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Early R.W. Martin Salt-Glazed Mustard Pot (April 1874)

This historically significant salt-glazed mustard pot, measuring 9cm in height and width, represents a rare early work by Robert Wallace Martin. Dated to April 1874, the piece features a squat, bulbous body transitioning to a structured neck and a domed lid with a sculpted finial. It retains its original pewter metal hinge mount, complete with a traditional spoon aperture.

The vessel is heavily decorated, utilizing a deep cobalt blue glaze that contrasts sharply with the textured buff stoneware ground. The exterior displays a vigorous, deeply incised pattern of stylized foliate and fern-like motifs around the lower body. This is complemented by a continuous band of repeating wavy arches at the neck and radiating petal designs upon the lid.

The underside bears the clear, incised signature “R W Martin”, alongside the pattern code “A36” and the date “4-74”, firmly placing its production in the pivotal early months of Wallace’s independent career.

Condition & Restoration Opportunity: While the main body, metal mount, and lid present strongly, the angular handle has sustained four breaks and currently exhibits old, crude adhesive repairs. This presents an excellent, straightforward project for a professional ceramic restorer or a dedicated collector. Once sympathetically restored, this piece will stand as a highly displayable and historically important 1870s artifact.

William Moorcroft “Claremont” Vase – Shape M55, c.1925
A vibrant and highly desirable example of one of Moorcroft’s most celebrated patterns

This exquisite M55-shaped William Moorcroft vase, dating to the mid-1920s, showcases the iconic Claremont pattern—one of the most sought-after designs in the Moorcroft repertoire.

Encircling the body are ten finely tubelined toadstools, rendered in vivid and varied tones: four rich reds, four warm yellows, and two deep, velvety blues. Each cap is detailed with Claremont’s hallmark speckled surface and beautifully defined gill undersides—an artistic hallmark that makes this pattern so visually captivating. The base colour merges lush green and inky blue glazes, creating a moody, woodland atmosphere that complements the naturalistic subject matter.

To the underside, the vase bears the impressed marks “Moorcroft” and “Made in England”, along with the model number “M55”, confirming its authenticity and period origin.

A small, invisible professional restoration has been carried out to the top rim, precisely between a large yellow and large red toadstool. The restoration is of a high standard, with only a subtle uniformity of colour betraying the repaired area under close inspection. Importantly, the most visually dominant red toadstool sits on the opposite, untouched side, making this piece an outstanding display example.

Compact in scale but striking in design, this Claremont vase is a true collector’s gem—a perfect representation of Moorcroft’s artistry during the golden period of British Art Pottery.

Dimensions: Height: 7cm; Width 8cm
Condition: Professionally restored rim; still displays beautifully

In 1873, Arthur Barlow crafted a remarkable Doulton Lambeth ewer, a testament to his exceptional skill and artistic vision. This ewer, notable for its generous proportions, is adorned with intricate scrolling beadwork, florette roundels, and elegant foliate designs. Characteristic of Barlow’s style, it features his distinctive banding in the background, adding depth and texture to the piece. The top of the ewer is crowned with a solid sterling silver lid, which is original and was crafted in London in 1873 by the esteemed silversmiths Richards & Brown.

The condition of this ewer is impeccable; it remains in its original state with no chips, cracks, or restoration, preserving its historical and aesthetic value. Beneath the foot of the ewer, one can find Arthur Barlow’s signature alongside the Doulton Lambeth oval stamp, authenticating its origin and craftsmanship.

For sale is wonderful early piece of Doulton Lambeth Faience, dated 1875. Decorated by artist Mary Capes, it is what I consider a really bright and joyful piece to behond. Mary has been flamboyant, bringing pink/red hibiscus type florals and smaller yellow flowers into an intricate foliage. Interspersed, are angular, almost kaleidoscope shapes which add real interest to the aesthetic. Borders on the neck narrow, mid-body and foot use different blues to create a wonderful contrast and they keep the piece light and perfect to lift a room.

Standing 23cm tall, and 13cm wide, this is a perfect size for the collector, being flexible and presentable in or out of a lit cabinet.

