THE JOHN SCOTT COLLECTION - The Fine Art Societythefineartsociety.com/usr/.../the-john-scott-collection-british-art... · A mist of sadness envelopes their story. ... in full armour

T H E J O H N S C O T T C O L L E C T I O NB R I T I S H A R T P O T T E R Y

TH E F I N E A R T S O C I E T Y

B

THE FINE ART SOCIETYDealers since 1876

in association with Michael Whiteway

148 New Bond Street · London W1S 2JT+44 (0)20 7629 5116 · [email protected]

www.faslondon.com

11 – 20 June 2014

T H E J O H N S C O TT C O L L E C T I O N

B R I T I S H A R T P O T T E R Y

vOlumE THREE

THE FINE ART SOCIETY · lONDONmmXIv

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P R E FA C E

Over nearly fifty years John Scott has assembled a peerless collection in the field of the decorative arts which numbers almost one thousand works. Displayed in two connected houses in Notting Hill Gate, it fills each room with pieces which have held his attention. In its totality the collection reflects a singular vision and an incisive mind. John chose to buy works which had been neglected as modern taste sought to consign the creations of the Victorian era to oblivion.

In forming his collection John Scott has become an authority on British decorative arts from 1830 to 1930, a period when progressive British architects, designers, craftsmen and manufacturers produced works of genius. His passionate interest in their creations has made him a strong advocate for the importance of the works he loves and admires. He has developed not just a deep knowledge of the period and its history, but an instinctive appreciation of the objects which combines understanding of the technical difficulties overcome and the recognition of a work of true beauty.

It is the combination of technical ingenuity, dexterity and ability, born of a profound understanding of form and an acute visual sense, to design an object which is complete and pleasing to the eye, which marks the works in John Scott’s collection. The years of looking at and living with the objects he has in his home has not dimmed his passionate excitement when showing them. He has been generous in sharing his collection with visitors to his home and lending to exhibitions. He has also given his vast collection of tiles to the Ironbridge Museum.

The decision to sell his treasures was difficult, but it is the purpose of this first exhibition, and those which follow, to pay tribute to an exceptional collector and to allow a wider audience to see the sum of his life’s work. We have planned three simultaneous exhibitions to start the series, which will be spread over the coming twelve months. The first three celebrate the works made for the great international exhibitions mounted in the 1860s and 1870s, Powell & Sons Whitefriars Glass and British Art Pottery. Each exhibition will show a different aspect of John Scott’s collection.

The Victoria and Albert Museum’s exhibition The Cult of Beauty described one area of John Scott’s collection, and he lent to the show using the name The Birkenhead Collection, the town of his birth. He has enthusiastically supported exhibitions in this way, and now our own show reflects his energetic pursuit of the beautiful.

In this quest, many dealers and curators have become his friends. Although many of them are no longer alive to feel the warmth of his appreciation, Michael Whiteway of Haslam & Whiteway, our partner in this project, has been closely associated with the collection over the years and was the source of many of the works. His knowledge and passionate interest in the works has mirrored that of John himself. The Fine Art Society is proud to present the John Scott Collection and to acknowledge the achievement of an extraordinary man.

GORDON COOKE Managing Director, The Fine Art Society

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A R T P O T T E R Y

There is much to be said for specialisation. British postage stamps in the first half of the nineteenth century would probably contain no gaps but that’s not for me. So this is a mixed bag of pottery that I have loved, and I have no hesita-tion in putting The Martin Brothers first of all. They were so English and you can recognise their work across a large room – it is so quixotic, eccentric and wonderful. They were Britain’s greatest studio potters.

My readers can enjoy fulsome details of their lives and times in the pages of Malcolm Haslam and Richard Dennis’s excellent history. George Twyman has published further details for the period 1877–1923 and is honoured for the execution of a proper tombstone and inscription on their previously unmarked graves in Southall. (There is also a disused museum awaiting a saviour!)

A mist of sadness envelopes their story. Shortly before Robert Wallace’s death he attended an auction at which a Wally Bird made only £50, to which he is rumoured to have muttered ‘we worked for labourer’s wages’. Edwin died of cancer of the jaw. I dream that any current praise for the Martin Brothers will resound in their spectral ears with songs of joy. They deserve the spiritual adulation now that they should have enjoyed long ago. I now aspire to let you see, and know, Martinware, and enjoy the same fun that has enthralled me.

Billy Wiltshire was a most successful collector of De Morgan – his was the best collection. I attended the sale of his, necessitated by a matrimonial matter, but sadly they were all too costly. Luckily, however, the Martinware Judge Clarke Bird was an overlooked ‘sleeper’ there. It’s here today before your eyes.

The first rate practice of queuing before an exhibition is now being ignored. I am delighted to say it was not by the principal dealer, Richard Dennis. Whilst waiting in such a queue in Halkin Street I fell to talking to another collector, who told me that when the Martin Brothers’ Brownlow Street shop closed, he swept the giant frog off the floor. It’s the back cover of Malcolm’s book! What an experience.

In 1969 the bald-headed Wally Bird (cat.24, opposite) was sold to me for £120 by Mrs Tilley, who had a shop at 2 Symons Street. I paid her a £30 deposit and the remainder in nine-monthly payments by bankers order. I have not made a habit of paying in this way but the trust and courtesy of the dealer is always fixed in my memory. In the property doldrums of the 70s I desperately wanted to buy a superb St George bronze, by Sir Alfred Gilbert, in full armour and sword configured with our Lord on the cross. I paid in installments over a year – the vendor was The Fine Art Society! Thus are relationships constructed and life deeply enriched.

Of other Art Pottery I confess to fleeting dalliance. Doulton are often excellent, particularly the tiles, of which mine have been gifted to Ironbridge Gorge Museum. One is always restricted by money and sheer space.

JOHN SCOTT May 2014

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M A R T I N B R O T H E R S 1 0

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M A N I FAT T U R A C A N TA G A L L I 5 6

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E LT O N WA R E ,

T H E S U N F L O W E R P O T T E R Y 7 8

B R E T B Y P O T T E R Y 7 9

M AW & C O . 8 0

P I L K I N G T O N

T I L E & P O T T E R Y C O . 8 2

R U S K I N P O T T E R Y 9 1

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A D A M S LT D 1 0 4

10 mARTIN BROTHERS mARTIN BROTHERS 11

Martin Brothers

The Martin Brothers established their first studio in Fulham in 1873, moving to better-equipped premises in Southall in 1877. The work of the four brothers Robert, Charles, Walter and Edwin was considered by contem-porary audiences to be intriguing, if not eccentric, and in 1910 Holbrook Jackson described seeing ‘leering, laughing, grinning and ogling heads’ and ‘pot birds with strangely anthropological expressions’. The brothers too had their eccentricities but their practice was very collabo-rative: Robert was expert at modelling the figures, Walter at glazing and firing, Edwin at decoration, but Charles was a disaster in the shop, hiding the most desirable works and turning away patrons. Overall they were not commer-cially minded and production was unpredictable, finally coming to an end in 1923.

