Woolley & Wallis Auctioneers

ROBERT WALLACE MARTIN

SPECIALIST DEPARTMENTS

Please dial +44 (0)1722 followed by the number listed below

Serina

CASTLE

BOARD

ASSOCIATE

Will Hobbs

Michael Jeffery

Jeremy

Rupert Slingsby

Marielle Whiting FGA

Freya Yuan­Richards

Mark Yuan­Richards

ROBERT WALLACE MARTIN (1843-1923)

POTTER, SCULPTOR, ARTIST

‘Some day collectors will ransack the town for Martin’s Artistic Stonewares’ The Times, August 30th 1912.

INTRODUCTION

A year before his death in 1923, Robert Wallace Martin was taken to an auction of a private collection of Martin Brothers pottery. His anthropomorphic bird jars had been highly regarded from the time he first introduced the idiosyncratic models in 1880 and they sold for substantial prices at the small shop on Brownlow Street. Yet the enthusiastic appetite for his pieces in the saleroom that day and the sums paid astonished Wallace. Over the following decades, collectors and consoisseurs have continued to seek out his work and its audience has grown and widened. This centenary exhibition is an opportunity to appreciate the ceramics of Robert Wallace Martin and a tribute to his unique genius.

1922

1939

Sotheby’s sells the collection of Francis Henry Crittall

Frederick Nettlefold’s collection is catalogued by Charles Beard as part of his book, A Short History of the Firm of R.W. Martin and Brothers of Southall.

1942 – Walker’s Galleries, New Bond Street holds an exhibition of 51 lots from the collection of the late Frank Knight.

1978

Peter Wilson auctioneers sell a private collection of 22 lots with its own catalogue.

1978 – Sotheby’s Belgravia holds a single ownder auction of Roy Aitken’s collection of 230 lots.

1978

1980

1982

1995

2001

2005

2008

2015

Richard Dennis holds a seminal exhibition of 719 pieces at Sotheby’s Belgravia and publishes The Martin Brothers Potters by Malcolm Haslam.

Woolley & Wallis includes an important 34 lot private collection as part of a sale.

The New York based Jordan­Volpe Gallery holds Boobies, Boojums & Snarks, establishing a strong American following for the pottery.

Gallery 532, David Rago and Philip Chasen launch The Martin Brothers, an exhibition of 97 lots in New York.

Two legendary Harriman Judd British Art Pottery auctions at Sotheby’s, New York include a million dollar collection of Martin Brothers pottery.

Woolley & Wallis holds an important sale and exhibition dedicated to the works of the Martin Brothers at their Salisbury sale rooms. Further auctions are held in 2006 and 2007.

The Fantasies in Clay exhbition is held at Blackwell House on Lake Windermere.

Woolley & Wallis sells the private collection of gourd vases collected by Sidney Greenslade, a significant patron of the brothers.

2015 – Phillips sell a private collection Wonderous Beasts, Feathered Fantasies R W Martin & Bros, in New York.

2019

Woolley & Wallis sells two prestigious collections (the Daryl Fromm Collection of gourd vases and grotesques and George Twyman’s wide ranging archive covering all aspects of production).

Two views of the 1978 exhibition held by Richard Dennis at Sotheby’s.

THE MARTIN BROTHERS POTTERY

In 1877 Robert Wallace Martin bought the lease of an old soapworks in Southall to use as a site to make studio pottery. It contained only a cottage, a few sheds and a large redundant boiler and the first requirement was to build a kiln. The construction costs exhausted his funds and so Robert Wallace Martin and his brothers made their first pottery at Southall in one of the sheds.

Opening a pottery at the age of 34 was a considerable achievement for a man from a large working class family and reflects Robert Wallace Martin’s determination to earn an independent living from his art. He had left school at 14 and worked as an errand boy, but his talent had already been recognised, and he soon found work in the studios of sculptors and stone carvers. Enrolment at night classes at the local Lambeth School of Art gave him access to an excellent tuition in sculpture and the facilities to produce original work. He regularly exhibited his pieces and won prizes for them. His London upbringing also exposed him to a range of artistic styles from the medieval gargoyles of the rebuilt Palace of Westminster to the newly imported art of Japan and classical sculpture.

The fashion for hand thrown, decorative ceramics saw the launch of a series of art potteries during the 1870s and Robert Wallace Martin saw an opportunity and began his own venture in 1873. At this point, he rented Pomona House which served as a studio and showroom as well as a family home, but it didn’t have a kiln and so he arranged to fire the pieces at Bailey’s Fulham Pottery. His youngest siblings Walter (14) and Edwin (12) had received some training in ceramics at the Doulton works and he recruited them to join him and assist. Initially, Robert Wallace Martin decorated pottery which had been hand thrown to his instructions by a Bailey’s worker. However, Walter showed enormous commitment to becoming a potter, building several experimental kilns and teaching himself to throw to such a high standard that he exhibited his work in 1874. He also enroled at the Lambeth School of Art and took drawing lessons. By the time the Southall site was bought, he had become extremely skilful and had taken over the throwing of the pottery.

The early Fulham pottery was decorated with two dimensional designs, incised and also carved and pierced. Stylised boughs and birds featured too, reflecting the strong contemporary influence of Japanese design. These wares were well marketed by Robert Wallace Martin and gained some followers and rich patrons who provided the financial backing for the move to Southall. With the upgrade of their operation, a new shop was opened on Brownlow Street and Robert Wallace Martin called on the services of another brother – Charles ­ to leave his job in Reading and manage sales. It was an astute decision as Charles proved to be a highly effective and enthusiastic salesman, building good relationships with clients and an understanding of the work and designs they appreciated.

After a rocky early start, when several unsuccessful kiln firings necessitated even more support from their patrons, the Martin Brothers hit their stride. Walter was now throwing both classical and Japanese shapes, evolving his craft by shaping the lips and feet of pots with his fingers. The classical forms were decorated with intricate Italian Renaissance style patterning while stylised foliage and birds were painted on the Eastern inspired vases. Edwin received training in drawing from the artist H.F. Fawcett in 1879 and is credited with designing wildlife and flora from this point. As the junior brother, he was given a variety of jobs and he etched, coloured and assisted his eldest brother with modelling. He was also allocated the job of producing small pots to aid the successful firing of the kiln and he gained an all­round experience of the process of producing pottery: throwing on the wheel, decorating, glazing and firing.

As the decade progressed, Walter experimented with colours, producing a range of shades never previously used in salt glazed pottery. This mastery led to a more painterly approach. The patterning became freer and motifs became the main focus of the design, while the depiction of flora and wildlife became less stylised and more naturalistic. The semi­rural surroundings of Southall are credited with providing the inspiration for this more observational style.

Robert Wallace Martin’s work changed with the move to Southall. He now left the throwing and the majority of the decoration of the pottery to his brothers, and Edward Willy (a full time employee) began to develop models in ceramic, drawing on his extensive experience of sculpture. He started with realistic models of pottery workers and some plaques. Then, after creating some owl jars in the traditional style, he experimented with the form and quickly produced a range of tobacco jars modelled as birds with distinctively anthropomorphic features. The birds were both whimsical and wry and each was unique. Less benign were the grotesque forms of a series of highly decorative spoon warmers that Robert Wallace then developed. Angry, threatening, and malign features leered from these small, fantastical creatures. In 1885, he added double sided face jars to his repertoire and then created malevolent imp musicians, playing a variety of instruments. Robert Wallace Martin’s singular vision was instantly appreciated, and his pieces sold for premium prices at the Brownlow Street shop.

The 1880s proved to be the financial heyday of the Martin brothers, although their livelihood was always a little precarious due to their habit of carrying out only a couple of firings each year (due to the intricate nature of the work); a largely unsuccessful firing always entailed substantial losses. However, in the following decade, fashions inevitably changed and demand for their wares slumped, although Robert Wallace Martin’s models remained popular. Relations between the brothers became strained as Robert Wallace refused to produce a greater number of birds and instead began to make finely carved chess sets which provided little financial return for the hours worked. After 1900, he devoted much of his energy to planning a fountain for display at the Royal Academy. The younger brothers also resented his refusal to give up sole ownership of the pottery and make them partners and their relationship became increasingly bitter.

After an abortive attempt at using the cheaper form of earthenware, it was Edwin who provided the pottery with a new artistic direction. Encouraged by a new patron – Sydney Greenslade – he developed the smaller pots which had originally been created primarily to fill the kiln. These organic forms with textured decoration reflected the new century’s aesthetic and provided fresh impetus for the pottery. However, Charles and the older patrons had difficulty in understanding this new style, and a large cloud of poisonous gas at the Brownlow Street shop in 1903 led to the destruction of much of their stock and the morale of Charles who faded into eventual insanity.

Encouraged by Greenslade, Edwin and Walter persisted with their new style. The oriental inspired gourd shapes reflected contemporary Art Nouveau design and the decoration became minimal, relying on simple, veined texture and monochromed glaze for its effect. The shelves of the kiln were lowered to fire the more diminutive new forms and Robert Wallace Martin adapted to this change by producing smaller modelled birds in groups, but he was now too old to reinvigorate the pottery. Walter’s unexpected death in 1912 meant the loss of his mastery of colour, but Edwin doggedly continued making pottery, working on despite suffering from mouth cancer which caused his death in 1915. Robert Wallace oversaw two more firings in 1917 and 1920, but production at the pottery had effectively ended at this point. Yet, the brothers’ legacy was never in any doubt. From the time they produced their early studio work, their skill and vision had been appreciated by a dedicated group of collectors and is celebrated again during this centenary exhibition.

Samantha Jeffery.