Beneath are the early oval Doulton Lambeth stamps, 1875, and the painted on initials for Mary Capes. All presents correctly.

Martin Brothers Gnarly Olive Jug

Presenting an exceptional, historic gnarly-designed Martin Brothers art pottery jug, measuring approx. 22.5cm in height and 12.5cm in diameter. This piece from a highly sought-after potter features a robust baluster form jug, resting securely on a flared circular foot. Its gnarly silhouette is defined by a bulbous lower body that tapers into a cylindrical neck, culminating in a sweeping pouring lip and an applied, sturdy strap handle.

The jug is characterized by its tactile, heavily ribbed texture, a testament to its hand-thrown origins by eccentric brothers. A rich, dark olive-brown salt glaze dominates the meticulously textured body and handle. This deep, lustrous finish contrasts strikingly against the lighter, biscuit-toned clay left exposed at the rim, the interior, a thin defining band at the shoulder, and the foot. This earthy, two-tone palette masterfully accentuates the horizontal throwing lines that encircle the entire vessel.

Beneath the foot, the unglazed natural clay base proudly bears the authentic, hand-incised cursive signature reading “Martin” and “London”, securing its prestigious provenance. Preserved impeccably, this remarkable piece presents in excellent, original, and entirely undamaged condition, making it a museum-quality acquisition for discerning collectors of late 19th and early 20th-century British studio pottery.

William Moorcroft Pomegranate Vase – M55 Shape (c. 1910s–1920s)

A beautiful example of early William Moorcroft craftsmanship, this small Pomegranate design vase embodies the timeless charm of Moorcroft’s celebrated Burslem period. Measuring approximately 6.5cm in height and 8cm in width, the vase is modelled in the distinctive M55 shape, perfectly proportioned for display.

The decoration features four richly painted pomegranates, evenly spaced around the rounded body, each enhanced with deep green foliage and clusters of blue-purple berries that provide a striking contrast. The design is crowned with a warm ochre glaze running up to and including the rim—an unmistakable hallmark of Moorcroft’s early Burslem output.

To the base, the vase bears a full William Moorcroft signature in green, together with impressed marks reading Moorcroft, Burslem, M55. The piece remains in excellent, unrestored condition, showing only the fine glaze crazing typical of early Moorcroft pottery, with no damage or repairs.

A lovely, well-balanced example of William Moorcroft’s iconic Pomegranate design, this vase would make a fine addition to any Moorcroft collection or serve as a statement piece in its own right.

C.H. Brannam Barum Sgraffito Bottle Vase (1890)

This striking bottle vase, measuring 15.5cm in height and 8.5cm in width, is a fine representative example of the distinctive sgraffito ware produced by C.H. Brannam at the end of the 19th century. Dated 1890, the vessel is defined by a classic globular body that sharply transitions into an elongated, slender neck, resting upon a short, neat foot rim.

The tactile surface showcases a highly disciplined use of the sgraffito technique, juxtaposing a rich, glossy forest green glaze against a pale, cream-colored stippled ground. The decoration is strictly structured: the shoulder features a bold, radiating striped motif that anchors the base of the neck. The primary body is divided into panels by sweeping, arched green borders that frame stylized, symmetrical botanical and palmette designs. The intricate stippling of the negative space provides substantial depth and texture, typical of Brannam’s best art wares.

The underside bears the clearly incised signature “CH Brannam Barum 1890”, firmly dating its production. The vase presents in excellent antique condition, retaining a vibrant and lustrous glaze. There is a minor 4mm nibble to the interior of the top rim, which is historically consistent with the fragile nature of the earthenware body and does not detract from the piece’s strong display presence.

Double Ribbed Martin Brothers Lustre vase – June 1907

For sale is this really interesting example of Edwin and Walter Martins’ organic pottery work. The vase is of subtle bulbous form, with a multitude of thin horizontal ribs and then large pronouced vertical ribs from the waist to the top rim. The Brothers have then applied a rich deep brown / dark grey / black colour with metallic oxide to give a wonderful lustre to the piece. In the photographs, observe the different angles where we try and illustrate the effect. This is a wonderful example of their work and is a most subtle, yet highly competent execution.