Robert Wallace Martin 1843–1923 mARTIN BROTHERS, lONDON AND SOuTHAll (mAKER)

1 “Fantastical Grotesque Beastie”, c.1890

Stoneware, incised R.W Martin Bros / London / 6.88 ½ x 19 ½ x 16 ½ in · 21 x 48.5 x 41.5 cmPROvENANCE: Private collection, uK; Richard Dennis; where bought by the John Scott collection

‘This piece is thought to have originated in the Grotto, Friar’s Place, Henley. A masterpiece indeed.’ JS


Robert Wallace Martin 1843–1924 mARTIN BROTHERS (mAKER)

2 Renaissance Revival jardinière on stand, c.1885

Stoneware, metal tap at base; incised R.W. Martin / London / Southall46 x 18 in · 117 x 46 cm

‘Very rare’ JS

Martin Brothers (maker)

3 Grotesque fish, c.1890

Stoneware, incised Martin Brothers / London + SouthallHeight 10 in · 25.5 cm

‘This is a very rare Martin Brothers fish. Quite possibly made to enrich a large aquarium with installation to allow bubbles to exit from his mouth.’ JS



4 Renaissance Revival vase, 1896

Stoneware, with three handles, base incised 1–1896 / Martin Bros / London + SouthallHeight 14 ¾ in · 37.5 cm

‘This large vase has a touch of the antique – anthemion inspired by Greek and Roman design.’ JS


5 Large dragon vase, 1893

Salt glaze stoneware, etched decoration of dragons and snakes on a brown ground, on lighter incised foot, base incised 11–1893 / R.W. Martin Bros / London + SouthallHeight 18 ½ in · 47 cm

‘Martinware’s swirling designs, whether of dragons, plants or whatever, make me think of Van Heemskerk. The seventeenth-century, Dutch master of swirling calligraphic designs on glass, must surely have been known to the four brothers, particularly Edwin.’ JS



7 Dragon vase, 1898

Salt glaze stoneware, with etched decoration on a dark brown ground, base incised 3–1898 / Martin Bros / London + SouthallHeight 8 ¾ in · 22 cm

‘Dragons are Martin favourites and make a design swirl - well suited to many of their creations.’ JS


6 Orchid vase, 1903

Stoneware, incised decoration on ochre ground, base incised 3–1903 / Martin Bros / London + SouthallHeight 9 ¼ in · 23.5 cm

‘The light field allows the designs to stand out. It is a lovely early vase and I always suspect Van Heemskerk as an inspiration in these swirling decorations.’ JS

mARTIN BROTHERS 1918 mARTIN BROTHERS


8 A pair of fish vases, 1891

Green salt glaze stoneware, with incised decoration, base incised 2–1891 / R.W. Martin Bros / London + Southall; one with applied Martin paper label inscribed “Martin-Ware.” Notices: – – / The Times (leader) Dec. 22, 1885 / Pall Mall Gazette Feb. 4, 1890. / Magazine of Art (illus.) Sep., 1882. / Art Journal – July. 1883. / British Architect – – Nov. 1884. /..affers” (New Edition). &c., &c., &c.Height 12 ¾ in · 32.5 cm



9 Fish vase, 1889

Stoneware, incised decoration on cream ground, base incised 21–1889 / Martin Bros / London + SouthallHeight 8 ¾ in · 22 cm

Attributed to Edwin Bruce Martin 1860–1915mARTIN BROTHERS (mAKER)

10 Vase, 1900

Salt glazed stoneware, modelled and etched to resemble overlapping mussel shells, base incised 7–1900 / Martin Bros / London + SouthallHeight 10 ¼ in · 26 cm

‘This is from another ‘range’ of Martinware whose shapes were based on vegetables, gourds and sea urchins – a good source of artistic inspiration and excellently used by the brothers.’ JS



11 Gourd vase, 1898

Salt glazed stoneware, modelled and etched to resemble a green gourd, base incised 10–1898 / Martin Bros / London + SouthallHeight 8 ½ in · 21.5 cm


12 Smiling face jug, 1896

Salt glazed stoneware, base incised 10–1896 / Martin Bros / London + SouthallHeight 7 ¾ in · 17.5 cm

‘Words can add nothing to this … just look at me.’ JS



13 Renaissance Revival vase, 1890

Salt glazed stoneware, etched and inlaid decoration of dragons and snakes on an ochre ground, base incised 11–1890 / R.W. Martin Bros / London + SouthallHeight 18 in · 46 cm


14 Four-sided fish vase, 1890

Stoneware, etched and modelled in low relief, base incised 8–1890 / Martin Bros / London + SouthallHeight 7 ¾ in · 17.5 cm

EXHIBITED: Richard Dennis, Martin Brothers: Pottery Exhibition, 1978 (228)

lITERATuRE: Haslam, The Martin Brothers Potters, Uxbridge, 1978, p.97, fig.142



15 Gothic clock case, 1878

Stoneware, moulded and modelled with foliage and floral motifs, inscribed R Wallace Martin / Southall / Middlesex, 187829 x 10 ½ in · 74 x 27 cm

lITERATuRE: Haslam, The Martin Brothers Potters, Uxbridge 1978, p.12, fig. 2

‘The brothers made large clock cases to receive the clock mechanism. I have never seen a complete one.’ JS


16 Gothic clock case, c.1877

Salt glazed stoneware, moulded and modelled with foliate motifs, base incised R.W. Martin / 53 / London12 ¼ x 6 ½ in · 31 x 16.5 cmPROvENANCE: The Nettlefold Collection

lITERATuRE: Beard, The Collection of Martin Ware formed by Frederick John Nettlefold, London, 1936, p.11, dated 1877

‘This clock case is very rare.’ JS



17 Vase, 1891

Stoneware, etched with floral motifs and insects, base incised Martin Bros / b-1897 / London + SouthallHeight 9 ½ in · 24 cm


18 Fish jug, 1903

Stoneware, modelled in the form of a fish, base incised 10–1903 / Martin Bros / London + SouthallHeight 10 ½ in · 26.5 cm

‘A sculptural jewel.’ JS


19 Large vase, 1903

Stoneware, etched designs of fantastical dragons and insects in brown on a cream ground, base incised 12–1903 / R.W. Martin + Bros / London + SouthallHeight 16 ¾ in · 42.5 cm

