Eight Days in JuneCERAMICS IN KENSINGTON

FOUR SHOWS

13th to 21st June 2012

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Eight Days in JuneRODERICK JELLICOE R & G McPHERSON

SIMON SPERO GARRY ATKINS

CERAMICS IN KENSINGTON

13th to 21st JUNE 2012

Wednesday June 13th 2.00 pm – 8.00 pmJune 14th, 15th, 18th to 21st 10.00 am – 6.00 pmSaturday June 16th 10.00 am – 4.00 pmSunday 17th Closed

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RODERICK JELLICOEPO Box No. 50732London NW6 6XW

Telephone +44 (0)20 7624 6471Mobile 07775 580051

www. EnglishPorcelain.com e-mail: jellicoe@englishporcelain.com

SIMON SPERO3a Campden Street, off Kensington Church Street

London W8 7EP, UKTelephone +44 (0)20 7727 7413Facsimile +44 (0)20 7727 7414

R & G McPHERSON40 Kensington Church Street

London W8 4BXTelephone +44 (0)20 7937 0812

Mobile 07515 806 230www.OrientalCeramics.com e-mail: rmcpherson@orientalceramics.com

GARRY ATKINSPO Box 50415

London W8 7XYTelephone +44 (0)20 7727 8737Facsimile +44 (0)20 7792 9010

www.EnglishPottery.com e-mail: garry.atkins@englishpottery.com

PLEASE NOTE:Garry Atkins and Roderick Jellicoe will be exhibiting at

66c Kensington Church Street, London W8 (see map opposite)Telephone 07786 902471 or 07775 580051

FOR THE DURATION OF THE SHOW ONLY –PLEASE DO NOT USE THIS ADDRESS FOR CORRESPONDENCE

Our specially designed website provides news about all four dealers and their activities:

www.EightDaysInJune.com

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RODERICK JELLICOE

Has been a specialist dealer on eighteenth century English porcelain for over thirty years. Hehas been based in Kensington London since 1991, where he held several importantexhibitions including the ground breaking Isleworth Porcelain exhibition in 1998, co-authoring a catalogue with Anton Gabszewicz. In February 2000 he held an exhibition TheLiverpool Porcelain of William Reid, co-authoring the catalogue with Maurice Hillis. A yearlater part of the Exhibition was displayed in New York. Both of the above catalogues havesince become important reference works on the subjects. He ran his own shop from 2000until 2005.

He has lectured on eighteenth century porcelain both in England, Canada and America andacts as consultant to several museums at home and overseas, as well as advising privateclients on forming and building collections.

In 2001 he won the BACA award for the Specialist Antiques Dealer in Ceramics in the U.K.He is a member of the British Antiques Dealers Association, the English Ceramics Circle, theNorthern Ceramics Society and the American Ceramic Circle.

Rod now deals by appointment with his clients and holds occasional selling exhibitions inLondon. Also he has a large website where over one hundred pieces are on show.www.EnglishPorcelain.com

SIMON SPERO

Specialist in eighteenth century English porcelain. Annual autumn exhibition with fullyillustrated catalogue since 1988. Advisor to several American museums.

Author of five standard text books, including The Price Guide to 18th Century EnglishPorcelain (1970), Worcester Porcelain, The Klepser Collection (1984), The BowlesCollection of Eighteenth Century English and French Porcelain (1994) and WorcesterPorcelain 1751-1790, The Zorensky Collection (1997) with John Sandon. He has recentlypublished a short monograph The Simpson Collection of Eighteenth Century English Blueand White Miniature Porcelain (2003). His most recent volume: Lund’s Bristol and EarlyWorcester Porcelain 1750-58, was published in 2006. He is also a regular contributor toantiques magazines.

Organiser of the Antique Collectors’ Club Annual Weekend Seminars 1972-1997, he has alsolectured extensively in the UK, Canada, USA and Australia, and on Sotheby’s and Christie’sDecorative Arts courses. He is a member of The English Ceramic Circle, The NorthernCeramic Society and The American Ceramic Circle.

