Anita Besson Bequest 2016

ANITA BESSON

THE DEREK WILLIAMS TRUST BEQUEST

Hans Coper Lucie Rie Michael Cardew William Staite Murray Vladimir Tsivin Ian Godfrey Ryoji Koie Shiro Tsujimura Claudi Casanovas Jacqueline Lerat Bernard Dejonghe Ewen Henderson Tatsuzo Shimaoka

Anita Besson

1933 Born Zürich, 18 September, the second daughter of Paul Besson, an agricultural engineer, and Erna, a pharmacist. The first three years of her life were spent in Majorca.

1936 The family moves to Ascona, Switzerland, to escape the Spanish Civil War. 1942 Parents divorce. Anita and her sister Miette continue to live with their mother.

1948 First visits England, staying in the home of the Raeburn family in Surrey.

1955 Graduates from The Interpreter’s School, Geneva University.

1956 Settles in England, working as a translator at the International Co-operative Alliance in London.

1961 Begins working as a Registrar at Marlborough Fine Art, where she meets many leading artists from Britain and abroad, including Joan Miró, Francis Bacon and Henry Moore.

1972 Harry Fischer leaves Marlborough Fine Art to set up Fischer Fine Art. Anita joins him as a director.

1986 First ceramics exhibition at Fischer Fine Art, “Nine Potters”, curated by Anita. The potters were: Bernard Leach, Katharine Pleydell-Bouverie, Michael Cardew, Hans Coper, Lucie Rie, Elizabeth Fritsch, Ewen Henderson, Elizabeth Raeburn and Claudi Casanovas.

1988 Galerie Besson opens with an inaugural Lucie Rie show.

1988-2011 Anita shows more than 150 different artists in over 200 exhibitions.

2010 Lends part of her personal collection to a Lucie Rie retrospective in Tokyo.

2011 Galerie Besson closes after 23 years.

2012 “Galerie Besson, Retrospective of a Life-Long Passion” shown at Officine Saffi in Milan, Italy.

2015 On 20 October, Anita dies aged 82.

Anita at Galerie Besson in 2006.

It may be wondered why Anita Besson chose to leave a large part of her private collection to a trust based in Wales. A widely revered and loved ceramics dealer of Swiss parentage, living in London with networks of artists and collectors all over the world, the Derek Williams Trust, and Wales, is singularly privileged to be the beneficiary of this part of her estate.

The Trust was set up under the will of Derek Williams, a chartered surveyor who lived, worked, and collected, in Cardiff until he died at the early age of 55 in 1984. His collection was almost entirely modern and contemporary British art with several works by John Piper and Ceri Richards. In his will he directed his executors to set up a trust which would ensure the permanent display of his collection and use the income from his estate to develop his collection of art post 1900 and to support the National Museum Wales in the same field. The partnership with the Museum has now been in existence for 23 years.

The original trustees first invited me to be their artistic advisor and later asked me to join them as a trustee and at an early stage of our relationship I persuaded them, without difficulty, that our collecting should be enlarged to include ceramics. My reasons for doing this were transparent, the National Museum already had an outstanding collection of 18th and 19th century ceramics and a good collection of the 20th century, and it made very good sense to develop and support this. The other reason was my own huge enthusiasm for ceramics.

Though it was a long time before we reconnected, I had first met Anita at the ‘Nine Potters’ show which she had organised at Fischer Fine Art in 1986. I tended to buy directly from the ceramicists that I loved and it was not until after Lucie Rie’s death that I started visiting Galerie Besson. And what a marvellous experience it was! The beautiful light filled space, the subtlety with which the ceramics were displayed and grouped, and over it all the serious and passionate presiding presence of Anita.

Over the ensuing years the gallery became one of my most regular haunts in London, the unfailing interest of the exhibitions, combined wonderfully with the pleasure of discussing the work with someone so discerning and knowledgeable. Anita introduced me to so many ceramicists who were quite new to me at the time, including Shozo Michikawa and Claudi Casanovas. Occasionally, as with Betty Woodman, I would appear, brimful with enthusiasm,

having ‘discovered’ her in New York and Anita would say ‘yes isn’t she wonderful, I’m going to show her next year.’

The development of the Trust and the Museum’s collection is always a joint enterprise and one of the singular pleasures over the years has been the close working in the field of ceramics with Andrew Renton, Head of Applied Art and now Keeper of Art. He and I always discussed and agreed works from any show, whether they were going to the Museum or the Trust. Anita therefore knew exactly what the relationship was between us when she started to talk to me about the future of her collection. I think that one of the things that particularly appealed to her was the Trust’s strong commitment to ensuring that work in its care is on display.