‘A fabulous vase from Ian Bennett.’ JS



20 Dragon clock case, 1880

Stoneware case, modelled with a curling dragon around a cylindrical body; fitted with clock works and dial designed by Lewis Foreman Day (1845–1910); incised verso R.W. Martin, London + Southall and to base 11.80; applied paper label inscribed Frances L. DicksonHeight 7 ¼ in · 18.5 cm

‘This has been widely exhibited around the world – a delightfully tight design.’ JS



21 Gourd vase, 1904

Stoneware, green ground with applied white slip decoration, base incised 8–1904 / Martin Bros / London + SouthallHeight 9 ¼ in · 23.5 cm


22 Dragon and snake vase, 1894

Stoneware, with incised and modelled decoration in low relief on dark brown ground, base incised Martin Bros / 9–1894 / London + Southall / [indistinguishable signature]Height 7 ½ in · 19 cm

‘This is a favourite vase of mine.’ JS



23 Judge Clarke bird tobacco jar, 1898

Salt glazed stoneware, base incised Martin Bros / 2–1898 / London + SouthallHeight 15 ½ in · 38.7 cm

A contemporary photograph of this bird and a Gladstone bird is annotated verso Sent me by Mr Arthur Kray [?] who says he was told by the maker Mr R.W. Martin that they were caricatures of me (left) and Mr Gladstone / EC 7.11.1925 [signed EC for Mr Justice E. Clarke].

‘This is the Judge Clarke Bird, recognized and acknowledged as such by Mr Justice Clarke himself. It is a regally significant sculpture, and much enhanced by the Ruskin base stand [see below], a happy marriage I feel.’ JS

Contemporary photograph of a Judge Clarke and a Gladstone bird, verso annotated with note by Mr Justice E. Clarke



24 ‘Wally’ bird tobacco jar, 1889

Salt glazed stoneware, lid incised 5–1889 / R.W. Martin + Bros / London + SouthallHeight 12 ¾ in · 32.5 cm

‘Here is a wondrous sculptural embodiment of a very wise old man gently warning the young of an imminent problem. Dear Robert Martin expressed in his owls more character than many a Rodin!’ JS

38 WIllIAm DE mORGAN WIllIAm DE mORGAN 39

William de Morgan

Whilst studying at the Royal Academy de Morgan met William Morris and his circle and began experimenting with stained glass and pottery, later establishing a pottery works in Chelsea. He avidly explored the techniques of his craft, studying methods of pattern transfer, firing, and the chemistry of glazes. His passion for ‘Oriental’ design, par-ticularly from the Islamic world, led him to rediscover the technique for producing iridescent lustre ware between 1873 and 1874.

By 1875 he was working extensively with a ‘Persian’ colour palette of dark blue, intense green and turquoise, deep red and yellow (see cats 25, 26 and 29). The influence of fifteenth- and sixteenth-century Isnik ware is apparent in his designs of this period, with its geometric motifs and fantastical creatures.

Commissions included the installation and restoration of Turkish, Persian and Syrian tiles for the Arab Hall of Lord Leighton’s house in Holland Park, and tile decorations for twelve P&O liners. Although admired by the avant-garde, in his lifetime de Morgan’s innovative ceramics did not generate a substantial income, and in later life he became a best selling novelist.

William de Morgan 1839–1917

25 Winged lion charger, c.1890

Earthenware, hand-painted in Persian colours with griffin and fish by a river, inscribed verso, W.D.M. Fulham / 2200 / 14 / c.p. [for Charles Passenger, painter]Diameter 14 ½ in · 37 cm

EXHIBITED: London, Richard Dennis Gallery, William de Morgan, Catalogue of an Exhibition, 2001 (18)

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.33 and pl.33–34, p.208, for the original drawing (from the V&A Museum) and a similar dish

‘I bought this in Birkenhead for £200 in the 1950s. Secret for finding gold: “Just keep trying!” – advice from Bob Walker.’ JS



26 ‘The Fishing Lesson’ charger, c.1890

Earthenware, hand-painted in Persian decoration and inscribed verso, W.DE.M Fulham / 24 / 2195 / c.p [for Charles Passenger, painter]Diameter 14 ½ in · 37 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.214 pl.82–83 for the original drawing (from the V&A Museum) and a version of same design in ruby lustre; Gere & Whiteway, Nineteenth Century Design: from Pugin to Mackintosh, London 1993, p.211, pl.26

‘A very rare and well-fired charger, and humorous.’ JS



27 Vase, c.1895

Earthenware, hand-painted with grapevines pattern in lustre glazes, hand-painted F.p. [for Fred Passenger, painter]Height 11 in · 28 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.239, pl.259

‘One of the finest De Morgan triple lustre I’ve ever seen.’ JS



29 Vase, c.1890

Earthenware, with two handles to the shoulder, painted in Persian colours with fish and waterHeight 8 ¾ in · 22 cm

‘An unusual two-handed vase and well fired.’ JS


28 Vase, c.1890

Earthenware, with two handles to shoulder, hand-painted in ruby lustre glazes with fish and waves, painted marks D.M. / Fulham / JJ 10 / 2228 [for Joe Juster, painter]Height 7 in · 18 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.222 pl.149

‘Well-fired vase’ JS



30 Vase, c.1890

Earthenware, painted with a design of lilies and chrysanthemums, impressed De Morgan mark, hand-painted F.P. [for Fred passenger, painter], applied paper label inscribed 39Height 15 ¾ in · 40 cm

EXHIBITED: London, Richard Dennis, William de Morgan, 2002 (39)

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.241, pl.273

‘Gorgeous firing.’ JS



31 Vase, c.1890

Earthenware, painted in Persian colours with Swan design, impressed Sand’s End wings mark and hand-painted 2182 / JJ.11 [for Joe Juster, painter]Height 9 in · 23 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.227, pl.175–6


32 Vase, c.1890

Earthenware, painted with Persian-inspired flowering foliage in lustre glazes, hand-painted D.M. Fulham / F.P. / 2192 [for Fred Passenger, painter] and impressed oval Fulham stamp, applied label inscribed 43 / 2268 UCSHeight 12 ½ in · 32 cm

EXHIBITED: London, Richard Dennis, William de Morgan, 2002 (43)

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.179, the same design now in the V&A Museum [accession E.409–1917], this design appears to be a variation of Burlington, a design for an 8 inch tile panel

‘Masterly firing.’ JS



33 Peacock dish, c.1895

Earthenware, painted in ruby and gold lustre glazes with a stylised peacock; hand-painted c.p. [for Charles Passenger painter]; applied paper label for Evan Cook RemovalsDiameter 8 ¼ in · 21 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.225, pl. 161–2, and a variation in lustre on a vase pl.160