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R & G McPHERSON

R & G McPherson Antiques was started by a 15 year old collector. The idea behind it wasthat it would fund his growing collection. Robert McPherson’s stall at Camden Passageopened on the 25th of May 1980. The stall did very well but during this period he startedstudying the conservation of prints and drawings at the Camberwell School of Art in London- after all his mother had said he should get a 'proper' job. Being a conservator at a museumcertainly would have been a proper job, but Robert's real interest was always with the objectsthemselves.

So when he was 19, Robert moved indoors with his childhood friend David Glick to GraysAntiques Market, near Bond Street in central London. It was at this time he became aspecialist in Chinese ceramics and again worked on his own. His business soon expanded andhis stand at Grays doubled in size. He then moved to Kensington Church Street in 1991, butit was not until he married Georgina that having his own shop became possible.

Georgina has always been interested in antiques, but she had also worked in business as anadministrator, and later as a ceramics restorer. Her skills complemented Robert’s perfectly.In 2001, she became a Joint Partner and R & G McPherson Antiques was formed.

In January 2003 Robert and Georgina realised their dream, opening their shop at No. 40,Kensington Church Street, in London. From late September of this year their shop lease ends,and they will deal online from their website www.orientalceramics.com, as well as doingexhibitions in London.

GARRY ATKINS

After pursuing a successful career in the financial world where he became a senior partnerin an insurance firm, Garry Atkins took an interest in dealing over 20 years ago. He startedhis own business in 1987 and, with his wife Julie, established his premises in KensingtonChurch Street in 1991. He quickly became one of the best known and knowledgeable dealersin the field of 17th and 18th century English pottery, concentrating on early delftwares,saltglazed stoneware and creamwares.

In March 2005, the lease on his popular shop expired and he decided to deal by appointmentonly. He will continue to exhibit at The New York Ceramic Fair and Eight Days in June at66c Kensington Church Street.

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CONTENTS

Page 7 GENERAL FOREWORD

Pages 8-17 RODERICK JELLICOE

Pages 18-27 SIMON SPERO

Pages 28-37 R & G McPHERSON

Pages 38-47 GARRY ATKINS

Page 48 FORTHCOMING EXHIBITIONS AND EVENTS

Eight Days in June can be seen as a serious, specialised event. Well,on one level it is, but it can also be seen as an excuse for collectorsand colleagues from around the world to meet up and have a goodtime. It is the perfect occasion to catch up with old friends and meetnew ones. At its heart is a true love of ceramics and a never-endingquest for knowledge. The participants are a group of people whohave known each other for years, or more accurately decades, andwho enjoy coming together to share their enthusiasm and expertise inceramics with like-minded people.

The range of exhibits offered for sale has always been extensive, froma thickly potted 18th century slipware dish with the finger marks ofthe potter on the back and a runny treacly glaze, to a tiny, perfectlyformed, fragile Chelsea scent bottle. This year sees the scope ofpieces on show widen further with the inclusion of R & G McPhersonAntiques, the Oriental specialists. While many of the wares presentedby the existing participants are based on Chinese and Japanesedesigns, the Oriental ceramics will all be Export Porcelain, so a lot ofthese pieces will be copying English shapes and designs, some ofwhich will themselves be based on Oriental models. We hope this willpromote a spirited debate.

The Eight Days in June website, www.eightdaysinjune.com, has beenupdated and we will be adding more things of interest to it in thefuture

We all hope you will join us during our eight-day celebration ofceramics. If previous years are anything to go by, it will be lively andgreat fun. And, for those of you who are keen enough to queue up forthe opening from the early hours, we hope the weather will be kind.