She was aware that both in the fields of fine art and of ceramics our long term aim is to build collections of great quality that will justify the creation of further galleries at the National Museum to house them. She also knew of the established ambition of our collecting as, in addition to the Betty Woodmans, Michikawas and Casanovas, amongst many other great names, we had stepped in to acquire a vital collection of experimental pieces by Hans Coper that Anita had located within Coper’s family. We also acquired a wonderful Viennese period Lucie Rie. When she first invited me to her home at Maresfield Gardens to select work which I would like to see in the Trust’s collection I was overwhelmed and rather daunted by the honour and responsibility, but my overall impression was above all of the beautiful sense of balance achieved. Ceramics are sculptural, but they are usually, and importantly, about internal space as well as the space that they occupy. At Maresfield Gardens the balance between the objects, never too many, and the space which they in turn occupied, was exquisite. My other abiding impression is of the importance of texture, subtly and variably present, an almost extra-sensory experience. Later Anita came to add more works to her bequest to the Trust.

It is a huge privilege for the Derek Williams Trust to work with the National Museum Wales and be charged with caring for and displaying this fascinating and important collection.

William Wilkins Trustee and Artistic Advisor February 2016

EXHIBITIONS HELD AT GALERIE BESSON, 1988 - 2011 2011 Claudi Casanovas - Galerie Besson Final Exhibition Gallery Pots Jacqueline Lerat Gertrud Vasegaard Potters from Seven Countries

2010 Elizabeth Raeburn Ken Mihara & Shihoko Fukumoto Ryoji Koie Summer Exhibition Gwyn Hanssen Pigott Lucie Rie Three Danish Potters* Contemporary Ceramics Joslyn Tilson

2009 Hans Vangsø Claudi Casanovas Ceramics from Finland** Summer Exhibition Shozo Michikawa Peter Collingwood - Hans Coper Pots for Light Howard Smith Classic & Contemporary Ceramics

2008 Priscilla Mouritzen, Riitta Talonpoika & Annie Turner Claudi Casanovas Twenty Years - Twenty Pots Hans Coper - Lucie Rie Betty Woodman Jennifer Lee Yasuhisa Kohyama Neil Brownsword Classic & Contemporary Ceramics

2007 Ewen Henderson - Graham Sutherland Karen Karnes Shozo Michikawa Summer Exhibition Jacqueline Lerat Roe Kyung Jo The Jug Show Classic & Contemporary Ceramics Joslyn Tilson

2006 Gordon Crosby Lucie Rie - Hans Coper Japanese Crafts Summer Exhibition Claudi Casanovas SOFA New York David Garland Three Potters*** Ian Godfrey Classic & Contemporary Ceramics

2005 Inger Rokkjær Bodil Manz Prue Venables Summer Show Camberwell in the 1970’s Claudi Casanovas Tatsuzo Shimaoka Lucie Rie Functional Form Now Contemporary Potters

2004 Elizabeth Raeburn & John Hubbard Sebastian Blackie Bernard Dejonghe Summer Exhibition Shozo Michikawa Gwyn Hanssen Pigott Annie Turner Hans Vangsø Contemporary Potters Japanese Ceramics

2003 John Maltby Jennifer Lee Claudi Casanovas Summer Exhibition Alev Ebüzziya Siesbye Yoon Kwang-Cho Vladimir Tsivin Constructed Clay Gallery Pots 2002 Fernando Casasempere Hans Coper / Peter Collingwood Summer Show Anthony Caro Enric Mestre Lucie Rie Centenary Exhibition Gallery Pots

* (Anne Fløche, Ulla Hansen, Inger Rokkjær & Gutte Eriksen) ** (Kirsi Kivivirta, Pekka Paikkari, Kristina Riska & Kati Tuominen-Niittylä) *** (Dylan Bowen, Jane Hamlyn & Rob Barnard)

2001 Casasempere / O’Rorke Claudi Casanovas Gustavo Pérez John Maltby Inger Rokkjær Tatsuzo Shimaoka Elizabeth Raeburn Daniel Fisher

2000 Katerina Evangelidou Jennifer Lee Sebastian Blackie Summer Show Fernando Casasempere Gwyn Hanssen Pigott Elizabeth Fritsch Claudi Casanovas Anne Fløche