‘A beautifully fired lustre.’ JS


34 Sailing ship dish, c.1890

Earthenware, painted in Persian colours with a ship in full sail on the sea, painted DM and c.p. [for Charles Passenger, painter]Diameter 8 in · 20.5 cm


35 Winged beast bowl, 1888

Earthenware, painted with lustre glazes depicting a dragon inside and formalised scrolls with foliage on the outside, hand-painted W. De. Morgan. / Fulham / F.P. [for Fred Passenger, painter]Diameter 15 ¾ in · 40 cm

lITERATuRE: Greenwood, The Designs of William de Morgan, Shepton Beauchamp, 1989, p.35, V&A Museum drawing [E.1200–1917], dated May 1888, p.216, pl. 102–3, same design illustrated and a variation in lustre on a vase, pl.160

‘A glorious bowl.’ JS



36 Large footed bowl, c.1890

Earthenware, painted in the Persian style with blue carnations on white ground inside and flowering foliage to the exterior10 ½ x 16 ¾ in · 26.5 x 42.5 cm



37 Sailing boats alms dish, c.1890

Earthenware, decorated in red, blue and gold lustre glazes with six sailing boats around an abstract sea monster design, hand-painted W.D.M. / Fulham / c.p. [for Charles Passenger, painter]Diameter 9 ¼ in · 23.5 cm


38 Tudor Rose alms dish, c. 1890

Earthenware, painted in green glazes with a Tudor rose and abstract border, hand-painted c.p. [for Charles Passenger, Painter]; applied label for Evan Cook RemovalsDiameter 9 ½ in · 24 cm


39 Fish plate, c.1890

Earthenware, painted with a large fantastical fish surrounded by smaller fish in Persian colours, with stylised wave border; applied paper labels for Evan Cook Removals and H&W 8;Diameter 8 ½ in · 21.5 cm


Manifattura Cantagalli

Ulisse Cantagalli and his brother, Romeo, inherited the family ceramics factory near Florence in 1878 and entered the competitive market for Renaissance-Revival ceramics. Ulisse was famed for his ruby and golden lustre techniques. It is possible that he was inspired by his Scottish wife, Mary Todd, to start working in the Arts & Crafts style. He certainly took an interest in pre-industrial production techniques, travelling to regional potteries to study time-honoured techniques, and European muse-ums to view original examples. Later, he became acquaint-ed with William de Morgan who often spent winters in Florence for health reasons and some works bear joint signatures.

Cantagalli’s works were exhibited at many international exhibitions including Venice, Antwerp and London, and his lustre ware was particularly popular at the Earl’s Court show of 1888. His patrons included British royalty, and his ceramics are equally as highly regarded and collected today.

Manifattura Cantagalli, Florence (maker)

40 Dodo footed bowl, c.1900

Majolica, decorated with flowers and dodos moulded in low relief, painted in multi-lustred glazes, hand-painted maker’s (cockerel) mark to base and No.1010 x 12 ½ in · 25 x 32 cm

‘Severe battle wounds but delightfully repaired with metal wire. It shows how much the previous owner loved the pot.’ JS

58 DOulTON & CO. DOulTON & CO. 59

Doulton & Co.

In 1815 John Doulton formed a partnership trading as Jones, Watts And Doulton, later Doulton & Watts, manufacturing utilitarian stoneware. When the company liquidated in 1853, Doulton and his sons, Henry, Frederick and John Jr., established Doulton & Co., and by the early 1860s began producing Art Pottery from their art ware studios in Lambeth.

They experimented with decorative pieces, developing effects and glazes such as Silicon Ware, chine, and rouge flambé. In 1878 they bought a pottery works in Burslem, Staffordshire to supply pots for decoration in Lambeth, eventually moving there permanently in 1882. Through Henry Doulton, the pottery became associated with the Lambeth School of Art and employed skilled designers such as Charles Noke, George Tinworth, the Barlow sisters and Mark V. Marshall. In 1901, after adding porcelain to their production, Doulton & Co became Royal Doulton Ltd.

Doulton Silicon Ware Silicon Ware, was popular between 1880 and 1912. The hard high-fired stoneware body, with perforated or incised decoration, was coated in a delicate matt glaze known as a

‘smear’, and often applied with beads and rosettes.

Edith D. LuptonDOulTON & CO., lONDON AND BuRSlEm, STAFFORDSHIRE (mAKER)

41 ‘Silicon Ware’ vase, 1885

Stoneware, with pierced and incised foliate design and painted floral decoration, base impressed Doulton Silicon Lambeth / 1885 / OB; incised EDL, 264; hand-painted SS [probably for Susanna Sanderson, decorator]Height 17 ½ in · 44.5 cm

‘Grand and statuesque.’ JS


Edith D. LuptonDOulTON & CO. (mAKER)


Stoneware, with pierced and incised design and painted floral decoration, base impressed Doulton Silicon Lambeth / 1882; incised EDL / K / 179 [probably for Edith Kemp]Height 8 ½ in · 21.5 cm

Doulton & Co. (maker)


Stoneware with pierced and incised floral design and painted decoration, impressed Doulton Silicon Lambeth / 1884 / m; incised 488 / RHeight 20 in · 51 cm

‘I am much attracted to the difficulty of execution of these sculptural masterpieces’ JS

Edith D. LuptonDOulTON & CO. (mAKER)


Stoneware, with pierced and incised flowering foliage design and painted and gilt decoration, base impressed Doulton Silicon Lambeth / 1888; incised EDL / 377 / H / m / 90; hand-painted M.S [probably for Mary Slater, decorator]Height 13 ¼ in · 33.5 cm

‘I like piercing: it adds drama.’ JS


Mark V. Marshall for Doulton

Rejecting an offer to join the Martin Brothers, Marshall went to work for Doulton in 1876 and introduced his humorous collection of bibelot grotesques. He worked with William Rix, manager of Doulton’s art department, to introduce their experimental Marqueterie ware.

Mark V. Marshall b.1842 DOulTON & CO., lONDON AND BuRSlEm, STAFFORDSHIRE (mAKER)

45 Trumpet shaped vase, 1877

Stoneware, thrown body with pierced base, incised decoration and applied modelling of two frogs and convolvulus, with blue, white and brown glazes; incised initials M.V.M. 77Height 10 ¼ in · 26 cm

PROvENANCE: Richard Dennis; John Jesse

EXHIBITED: London, The Fine Art Society, The Aesthetic Movement and the Cult of Japan, 1971 (386)

‘Grand little statuesque sculpture.’ JS


Charles John Noke for DoultonCharles John Noke joined Doulton in 1889. Later, as art director, he went on to revolutionise the company’s design and manufacturing processes. He created a range of ‘transmutation’ glazed wares, including Chang Ware, which is distinctive for its layers of thick, colourful, run-ning glazes and crackle finish, produced from 1925 to the late 1940s.