Condition and Provenance

The vase is in excellent original condition, with no chips, cracks, or repairs. A couple of specks on the main body of the vase are small imperfections during the manufacture of the vase. The signature beneath is 100% consistent with period pieces and is marked “6-1907, Martin Bros, London & Southall”, again entirely consistent and authentic. See the V&A Museum picture below of a virtually identical example from the same year by Edwin.

In 1873, Arthur Barlow crafted a remarkable Doulton Lambeth ewer, a testament to his exceptional skill and artistic vision. This ewer, notable for its generous proportions, is adorned with intricate scrolling beadwork, florette roundels, and elegant foliate designs. Characteristic of Barlow’s style, it features his distinctive banding in the background, adding depth and texture to the piece. The top of the ewer is crowned with a solid sterling silver lid, which is original and was crafted in London in 1873 by the esteemed silversmiths Richards & Brown.

The condition of this ewer is impeccable; it remains in its original state with no chips, cracks, or restoration, preserving its historical and aesthetic value. Beneath the foot of the ewer, one can find Arthur Barlow’s signature alongside the Doulton Lambeth oval stamp, authenticating its origin and craftsmanship.

For sale is an exceptional and very early Doulton Lambeth jug by rare and sought after artist Emily J. Edwards, dated 1874.

The vase is decorated with natural green foliage swirls that have a dotted, textured outline. The background really lights this piece up and is most unusual, being a mix of lighter shades blended into bold pinks, purples and blues to create a breathtaking effect of aesthetic splendour. Banded, lined borders draw influence from Arthur Barlow’s work, her peer. The handle presents with bands of lined borders and leaves.

The vase is overall in very good condition with no restoration. We have identified a small, faint hairline to the top rim, but it is hardly noticeable, has no edge to the nail, and therefore we believe the jug is best left untouched as the rest of its condition is wonderful.

Beneath the foot is the clear monogram of Emily J Edwards and the early oval Doulton Lambeth stamp, together with the year 1874. Assistant marks are also present, which is to be expecte

Offered for sale is this wonderful lemonade jug by renowned Doulton Lambeth artist George Tinworth. The jug is decorated with his lovely swirling and beaded “Seaweed Scroll” design in the richest of green hues. Intermittent foliage in bold blue has been placed between, above or below the scroll work. The background is in an oatmeal colour repeatedly stamped with a small design to finish the aesthetic intensity of these art pottery pieces. To the top is a silver plated rim, spout and finialed lid . In excellent original condition and fully signed, stamped and dated 1877.

For sale is a stunning and substantial Late Cornflower vase by William Moorcroft, dating between 1925-1935. Decorated with eight large cornflowers in pinks and purples, the vase absolutely explodes with colour. Contrasting wonderfully against a white background, it displays extremely well and is an eye catching centre piece. At 9 inches or 23cm tall and with a circumference of almost 20 inches or 50cm, this is a fabulous size and worthy of any discerning collection.

Discover a beautiful piece of Victorian art pottery with this 1880 Doulton Lambeth pitcher by the renowned Mark V. Marshall. Richly decorated with relief plums and foliage in striking cobalt blue, ochre and cream glazes, it also displays design influences from Marshall’s early work with the Martin Brothers. Fully marked to the base with the Doulton Lambeth stamp, Marshall’s initials and the original factory marks. Professionally restored to the handle and priced accordingly, this is a wonderful opportunity to acquire a highly collectible example of one of Doulton’s finest artists.

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Early Doulton Lambeth Stoneware Jug by Arthur Barlow, dated 1874, with Silver Mounts and Hinged Lid

This exceptional jug, produced in 1874, is a particularly fine example of Arthur Barlow’s mature decorative style. The elegant ovoid body rises to a tall, tapering neck and is fitted with an ornate silver-mounted hinged cover, its repoussé decoration complementing the flowing organic forms of the pottery beneath. The substantial swept handle provides a graceful counterbalance to the elongated neck while lending the piece a refined architectural silhouette.