1999 Commemorative Mugs for the Millennium 20th Century Ceramics Hans Vangsø Dame Lucie Rie Vladimir Tsivin Lis Ehrenreich Domestic Ware

1998 Christmas Exhibition Bodil Manz Ryoji Koie: New Work in Porcelain Summer Exhibition: Three Potters Bernard Dejonghe: Ceramics and Glass Claudi Casanovas: Tenth Anniversary Exh Gallery Pots

1997 Jim Malone Jennifer Lee David Leach & Jessamine Kendall Edmund de Waal Alev Siesbye Sara Radstone Hans Coper Lucie Rie 1996 John Maltby: Kings, Queens and Angels Claudi Casanovas: Teabowls Pictures and Pots Summer Exhibition Paul Soldner African Tribal Art Gordon Baldwin Gallery Pots I & II

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1995 Elizabeth Raeburn: Tiles and Pots Danish Pots and their Influence: Group Show Lucie Rie: A tribute from her friends Summer Exhibition Gutte Eriksen Jennifer Lee David Leach Margaret O’Rorke: Light Sculptures Gallery Pots

1994 Lucie Rie and Hans Coper Colin Pearson Ulla Hansen Summer Exhibition Shiro Tsujimura Jim Malone Ewen Henderson The Tea and Coffee Exhibition

1993 Christmas Exhibition Claudi Casanovas Sebastian Blackie Summer Exhibition Lucie Rie and Hans Coper Pompeo Pianezzola Ian Godfrey: 1942-1992 – A Celebration 2 Danish Potters

1992 Christmas Exhibition Ewen Henderson Jennifer Lee Gwyn Hanssen Pigott: Still Lifes Summer Exhibition Elizabeth Raeburn Alev Siesbye Lucie Rie: 90th Birthday Exhibition – Part II Lucie Rie: 90th Birthday Exhibition – Part I Mo Jupp 1991 Christmas Exhibition Ryoji Koie Tatsuzo Shimaoka Summer Exhibition Claudi Casanovas Elspeth Owen John Maltby Selection from a Private Collection Gallery Pots

1990 Domestic Ware by Artist Potters Vladimir Tsivin: First London Exhibition Ewen Henderson Summer Exhibition Lucie Rie Jennifer Lee Geoffrey Whiting Retrospective Gutte Eriksen Prehistoric, Anglo-Saxon & Medieval Pots

1989 Claudi Casanovas Elizabeth Fritsch Ian Godfrey Summer Exhibition Lucie Rie: White Pots Elizabeth Raeburn 8 Danish Potters

1988 Christmas Exhibition Hans Coper Ewen Henderson Summer Exhibition Claudi Casanovas: First London Exhibition Opening Exhibition: Lucie Rie

In addition to the solo and paired exhibitions listed above, many group exhibitions were held, showing work by the following artists: Ian Auld, Diana Barraclough, Richard Batterham, Betty Blandino, Clive Bowen, Dylan Bowen, Frank Boyden, Norah Braden, Jochen Brandt, Elisabeth Brillet, Alison Britton, Seth Cardew, Simon Carroll, Michael Casson, Carina Ciscato, Jimmy Clark, Emmanuel Cooper, Trevor Corser, Andrew Crouch, Anne Currier, Harry Davis, Mike Dodd, Jack Doherty, Ruth Duckworth, Philip Eglin, Helen Felcey, Sotis Filippides, Ray Finch, Sara Flynn, Georgina Frankel, Geoffrey Fuller, Yoshimi Futamura, Rachel Grimshaw, Gustavo Grünig, Sharbani Das Gupta, Shoji Hamada, Jane Hamlyn, Lisa Hammond, Henry Hammond, Koji Hatakeyama, Deirdre Hawthorne, Steven Heinemann, Nicholas Homoky, Ashley Howard, Edward Hughes, Bryan Illsley, Hiroki Iwata, John Jelfs, Toru Kaneko, Walter Keeler, Chris Keenan, Dan Kelly, Igor Kharchenko, Ruth King, Rodney Lawrence, Janet Leach, Bernard Leach, John Leach, Gillian Lowndes, Warren MacKenzie, Kate Malone, Janet Mansfield, Brigitte Marionneau, William Marshall, Steve Mattison, Carol McNicoll, Supriya Meneghetti, Karin Michelsen, Yukiko Mizukami, Ursula Mommens, Claudine Monchausse, Aki Moriuchi, Rosa Nguyen, Eileen Nisbet, Breon O’Casey, Terry O’Farrell, Magdalene Odundo, Nobuo Okawa, Anders Ousback, Suku Park, Katharine Pleydell-Bouverie, Sigmund Pollitzer, Merete Rasmussen, Phil Rogers, Suleyman Saba, Kim Sacks, José-Antonio Sarmiento, Micki Schloessingk, Naoko Serino, Daniel Smith, Julian Stair, Peter Starkey, Joanna Still, Byron Temple, Kate Thompson, Inger Trautner, Koichi Uchida, Anton Van der Merwe, Pascal Verbena, Alain Vernis, Josie Walter, Sarah Walton, John Ward, Meri Wells, Simon Whistler, Mary Wondrausch, Roswitha Wulff, Takeshi Yasuda, Masamichi Yoshikawa