ROBERT WALLACE MARTIN (1843-1923)

One hundred and fifty years ago the Martin brothers began making stoneware at Pomona House in Chelsea. They overcame frequent technical crises, and there were endless issues between them of commercial policy and personal temperaments. Nevertheless, the enterprise lasted fifty years, only closing when Wallace, despite being the eldest, was the last of the brothers to die. By that time output had dwindled to almost nothing, but over the years the brothers had produced a large quantity of salt­glazed stoneware of superb quality.

Probably the finest and most original body of work which issued from the brothers’ kilns were the grotesque monsters, bird caricatures and face­jugs modelled by Wallace. Surprisingly little is known about the sources of his inspiration, but now, with such a good selection of them gathered here in one place, is perhaps an apposite moment to give some account of previously unconsidered factors in the creation of these usually odd, and often disturbing birds and beasts.

Over the years, a number of sources have been suggested by various Martinware commentators. Usually they have been only very loosely attached to the workings of Wallace’s creative mind. Gothic architectural ornament, Lewis Carroll’s literary fantasies, the nonsense rhymes of Edward Lear, Ernest Griset’s Punch cartoons, Charles Darwin’s theories of the evolution and mutation of species; all these have been paraded but not inspected. No doubt all of them helped to create the cultural environment in which Wallace worked, but few, if any, instances of direct influence on Wallace have ever been cited.

It is, of course, difficult to be certain about anything which might have affected the young Wallace’s quite undocumented sensibilities, but it is likely that a treatise written by the antiquarian Thomas Wright (1810­1877), entitled History of Caricature and Grotesque in Literature and Art would have attracted his attention, and even more likely that he would have had opportunity to read it when its twenty­four chapters were serialised in the Art Journal through 1863 and 1864; (in 1865 it was published in book form). During those years, Wallace was working intermittently at the studio of the sculptor Alexander Munro (1825­1871); there, Wright’s treatise would very likely have been a topic of discussion among the young assistants. However, no signs of any influence from the text or illustrations in the book appear in Wallace’s sculpture at the time. Work that he showed at the Royal Academy Summer exhibitions of 1863, and 1867­1872 were rather vapid terracotta reliefs, in a classical style (with Aesthetic Movement intonations).

In 1869, Wallace joined the Plymouth Brethren, and it has always struck me that there should be some strong connection between his new­found belief and the grotesque birds and monsters that he would go on to create. The Brethren had always maintained a strict anti­clericalism, arguing that the omnipotence of the Almighty needed no priestly hierarchy to support it. The Anglican theologian J. S. Teulon in his highly deprecatory History and Teaching of the Plymouth Brethren (1883) wrote:”‘The crowning sin of Christendom’, then, according to them, consists in the existence and operation of an ordained ministry.” This doctrine might have recalled to Wallace an observation made by Thomas Wright in the History of Caricature and Grotesque. When discussing medieval caricature, Wright states:”The popular feeling against the clergy was strong in the middle ages, and no caricarure was received with more favour than those which exposed the immorality or dishonesty of a monk or a priest.”

Within a year or two of the opening of the studio at Pomona House, Wallace started making grotesques. Often adorning a clockcase or a wall bracket, they were not at first too outrageous or horrific, but as Wallace’s religious views hardened, so his grotesques became ever more insidious. Moreover, in 1875 a cheap edition of Wright’s book appeared which cost only 7s.6d.; the first edition had been priced at 21s. Wallace could have gleaned from Wright several motifs which begin to appear in his work; “...dragons”, Wright noted, “were great favourites with the people of Teutonic race....they are found on all their artistic monuments, mingled together in grotesque forms and groups.” Another idea that Wallace could have taken from Wright was the monster which combines body­parts from different species of animals. “Medieval sculptors,” Wright noted “.... had a great taste for monsters of every description, especially those which were made up of portions of incongruous animals joined together.” Describing ornament in the middle ages, Wright observed: “The entrance to the infernal regions was always represented pictorially as the mouth of a monstrous animal”. So the Martins’ nomenclature of ‘spoon­warmers’ is apt but hardly appetising!

In 1878 a storm blew up within the ranks of the Plymouth Brethren, which directly affected Wallace Martin. Let William Blair Neatby, the author of A History of the Plymouth Brethren (1901) take up what is a very complicated story: “In the autumn of 1878 a young clergyman by the name of Finch, resident in Ryde, left the communion of the Church of England, and was received into the fellowship of [the Plymouth Brethren] in London”. On his return to Ryde “he began the observance of the Lord’s Supper in his own house with some that had followed him out of the Established Church [of England]. In February Dr. Cronin visited Ryde, and took communion with Mr. Finch at this private meeting. He repeated the act a few weeks later.”Cronin, a homoeopathic doctor, had first met Wallace in 1868 when he sat for a portrait medallion in terracotta at his home in Brixton; the young sculptor had been impressed by the bible quotations that Cronin made in the course of their conversation. Shortly afterwards (but quite coincidentally) Wallace had joined the Plymouth

A medieval death bed illustration in ‘History of Caricature and Grotesque’ by Thomas Wright, illustrated by F W Fairholt, 1875.

Brethren and had started to attend regularly the Kennington Meeting in Mountford Street, where Cronin was a wellknown and well­loved member. To resume Neatby’s account of the affair: “A clamour was raised for the excision of the venerable offender, and the Kennington Brethren were given to understand that if they screened Dr. Cronin they would only share his ruin.” Under intense pressure from the other London meetings, on August 19th, 1879, the Kennington meeting gave in. “We are sorrowfully compelled to declare Dr. Edward Cronin out of fellowship, until he judges and owns the wrongness of his act at Ryde,” affirmed their resolution; appended to the document was a statement that “Colonel Langford and five others objected to the resolution. One hopes and believes that Wallace was one of those five.

It is possible to detect in Wallace’s work at this time an intensification in the malignity of his more monstrous creations, reflecting, perhaps, the tension he felt as a result of the wrangling and rancour which must have pervaded the Kennington meetings during those weeks. Further to that, he seems to have eased his frustration at the unhappy turn of events by taking his own tacit revenge on the Anglican clergyman who had effectually started the whole sorry affair, and whose name happened to be ‘Finch’. From about 1880, Wallace’s bird jars cease to be of the rather idiotic, web­footed variety that Wallace had previously favoured and sometimes assume an almost finch­like appearance, and more knowing facial expressions. Many of them have been given a noticeably clerical air, with their folded back wings often looking like the university gowns worn by clergymen in those days when taking services. The birds now tend to wear facial expressions which reveal what Wallace might have been feeling about the Anglican clergy: sly, self­satisfied, jugemental, perhaps even pecuniary like their medieval forerunners.

In 1907, Wallace created one of the masterpieces of Martinware, the Bird Man. Here again Wallace finds in the pages of Wright’s History of Caricature and Grotesque in Literature and Art an image to help him through an emotional crisis. For about ten years, Wallace’s younger brothers, Walter and Edwin, had been persistently demanding a more equitable share of the firm’s assets; they were afraid that Wallace would die leaving everything to his wife and son. Wallace acknowledged their right but did nothing. Rancour pervaded the Southall pottery and the Holborn Street shop, just as it had poisoned the atmosphere at the Kennington meetings during the Cronin affair. Wallace recalled an illustration in Wright’s book, a woodcut from an early block­book, the Ars Moriendi (The Art of Dying). It shows a dying man on his deathbed attended by his relatives and three grotesque demons, each urging the cause of the respective parties. One, who is whispering in the dying man’s ear, has the head of a vicious­looking bird of prey on a well­muscled human torso. He warns his client to guard his fortune.

For four decades Wallace used Wright’s treatise as a sort of inspirational vade­mecum. It may also have provided him with some compensation for the social isolation that his religion demanded of him.

Malcolm Haslam, 2023.

2

Robert Wallace Martin (1843­1923)

Self-portrait, 1883

terracotta plaque, unframed incised R W Martin, 1883 XL to the front, R W Martin Sc 40 1883 to reverse, 19cm. diam.

Provenance

Private collection.

PLAQUES

1

Robert Wallace Martin (1843­1923) Cupid and Girl at the Spring, a pair of painted terracotta panels, cast in relief, Girl at the Spring modelled as variant naked lady, later framed incised R W Martin, indistinct date to Girl at the Spring, 68 x 33cm (panels)

Provenance

Samuel Avery, who purchased from the pottery directly. Dawson’s 21st September 2019, lot 217.

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 22 figure 19 for a photograph of Cupid and Girl at the Spring panels exhibited by Robert Wallace Martin at the Royal Academy in 1867 and 1869.

3

Robert Wallace Martin (1843­1923)

Young Queen Victoria and Queen Victoria, 1897 two terracotta portrait plaques, in later frame incised R W Martin Sc 1897 14.2cm. diam. (each)

Provenance

Private collection.

4

Robert Wallace Martin (1843­1923)

Sgrafitto, (Portrait of Edwin Martin) terracotta plaque, framed incised title and RWMartin The Pottery, London 31.5cm. square (plaque)

Provenance

Private collection.

5

Robert Wallace Martin (1843­1923)

James Angus Martin, 1863 plaster plaque, highlighted in colours, framed titled JA Martin, dated 1863 50 x 43cm.

Provenance Private collection.

Exhibited Royal Academy, 1863

Literature

Malcolm Haslam, The Martin Brothers Potters, Richard Dennis Publications, page 19, figure 13 this panel illustrated from a photograph taken by Robert Wallace Martin.

6

Robert Wallace Martin (1843­1923)

Sir William Richard Drake FSA, 1888 a terracotta plaque, oval panel, in oak frame incised R W Martin Sct Oct 1888, 50 x 39cm (panel)

Provenance

The George Twyman Collection of Martin Ware. British Art Pottery, Woolley and Wallis Auctioneer’s, 27th November 2019, lot 51.