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Eight Days in June

RODERICK JELLICOE

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This year we have a varied selection of English porcelain for Eight Days in Junestarting with a good offering of Worcester that includes a fine pair of Worcesterfigures of a Turk and his companion (1) standing in traditional dress. The base ofone figure is impressed with the letters 'IT'. (Provenance: The T. Grant DixonCollection). The early Worcester hexagonal cream jug with an angular handle (2) iscrisply moulded with a geranium leaf below the lip and rococo scrollwork panelscontaining 'Smoky Primitive' prints of rustic buildings and a fortress. (Provenance:Jas.A Lewis & Son. New York). The Bow bell shaped mug (3) is exceptionallyrare, only a handful are known decorated with this print of the King of Prussia onhorseback. It is titled on the front ‘the PRUSSIAN HERO’, with military trophieson the reverse.

We have several pieces of Worcester decorated by James Giles including two pairsof plates (4-5). One pair is finely painted with flowers, the other is decorated withlarge spectacular ‘Fancy Birds’ with fruit and insects in the border. Also decoratedwith birds of a different kind, are the rare Derby guglet and coffee pot (6-7). TheChelsea tureen (8) is an exceptionally monumental piece and appears to beunrecorded in literature. It is painted with floral bouquets and a large dragon flyaccompanied by other exotic insects.

The St James’s (Girl in a Swing) faceted cream boat from Charles Gouyn's factoryis exceptionally rare (9); it is painted with two sprays of flowers and leaves withsmaller sprays and sprigs. The main output of this factory was figures and scentbottles, teawares being especially rare. Only about sixteen surviving pieces areknown, nine of which are in the Victoria & Albert Museum.

Blue ground Worcester and Gold Anchor Chelsea are making a comeback afteryears of neglect as collectors have tended to opt for the earlier academic piecesfrom these factories. Today they represent good value as they are still relatively lessexpensive than they were forty or fifty years ago. When these pieces were producedthey where highly prized for their quality. The skill and technical expertise of thelavish decoration embellished on some of these pieces could not be matched todayand the cost of such work would be prohibitive. There are a large pair of Chelseablue ground beakers (10) with bird painting and some bell shaped cups (11) paintedwith putti in various pursuits (Provenance: The Peter Chance Collection). The artistresponsible for decorating these cups has not yet been recognised, but they are quiteexquisite. The large pair of two handled covered cups (12) are also finely decoratedwith Teniers type figures of children with musical instruments, courting andgardening. (Provenance: The Baroness Burton Collection and The Peter ChanceCollection). The Worcester blue scale chocolate cup and saucer with two piercedhandles is very rare (13), the shaped reserves with rococo gilded borders are paintedwith Chinese figures playing musical instruments. (Provenance: ArkwrightCollection, Hampton Court, Shropshire. The Arkwright family, inventors of theSpinning Jenny).

I feel provenance is an important part of collecting as it enables us to identify wherean object has been and which collection it has graced. Provenance doesn’t come anybetter than the next piece, a Chelsea gold anchor plate (14) from the celebratedMecklenburg-Strelitz Service which was ordered by King George III and QueenCharlotte in 1762 as a gift to her brother Duke Adolphus Frederick IV ofMecklenburg-Strelitz, at the cost of twelve hundred pounds. The service wasreturned to the Royal collection in 1948, although a few pieces had escaped. Shownalongside the Mecklenburg-Strelitz plate is another plate from a second service withsimilar shaped rim which was made at Chelsea in 1764 and advertised as ‘the lastthat will be made of the Pottery’.

As always we are restricted by space in the catalogue and a selection of the blue andwhite on offer is shown on pages 16-17.