Charles J. Noke 1858–1941 & Harry NixonROYAl DOulTON (mAKER)

48 Large Chang vase, c.1925

Earthenware, decorated in running polychrome glazes, hand-painted Noke, HN monogram [for Henry Nixon] and Chang Royal Doulton mark; applied paper label inscribed Doulton / … Piece / Chang by Noke / Original Price / £120 / Offered at £75Height 17 in · 43 cm

Mark V. Marshall b.1842 ROYAl DOulTON (mAKER)

46 Frog paperweight, c.1900

Stoneware, green glazed modelled grotesque frog in wave, impressed Royal Doulton; incised 478, initialled M.V.MHeight 3 ¼ in · 8.3 cm

‘These miniature sculptures seem to be inspired by netsuke.’ JS

Mark V. Marshall b.1842 ROYAl DOulTON (mAKER)

47 Fish paperweight, c.1905

Stoneware, modelled and glazed fish in wave, impressed trademark for Royal Doulton 1902–1922, initialled M.V.M., EB [possibly for Ethel Beard, decorator]; applied paper labels inscribed 3 / 9 Apr 08 / 94349742 and 15 Apr 10Height 6 ½ in · 16.5 cm

‘Mark V. Marshall was particularly adept at small sculptures.’ JS



49 Miniature Chang vase, c.1925

Earthenware, thick polychrome glazes over a dark blue ground, hand-painted Noke, HN monogram [for Harry Nixon], Chang; with printed Made in England / Royal Doulton England; impressed 1423 / 9. 23Height 3 ½ in · 9 cm

‘Highly delighted to find an oval stand for this scintillating Royal Doulton Chang ‘miniature’.’ JS


50 Chang vase with lug handles, c.1925

Earthenware, decorated in thick red, white and yellow glazes with stylised floral decoration, hand-painted Noke, Chang Royal Doulton mark, HN monogram [for Harry Nixon]Height 9 ½ in · 24 cm


Charles J. Noke 1858–1941 ROYAl DOulTON (mAKER)

51 Sung vase, c.1920

Earthenware, polychrome glazes over blue ground, on feet; printed Royal Doulton mark; hand-painted Sung / Royal DoultonHeight 7 in · 17.5 cm

‘Chang ware is heavily inspired by Japanese pottery. I love the lustrous depth of the glaze. My wife, Takko, is Japanese, and I admire enormously their art and spirit.’ JS


52 Ridged Chang vase, c.1925

Earthenware, red, green and white glaze over blue, hand-painted Noke, HN [for Harry Nixon], Chang Royal Doulton mark; impressed 198L12 ¼ in · 31 cm



53 Flambé vase, c.1925

Earthenware, hand-painted Noke, HN [for Harry Nixon], Chang Royal Doulton; impressed 198LHeight 7 ¾ in · 19.5 cm


54 Sung flambé vase, c.1920

Earthenware, with polychrome veined galzes over a high fired ruby ground; transfer printed Doulton England; painted: Noke, HN [for Harry Nixon], SungHeight 11 ½ in · 29.2 cm

72 DEllA ROBBIA POTTERY DEllA ROBBIA POTTERY 73

Della Robbia Pottery

Founded by Harold Rathbone and Conrad Dressier, in Birkenhead, Merseyside, in 1894, The Della Robbia Pottery was named after the Florentine Della Robbia fam-ily. Della Robbia had an Arts & Crafts ethos, employing local labour and raw materials for manufacture. The inten-tion was to produce Art Pottery for domestic and architec-tural use, any semblance of mass production was avoided and artistic freedom of expression encouraged.

Following a lack of interest in architectural panels, the pottery turned to the production of decorative ware such as vases, chargers, plates and tiles. Although known for brightly coloured and lustre glazes, as well as heraldic and Islamic motifs, in later years an Art Nouveau influence predominated. Works were sold through Liberty’s and Morris & Co.

Della Robbia Pottery, Birkenhead, Merseyside (maker)

55 Bottle vase with lid, 1900

Earthenware, carved foliate decoration with turquoise glaze, incised to base with maker’s Galleon mark, DR / LW [probably for Liz Wilkins] / 3 / 1900 Height 12 ½ in · 32 cm

lITERATuRE: Hyland, Della Robbia Pottery: Birkenhead 1894–1906, Woodbridge, 2013, p.238, this shape illustrated in the 1896 Della Robbia list of shapes as no.19, ‘Large Dutch Vase’; Gere & Whiteway, Nineteenth Century Design: From Pugin to Mackintosh, London, 1993, p.231, pl.292

‘Della Robbia was one of few artistic features in Birkenhead, and the factory still stands today just off Hamilton Square, now an office.’ JS

74 DEllA ROBBIA POTTERY

Della Robbia Pottery (maker)

58 Daffodil charger, 1894–1906

Earthenware, sgraffito and painted daffodil decoration, incised maker’s Galleon mark, DR / C [for Charles Collis, artist] / 927; Painted TH [for Tom Hall]; applied paper label inscribed Della Robbia, £1,750.00, 5497Diameter 16 in · 40.5 cm


59 Floral charger, 1894–1906

Earthenware, sgraffito and painted stylised floral decoration, incised maker’s Galleon Mark, DR / C [for Charles Collis, artist], 936; and applied Bonhams sale labelDiameter 19 in · 48.3 cm

‘I buy lots of Della Robbia for love of my old home, Birkenhead. The factory was set up to provide employment and was very successful. Cassandra A. Walker was the best artist.’ JS


56 Maiden charger, 1905

Earthenware, incised and painted with an image of a young maiden surrounded by leaves, the border with flowering foliage, incised verso with maker’s Galleon mark, DR / 1905 / C.A.W. [for Cassandra Ann Walker] / 58 / 3 and hand-painted LJ [for Alice Louisa Jones]Diameter 15 in · 38 cm


57 Alms dish, 1894–1906

Earthenware, incised and painted decoration with flowering foliage, incised maker’s Galleon mark, DR / C [for Charles Collis, artist] / 927; hand-painted LJ [for Alice Louisa Jones] and applied Bonhams sale labelDiameter 19 in · 48.3 cm



62 Foliate charger, 1894–1906

Earthenware, sgraffito and painted stylised foliage decoration, incised maker’s Galleon mark, DR / 58, monogram for Gertrude Russell and applied paper labels inscribed SCOTT 3; and 3, 7 in a circleDiameter 15 in · 38 cm