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 82 figure 103 for a portrait medallion of Sir William Drake, dated 1887, illustrated. This portrait of Drake, the chairman of the Burlington Fine Arts Club, was exhibited at the Royal Academy in 1888.

7

Robert Wallace Martin (1843­1923)

South London Working Classes Industrial Exhibition, 1865 a bronze medal of merit designed by Robert Wallace Martin, and a London Annual International Exhibition of All Fine Arts Industries and Inventions medal awarded to Robert Wallace Martin, catalogue number 3738, both in original presentation cases, signed in the cast 5cm. diam.

Provenance Private collection.

8

Robert Wallace Martin (1843­1923)

Portrait of a Woman, carved marble, possibly Robert Wallace’s wife or mother, oval signed R W Martin 35cm. high

Provenance Private collection.

9

Robert Wallace Martin (1843­1923)

The Southall Art Pottery, 1882

a stoneware plaque depicting the wheel boy, bench boy and Edwin Bruce Martin throwing, glazed in colours titled top left corner, sculptor Robert Wallace Martin, Southall 1882, bottom right corner, incised to the reverse Martin Brothers 7.1883, 42.5 x 18cm.

Provenance

Private collection.

Catalogue notes

This plaque was reproduced after the engraving by Cassells in the Magazine of Art article, 1882. The plaques were produced in a limited edition and the limited number was represented by the number of panes in the fictitious window behind Edwin Bruce Martin ­ this example being number twelve.

10

A Martin Brothers stoneware bust of Samuel Pickwick GCMPC by Robert Wallace Martin, dated 1906, glazed white, incised title and R W Martin Sc, RWM & Bros 1906, 11cm. high

Provenance

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 136 figure 213 for a comparable example illustrated.

11

A Martin Brothers stoneware figure of Mr Pickwick Snoring

Comfortably by Robert Wallace Martin, dated 1914, modelled asleep in a wheelbarrow, salt­glazed, incised R W Martin & Bros Southall, 11-1914, titled Pickwick, 6.5cm. wide

Provenance

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 136 figure 213 for a comparable example illustrated.

12

A rare Martin Brothers stoneware figure of Moses by Robert Wallace Martin, dated 1879, modelled standing on a rocky outcrop, writing in a book, glazed in colours incised R W Martin Southall, 1879, 14cm. high

Provenance

Private collection.

13

A rare Martin Brothers stoneware The Welsh Bard player by Robert Wallace Martin, dated 80, modelled on a rocky outcrop playing a harp, glazed matt brown, incised R W Martin 80, 17cm. high

Provenance Martin Brothers Pottery Exhibition, Richard Dennis, 1978, catalogue number 713.

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 51 figure 56 for another example.

14

A rare Martin Brothers stoneware model of a gardener by Robert Wallace Martin, modelled kneeling and planting a plant, between two plant pots, incised R W Martin, Southall, 11.5cm. wide, 11cm high

Provenance With AD Antiques.

15

The Norwich Bellman a Martin Brothers stoneware figure by Robert Wallace Martin, dated 1891, covered in a white glaze, on ebonised wood base, incised R W Martin & Bros, London & Southall, 7-1900, and titled The Norwich Bellman, 1891, 16.5cm. high

Provenance Private collection.

16

A unique Martin Brothers Weasel sculpture by Robert Wallace Martin, dated 1888, naturalistically modelled and glazed in colours, on oval base, incised Sketch of a Weasel caught at the pottery Dec 1888, to the base rim, incised RWMartin Southall Middx, 17cm. wide

Provenance

Arts and Crafts, Woolley and Wallis, 19th June 2013, lot 120.

Private collection.

CLOCKS

17

A Martin Brothers stoneware architectural watch stand by Robert Wallace Martin, dated 1875, circular base on curved tripod stem, the pierced circular face with styilsed geometric flowers, in green and ochre, highlighted in white, with silver pocket watch, incised no.2 R W Martin London 3-1875, 14cm. high

Provenance

The George Twyman Collection of Martin Ware.

British Art Pottery Woolley and Wallis Auctioneer’s, 27th November 2019 lot 65. Private collection.

18

A Martin Brothers stoneware clock case by Robert Wallace Martin, circular drum case, modelled with a ferocious dragon fighting a serpent, wrapped around it, glazed green, tan and blue, the circular dial enamelled with daisy flowers in blue and white, incised R W Martin London & Southall, JSM Scott collection paper label, 18.5cm. high

Provenance

Mrs Frances Louisa Dickson, Honorary Keeper of Ceramics, Fitzwilliam Museum, Cambridge, 1928­1962.

Vincent Thomas Antiques, Dorset.

John Scott Collection, 1976­2014.

Fantastique, Sinai & Sons, Masterpiece, London 2015, catalogue number 41. Private collection.

Exhibited

Martin Brothers Pottery, Richard Dennis, 1978, catalogue number 717. The Cult of Beauty The Aesthetic Movement 1860-1900, Victoria & Albert Museum, 2011, Musee D’Orsay & Museum of Fine Arts San Francisco 2012.

19

An early Martin Brothers stoneware mantel clock by Robert Wallace Martin, dated 1874, architectural form, modelled on four pillars, supporting winged lions, the arched top with circular dial, with Lund & Blockley clock, incised with foliate panels, glazed blue and ochre with white highlights, incised no.18 R W Martin, London 12-1874, 19.5cm. high

Provenance

British Art Pottery Woolley and Wallis, 25th November 2009, lot 8.

Private collection.

20

A Martin Brothers stoneware mantel clock and candlestick garniture by Robert Wallace Martin, dated 1875, the clock with pitched roof, modelled with winged dragons perched on capitals, incised with stylised foliage panels, glazed green, blue and brown, the candlesticks with knopped column carved with entwined fighting dragons, incised Martin 1875 to backplate, and number 36, 27.5cm. high (clock), 20cm. high (candlesticks),

Provenance

Private collection.

A Martin Brothers stoneware Gothic architectural watch case by Robert Wallace Martin, dated 1876, modelled as a ruined gothic building with circular tracery window with a martin bird flying past, the base an open niche with an owl and three chicks nesting, glazed in brown, blue and green, incised R W Martin London 1876, and no.5 to base, 26cm. high

Provenance

The Peter Rose & Albert Gallichan Collection, purchased circa 1975.

An Aesthetic Odyssey, The Peter Rose and Albert Gallichan Collection, Christie’s, 30th September 2021, lot 46.

Private collection.

Literature

Malcolm Haslam, The Martin Brothers Potters, Richard Dennis Publications, 1978, page 16, fig. 10.

P. Rose, The Grotesque Ceramic Sculpture of Robert Wallace Martin (1843-1923), The Journal of the Decorative Arts Society 1850 ­ the Present, 1979, volume 3, page 48, plate 1.

Brian Coleman, The Best of British Arts & Crafts, Schiffer Publishing, page 12, 26.

Exhibited

Martin Brothers Pottery Exhibition, 1978, Richard Dennis, catalogue number 58.

An early Martin Brothers stoneware salad bowl with metal mount by Robert Wallace Martin, dated 1875, circular, applied and incised with flowers, inside scrolling foliage with mythical creatures, in brown green and blue on a buff ground, above formal foliage band, the metal rim with cast scrolling foliage handles, incised 2 - R W Martin London 6-1875, 29.5cm. wide.

Provenance

Decorative Arts and Design from 1870, Sotheby’s Olympia, 29th May 2003, lot 116. Private collection.

23

An early pair of Martin Brothers salt­glaze stoneware flasks by Robert Wallace Martin, dated 1877, footed, disc form, modelled in low relief with a child’s head with flower and leaf wreath, inside radiating flower stems and foliate panels, glazed blue and grey highlighted in gilt incised 2-21877, R W Martin, London 1&2, 19.5cm. high

Provenance

Private collection.

24

An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1874, shouldered form, applied with florets, the textured ground with elliptical panels of foliage in colours, the angular handle surmounted with a field mouse, incised E-15 R W Martin 10-74, 25.5cm. high

Provenance

British Art Pottery & Design, Woolley and Wallis 20th October 2021, lot 1. Private collection.

25

An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1874, shouldered form, incised with stylised foliage bands of body and neck, the handle modelled as a greyhound with an animal in its mouth, glazed in colours on a buff ground, incised A15, R W Martin London 12-1874, 15cm. high

Provenance

Private collection.

26

A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1879, tapering cylindrical form with architectural tracery handle, incised with stylised dragons in scrolling foliage, below two diving swallows, in blue on an olive green ground, the spout modelled as a mask issuing from foliage, incised 345 - 22.4.79 R W Martin London & Southall, 21cm. high

Provenance

Private collection.

27

An Aesthetic Movement large Martin Brothers stoneware vase on ball feet by Robert Wallace Martin, ovoid form, incised with stylised sunflower stems, below arched foliage and stylised flowers, in brown, green and blue on a buff ground, incised R W Martin London & Southall, 33cm. high

Provenance

Private collection. Purchased circa 1978 from an Oriental dealer shop in Seymour Place, London.

An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1876, shouldered, solifleur form, modelled in low relief with fruit foliate sprays, with butterflies, glazed in brown and blue on a textured, brown ground, the neck with stiff­leaf foliage band, incised R W Martin 1876, 28.5cm. high

Provenance

Private collection.

29

An early Martin Brothers stoneware vase by Robert Wallace Martin, Fulham period, slender, shouldered form with cylindrical neck, modelled in low relief with birds perched on fruiting boughs, in shades of blue and brown on a green ground, the neck with a band of stylised foliage incised D.20 R W Martin Fulham, 28.5cm. high

Provenance

Private collection.