RODERICK JELLICOE

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1. A rare pair of Worcester figures of a Turk and his companion c.1770

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RODERICK JELLICOE

2. A Worcester hexagonal 'Smokey Primative 'creamboat c.1754

3. A Bow printed mug inscribed 'the PRUSSIAN HERO' c.1757

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RODERICK JELLICOE

5. A pair of Worcester plates painted in the atelier of James Giles c.1768

4. A fine pair of Worcester plates painted in the atelier of James Giles c.1768

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RODERICK JELLICOE

8. A very rare Chelsea tureen and cover c.1755

6-7. A Derby guglet and coffee pot c.1758-60

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9. An extremely rare St. James's (Girl in a Swing) cream boat c.1750

RODERICK JELLICOE

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RODERICK JELLICOE

10 -11. A pair of Chelsea gold anchor beakers and coffee cups c.1760-65

12. A very rare pair of Chelsea gold anchor covered two handled cups c.1760-65

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RODERICK JELLICOE

14. A Chelsea plate from the Mecklenburg-Strelitz service accompaniied by a similarplate from the second Chelsea service c.1762-64

13. A fine Worcester chocolate cup and saucer c.1768-70

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RODERICK JELLICOE

16. A rare Derby saucer dish c.1760

15. A Liverpool Christian's tankard painted with the 'Dragon’ pattern c.1765

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18. A Worcester documentary mug inscribed Jn,˚ Griffith c.1770-75

RODERICK JELLICOE

17. A Longton Hall bell shaped coffee cup c.1758

SIMON SPERO

The Chelsea Goat and Bee creamjug, no. 1, is perhaps the most iconic andidiosyncratic of all pieces of early English porcelain. It stands apart from themainstream production of the triangle period, both in the delicacy and thinness ofits potting and in the intricacy and incongruity of its design, conceived perhaps asa promotional device, with no pretensions to utility. For consumers accustomedonly to the available Chinese porcelain, it must indeed have provided a fascinatingsource of both curiosity and admiration.

Hardly less innovative in its conception is the fine Longton Hall bowl and stand,no. 2, painted by the anonymous ‘Castle Painter’, an example of what might betermed provincial rococo, inspired by Meissen but modulated in a distinctlyStaffordshire rhythm. Envisaged for the dessert course, the asymmetric contours ofthe bowl fit unexpectedly comfortably around the fingers as a practical pouringvessel.

The theme of my Spring exhibition this year was Bow porcelain from the 1750s.The 50 exhibits were drawn from an extensive collection of over 120 pieces and afurther selection is included in my display for Eight Days in June. As in theexhibition, botanical decoration features prominently. Somewhat rarer than itsChelsea counterparts, Bow botanical decoration tends to be executed with morefreedom and fluidity and in some respects, with more artistic assuredness. Thedelightful pair of octagonal dishes, no. 3, depicts roses with related leaves, but anincorrect number of leaflets. A more exuberant style, still further removed from themore familiar Chelsea idiom, is evident on the small Bow plate, no. 4. Thecourgette with yellow flowers, leaves and tendrils is quite accurately depicted, thetendrils laid out with a rococo flourish. More problematical is the octagonal dish,no. 5, which may be either Anemone Coronaria or more possibly Paeonialactiflora, although the leaves are more rose-like and the buds grafted on fromanother plant.

These naturalistic themes, conceived for the dessert course, are echoed by thestriking pair of Bow partridge boxes, no. 6. The seated lions, no. 7, sharing boththe period and the palette of ‘The Muses Modeller’, are altogether more fearsomeand wild-eyed than their benign undecorated counterparts. They are accompaniedby a group of smaller Bow animals comprising a slightly mournful hound, no. 8, arecumbent calf, no. 9, and a diminutive monkey engaged in eating a nut, no. 10.

From a recently purchased collection of blue and white porcelain comes anexceedingly rare Longton Hall coffee jug, no. 11, a Worcester bowl decorated withthe celebrated ‘Eloping Bride’ pattern, no. 12, and a beautifully potted teabowl andsaucer painted in the unaffected sketchy manner so characteristic of Vauxhall, no.13. And, as a lifelong collector of blue and white porcelain, should I be reluctantlyconfined to one single piece, I would happily choose the wonderful early Lowestoftcider jug, no. 14. It encompasses in its majestic contours and artless uninhibiteddecoration, all that I admire in a piece of English blue and white.