63 Foliate charger, 1894–1906

Earthenware, sgraffito and painted stylised floral decoration, incised maker’s Galleon mark, C [for Charles Collis, artist]/ 964/ painted mark; and applied labels inscribed SCOTT 4; 4, 7 in a circle; and Randall HibbertDiameter 15 ¾ in · 40 cm


60 Primrose charger, 1894–1906

Earthenware, sgraffito and painted stylised primrose decoration, incised maker’s Galleon mark, DR, monogram for Gertrude Russell and applied label inscribed SCOTT 4; 4, 7 in a circle; and Randall HibbertDiameter 19 3/4in · 50 cm


61 Floral charger, 1894–1906

Earthenware, sgraffito and painted stylised floral decoration, incised maker’s Galleon mark, DR / 69a / TH [for Tom Hall]/ LJ [for Alice Louisa Jones]; and applied paper label inscribed Della Robbia Plaque, circa 1900 signed LJ and TH illustrated similar plaque in Williamson Art Gallery, also fig 25 in Della Robbia Pottery BookDiameter 15 ¼ in · 39 cm

lITERATuRE: Hyland, Della Robbia Pottery: Birkenhead 1894–1906, Woodbridge, 2013, p.138, fig.138, the same pattern in another colourway



64 Dog rose charger, 1903

Earthenware, sgraffito and painted stylised foliage decoration, incised maker’s Galleon mark, DR / 1903 / C.A.W. 201 [for Cassandra Ann Walker] / R.B [for Ruth Bare]; applied paper labels inscribed SCOTT 2; and 7 in a circleDiameter 19 ½ in · 49.5 cm

‘I usually departed on Rugby tours at Easter, but the year I bought this the tour was cancelled. So on my spare Easter Saturday I discovered this in Portobello Road for £100. Memorable.’ JS


65 Charger, 1905

Earthenware, sgraffito and painted abstract decoration, incised maker’s Galleon mark, DR / 1905 / J. Fogo / Birkenhead / 124 x; hand-painted monogram for Gertrude Russell applied paper label inscribed SCOTT 6, and another with 7 in a circleDiameter 15 in 38 cm


66 Flowers and foliage charger, 1894–1906

Earthenware, sgraffito and painted stylised foliage decoration, incised maker’s Galleon mark, DR / 982; hand-painted monogram for Gertrude RussellDiameter 19 ½ in · 49.5 cm

‘I bought this from Eddie Evans, the great Birkenhead dealer.’ JS

80 THE SuNFlOWER POTTERY BRETBY POTTERY 81

Henry Tooth, Bretby Pottery Henry Tooth, former manager at Linthorpe Pottery until 1882, and William Ault, who went on to found Ault Pottery, founded Bretby Pottery in 1883.

Attributed to Henry Tooth 1842–1918BRETBY POTTERY, WOODvIllE, DERBYSHIRE (mAKER)

68 ‘The Dragon Vase’, c.1895

Earthenware, with a red copper lustre glaze, slip cast with hand-modelled decoration in low and high relief with a dragon wrapped around a Japanesque swirling background; impressed Bretby / 383 / England Height 13 ¾ in · 35 cm

A vase of this design is in the V&A Museum collection [accession no. C.13–2002].

‘Rather Dresser-esque’ JS

Elton Ware, The Sunflower Pottery

Elton established the Sunflower Pottery, using a series of kilns he built at his home in Clevedon, Somerset. He was an amateur and initially employed a flowerpot maker to throw the pieces under his supervision. By around 1881 had taught himself to throw. He devel-oped a decorative process whereby he incised ornamentation deeply into the surface which was later filled by thick, coloured slips modelled in low relief. Elton’s earthenware was made using local clay and was usually produced as unique items or developed in series.

Sir Edmund H. Elton 1846–1920 SuNFlOWER POTTERY, ClEvEDON (mAKER)

67 Tall jug, c.1900

Red earthenware, with elongated neck and applied handle, modelled low-relief sunflower decoration, painted and glazed, hand-painted Elton markHeight 15 in · 38 cm

‘I just have one piece of Eltonware. I like Elton, it is very idiosyncratic.’ JS

82 mAW & CO. mAW & CO. 83

Maw & Co.

Walter Crane had worked with Maw & Co., supplying tile designs from the 1874, and was commissioned to design a series of vases for the firm in 1889. Crane’s designs were first exhibited at the third Arts & Crafts Exhibition in 1890 and later in Chicago and Turin, 1902, where he took charge of the English contribution, on behalf of the Arts & Crafts Exhibition Society of which he was the first President.

Walter Crane 1845–1915 mAW & CO., JACKFIElD, SHROPSHIRE (mAKER)

69 Vase, c.1890

Earthenware, painted design of maidens dressed in classical robes, holding lamps above their heads in yellow lustre, base hand-painted Maw & Co.Height 13 ¾ in · 35 cm

EXHIBITED: Chicago, World Fair, 1893; Turin, International Exhibition, 1902 – both exhibited this design in different colourways

lITERATuRE: The Magazine of Art, London, 1903, p.94, same design illustrated in different colourway

‘This has substantial damage. I always feel strong approval for those who took such trouble to restore artworks – wire insertions are not easy either.’ JS

84 PIlKINGTON TIlE & POTTERY CO. PIlKINGTON TIlE & POTTERY CO. 85

Pilkington Tile & Pottery Co.

The Pilkington Tile & Pottery Co. was established in Clifton, Manchester, in 1892. Pilkington’s manager, William Burton, had worked previously at Wedgwood. He was primarily a glaze chemist, but he had a good knowl-edge of the industry and thought that the local clay and marl would be suitable for the production of tiles. He hired three of the most distinguished designers of the period: Lewis F. Day, Walter Crane and C.F.A. Voysey, to produce designs and employed talented and experienced decorators to paint the wares.

Day acted as artistic director and from as early as 1897 they developed a range of fashionable Art Pottery. High lustre finishes were produced from 1906 and launched, to much acclaim, at the Franco-British Exhibition in 1908, but by the late 1920s Pilkington’s had begun to withdraw from the manufacture of glazed lustre wares due to their cost. The V&A Museum archive notes a letter from David Burton, dated 1937, explaining that the discontinuation of Lancastrian ware was ‘owing to changing tastes and desire for cheapness in decoration’ [RF 1937/4377].