30

A large and early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1876, slender, shouldered form, incised with a broad band of birds perched and flying amongst fruiting boughs, incised scroll architectural border, the shoulder incised with classical portrait roundels, between textured bands, in shades of brown, ochre and blue on a buff ground, the cylindrical neck with spiralling bands of stiff­leaf decoration, highlighted with white, incised 33 R W Martin London, 4-1876, 56cm. high

Provenance

Samuel Avery, who purchased from the pottery directly. Dawson’s 21st September 2019, lot 227.

31

A Martin Brothers stoneware ewer by Robert Wallace Martin, dated 1880, Persian form the tapering square section spout with grotesque animal terminal, the body incised and painted with scrolling foliage, in shades of green and ochre on tan ground, with silver neck and hinged cover, incised 27.2.80 R W Martin, London & Southall, 18cm. high

Provenance

Private collection

32

A Martin Brothers stoneware Commemorative teapot and cover made by the brothers together, dated 1906, made to commemorate the return of their brother James A Martin to England from Australia, faceted octagonal form, incised with panels ‘JAM left England for Australia June 1867’ and ‘JAM returned to England on a Visit May 1906’, incised panels of Martin family initials, the cover with nine flying House Martin birds, in brown and blue on a buff ground, the base inscribed ‘ In Affectionate Remembrance of Robert Thomas Martin also Margaret Martin, God is Love’, the brothers parents, incised to cover 8-1906 Martin Bros London & Southall, 24cm. wide

Provenance

Private collection.

The teapot is inscribed with a series of family initials, comprising

R.W.M ­ Robert Wallace Martin

E.M Elizabeth Martin ­ wife of Robert Wallace Martin

Their children

C.R.T.M ­ Clement Martin

A.M.M.M ­ Amy Martin

Deceased siblings

W.C.M ­ William Campbell Martin

O.C.M ­ Olive Martin

Sisters (to the brothers)

F.E.K ­ Francis Elizabeth Kelly

A.M.C ­ Alice

Brothers

C.D.M ­ Charles Douglas Martin

W.F.M ­ Walter Fraser Martin

E.B.M ­ Edwin Bruce Martin.

33

A rare Martin Brothers stoneware jug by Robert Wallace Martin, dated 1877, ovoid with applied handles, modelled in low relief squirrels amongst scrolling foliage, in white and ochre on a tan ground, the handle decorated in low relief with a screaming mask, incised R W Martin, London 3-1877, 18cm. high

Provenance

Private collection.

34

An early Martin Brothers stoneware jug by Robert Wallace Martin, dated 1882, cylindrical form, incised and painted with a Blacksmith working at the furnace, the reverse hammering at the anvil, in colours, inscribed to the base of the jug ‘You can hear him swing his heavy sledge with measured beat and, slow. Week in and week out, from morn to eve, you can hear his bellows blow’ the base inscribed 2.6.82 R W Martin, London & Southall, 23cm. high

Provenance

Private collection.

35

A Martin Brothers salt­glaze stoneware

Musicians jug by Robert Wallace Martin, dated 1900, square section, modelled in low relief with medieval figures playing musical instruments, in colours, incised 1-1900, R W Martin & Bros London & Southall, 23cm. high

Provenance

Private collection.

36

An early Martin Brothers stoneware vase by Robert Wallace Martin, dated 1882, tapering cylindrical form, with applied mask handles, incised and painted with a king seated on his throne, between two panels, one panel revelling common men toasting the king, the other panel resting knights in attendance, in colours on a buff ground, incised 16&17 4.82, R W Martin & Bros, London & Southall, 21cm. high

Provenance

Arts and Crafts, Woolley and Wallis Auctioneers, 22nd June 2016, lot 60. Private collection.

37

A pair of Martin Brothers stoneware vases by Robert Wallace Martin, dated 1887, shouldered, cylindrical form with applied angular handles, incised and painted with wild poppies, foxgloves and spring flowers, in white and green on a buff ground, incised 1-1887, R W Martin & Bros, London & Southall, 21.5cm. high

Provenance

British Art Pottery, Woolley and Wallis

Auctioneers, 25th November 2009. Private collection.

40

A Martin Brothers stoneware flask by Robert Wallace Martin, circular, footed form, incised with a pair of flycatchers perched in a tree, glazed in shades of brown and white on a buff ground, the back and sides a broad frieze of scrolling foliage, incised R W Martin & Bros, London & Southall, 18cm. high

Provenance

Private collection.

41

A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1891, ovoid with flaring rim, incised and painted with narcissi and bluebell flowers, glazed in shades of white, green and brown on a tan ground, incised 11-1891, R W Martin & Bros, London & Southall, 19cm. high

Provenance

Private collection.

42

A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1889, slender, shouldered form, incised and painted with foxglove flowers, in white and green on a buff ground, incised 10-1889 R W Martin & Bros London & Southall, 32.5cm. high

Provenance

Private collection.

38

A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1889, shouldered ovoid form with collar neck, incised with stylised wildflowers in shades of white and brown with light blue highlights, incised 8-1889, R W Martin & Bros, London & Southall 20cm. high

Provenance

39

A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1890, tapering cylindrical form, incised and painted with foxgloves and wild flowers, in green, white and brown with blue highlights on a buff ground, incised 4-1890, R W Martin & Bros, London & Southall, 24.5cm. high

Private collection.

43

A Martin Brothers stoneware Orchid vase by Robert Wallace Martin, dated 1890, slender, shouldered form, incised and painted with frilled orchids, with insects and butterflies, glazed brown, green and white on a buff ground, incised 6-1890 R W Martin Bros, London & Southall, 35cm. high

Provenance

Private collection.

Provenance

Christie’s 16th February 1994. Private collection.

46

44

A Martin Brothers stoneware wall vesta by Robert Wallace Martin, square section back plate, modelled in relief with a bowl mounted on foliage bracket, modelled with a grotesque face corbel, glazed blue and ochre, incised R W Martin Southall, 15cm. high

Provenance

Private collection.

45

A Martin Brothers salt­glaze stoneware heraldic shield by Robert Wallace Martin, dated 1898, architectural shieldshaped panel, modelled in low relief with a central trifurcated cross and four birds, possibly a variation of Edward The Confessor’s coat of arms (which has five birds), glazed brown on a buff ground, incised Martin Brothers London & Southall, 2-1898, 19.5cm. high

Provenance

Private collection.

46

An unusual Martin Brothers stoneware Eagle vesta by Robert Wallace Martin, dated 1874, circular backplate with a bust of an eagle, glazed in tan with white and blue highlights, incised R W Martin Fulham, 4-1874, 14cm. diam.

Exhibited

The Martin Brothers Pottery Exhibition, Richard Dennis, catalogue no.30.

Provenance

Private collection.

47

A large and early Martin Brothers stoneware Boar wall pocket by Robert Wallace Martin, dated 1876, deeply carved, naturalistically modelled glazed blue and grey­green, on scrolling back plate, incised R W Martin, London 12-1876, 21cm wide.

Provenance

Private collection.

48

A Martin Brothers stoneware salt by Robert Wallace Martin, square section, the body modelled and pierced with four grotesque fish, glazed green blue and brown, incised R W Martin & Bros, London & Southall, 8cm. high, 9.5cm. wide.

Provenance

AD Antiques.

Private Collection.

Literature

British Art Pottery, Woolley and Wallis Auctioneer’s, 27th November 2019, lot 175 for a comparable example dated 1900.

49

A Martin Brothers stoneware Owl jug by Robert Wallace Martin, shouldered form, incised with plumage, large rosette eyes to the neck, glazed green and ochre, highlighted with blue, incised R W Martin Southall 3-1878, number 100, 22.5cm. high

Provenance

Private collection.

50

An early Martin Brothers stoneware Owl jug by Robert Wallace Martin, dated 1875, tapering cylindrical form, modelled and incised with an owl design, in green, buff and brown with blue rim, incised D.24 RWMartin London, 11-1875, 24.5cm. high

Provenance

Private collection.

51

A Martin Brothers stoneware Swan vase by Robert Wallace Martin, dated 1893, the ovoid body with slender neck modelled with two swan handles, the body modelled in low relief with Bacchanalian masks inside scrolling foliage with dragon terminals, glazed green and white on a buff ground, incised 10-1893, Martin Bros London & Southall, 22.5cm. high

Provenance

Private collection.

52

A Martin Brothers stoneware jug by Robert Wallace Martin, dated 1892, shouldered form, modelled and incised with a large Bacchanalian mask, inside grape and vine frieze, in shades of green and brown on a buff ground, incised Martin Bros London & Southall, 11-1892, 23.5cm. high

Provenance

Private collection.

53

A Martin Brothers stoneware Eskimo jug and cover by Robert Wallace Martin, dated 1903, modelled as a figure in full length fur coat, with only his face showing, glazed tan and brown on a cream ground, incised R W Martin & Bros London & Southall, 7.7.1903, 35cm. high

Provenance Private collection.

54

A Martin Brothers salt­glaze stoneware figural Toby jug and cover by Robert Wallace Martin, dated 1903, modelled as a man seated, holding a pipe and tumbler, glazed green and white on a buff ground, incised R W Martin & Bros, London & Southall, 10,10,1903, 25cm. high

Provenance

Private collection.

Literature Judy Rudoe, Decorative Arts 1850-1950, a Catalogue of the British Museum Collection, page 74 catalogue number 171, known from three or four examples, including one in the British Museum Collection which may have been exhibited at Fulham Public Library in 1929.

55

A Martin Brothers salt­glaze stoneware Face Whisky flask by Robert Wallace Martin, dated 1900, modelled in relief with a smiling face with pursed lips, with long curly hair, glazed brown and buff, highlighted in white, with silver stopper marked Whisky, 12-1900 RWMartin & Bros, London & Southall, Richard Dennis label, 19cm. high

Provenance

Martin Brothers Pottery Exhibition, Richard Dennis, 1978 catalogue number 378 .