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SIMON SPERO

1. Chelsea Goat and Bee creamjug c.1745-47

SIMON SPERO

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2. Longton Hall bowl and stand. The ‘Castle Painter’ c.1756-58

SIMON SPERO

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3. Bow botanical plates c.1758

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SIMON SPERO

4. Bow botanical plate c.1758-62 5. Bow botanical plate. c. 1758

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SIMON SPERO

6. Pair of Bow partridge boxes c.1754-56

SIMON SPERO

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8, 9 and 10 Bow animals c.1755-58

7. Pair of Bow lions c.1750-53

SIMON SPERO

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11. Blue and white Longton Hall coffee jug c.1758

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12. Blue and white Worcester bowl. “Eloping Bride” pattern c.1765

13. Blue and white Vauxhall teabowl and saucer c.1756-60

SIMON SPERO

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14. Early Lowestoft cider jug c.1759-60

SIMON SPERO

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R & G McPHERSON

We are very pleased to have been invited to join Eight Days in June,an event which we have enjoyed going to since its start. As newparticipants dealing in oriental ceramics, we thought it would beinteresting to organise an exhibition that complements the themesrunning through Eight Days in June. So we have spent the last yearputting together our exhibits which reflect Western taste: Chinese andJapanese Export Porcelain.

Many of the pieces on offer have designs and forms based onEuropean originals and some were even decorated in Europe. Nos. 5a, b and c, and 7 were decorated in London, probably in the workshopof James Giles; there are also two cups with decoration attributed toJames Rogers (see our online catalogue). We have a rare, apparentlyunrecorded, Dutch decorated bowl, no. 6. This is painted with scenesrelating to weighing and taxation of butter in Holland (see our onlinecatalogue for more information). We also include Chinese porcelainthat was copied by Western potters, for example no. 13, the pair oflarge Blanc de Chine birds dating to the Kangxi period (1662-1722).These relate closely to an interesting English salt-glazed stonewarebird, described as a ‘Wading Bird’ and dated to c.1750-1760,(Fitzwilliam Museum, Cambridge, Dr. J. W. L. Glaisher BequestC812-1928).

Pieces commissioned for the West include an apparently unrecorded,‘Sailor’s Farewell’ bowl, no. 1. This was made for the English marketand bears the name ‘Elizabeth Darling’ and the date 1757 on theinterior in gold. The bowl, no. 3, with black decoration showing twohands clasped under a crown, is somewhat of a mystery. Again,apparently unrecorded, the painting appears to look like an engraving.We also have a group of porcelain from the collection of Augustus II(1670-1733) King of Poland and Elector of Saxony, known asAugustus the Strong. The illustrated example, no. 10, is a pair ofFrench-style Chinese Imari seaux à rafraîchir (wine coolers).

There are many European-subject pieces, including two unusual mid-18th century blue and white beakers and saucers, with a design basedon an illustration from A Compleat History of Drugs, London 1712,by Pierre Pomet, showing a pineapple and a branch of cloves.

To view these together with the whole exhibition, including extensivedescriptions, references and photographs, please access our website,www.orientalceramics.com.

We very much hope you can come to our shop to see the exhibition.