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Hans Coper 1920-1981

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Michael Cardew 1901-1983

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Ewen Henderson 1934-2000

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Ryoji Koie b. 1938

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Shiro Tsujimura b. 1947

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Jacqueline Lerat 1920-2009

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Tatsuzo Shimaoka 1919-2007

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William Staite Murray 1881-1962

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Vladimir Tsivin b. 1949

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Ian Godfrey 1942-1992

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Claudi Casanovas b. 1956

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Bernard Dejonghe b. 1942

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Lucie Rie 1902-1995

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Anita Besson at Maresfield Gardens

Anita Besson was born in Zürich on 18 September 1933, the second daughter of Paul and Erna Besson.

The family moved to Majorca, where they had bought a small farm, but returned to Switzerland after three years to escape the Spanish Civil War. They settled in Ascona, at that time a haven for artists and writers, in the Italian part of Switzerland.

Her mother was French Swiss, her father German Swiss, so as a child she spoke three languages. Later she spent time in Spain. This European background had a great influence on the rest of her life. In 1948, aged fourteen, she came to stay with my family in our Surrey home. She loved England and nearly every year she spent her holidays with us there.

Later, soon after we had moved to London, she settled in Hampstead in 1956. Her mother, Erna, her uncle, Dr Louis Bollag, who had retired to Rome, and her sister, Miette, were all welcome visitors to our house.

During the 1940s my parents had become friendly with a number of artists, many of whom were refugees from Austria and Germany. Among them were Lucie Rie and Hans Coper. Our home was filled with antique furniture and carpets as well as modern works of art, often made by family friends.

We used domestic pottery made by Bernard Leach; salad and vegetables were served from Lucie Rie bowls, and my mother would arrange flowers in Hans Coper and Lucie Rie vases. This was the backdrop against which Anita made her life in England.

From 1961 she worked in the art world, first as a Registrar at Marlborough Fine Art, then as a Director at Fischer Fine Art. In 1988 she opened Galerie Besson in the Royal Arcade, the first Bond Street gallery to show ceramics as fine art. Lucie Rie warned her against the venture, but Anita’s energy, her judgement and her eye succeeded in revolutionising the status of ceramics in London.

Anita held firm to her refined taste and showed many of the major British potters, while her wideranging outlook encouraged her to bring artists from Europe – and later from other parts of the world – to the UK, whom she introduced to an international market. All this time she was gradually building her personal collection of pots and paintings.

During the early 1960s Anita had moved in to 30 Maresfield Gardens with my parents. After my father’s death in 1972, she and my mother lived on the second floor, a beautiful light space where they could arrange their collection. The white walls, parquet floors, simple textiles, books and art objects reflected the pure aesthetic of the pre-War period to which Anita fully subscribed. Their flat was full of all sorts of interesting objects, but never looked cluttered, and the arrangement was constantly evolving. Lucie Rie always gave my mother pots on her birthdays and at Christmas, while Anita often gave pots to her mother, sister and uncle, which, after their deaths, were added to her personal collection.

The rooms at Maresfield Gardens were also enriched by new pieces, some modest, others monumental, by potters whose work Anita showed in Galerie Besson. Contemporary work was shown sideby-side with Rie and Coper and with nineteenthcentury Wedgwood and Newhall domestic ware.

It was all beautifully arranged and rearranged with care and attention to detail.

Anita had a passion for ceramics, and it was a joy for her that many of the potters whose work she showed became her friends. Most of the works in her collection were made by these friends. She loved showing her home to visitors, talking about the pieces and their makers, and she loved living surrounded by these very personal objects, which reflected her warmth and enthusiasm.