Daryl Fromm Collection.

Private collection.

56

A Martin Brothers John Barleycorn salt­glaze stoneware jug by Robert Wallace Martin, modelled in relief, highlighted in white and black, glazed brown handle and top rim, incised R W Martin & Bros, Southall 17.5cm. high

Provenance

Private collection.

57

An unusual Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1880, modelled in low relief with a smiling face, the reverse a smirking expression, glazed buff with aubergine­brown shoulder, incised R W Martin & Bros, London & Southall, 10.1880, 19.5cm. high

Provenance

Private collection.

58

A Martin Brothers salt­glaze stoneware face jug by Robert Wallace Martin, modelled in relief with a smiling face, the reverse a smiling face poking its tongue out, highlighted with white and black, incised R W Martin & Bros, London & Southall, 17.5cm. high

Provenance

Private collection.

59

A Martin Brothers salt­glaze stoneware face jug by Robert Wallace Martin, dated 1899, modelled in relief with a smiling bearded man to one side, the reverse a grimacing man with bristles and long hair, glazed tan and brown with white highlights, incised R W Martin & Bros, London & Southall, 4-1899, 18.5cm. high

Provenance

Richard Dennis, Private collection (purchased from Richard Dennis in the early 1970s).

60

A large Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1903, modelled in relief with a smiling face to both sides, glazed sand brown with black and white highlights incised R W Martin & Brothers London & Southall, 2.1.1903, 21.5cm. high

Provenance Private collection.

61

A Martin Brothers salt­glaze stoneware face jug by Robert Wallace Martin, modelled in relief with a smiling face, the reverse with pursed lips, glazed in brown, highlighted in black and white, incised R W Martin & Bros Southall, 15.5cm. high

Provenance

Private collection.

A rare Martin Brothers stoneware face jug by Robert Wallace Martin, covered in silver by Shreeve & Co., modelled in relief with a smiling face, incised 12.1899, Martin Bros, London & Southall, and stamped Shreeve & Co, 19.5cm. high

Provenance

Bought from the Martin Brothers shop by Francis Trickett, a wine and spirit merchant from Sheffield. Private collecti

A Martin Brothers stoneware Sun face jug by Robert Wallace Martin, dated 1894, ovoid with angled spout, modelled and incised to one side with a smiling sun face with toothy grin, the reverse with simple smiling sun face, in shades of brown and tan on an ochre ground, with white highlights, incised 4-1894, Martin & Bros, London & Southall, 19.5cm. high

A fine Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1889, the round jug with over slung handle, modelled in low relief with happy, smiling grotesque face to one side with toothy grin, the reverse with simple smile and sidewards glance, glazed brown and ochre, highlighted in white, incised 10-1889, R W Martin & Bros, London & Southall, 17.5cm. high

Provenance

The Martin Brothers Potters, Woolley and Wallis Auctioneers, 31st October 2005, lot 38. Private collection.

65

Brother Jonathan and John Bull a Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1899, modelled in relief with a bearded Brother Jonathan casting a sideways glance, John Bull looking forward with a smile, glazed matt brown with silver­grey highlights, incised 8-1899 R W Martin & Bros, London & Southall, 19.5cm. high

Provenance

Private collection.

Literature

Charles R Beard A Catalogue of the Collection of Martinware Formed by Mr Frederick John Nettlefold, London 1936, page 220­23, plates 62­63 for a similar example.

66

A small Martin Brothers stoneware face jug by Robert Wallace Martin, dated 1912, modelled in relief to both sides with a smiling face, glazed and highlighted in black and white, incised R W Martin & Bros, London & Southall, 11.11.1912, 13.5cm. high

Provenance Private collection.

67

A Martin Brothers salt­glaze stoneware Barrister face jug by Robert Wallace Martin, modelled in relief with a stern face, the reverse with downcast face, wearing a wig, highlighted with white and black, incised R W Martin & Bros, London & Southall, 16.5cm. high

Provenance Private collection.

A Martin Brothers stoneware Devil jug by Robert Wallace Martin, dated 1889, the ovoid jug modelled and incised in low relief with a horned Devil face, in brown and black, highlighted with white incised 9-1889, R W Martin & Bros London & Southall, and paper label, 24cm. high

Provenance Private collection.

69

A Martin Brothers stoneware single­handled vase by Robert Wallace Martin, dated 1891, ovoid with loop handle, modelled in low relief with a large sun face, inside scrolling foliage border, glazed tan and brown, highlighted with white on a royal blue ground, incised 10-1891 Martin Bros, London & Southall, 22.5cm. high

Provenance Private collection.

70

A large Martin Brothers Bacchanalian stoneware jug by Robert Wallace Martin, ovoid, incised in low relief with a grotesque mask, in brown and buff, with white highlights, on a mottled and crackled blue and green ground, incised Martin Bros, 91, London & Southall, 29cm. high

Provenance Private collection.

71

An unusual Martin Brothers stoneware grotesque bottle vase by Robert Wallace Martin, dated 1889, modelled in relief with a smiling anthropomorphic creature to one side, the reverse with a more sinister grinning face, glazed ochre and brown, incised 4-1889, Martin Bros, London & Southall, 23.5cm. high

Provenance

Private collection.

72

A Martin Brothers stoneware grotesque jug by Robert Wallace Martin, dated 1903, ovoid incised in low relief a Bacchanalian smiling face, to both sides, glazed metallic black, incised 6-1903 Martin Bros, London & Southall, 27cm. high

Provenance

Private collection.

73

An unusual Martin Brothers stoneware grotesque footed bowl by Robert Wallace Martin, dated 1880, modelled as a woven bowl with inverted rim, on modelled base of four grotesque figures, glazed ochre, brown and tan, incised Martin, London & Southall, 4-5-1880, 23cm. diam. 16.5cm. high

Provenance

Private collection.

74

A rare Martin Brothers stoneware architectural Fish by Robert Wallace Martin, probably part of a fountain, grotesquely modelled with gaping mouth and bulging white eyes, spiky gills and long top fin, its tail curled back into the body, glazed green, brown and tan, with later wooden stand incised Martin London & Southall, 26cm.

Provenance

Stanley Goulden, Portobello Road.

John S M Scott, 1968­2014.

Fantastique, Sinai & Sons, Masterpiece, London 2015, catalogue number 35.

Private collection.

Exhibited

Martin Brothers Pottery Exhibition, Richard Dennis, 1978, number 719.

75

A Martin Brothers stoneware Carp fish by Robert Wallace Martin, dated 1896, naturalistically glazed, on later wooden frame, incised Martin Bros, London & Southall, 1-1896, 25cm. wide

Provenance

Private collection.

77

A Martin Brothers stoneware Fish salt by Robert Wallace Martin, modelled as a scaly fish with wide gaping mouth, glazed matt green and aubergine, incised Martin Bros London & Southall, 12cm. long

Provenance

Private collection.

76

A Martin Brothers stoneware Bass fish by Robert Wallace Martin, naturalistically glazed, on later wooden frame, incised Martin Bros, London & Southall, 25cm. wide

Provenance

Private collection.

78

A small Martin Brothers Grotesque inkwell by Robert Wallace Martin, modelled as a blow­fish with gaping mouth glazed green and ochre incised Martin Bros London & Southall, 8.5cm. wide

Provenance David Rago Auctions Private collection.

79

A Martin Brothers stoneware Fish spoonwarmer by Robert Wallace Martin, dated 1881, modelled as a round, scaly fish, its tail scrolled back to form handle, gaping mouth and round eyes, glazed green and brown with blue and white highlights, incised R W Martin London & Southall, 1,4,81, 19cm. wide

Provenance

AD Antiques. Private collection.

80

A Martin Brothers stoneware Fish jug by Robert Wallace Martin, dated 1883, the slender jug modelled as a rotund fish with gaping mouth, the tail curved up to form the handle, incised fins and scales, large round eyes, glazed green and ochre on a buff ground, with blue and white highlights, incised 6-83 Martin & Bros London & Southall, 13.5cm. high

Provenance

Private collection.

Literature

Malcolm Haslam, The Martin Brothers Potters, Richard Dennis, page 62 fig.IX for comparable fish jugs illustrated.

81

A Martin Brothers stoneware spoonwarmer by Robert Wallace Martin, modelled as an ovoid grotesque creature, gaping open mouth and flat nose, the handle modelled as a long tail, glazed green and blue, incised 9 R W Martin London & Southall, 14cm. high

Provenance

British Art Pottery, Woolley and Wallis Auctioneer’s 25th November 2015, lot 89. Private collection.

82

A Martin Brothers stoneware Fish spoonwarmer by Robert Wallace Martin, modelled resting on its front fins, head held upwards with open gaping mouth, incised and glazed in shades of green, incised Martin Bros London & Southall, 15cm. high

Provenance

Private collection.

Literature

The Martin Brothers, Rago/Chasen, 1995, cat. no. 41.

83

A Martin Brothers stoneware Grotesque reptile spoonwarmer by Robert Wallace Martin, the ovoid reptilian body, curled short tail, broad smile above carved beard, with human hands, glazed green and brown, R W Martin & Bros, London & Southall, 13cm. high

Provenance

AD Antiques, 2010.

Private collection.

Literature

Malcolm Haslam, The Martin Brothers Potters, Richard Dennis, page 62 figure IX, this spoonwarmer illustrated.

84

A Martin Brothers stoneware Grotesque rodent spoonwarmer by Robert Wallace Martin, dated 1879, modelled as a bearded grotesque with gaping mouth, the body incised with fur, glazed green and blue incised 27 R W Martin London & Southall, 11-79, 14.5cm. wide

Provenance

AD Antiques, 2010.

Private collection.

Literature

The Martin Brothers, Rago/Chasen, 1995, cat. no. 47.