Walter Crane 1845–1915 PIlKINGTON’S ROYAl lANCASTRIAN POTTERY CO., ClIFTON, mANCHESTER (mAKER)

70 Sea Maiden vase, 1912

Earthenware, decorated with silver lustre on green and blue ground, impressed 2472 Pilkington’s maker’s mark / XII [for 1912], ENGLAND, hand-painted cipher W.S.M. [for William S Mycock, painter], Walter Crane cipher, and DESHeight 10 in · 25.5 cm

EXHIBITED: London, Richard Dennis, Pilkington’s Royal Lancastrian Pottery Exhibition, 1980 (257)

lITERATuRE: Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Shepton Beauchamp, 1980, p.9, pl.V

The Sea Maiden vase is one of Crane’s earliest and best known designs for Pilkington’s. It was shown extensively and is represented in a number of museum collections including Bury Art Museum, who were presented with a red ground version by the makers in 1909.

‘This vase is beautifully fired.’ JS


Gordon Forsyth 1879–1952 PIlKINGTON’S ROYAl lANCASTRIAN POTTERY CO. (mAKER)

71 ‘St George for England’ vase, c.1908

Ceramic painted in gold lustre on blue ground with a raised design of St George slaying a dragon, a distressed damsel and the inscription ST GEORGE FOR ENGLAND; base impressed with Pilkington maker’s mark and hand-painted Gordon Forsyth cipherHeight 22 ½ in · 57 cm

EXHIBITED: London, Franco-British Exhibition, White City, London, 1908

lITERATuRE: Dumas, The Franco-British Exhibition Illustrated Review, London, 1908, p.37, pl.39

‘I’m wildly patriotic.’ JS


Walter Crane 1845–1915 PIlKINGTON’S ROYAl lANCASTRIAN POTTERY CO. (mAKER)

72 George and Dragon charger, 1910

Earthenware, painted in multi lustre glazes with an image of a jousting knight with a dragon around the rim, inscribed on inner rim, UN CHEVALIER SANS pEUR ET SANS REpROCHE (‘A knight without fear and without reproach’), signed with Walter Crane monogram, to front, and verso impressed 2877 and painted RJ [for Richard Joyce, painter] and pINX; applied paper label inscribed Richard Dennis, Pilkington’s Royal Lancastrian Pottery Exhib. 1980 (252)Diameter 19 in · 48.3 cm

EXHIBITED: London, Richard Dennis, Pilkington’s Royal Lancastrian Pottery, 1980 (252)

lITERATuRE: Cross, Pilkington’s Royal Lancastrian Pottery and Tiles, Shepton Beauchamp, 1980, illustrated front cover, the same design, and p.13, the same design in a different colourway

The inscription on this charger was the title given to le Chevalier de Bayard, an illustrious French knight who fought for François I. The National Gallery of Victoria, Australia, has a version of this charger in their collection [D149–1977].

‘A very fine lustre.’ JS


Pilkington’s Royal Lancastrian Pottery Co. (maker)

73 A massive baluster vase, 1906

Earthenware thrown vase with red metallic lustre glaze streaked over orange ground; impressed maker’s mark and dated VI [for 1906] / 2441; applied paper label inscribed 2441 D40Height 22 in · 56 cm

92 PIlKINGTON TIlE & POTTERY CO. RuSKIN POTTERY 93

Ruskin Pottery

Edward R. Taylor founded the pottery at Smethwick in the West Midlands in 1898 for his son William Howson Taylor, naming it after the art critic John Ruskin. Inspired by oriental ceramics of the Sung and Ming dynasties, William Howson Taylor devised an array of speckled, lustre or flambé glazes.

Taylor was an enthusiastic exponent of ‘high fired’ techniques which he used to achieve a range of colours and glaze effects. The Ruskin Pottery was awarded the

‘grand prize’ at the St Louis International Exhibition of 1904 and further awards followed.

On William Howson’s Taylor death in 1935, the pottery closed and the secret formulae for the glazes were destroyed so that the Ruskin Pottery designs could never be reproduced. Examples can be found at tin the Birmingham and V&A Museums.

William Howson Taylor 1876–1935RuSKIN POTTERY, SmETHWICK, WEST mIDlANDS (mAKER)

75 Scent bottle, 1927

Stoneware, high fired mottled grey cream glaze with red and green spotting to lid; impressed Ruskin England / 1927; applied paper labels inscribed Ruskin Pottery Ferneyhough Collection, Ex. W. Howson Taylor Collection and Taylor Made Exhibition, Birmingham Art GalleryHeight 6 ½ in · 16.5 cmPROvENANCE: Robert Ferneyhough

EXHIBITED: London and travelling exhibition, V&A Museum, Ruskin Pottery, 1975 (42),; Birmingham Art Gallery, Taylor Made, 1976; London, Haslam & Whiteway, Ruskin Pottery, a selection from the Ferneyhough Collection, 1981 (33)

lITERATuRE: Bennett, Ruskin Pottery and the European Ceramic Revival: the work of William Howson Taylor (1876–1935), London 1981 (33)

William S. Mycock 1872–1950PIlKINGTON’S ROYAl lANCASTRIAN POTTERY CO. (mAKER)

74 Vase, 1925

Earthenware, decorated with flowering foliage in gold and red lustre glazes on an orange ground, impressed Royal Lancastrian / England / 8108; painted WSM [for William Mycock, painter]Height 12 ¼ in · 31 cm

‘Glorious lustre.’ JS

94 RuSKIN POTTERY RuSKIN POTTERY 95

William Howson Taylor 1876–1935 RuSKIN POTTERY (mAKER)

76 Small footed bowl on ornate stand

Stoneware, mottled green, purple on cream glaze4 ¾ x 4 3/8 in · 12 x 11 cmPROvENANCE: Robert Ferneyhough

EXHIBITED: London, Haslam & Whiteway, Ruskin Pottery, a selection from the Ferneyhough Collection, 1981 (95a)

lITERATuRE: Bennett, Ruskin Pottery and the European Ceramic Revival: the work of William Howson Taylor (1876–1935), London 1981 (95a)

‘Interesting variety of stand provided by Mr Howson Taylor.’ JS

William Howson Taylor 1876–1935 RuSKIN POTTERY (mAKER)

77 Vase on stand, 1922–26

Stoneware, high fired green and red mottled glazed, impressed date marks to vase 1922 and stand 19265 in · 12.5 cm

‘A gorgeous miniature and so enriched by it’s perfect base.’ JS

William Howson Taylor 1876–1935RuSKIN POTTERY (mAKER)

78 Lily vase on stand, 1926

Stoneware, high fired glaze, red clouding on grey, all on a white ground, ivory interior with slight grey at rim, vase impressed Ruskin England 1926; applied paper labels inscribed 38, ‘Ruskin Pottery Ferneyhough Collection, Ex. W. Howson Taylor Collection’, and