Elizabeth Raeburn, February 2016

From left to right: Elizabeth Raeburn, Haydon Lawrence, Michael Raeburn, Maite Casanovas, Claudi Casanovas, Marilyn McCully, Rodney Lawrence, Dora Raeburn, Anita Besson. Photographed in 1988.

Anita Besson photographed in Maresfield Gardens in 2015.

Behind her is a coffee set made by Elizabeth Raeburn and commissioned by Wolfgang Fischer to mark Anita’s departure from Fischer Fine Art in 1988 to open her own gallery.

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A Photographer’s Perspective I remember the first time Anita Besson met me.

Introduced by her assistant Lucy Woodthorpe Browne, she asked me if I’d ever photographed ceramics before. I explained that I’d be very keen to, and with that she pulled out a pot, wrapped it in bubble wrap and put it into a Galerie Besson bag. “There you go” she said and sent me on my way to catch the number 88 bus.

I cradled the bag home on my lap and photographed the pot the very same day. I came back to the gallery with the pot and the pictures and presented them to Anita. “Very nice” she said, taking them from me before disappearing with the film and the pot. “You must come to the private view” she said on my way out.

A few weeks later I arrived at the gallery for the private view.

Unbeknown to me, there was the very pot that I’d photographed in pride of place in the middle of the gallery.

Anita gave me a copy of the catalogue and explained that the fluted Lucie Rie vase that I’d photographed was the highlight of the exhibition.

“Special?” I’d asked. “Yes” she said. Then I saw that it was priced at £18,000.

I said “But you let me take that home on the bus?” “Yes” she said.

She thought it was better that I didn’t know.

Anita Besson at Villa Giulia in Rome c. 1980

I worked with Anita for the following 15 years.

Michael Harvey, photographer www.michaelharveyphoto.com

In May 2016 a selection from Anita Besson’s collection will go on display at National Museum Cardiff. The Museum is planning to display the full collection in autumn 2017.

All photography by Michael Harvey with the exceptions listed below: Portrait of Anita Besson in Galerie Besson in 2006 by Simon Turtle.

Portrait of Anita Besson in her home at Maresfield Gardens in 2015 by Miki Yamanouchi.

Portrait of Anita Besson at Villa Giulia in Rome c. 1980 by Dora Raeburn.

Published and copyright retained by Erskine, Hall & Coe for The Derek Williams Trust in association with Amgueddfa Cymru - National Museum Wales.

Designed by fivefourandahalf.com Printed by Witherbys Lithoflow Printing

Erskine, Hall & Coe, 15 Royal Arcade, 28 Old Bond Street, London W1S 4SP +44 (0) 20 7491 1706 | mail@erskinehallcoe.com | www.erskinehallcoe.com

Artworks Bequested by Anita Besson to The Derek Williams Trust Hans Coper 1920-1981

Michael Cardew 1901-1983

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MC-01 Group of Six Jars, c. 1928, 19 x 16 cm each, earthenware

Cup with Disc, 1970s, 17.5 cm, stoneware Bottle with Disc Top, 1960s, 18.5 cm, stoneware Early Round Pot, 1950s, 12.5 cm, stoneware Pot with Tapered Waist, c. 1968, 31.5 cm, stoneware Large Thistle, c. 1965, 32 x 24 cm, stoneware

Ewen Henderson 1934-2000 EH-01 Dark Torso, 1986, 62 x 42 cm, mixed laminated clay