85

A small Martin Brothers stoneware Grotesque by Robert Wallace Martin, dated 1894, modelled with insect thorax body and anthropomorphic head, glazed brown, incised Martin Bros London & Southall, 5-1894, 11cm. wide

Provenance

Private collection.

Literature Malcolm Haslam, The Martin Brothers Potters, Richard Dennis, page 62 figure IX, this grotesque illustrated.

86

A Martin Brothers stoneware Grotesque by Robert Wallace Martin, dated 1894, modelled as a reptile with scaly body and anthropomorphic face, glazed blue and green, incised 4-1894 Martin Bros London, 11cm. wide

Provenance Private collection.

87

A Martin Brothers stoneware Tortoise inkwell by Robert Wallace Martin, dated 1910, glazed in shades of brown and green, with white highlights, incised 5-1910, Martin Bros London & Southall, 13cm. wide

Provenance Private collection.

88

A Martin Brothers stoneware Bird decanter and stopper by Robert Wallace Martin, modelled as a rotund bird with long neck, the stopper the birds head with broad beak, naturalistically glazed in brown and green with white highlights, incised R W Martin & Bros London & Southall, 25.5cm. high

Provenance

Private collection.

89

A Martin Brothers stoneware Grotesque jug by Robert Wallace Martin, modelled as a squirrellike rodent seated on haunches, mouth gaping, its tail forming the handle, glazed green and blue with white highlights, incised Martin London & Southall, 23.5cm. high

Provenance

Private collection.

90

A Martin Brothers stoneware Grotesque spoonwarmer by Robert Wallace Martin, modelled as a fish with gaping mouth, its forked tail arched to form a handle, incised texture, glazed brown and buff incised R W Martin London & Southall, 25cm.high

Provenance

Private collection.

91

A rare Martin Brothers stoneware Tortoise by Robert Wallace Martin, dated 1904, naturalistically modelled glazed in colours, highlighted with white incised 3-1904 Martin Bros London & Southall, 27cm. wide

Provenance

Private collection.

Literature Malcolm Haslam, The Martin Brothers Potters, Richard Dennis, page 80 figure XIV for a comparable tortoise dated 1898.

92

A small Martin Brothers Grotesque jug by Robert Wallace Martin, dated 1884, modelled as a rodent figure seated on haunches, its curly tail forming the handle, glazed green, brown and buff, incised 1- 84 Martin London, 8.5cm. high

Provenance Private collection.

93

A Martin Brothers stoneware Grotesque jug by Robert Wallace Martin, ovoid body with modelled arms with long spindly fingers, open mouth forming spout, the head with crest, glazed green with white highlights, incised Martin London & Southall, 13.2cm. high

Provenance Private collection.

94

A Martin Brothers salt­glaze stoneware Grotesque jug by Robert Wallace Martin, modelled as a seated grotesque creature with long thin arms, large gaping mouth and small round eyes, textured brown and buff glaze, incised Martin Southall, 10.5cm. high

Provenance Private collection.

95

A Martin Brothers salt­glaze stoneware Bear by Robert Wallace Martin, modelled seated, glazed brown, incised 11-81 Martin Bros London & Southall, 8.5cm. high

Provenance Private collection.

96

A Martin Brothers stoneware Grotesque rodent jug by Robert Wallace Martin, dated 1880, modelled seated on haunches with gaping mouth, its tail curled to form the handle, glazed ochre and buff, highlighted with white incised 31.8.80 R W Martin London & Southall, and impressed Martin mark, 14cm.high

Provenance

The Martin Brothers Potters, Woolley and Wallis Auctioneer’s, 31st October 2005, lot 21. Private collection.

97

An unusual Martin Brothers stoneware jug by Robert Wallace Martin, dated 1881, modelled with ovoid body, open­mouthed with teeth showing, the handle formed by a curved tail, naturalistically glazed in brown and ochre, R W Martin London & Southall, 81, 28cm. wide, 21.5cm. high

Provenance

Cheffins, 24th February 2022, lot 26. Private collection.

98

A Martin Brothers stoneware Grotesque ewer by Robert Wallace Martin, dated 1880, compressed scaly body, the neck modelled as an animal head, the handle a looped tail, glazed blue and ochre, impressed Martin mark, incised R W Martin London & Southall, 31.8.80, 10.5cm. high

Provenance

Private collection.

99

An unusual Martin Brothers stoneware Grotesque ewer by Robert Wallace Martin, the rounded, tapering cylindrical body with over slung handle, the neck modelled as round grotesque rodent head with gaping mouth, glazed grey, ochre and green, incised R W Martin, London & Southall, 25.5cm. high

Provenance

Decorative Arts and Design from 1870, Sotheby’s Olympia, 29th May 2003, lot 357. Private collection.

A Martin Brothers salt­glaze stoneware Grotesque tray by Robert Wallace Martin, dated 1885, the oval textured dish surmounted with two grotesque lizards, a crude mask incised to the inside of the back rim of the tray, glazed in ochre and brown, with white and blue highlights, incised RW Martin 1885 London & Southall to plaque to back, incised Martin & Brothers, London & Southall 1885, 23cm. wide.

101

A page of Anthropomorphic Birds pencil sketches on conte paper probably by Robert Wallace Martin of birds, judge birds and a bald headed monk the reverse with studies of two birds heads in profile, the front with number annotations, in modern frame

unsigned

41 x 27cm (image) 54.5cm x 40cm (frame)

Provenance

Sylvia Powell. Private collection.

Arts and Crafts, Woolley and Wallis, 15th June 2022, lot 55.

Literature

Malcolm Haslam The Martin Brothers Pottery, Richard Dennis Publications, page 89 figure 124, this sheet illustrated and attributed to The Martin Studio circa 1895. Wonderous Beasts, Feathered Fantasies: R W Martin & Brothers, Phillips, New York, 15th December 2015, page 5­6 this illustration reproduced.

102

A fine Martin Brothers stoneware bird vase by Robert Wallace Martin, dated 1903, tapering square section, modelled in low relief to each side with a bird, perched inside foliate border, one wading bird with a snake trapped under its claw, glazed in shades of green, blue, aubergine and brown, on a buff ground, incised R W Martin & Bros, London & Southall, 8.1903, 27cm. high

Provenance

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potter’s, Richard Dennis, page 149 figure 235 for a comparable example.

103

A Martin Brothers earthenware Bird flask by Robert Wallace Martin, dated 1896, square section, each side incised and painted with an anthropomorphic shoebill bird, glazed in colours on a buff ground, incised 2-1896, Martin Bros, London & Southall, 20cm. high

Provenance

Canterbury Auctions (one of a pair). Private collection.

105

104

An early Martin Brothers stoneware jug by Robert Wallace Martin, shouldered form, incised with a broad band of scaly fish swimming amongst waterweed, in blue on a buff ground, incised R W Martin, Martin and 675 London & Southall 24.5cm. high

Provenance

South London Gallery, Southwark Art Collection/Southwark Council.

The fish on this jug is based on the sheet of studies of Cat fish, see catalogue number 105.

105

Robert Wallace Martin (1843­1923)

Studies of Fish ink wash and pencil on paper, annotated with numbers in pencil, framed unsigned, 35 x 23cm (sheet)

Provenance

Lionel Lambourne. Abbot and Holder (where attributed to Edwin Martin). Private collection.

106

An early Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1879, ovoid with waisted neck, flaring rim and applied lug handles, incised with scaly fish in shades of blue and tan on a silver­grey ground, incised 272 R W Martin, London & Southall, 25.5.79, 26.5cm. high

Provenance

Woolley and Wallis. With AD Antiques.

107

A Martin Brothers stoneware Aquatic wall plate by Robert Wallace Martin, dated 1891, incised to the well with a crab, starfish and three shells, amongst waterweed, the rim a frieze of grotesque fish and eels swimming amongst waterweed, in blue and brown on a buff ground, highlighted in white incised 8-1891 R W Martin & Bros, London & Southall, 19.5cm. diam.

Provenance Private collection.

108

A Martin Brothers stoneware Aquatic vase by Robert Wallace Martin, dated 1887, slender, shouldered form with short neck and swollen rim, incised and painted to the body with grotesque fish and eels swimming amidst waterweed, in green and brown on a buff ground, with blue and white highlights, the neck with a band of swimming fish, incised 7-1887, R W Martin & Bros, London & Southall, 28.5cm. high

Provenance Christie’s 30th September 1991. Private collection.

Literature Ernest Marsh The Martin Brothers, Apollo magazine, this vase illustrated page 128.

A fine Martin Brothers stoneware Aquatic vase, dated 1900, thrown by Walter Martin, decorated with four eel handles modelled by Robert Wallace Martin, modelled in low relief with jelly fish by Edwin Martin, glazed in ochre on an off white ground, incised 11-1900 Martin Bros London & Southall, 28.5cm. high

110

A fine pair of Martin Brothers stoneware Aquatic vases by Robert Wallace Martin, dated 1895, slender, baluster form, incised with anthropomorphic grotesque fish swimming amongst octopus, star­fish, jelly­fish, eels, shrimps and waterweed, finely incised and painted in shades of green and brown on a pale blue ground, incised 6-1897 R W Martin & Bros, London & Southall, 40.5cm. high

Provenance

The Roy Aitken Collection, Sotheby’s 18th April 1978, lot 131. The Harriman Judd Collection, Sotheby’s New York, 6th October 2001, lot 129. Private collection.

111

A large and impressive Martin Brothers stoneware vase by Robert Wallace Martin, dated 1893, incised with grotesque dragons fighting entwined snakes, in shades of brown, blue and green on a buff ground, incised 11-1893 R W Martin & Bros, London & Southall, 46.5cm. high

Provenance

Private collection.

