Michael Cardew

There are some glaze imperfections, with one or two very slight tiny flecks of loss to the glazed body, only visible on close inspection. This excepting, the work appears in very good overall condition. Please telephone the department on +44 (0) 207 293 6424 if you have any questions regarding the present work.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Dr Tanya Harrod for her kind assistance with the cataloguing of the present work.

As the first apprentice under Bernard Leach at his pottery in St Ives, Michael Cardew holds a central position within the development of British studio ceramics.  Inspired by the early English slipware of Fishley Holland at Braunton, North Devon, where he holidayed with his family as a child, Cardew studied under the Leach from 1923 until 1926, when he left to set up his own pottery at Winchcombe in Gloucestershire.  Initially focusing on thrown domestic wares in terracotta, Cardew aimed to make affordable pottery that referenced English traditional wares, with yellow, cream and brown slip decorations that bear strong similarities to some of Leach’s early slipware plates. 

These early teacups, most probably produced around the time that he left the Leach Pottery in St Ives, are delicate examples of his early style.  They display well the early style that he was later to develop in the honey-coloured glazes with wiped decoration, at times incorporating elements of African design, inspired by his later travels to the continent.