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R & G McPHERSON

1. Qianlong ‘Sailors Farewell’ Bowl Inscribed and Dated 1757

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R & G McPHERSON

2. Qianlong Soft-Paste ‘Shipwreck Subject’ Tea Canister c. 1760-1770

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R & G McPHERSON

3. Qianlong Bowl c. 1760-1780

4. Qianlong Masonic Bowl c. 1790.

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R & G McPHERSON

6. Qianlong Dutch Decorated 7. Qianlong Teapot Stand c. 1770. TheDecoration Probably by Giles’s Workshop

c. 1770-1775

5. Qianlong Tea Canister, Teapot and Jug c. 1760.The Decoration Probably by James Giles’s Workshop c. 1760-1765.

“Butter Taxing” Bowl c.1740-1760

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R & G McPHERSON

9. Qianlong Imari Teapot c.1760-17708. Qianlong Famille Rose Teapotc.1765-1780

10. Kangxi Pair of Imari Wine Coolers Purchased by Augustus the Strong in 1723

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R & G McPHERSON

12. Yongzheng or Early Qianlong Pair Candle Sticks c. 1725-1740

11. Kangxi Silver Shaped Candle Stick c. 1700-1720

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R & G McPHERSON

13. Kangxi Pair of Blanc de Chine Birds c. 1690-1720

14. Kangxi or Yongzheng Pair of ‘Egg and Spinach’ Hounds c. 1700-1735

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R & G McPHERSON

15.Kangxi Large Blanc de Chine Group c.1690-1710

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R & G McPHERSON

16. Yongzheng or Qianlong Pair of European Subject Canton Enamel dishes c.1730-1750

17. Yongzheng Pair of Semi-Eggshell Famille Rose Teabowls and Saucers c.1730

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GARRY ATKINS

This year’s Eight Days in June now encompasses oriental ceramics and many of ourexhibits have a Chinese theme which mirrors the originals.

Tin-glazed earthenware blue dash chargers were produced for about 100 years fromthe mid 1600s, and provincial pottery centres such as Bristol carried on the traditionlong after metropolitan taste had moved on. George II is depicted on No. 1, withfull regalia for his coronation in October 1727, surrounded by sponged trees, typicalof the later, rather formulaic treatment of this type of subject. Both Dutch andEnglish delftwares of the 17th century were hugely influenced by imported Mingwares, and the blue and white patterns have been skilfully adapted on the flowerbowl, No. 2, and the posset pot No. 3. The birds among foliage have been paintedby an expert hand and serve to draw the eye away from the ponderous shapes of thepottery which is so remote from the fragility of the porcelain being copied.

Drug jars were important objects in the 17th century, and much attention wasdevoted to the decorative potential of the label. No. 4 is unusually large with a fine‘pipe smokers’ design advertising Conserve of Chicory, a mild laxative which wasno doubt in great demand. A whiff of scandal attaches itself to the electioneeringplate, No. 5, in support of Thomas Cresswell, MP for Wootton Bassett, who wasinvolved in a law suit due to a bigamous marriage. He was described at the time as“base and unmanly”, something which could not possibly happen today!

The early 18th century London tin-glazed plate, No. 6, is amusingly decorated withan alluring mermaid and the marine theme is continued by No. 7, two delightfulLiverpool wall pockets in the shape of fish. The few that are known all face thesame way, so were not, strictly speaking, manufactured in pairs. Also fromLiverpool are a rare chinoiserie plate, No. 8, with exquisite famille rose decoration,and four tiles, No. 9, with whimsical oriental figures, surrounded by ‘fish roe’borders and ‘michaelmas daisy’ corners. Continuing the chinoiserie theme, theElers brother in the 1690s developed an imitation Chinese redware which perhapssurpasses its precursor. The tiny tea canister No. 13, is perfect in its execution, andincludes a seal mark on the underside.

The saltglazed stoneware jug, No. 10, makes use of bright enamels for its appeal,but the two spoon trays, Nos. 11 and 12, use the colour of the clay. Variousdecorative techniques are used on the creamware pieces. The charming model of ahare, No. 14, is brought to life with soft underglaze tones, whilst the caddy, No. 15,is ornamented in relief with the fable of ‘The Fox and the Stork’ from Aesop’sfables, highlighted in enamel colours. Improving subject matter also features on theextremely rare Greatbatch coffee pot and cover, No. 16, with printed scenes from‘The Prodigal Son’. The late 18th century pearlware jug, No. 17, is also printedwith a humorous caricature of Signor Gruntinelli playing the latest instrumentcalled a ‘Swinetta’, in reality a live pig with its tail being pulled. The dial, No. 18,from the same period, is an extremely rare and somewhat impractical survivor froma long case clock, which would generally have a painted or enamelled face.