112

A Martin Brothers stoneware vase by Robert Wallace Martin, dated 1888, shouldered cylindrical form, incised and painted with lizards, snakes and reptiles amongst scrolling foligae, in ochre and brown on a buff ground, the collar neck with stylised foliage frieze, incised 11-1888 R W Martin & Bros, London & Southall, 23.5cm. high

Provenance

Private collection.

113

A Martin Brothers stoneware Dragon vase by Robert Wallace Martin, dated 1896, shouldered, ovoid form, incised with anthropomorphic lizard­like dragons in green and ochre on a silver­grey ground, incised 10-1896, Martin Bros, London & Southall, 21.5cm. high

Provenance

Private collection.

114

A Martin Brothers stoneware Dragon loving cup by Robert Wallace Martin, dated 1890, tapering cylindrical form with twin­handles, incised and painted with a ferocious dragon holding a shield, dated 1890, the reverse with a dragon, the shield initialled CM, the handles modelled as a snake consuming its own tail, in shades of ochre, tan and blue on a buff ground, incised 3-1890 R W Martin & Brothers, London & Southall, 16.5cm. high

Provenance

Sotheby’s, 26th March 1991. Private collection.

115

A Martin Brothers stoneware Dragon wall plate by Robert Wallace Martin, dated 1886, incised to the well with a dragon in scrolling foliage, in brown on a buff ground, inside scrolling foliage border, incised 2 R W Martin & Bros, London & Southall, 11-1886, 25.5cm. diam.

Provenance Private collection.

A Martin Brothers stoneware grotesque Bird teapot and cover by Robert Wallace Martin, dated 1896, modelled as a bird with swept back wings, the spout an anthropomorphic face, covered in a rich brown glaze, incised R W

Martin & Brothers, London 1-1896, R W M sc, 17cm. high, 27cm. wide

Provenance

Private collection.

Literature

Christie’s King Street, 21st October 1974 lot 76a for a comparable teapot.

117

A rare Martin Brothers stoneware rodent jar and cover by Robert Wallace Martin, dated 1899, modelled standing on haunches, its tail wrapped around its body, front paws modelled by its side, the head with short snout and forward cast gaze, ears erect, glazed brown and tan with black and white highlights, on ebonised wood base, incised 3-1899

Martin Bros London & Southall, 29cm. high

Provenance

John Frederick Cheetham, Cheshire UK. The Astley Cheetham Art Collection, Stalybridge, UK. Dennis Attewell.

Fine European Ceramics & Glass, Sotheby’s London, July 8th 1997, lot 167, Private collection.

Wonderous Beasts, Feathered Fantasies: R W Martin & Brothers, Phillips, New York, 15th December 2015, lot 15.

Private collection.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 150 figure 239.

Exhibited

Birmingham Museum & Art Gallery, 1971­1997 (on loan).

118

A Martin Brothers stoneware Toby dog jar and cover by Robert Wallace Martin, dated 1903, modelled seated, wearing ruff collar, glazed white and matt tan, on ebonised wood base, incised 8-1903 Martin Bros, London & Southall, 15cm. high

Provenance

Hoffmann collection.

Private collection.

119

A large Martin Brothers stoneware Toby dog jar and cover by Robert Wallace Martin, dated 1895, modelled seated on haunches, wearing a ruff collar, glazed in shades of brown with white highlights, on ebonised wood base, incised Martin Bros London & Southall, 10-1895, 29cm. high

Provenance

Private collection.

120

A Martin Brothers stoneware Toby dog jar and cover by Robert Wallace Martin, dated 1903, modelled seated wearing broad ruff, glazed silver­grey, matt buff with white and black highlights, on ebonised wood base, incised 8-1903 Martin Bros, London & Southall, 16.5cm. high

Provenance

Richard Dennis. Private collection.

Fifteen

comprising:

Martin Brothers stoneware The Imps musician figures by Robert Wallace Martin, each individually modelled, playing an instrument, glazed in white and brown, incised marks, conductor titled The Imps, dated 1906, 12cm. high (cello player)

Cello player Flute player Cornet player Triangle player Harp Player

Horn player Banjo player Pan Pipes player Cymbals player Singer

Tambourine player Drum player Banjo player Castanets player Conductor

A rare Martin Brothers earthenware grotesque reptile jar and cover by Robert Wallace Martin, dated 1895, modelled seated with webbed feet, wide smiling, closed mouth and staring eyes, the scaly body glazed green and brown, highlighted with white, on ebonised wooden base, painted Martin Brothers London & Southall, 12-1895 to rim of neck, 26.5cm. high

Provenance

Hoffmann Collection, David Rago, lot 17. Private collection.

BIRDS

123

A Martin Brothers stoneware Chick bird jar and cover by Robert Wallace Martin, dated 1880, rotund body with short tail, on webbed feet, the fixed head with slender tapering beak and round eyes, glazed olive green and brown with blue and white highlights, incised R W Martin London & Southall 13.7.80, 23cm. high

Provenance

Private collection.

124

An early Martin Brothers stoneware Chick bird jar and cover by Robert Wallace Martin, dated 1881, the rotund bird with big webbed feet, the fixed, downcast head with long thin beak and round staring eyes, glazed green, brown and tan with blue highlights, on ebonised wood base, incised R W Martin London & Southall, 19.9.81. to neck and plaque on webbing of foot, Richard Dennis exhibition label, 27cm. high

Exhibited

Martin Brothers Pottery Exhibition, Richard Dennis, 1978, exhibition number 109.

Literature

Malcolm Haslam The Martin Brothers Potters, Richard Dennis Publications, page 95, Figure XI this bird illustrated.

Provenance

With AD Antiques.

An unusual Martin Brothers stoneware bird by Robert Wallace Martin, modelled with webbed feet, body leaning forward, the fixed round head with broad open mouth and sleepy eyes, glazed dark green and ochre, highlighted with white, on ebonised wood base, incised to a plaque to the collar of the head R W Martin Sc London & Southall, 28cm. high

Provenance

A Martin Brothers stoneware double bird group by Robert Wallace Martin, dated 1914, modelled standing with one bird putting its wing around the other, on oval base with oval ebonised wood base, incised R W Martin & Bros London & Southall 12.3.1914, 16cm. high

Private collection, purchased in a Northamptonshire antiques shop by the owner circa 1976.

A Martin Brothers stoneware triple bird group by Robert Wallace Martin, dated 1904, modelled as a taller central bird wrapping its wings around the two smaller birds, glazed in shades of green on a buff ground, with blue highlights on ebonised wooden base, incised Martin Bros London & Southall, 10-1904, 20.5cm. high

128

A small Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1914, modelled on claw feet, standing with wings tucked in, broad flat beak and squinting eyes, glazed blue, green and brown, on a buff ground, on ebonised wood base, incised R W Martin & Bros, London & Southall, 8.7.1914, 18.5cm. high

Provenance

Christies 23rd July 1993.

Private collection.

129

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1913, modelled standing on claw feet, wings tucked in, with broad flat beak and sidewards gaze, glazed blue and green on a buff ground, with white and olive highlights, on ebonised wood base, incised R W Martin & Bros, London & Southall, 11.1913, 19.5cm. high

Provenance

Christies, 23rd September 1993. Private collection.

130

A Martin Brothers stoneware double bird group by Robert Wallace Martin, dated 1914, modelled as two brothers, one with wing outstretched around the other, each casting a sideways glance, glazed blue green and olive on a buff ground, with white highlights, on ebonised wood base, incised R W Martin & Bros London & Southall 7-3-1914, 21.5cm. high

Provenance

Bonhams 15th December 2016, lot 207. Private collection.

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1887, slender claw feet, the body leaning forward with wings tucked behind, broad brown beak slightly open, with resigned expression, glazed green, ochre and brown with white highlights, on ebonised wood base, incised R W Martin & Bros, London & Southall 3-1887, 27.5cm. high

A large Martin Brothers stoneware Owl spoonwarmer by Robert Wallace Martin, dated 1895, large ovoid body with claw feet, gaping open beak, with pronounced feather ears, glazed tan and brown, highlighted in white and black, incised 10-1895 Martin Bros, London & Southall, 26cm. high

Provenance

Private collection.

Exhibited

The Martin Brothers Potters, Woolley and Wallis, October 2006.

133

A Martin Brothers stoneware Owl bird jar and cover by Robert Wallace Martin, dated 1902, modelled as a slender, mother owl, standing on square base, glazed in shades of green and brown highlighted in red on a buff ground, on an ebonised wood base, incised R W Martin & Bros, London & Southall, 3, 5.1902, 21.5cm. high

Provenance

Private collection.

This bird and the other two single owls form a family of three birds ­ each with the distinct number 3 to the base.

Literature Malcolm Haslam The Martin Brothers Potters, Richard Dennis, page 149 figure 237 this bird illustrated.

134

A Martin Brothers stoneware Owl bird jar and cover by Robert Wallace Martin, dated 1903, modelled as a father owl, on domed circular base, glazed green and pale blue on a buff ground, on ebonised wood base, incised R W Martin & Bros, London & Southall, 30.11.1903, 27cm. high

Provenance

Design, Christie’s 1st December 2005, lot 125 Private collection.

135

A Martin Brothers stoneware Owl bird jar and cover by Robert Wallace Martin, dated 1903, modelled as a young owl bird, on square base, glazed aubergine and green on a buff ground with blue highlights, on square ebonised wood base, incised R W Martin & Bros, London & Southall, 5.1902, 21cm. high

Provenance Private collection.

136

A Martin Brothers stoneware miniature bird by Robert Wallace Martin, dated 1914, modelled standing with large claw feet, head cast to one side with broad long beak and staring eyes, glazed green and brown, on ebonised wood base, 3.12.14, R W Martin & Bros, Southall, 7cm. high

Provenance

Sotheby’s Auctioneer’s purchased in the 1970s. Private collection.

