGARET REY (1911-2010); a stoneware vase with simple iron decoration on mottled brown and sage green ground, impressed MR mark, made circa 1938, height 24cm. (D)Provenance: The artist, 1989.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
SAM HAILE (1909-1948); a slipware jug partially covered in yellow glaze with incised and painted decoration, impressed mark, made 1945-47, height 19cm, and a copy of the book Sam Haile: Potter and Painter by Paul Rice et al (Bellew Publishing, 1993) (2).Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Additional InformationChip to spout, otherwise appears good with no further signs of faults, damage or restorations.
PHILIP WADSWORTH (1910-1991); a waisted stoneware vase covered in white glaze with polychrome decoration, incised PSW mark and number/year codes, probably made 1950s, height 12.5cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR - Wadsworth was a student of Staite Murray and a contemporary of Sam Haile, Percy Brown and Henry Hammond at the RCA. He exhibited relatively little and consequently his work is less well known than it should be.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
PHILIP WADSWORTH (1910-1991); a large stoneware bottle with red and green copper floral decoration on mottled grey ground, incised PSW mark, probably made late 1930s, height 28.5cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
REGINALD MARLOW; a stoneware bottle with iron and copper floral decoration on mottled pale grey ground, impressed and incised RM marks, height 20cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
URSULA MOMMENS (1908-2010); a stoneware bottle covered in tenmoku breaking to kaki glaze, impressed UD mark, made 1980/90s, height 16cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Ursula asked much higher prices for her tenmoku pots than similar forms in other glazes. When I asked her why she said: ‘because the ingredients are more expensive’. I assumed it was a joke and that she simply thought tenmoku suited her work best.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
URSULA MOMMENS (1908-2010); a stoneware bowl covered in tenmoku breaking to kaki glaze, impressed UD mark, made 1980/90s, diameter 20cm. (D)Provenance: Ross Hill collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
URSULA MOMMENS (1908-2010); a stoneware bowl with striped decoration, impressed UD mark (partially glaze filled), diameter 15cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Additional InformationShort firing crack to base, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
URSULA MOMMENS (1908-2010); a stoneware footed bowl with cobalt decoration on mottled pale grey ground, impressed UD mark, made 1980/90s, diameter 17cm. (D)Provenance: Ross Hill collection. Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
HENRY HAMMOND (1914-1989); a stoneware footed bowl with iron fish and floral decoration and circular design to well, impressed HH mark, made 1970s, diameter 20cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
HENRY HAMMOND (1914-1989); a stoneware bottle with iron widgeon decoration, impressed HH mark, made 1970s, height 22cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Henry was adamant that his birds were widgeons. If you called one a pigeon or a dove he got quite peeved.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
HENRY HAMMOND (1914-1989); a stoneware yunomi with white dot decoration on blue/grey ground, impressed HH mark, made 1970s, height 9cm. (D)Provenance: Sue James collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
PERCY BROWN (1911-1996); a stoneware vase partially covered in oatmeal glaze with unglazed bands, painted PB mark, made 1950/60s, height 21cm. (D)Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Brown has been very overlooked – but was one of William Staite Murray’s most interesting students. His work is rare but I have been fortunate in finding quite a few pieces.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
GWILYM THOMAS (1914-1995); a deep stoneware vase with slightly splayed foot, iron wash to interior and lower exterior, incised G mark and dated 1970, height 31cm. (D)Provenance: The artist.Exhibited: Gwilym Thomas: a retrospective exhibition, Glynn Vivian Art Gallery, Swansea, 1997; Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.Literature: Illustrated in Paul Rice, British Studio Ceramics (Crowood Press, 2002), p. 247.PR – Gwilym Thomas was, almost certainly, the most eccentric (and one of the best) of William Staite Murray’s students. I tried repeatedly to put on an exhibition – he always said he was very keen and then quoted astronomical prices. His family later told me that he never had an exhibition or sold any work. His output was small and he either gave away or smashed most of it. After his death, the family organized three small retrospectives – two at museums and the third at my gallery where most of the best pieces went to museums. This and the next lot are two of the four I bought.Additional InformationNick to rim, otherwise appears good with no further signs of faults, damage or restorations.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
GWILYM THOMAS (1914-1995); a porcelain 'breast' pot on splayed foot, incised G mark and dated 1976, height 19cm. (D)Provenance: The artist.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.PR – Thomas’s ‘breast pots’ are especially rare. He made a few taller ones in stoneware and a very small number of these smaller porcelain ones.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
HELEN PINCOMBE (1908-2004); a stoneware chawan with wax resist decoration on tenmoku ground, impressed HP mark, made 1960s, diameter 15cm. (D)Provenance: Sue James collection.Exhibited: Masters of Studio Pottery, Part 1: William Staite Murray and his pupils, Oxford Ceramics Gallery, 2018.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
Winifred Nicholson (1893-1981) Castagnola, circa 1923 oil on board Verso: Kate Nicholson (1929-2019), Cumberland Landscape, circa 1950 oil on board 59 x 74 cm. Literature: Art and Life: Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis, William Staite Murray, 1920-1931, Philip Wilson Publishers, London, 2013, p. 15 (illustrated in colour). Winifred Nicholson and Ben Nicholson spent the first three winters of their married life in the Italian speaking part of Switzerland, near Lugano. Here, away from the London art world, and inspired by visits to Paris on their journeys to and from England where they admired works by Picasso, Rousseau, Derain, Modigliani, Van Gogh, Gaugin, Cezanne and Matisse, their experiments were 'fast and furious', as described by Ben Nicholson. They worked closely together and the depth of their creative partnership is vividly demonstrated by comparing Castagnola with Ben Nicholson's 1923 (Castagnola) (National Galleries of Scotland). For further information of their time in Lugano see The Allure of the South: the Nicholsons in Italy and Switzerland, 1920-23, Sebastiano Barassi, op. cit. pp. 8-17. Cumberland Landscape is characteristic of the early poetical landscapes by Kate Nicholson, Winifred's daughter. Although Winifred Nicholson often painted on the reverse of pictures due to a shortage of materials it is rare for her to have shared a support with her daughter, although not unknown (see for example Skye (Kettle's Yard, Cambridge) which has a portrait by Winifred on the reverse). For more Cumberland landscapes by Kate Nicholson see Kate Nicholson, Jovan Nicholson, Philip Wilson Publishers, London, 2019. We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.
‡ William Staite Murray (1881-1962) a stoneware baluster vase with swollen neck, covered to the foot with a running pale blue glaze with lavender specks, and iron splashes to shoulder, impressed pentagon mark to base and incised R, 30cm. high Provenance From the collection of William Staite Murray, thence by descent.
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