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GARRY ATKINS

1. Tin-glazed earthenware George II charger c. 1727. Diam: 13”

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GARRY ATKINS

2. Tin-glazed earthenware flower bowl, London c. 1690. Diam: 6 ¾”

3. Tin-glazed earthenware posset pot, London c. 1700. Height: 10”

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GARRY ATKINS

4. Tin-glazed earthenware drug jar, Southwark c.1650-60. Height 8 ¾”

5. Tin-glazed earthenware ‘cracked ice’ electioneering plate, Bristol c.1768. Diam: 9”

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GARRY ATKINS

6. Tin-glazed earthenware mermaid plate, London c. 1715. Diam: 8 ½”

7. Two tin-glazed earthenware wall pockets, Liverpool c. 1765. Length: 7”

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GARRY ATKINS

9. Set of four tin-glazed earthenware tiles, Liverpool c.1750-70. Each 5” square

8. Tin-glazed earthenware plate, probably Liverpool and enamelled in Staffordshirec.1755. Diam: 8 ½”

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GARRY ATKINS

10. Salt glazed stoneware jug, Staffordshire c. 1760. Height: 7”

11. Agateware spoon tray, Staffordshire c. 1750. Width: 6 ¾”

12. Salt glazed stoneware spoontray,Staffordshire c. 1760. Width: 6”

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GARRY ATKINS

13. Elers red stoneware tea canister, Staffordshire c. 1695. Height: 2 ¼”

14. Creamware hare, Staffordshire c. 1750. Height: 3 ¼”

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GARRY ATKINS

15. Creamware caddy, Staffordshire c. 1780. Height: 6”

16. Creamware Greatbatch coffee pot, Staffordshire c. 1770. Height: 9”

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GARRY ATKINS

17. Pearlware jug c. 1790. Height: 8”

18. Tin-glazed earthenware clock dial, probably London c. 1760-80. Diam: 9 ¾”

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FORTHCOMING EVENTSSIMON SPERO

Simon’s Annual Autumn Exhibition will open on Thursday, October 11th at 12.00 noon andwill continue until Saturday, October 20th.

It will comprise about 40 to 50 items, including triangle and raised anchor Chelsea, Bowfigures, animals and botanical plates, early polychrome Worcester, together with a selectionof unusual pieces from a longstanding collection of early English blue and white porcelain.

A fully illustrated colour catalogue of about 50-60 pages will be available from midSeptember.

GARRY ATKINS

Garry will be showing at the New York Ceramics Fair in January 2013. Future exhibitionsare being planned and will be announced later in the year.

For more news about other events and news throughout the year, log on to the redesignedwebsite which will be updated regularly: www.EnglishPottery.com

RODERICK JELLICOE

Rod will be have a stronger presence than usual next year when he exhibits at the New YorkCeramics fair which runs from 22nd -27th January 2013 at The Bohemian Hall, 321 East73rd Street, New York City.

He will also be exhibiting at the BADA Antiques Fine Art Fair 13th -19th March 2013.

For news about other events throughout the year and to view his stock log on to his regularlyupdated website www.EnglishPorcelain.com where you can also register on the site toreceive occasional newsletters etc.

R&G MCPHERSON

This year Robert and Georgina will be making the biggest change to their business since itstarted in 1980, they had been planning to make this change for several years. As they knewtheir shop lease expires at the end of September, it seemed to be the perfect time for them tostart dealing solely online. They will build up their already successful websitewww.orientalceramics.com as a 'shop window' for their stock but also a useful research toolwith articles, links and events. The connection with Kensington Church Street will not beentirely severed as they will be back twice a year to put on exhibitions as part of Eight Daysin June in the summer and also in November to coincide with the major Oriental events inLondon.

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