137

A Martin Brothers stoneware bird jar and cover, dated 1890, modelled standing with webbed, claw feet, wings tucked in, open beak and staring eyes giving a happy expression, glazed green, brown and blue with white highlights, on ebonised wood base, incised and painted R W Martin & Bros, London & Southall, 2-1890, 32cm. high

Provenance

Bought from the Martin Brothers shop by Francis Trickett, a wine and spirit merchant from Sheffield. Private collection.

138

The New Year’s Day Bird a Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1875, modelled with claw feet and long tail feathers, the leaning, fitted head with outstretched beak and mohican crest of feathers, glazed mustard, brown and dark green with white and blue highlights, incised R W Martin & Bros London & Southall, 1.1.85, to neck and roundel to base, 28cm.high

Provenance

Sylvia Powell Decorative Arts, London 2009, private collection.

Wonderous Beasts, Feathered Fantasies: R W Martin & Brothers, Phillips, New York, 15th December 2015, lot 3.

Private collection.

139

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1908, modelled standing on claw feet, with short wings, broad, matt green beak and forward looking contented eyes, glazed green, blue and brown with white highlights, on ebonised wood base, incised R W Martin, London & Southall, 15.10.1908, 23.5cm. high

Provenance

Purchased directly from the Martin Brothers shop by Francis Trickett, by repute.

Private collection.

140

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1903, modelled standing with webbed aubergine coloured feet, long, slim wings tucked in, short green beak and squinting eyes, glazed green, blue and aubergine with white highlights, on ebonised wood base, incised Martin Bros 10-1903, London & Southall, 22cm. high

Provenance

The Martin Brothers Potters, Woolley and Wallis

Auctioneers, 31st October 2005.

Private collection.

141

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1904, modelled upright with tucked in wings, broad beak with forward looking eyes, plumage glazed buff with green and blue highlights, on ebonised wood base, incised R W Martin & Bros, London & Southall, 6-6-1904, 23.5cm. high

Provenance

Private collection.

A fine Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1886, modelled standing, with claw feet, wings tucked in behind, chest puffed out, long downcast beak, with feathers forming a moustache, staring glaze through half open eyes, in shades of green, ochre and buff on ebonised wood base, incised Robert Wallace Martin & Brothers, London & Southall, 9-1886, the base also signed R W Martin Sc, Richard Dennis Exhibition paper label, 34cm. high

Provenance Private collection.

Literature

Garth Clark, The Potter’s Art, Phaidon, page 125 this bird illustrated.

143

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1898, modelled standing on claw feet, his head with broad, flat beak and sidewards knowing glance, glazed green, blue and brown, with blue and white highlights, incised Martin Bros London & Southall 9-1898, 27.5cm. high

Provenance

British Art Pottery, Woolley and Wallis

Auctioneer’s 3rd December 2014, lot 121

Private collection.

144

A Martin Brothers stoneware Monk bird jar and cover by Robert Wallace Martin, dated 1892, modelled standing on claw feet, with one wing stretched out to side, brown beak and balding pate, casting sideways glance, glazed in shades of brown, green and ochre with bright blue highlights, ebonised wood base, incised Martin Bros, London & Southall 71892, 27cm. high

Provenance

The Harrimann-Judd Collection, Sotheby’s New York, lot 224. Private collection.

145

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1893, claw feet, the portly bird with wings tucked in, large, wide brown beak and sly sideways cast gaze, glazed in green, brown and blue on a buff ground, with white highlights, ebonised wood base, incised Martin Bros 2-1893 London & Southall, 31cm. high

Provenance

Private collection of Martin Ware

Arts and Crafts, Woolley and Wallis, 6th October 2020, lot 74. Private collection.

146

Provenance

A Martin Brothers stoneware Dodo bird jar and cover by Robert Wallace Martin, the rotund bird with webbed claw feet, fixed head with broad flat beak and upward cast gaze, raised blue feather crest, in shades of ochre and brown, highlighted with white, on ebonised wood base, incised R W Martin & Bros London & Southall, 29cm. high

The Harrimann-Judd Collection, Sotheby’s New York, lot 205. The Martin Brothers Potters, Woolley & Wallis, 31st October 2005, lot 13. Private collection.

147

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1899, the tall bird with claw feet, wings tucked in, broad brown beak and casting a sideways glance, glazed brown, buff and green, with white highlights, ebonised wood base, incised Martin Bros, London & Southall, 3-1899, 34.5cm. high

Provenance

Martin Bros, Jordan Volpe Gallery, October 1981. Private collection.

148

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1904, the slender bird on claw feet, wings tucked in with shoulders, short matt brown hooked beak and staring eyes, under thick feather eyebrows, glazed in green and brown on a buff ground, highlighted in blue and white, on ebonised wood base, incised Martin Bros London & Southall, 6-1904, 29cm. high

Provenance

Decorative Arts, Christie’s King Street, 1974. Private collection.

A Martin Brothers stoneware Barrister bird jar and cover by Robert Wallace Martin, dated 1897, modelled standing, upright on claw feet, wings tucked in, with short broad beak and wearing a Barrister’s wig, glazed dark green and brown, on ebonised wood base, incised Martin Bros London & Southall, 6-1897, 28.5cm. high

A tall Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1899, modelled standing on large webbed claw feet, with broad beak and knowing look and crown of feathers to back of head, glazed green, blue and ochre with black and white highlights, on ebonised wood base, incised Martin Bros London & Southall, 11-1899, to neck and base, 42cm. high

151

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, modelled standing with claws crossed, wings tucked in, broad beak and piercing forward looking stare, glazed green, blue and aubergine, on a buff ground, incised R W Martin & Bros London & Southall, 27cm. high

Provenance

Decorative Arts from 1880 to the Present Day, Christie’s London, February 16th 1994, lot 92, private collection.

Wonderous Beasts, Feathered Fantasies: R W Martin & Bros, Phillips, New York, 15th December 2015, lot 5.

Private collection.

Literature

Malcolm Haslam, The Martin Brothers Potters, Richard Dennis, page 88 figure 120.

152

A Martin Brothers earthenware Monk bird jar and cover by Robert Wallace Martin, dated 1887, modelled standing, leaning forward on claw feet, the head with sharp, hooked beak, staring eyes and balding pate, glazed brown with green and white highlights, on ebonised wood base, incised 10-1887 R W Martin & Bros, London & Southall, 24.5cm. high

Provenance

Skinner’s Auctioneer’s lot 9. Private collection.

153

A tall Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1899, standing on large claw feet, his long wings tucked behind, broad, flat beak, with forward staring eyes, glazed green and brown on a buff ground, with white highlights, on ebonised wood base, incised 2-1899 Martin Bros London & Southall, 35.5cm. high

Provenance Private collection.

154

A Martin Brothers stoneware bird jar and cover by Robert Wallace Martin, dated 1891, with sharp talon claws, ovoid body with tucked in wings, slightly open, broad beak, and partially open eyes, glazed green, blue and brown with white highlights, on ebonised wood base, incised Martin Bros London & Southall, 1-1891, 28.5cm. high

Provenance

Decorative Arts, Christie’s King Street, 1974.

Leicester Museum & Art Gallery 1979­2006, on loan. Private collection.

155

A Martin Brothers stoneware Shoebill bird jar and cover by Robert Wallace Martin, dated 1884, with claw feet, slender body with tucked in wings, fitted head shaped forward with sly sideways glance, glazed brown and dark green, highlighted with white, incised R W Martin & Bros London & Southall, 1884 to neck and collar, 36cm. high Provenance

Oswald Wallace esq. 19th March 1885 purchased from Brownlow Street for £3.30. Woolley and Wallis, 11th December 2013, lot 21. Private collection.

156

Provenance

Ceramic

Wonderous

A tall Martin Brothers stoneware Jubjub bird jar and cover by Robert Wallace Martin, dated 1890, modelled standing, long thin legs with webbed feet, short wings tucked in, with long downcast open beak and confused eyes, the head feathers forming a bonnet, incised 10-1890 R W Martin & Bros London & Southall, 35.5cm. high

Design 1860-1945, Bonhams, February 26th 2004 lot 159, Private collection.

Beasts, Feathered Fantasies: R W Martin & Brothers, Phillips, New York, 15th December 2015, lot 9. Private collection.

A fine Martin Brothers Owl double bird group by Robert Wallace Martin, dated 1902 Estimate £20,000 ­ 30,000*

MODERN BRITISH & 20TH CENTURY ART

Sir William Nicholson (1872­1949) Flowers and Books (for Siegfried Sassoon) Oil on canvasboard, 1929 40.4 x 29cm

FOR £550,000*

Gilbert Marks, a late­Victorian Arts and Crafts silver bowl, London 1896/97, also signed 'Gilbert Marks 97'

AUCTION CALENDAR

2023

JUNE

7th Modern British & 20th Century Art

21st Fine Arts & Crafts

(Including Martin Ware)

Exhibition Robert Wallace Martin Potter, Sculptor, Artist 13th to 22nd June

JULY

5th & 6th Furniture, Works of Art & Clocks

11th & 12th Silver & Objects of Vertu

13th Fine Jewellery

SEPTEMBER

6th Old Masters, British & European Paintings

19th British and Continental Ceramics & Glass

20th Arts of Africa, Oceania and the Americas

Dates may be subject to change

+44 (0) 1722 424500

enquiries@woolleyandwallis.co.uk

51­61 Castle Street, Salisbury, SP1 3SU www.woolleyandwallis.co.uk

*Price includes buyer’s premium

A rare Martin Brothers stoneware Monkey vase by Edwin and Walter Martin SOLD FOR £20,000*