‘Ferneyhough Collection: V&A loan 55 / Lily Vase no. 63. / Ivory Flame Glaze’ inside lip 117; base impressed Ruskin England and bearing original paper labelHeight of vase 9 ¾ in · 24.7 cm; with base 11 ½ in · 29 cm

PROvENANCE: Robert Ferneyhough

EXHIBITED: London and travelling exhibition, V&A Museum, Ruskin Pottery, 1975 (38); London, Haslam & Whiteway, Ruskin Pottery, a selection from the Ferneyhough Collection, 1981 (117)

lITERATuRE: Bennett, Ruskin Pottery and the European Ceramic Revival: the work of William Howson Taylor (1876–1935), London, 1981

‘Here is another vase with a nice ceramic, masterly foot. In the good old days I was told you could go to Christies and be given a pile of stands from ‘the box’ – this contained heaps of lovely ‘feet’. No longer now. There’s a nice French girl in the Portobello Road who sells stands for £100 or more!’ JS



79 Tall, elongated baluster vase, 1916

Stoneware, high fired pale green glaze with dark green spotting, impressed Ruskin England 1916 [?]; applied paper labels inscribed 19; Taylor Made Exhibition / Birmingham Art Gallery / 1976 / Loan Number / B.70; and Ruskin Pottery Ferneyhough Collection, Ex. W. Howson Taylor CollectionHeight 10 ¾ in · 27 cm PROvENANCE: Robert Ferneyhough

EXHIBITED: Birmingham Art Gallery, Taylor Made, 1976 (B70)



80 Tall bottle vase, c.1922

Stoneware, high fired sang de boeuf glaze and four applied handles to shoulderHeight 16 ¼ in · 41 cm



81 Tall bottle vase, 1922

Stoneware, high fired sang de boeuf glaze with four applied lugs to shoulder, incised signature W. Howson Taylor; impressed Ruskin England / 1922Height 16 in · 40.5 cm



82 Scent bottle with pagoda lid

Stoneware, with high fired glazeHeight 5 3/4 in (14.5 cm)


83 Lily vase on stand, 1932

Stoneware, base impressed Ruskin, England / 1932; incised signature W. Howson Taylor; applied labels inscribed 616; 8; and Ruskin Pottery Ferneyhough Collection, Ex. W. Howson Taylor CollectionHeight 13 ½ in · 34.5 cm including standPROvENANCE: Robert Ferneyhough



84 Large ovoid vase, on stand, 1926

Stoneware, high fired white ground glaze with red-purple and light blue mottling, impressed Ruskin / 1926 / England; applied paper labels inscribed Ruskin Pottery Ferneyhough Collection, Ex. W. Howson Taylor Collection; and Taylor Made Exhibition, Birmingham Art Gallery, 1976 / Loan Number B2Height 12 ¼ in · 31 cm on standPROvENANCE: Robert Ferneyhough,

EXHIBITED: Birmingham Art Gallery, Taylor Made, 1976 (B2); London, Haslam & Whiteway, Ruskin Pottery, a selection from the Ferneyhough Collection, 1981 (67)

lITERATuRE: Bennett, Ruskin Pottery and the European Ceramic Revival: the work of William Howson Taylor (1876–1935), London 1981, cat. no. 67

‘Most of Howson Taylor’s pieces have a ceramic stand, which he designs especially for them to sit upon. What a thorough man

– he is the only Englishman who follows this practice. Why no one seems to follow the ‘Oriental’ habit of a nice hard wood stand, I shall never know, such stands enormously enrich the vase.’ JS


85 Large vase on stand

Stoneware, high fired sang de boeuf glaze with blue-green mottling on square section stand, vase impressed Ruskin England; incised signature W. Howson Taylor; stand impressed RuskinHeight 17 in · 43 cm on stand



86 Large vase on stand, 1927–32

Stoneware, high fired glaze with blue green mottling over red on a white ground, stand impressed Ruskin England 1927; vase impressed Ruskin England 1932 and incised signature W. Howson TaylorHeight 17 ½ in · 44.5 cm

‘An excellent example of how much a fine pot is enriched with a decent stand. The contrasting shape delights the eye.’ JS

108 CARTER STABlER ADAmS lTD CARTER STABlER ADAmS lTD 109

Carter Stabler Adams Ltd

Carter Stabler Adams was founded in Poole in 1921 as a subsidiary to Carter & Co., an architectural tile and ceramic wares producer, founded by Olwen Carter, that had specialized in lustre glazes. Harold Stabler, the silver-smith, and John Adams, an accomplished potter, provided guidance on shapes and glazes, but it was Truda Carter that defined the look of the pottery after her arrival in 1921. In 1925 the company exhibited at Paris International Exhibition – the exhibition that defined and launched Art Deco.

Truda Carter 1890–1958ANN HATCHARD (PAINTER)CARTER STABlER ADAmS lTD, POOlE (mAKER)

87 Large ginger jar and lid, c.1925

Earthenware, painted stylised floral decoration on a black ground, impressed Carter Stabler Adams Ltd Poole England; hand-painted H / HY / 946Height 17 ¾ in · 45 cm

110 CARTER STABlER ADAmS lTD CARTER STABlER ADAmS lTD 111

Truda Carter 1890–1958ANN HATCHARD (PAINTER)CARTER STABlER ADAmS lTD, POOlE (mAKER)

88 Large ginger jar and lid, c.1925

Earthenware, painted stylised floral decoration, impressed Carter Stabler Adams Ltd Poole England; hand-painted H / HX / 946Height 16 ½ in · 42 cm

lITERATuRE: Farmer, Poole Pottery, Oxford, 2011, original artwork illustrated


148 New Bond Street · London W1S 2JT+44 (0)20 7629 5116 · [email protected]

Published in an edition of 600 copies for the exhibition British Art Pottery held at 148 New Bond Street, London W1, 11 – 20 June 2014

Catalogue © The Fine Art Society, London Text © the authors

ISBN 978 1 907052 40 8

Text by Gordon Cooke, Rowena Morgan-Cox, Annamarie Phelps, John Scott and Lisa Wood Edited by Rowena Morgan-Cox and Annamarie Phelps

Photography © Michael Whiteway A. C. Cooper: inside covers, cats 25 and 26 Designed and typeset in Verdigris by Dalrymple Printed in Belgium by Albe De Coker

Front cover: Robert Wallace Martin 1843–1924, detail of the Judge Clarke tobacco jar, 1898 [cat.23]

Back cover: William de Morgan 1839–1917, Peacock dish, c.1895 [cat.33]

Inside cover: Owen Jones 1809–1874 ‘Stanhope’ textile design, 1872


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