Lucie Rie 1902-1995

Ryoji Koie b. 1938

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White Glazed Vase, 1969, 33.5 cm, stoneware Knitted Bowl, c. 1980s, 10 x 23.5 cm, stoneware Bowl, 1969, 9 x 22.5 cm, stoneware Small Yellow Bowl, c. 1965, 10 x 10.3 cm, porcelain Bottle, c. 1968, 19 cm, porcelain Bowl with Bronze Rim, 1980s, 10.5 x 24.5 cm, stoneware Small Vase, c. 1960, 10 cm, porcelain Vase with Sgraffito, c. 1953, 19.5 cm, porcelain Lidded Bowl, 1966, 13.7 cm dia., porcelain Footed Bowl, c. 1981, 9 x 13 cm, stoneware Green Bowl, c. 1980s, 9 x 14.5 cm, porcelain Bowl, c. 1980, 8 x 16 cm, porcelain Jug, 1950s, 11.5 x 7 cm, stoneware Small Jug, 1950s, 10 cm, stoneware Two Yellow Cups and Saucers, 1950s, cups measure 7.5 x 6.5 cm (excl. handles); saucers measure 14.5 cm dia., porcelain Turquoise Bowl with Bronze Rim, 1980s, 9 x 21 cm, stoneware Black Bowl, c. 1980, 8.5 x 14 cm, porcelain Bowl, 1989, 13 x 20 cm, stoneware Bottle, c. 1970s, 14.5 cm, stoneware Salad Bowl, 1950s, 13 x 26.5 cm, stoneware Spiral Vase, c. 1980s, 15.5 cm, stoneware Knitted Bowl, c. 1980, 8.5 x 18 cm, stoneware Pot, 1971-73, 18 cm, stoneware Vase with Cylindrical Drum Foot, c. 1965, 19.5 cm, porcelain Vase, c. 1980s, 16.5 cm, stoneware Small Vase, c. 1980s, 8.5 cm, stoneware Pink Bowl, c. 1980, 6 x 12 cm, stoneware Bowl, 1970s, 7 x 15.5 cm, porcelain Small Vase, c. 1970, 16.5 cm, stoneware Bowl, 1972, 18 cm dia., porcelain Bottle, 1970s, 17 cm, stoneware Open Bowl, c. 1980, 7 x 18.5 cm, porcelain White Glazed Vase, c. 1970, 35.5 cm, stoneware Bowl, 1969, 9 x 25 cm, stoneware Casserole, 1950s, 10 x 19 cm, stoneware Bowl, c. 1947, 9 x 20 cm, earthenware Group of Four Cups and Saucers, 1958, 8.5 cm each, porcelain Bowl, early 1980s, 8.5 x 19.5 cm, stoneware Cruet Set, c. 1960, 8.5 cm max. height, porcelain Yellow Glazed Dish, c. 1960, 13.5 cm, stoneware A group of 35 buttons, 1940s (not illustrated) Two button moulds, 1940s (not illustrated)

Tea Bowl, c. 1990, 10 x 11 cm, stoneware Pot, 1990, 25 x 17.5 cm, porcelain Open Bowl, 1990s, 14 x 30 cm, porcelain Pot, 1990, 20 x 19.5 cm, porcelain

Shiro Tsujimura b. 1947 ST-01 ST-02 ST-03

Vase, c. 1990s, 30 cm, stoneware Tea Bowl, 1990s, 14 cm, stoneware Tea Bowl, 1990s, 15 cm, stoneware

Jacqueline Lerat 1920-2009 JL-01

Untitled No. 13, 2006, 28 x 25 x 12 cm, stoneware

Tatsuzo Shimaoka 1919-2007 TS-01 Large Vase, 2000, 39.8 x 36.5 cm, stoneware William Staite Murray 1881-1962 WM-01 Untitled, c. 1930s, 52 x 31 cm, stoneware Vladimir Tsivin b. 1949 VT-01 The Family Pair, 1994, 37 cm, chamotte with wooden base VT-02 Egyptian Portrait, 1998, 9.5 x 4 cm (excl. base), chamotte VT-03 Torso, 1983, 21 cm (excl. base), chamotte Ian Godfrey 1942-1992 IG-01 IG-02 IG-03 IG-04 IG-05 IG-06 IG-07 IG-08 IG-09

Large Dish with Pierced Rim, 1960s, 20 cm dia., stoneware Landscape, c. 1970s, 9.5 x 16 cm, stoneware Vessel with Animals, 1970s, 21.5 cm, stoneware Cup, 1970s, 5 x 8.5 cm (excl. handle), stoneware Barrel with Animal, 1970s, 8 x 7 cm, stoneware Barrel with Animal and Funnel, 1970s, 16 x 20 cm, stoneware Flask with Beast, 1970s, 17 x 19 cm, stoneware Peep Bowl, 1970s, 17 cm dia., stoneware Footed Bowl, 1960s, 8 x 16 cm, earthenware

Claudi Casanovas b. 1956 CC-01 Rectangular Wall Plate, 1989, 100 x 87 cm,

stoneware & porcelain CC-02 Large Amphora, 1991, 142 cm, stoneware Bernard Dejonghe b. 1942 BD-01 Petite Meule Vive, 2002, 18 x 16 cm, solid optical glass