Provenance & Condition

The underside retains its full complement of factory marks, including the impressed Doulton Lambeth oval stamp with the date 1874, Arthur Barlow’s impressed “ABB” artist’s initials, together with the relevant assistant decorators’ marks, firmly authenticating its early production and studio attribution.

The jug is presented in excellent overall condition, displaying no significant issues to the stoneware body or decoration. The silver-mounted hinged cover is secure, and it is noted that adhesive has been used at some point in the past to reinforce the fitting of the silver lid to the ceramic top rim. This is a minor historic restoration that does not detract from the piece’s outstanding decorative appearance or its importance as an early, fully documented work by one of Doulton Lambeth’s most celebrated artists.

Robert Wallace Martin Early Gentlemens’ Cigar Lamp

For sale is this incredibly rare Robert Wallace Martin Gentlemen’s cigar lamp. I have only ever seen this example from the Martin Brothers, so I am confident these are rarer than hen’s teeth.

Presenting as a central oil burner with wick, it has been fitted with finely worked white metal (a silver plate metal) of excellent quality. No wear to the metal to the base layer is evident and it polishes beautifully. Any dullness is a light tarnish that removes easily. Three identical “wands” rest in the protruding wand sections, and each wand and wand seat has matching numbers 1-3 for the wands to know their position.

The way the lamp worked was each of three gentlemen took a wand, and using papers from their vespa cases, would wedge the paper into their wand and be able to light their cigars from the comfort of their leather chair, whilst the lamp remained in the centre of the table. Lighting the cigar from a “clean” paper prevented the cigar’s flavour from being contaminated by the oil flame from the lamp.

Decorated with blue floral designs with a subtle green and blue banding between, the stems rise with a lovely natural green glaze to the silver tops. Set on three bulbous feet, with three layers of small shapes banding each foot, this delightful piece is quintessential late 1870s to early 1880s Martin Brothers! Whilst approximately 14.5cm tall and 9cm across, it is very solid and weighs 710g!

Beneath  the cigar lamp is the signature of Robert Wallace Martin (R.W. Martin), the figure “8” and then “Southall”.

This piece is in wonderful orginal condition that is ready to brace any serious collectors collection. Even better if you and the friends enjoy an occasional cigar, as it is a novelty that can be safely and robustly used without fear of damage as it is so well made.

Martin Brothers Gnarly Olive Jug

Presenting an exceptional, historic gnarly-designed Martin Brothers art pottery jug, measuring approx. 22.5cm in height and 12.5cm in diameter. This piece from a highly sought-after potter features a robust baluster form jug, resting securely on a flared circular foot. Its gnarly silhouette is defined by a bulbous lower body that tapers into a cylindrical neck, culminating in a sweeping pouring lip and an applied, sturdy strap handle.

The jug is characterized by its tactile, heavily ribbed texture, a testament to its hand-thrown origins by eccentric brothers. A rich, dark olive-brown salt glaze dominates the meticulously textured body and handle. This deep, lustrous finish contrasts strikingly against the lighter, biscuit-toned clay left exposed at the rim, the interior, a thin defining band at the shoulder, and the foot. This earthy, two-tone palette masterfully accentuates the horizontal throwing lines that encircle the entire vessel.

Beneath the foot, the unglazed natural clay base proudly bears the authentic, hand-incised cursive signature reading “Martin” and “London”, securing its prestigious provenance. Preserved impeccably, this remarkable piece presents in excellent, original, and entirely undamaged condition, making it a museum-quality acquisition for discerning collectors of late 19th and early 20th-century British studio pottery.

For sale we have an early beautiful Doulton Lambeth ewer by rare artist Emily J Edwards, dating to 1875. The design work shows early Tinworth influences, however Emily was a very talented artist and brings her own creativity to the piece. Holly leaves hanging from beaded banding, and then a mix of florals and angular motifs to make this an impressive piece. The dotted collars at the base of the neck show influences from Arthur Barlow too, Adorned with a pewter lid, this piece is as authentic and original as they come. A lovely piece for a rare artist who is much rarer to find than other artists due to her short tenure.

The jug is free from any chips, cracks or restoration. The pewter rim is original. Beneath we have Emily’s signature, together with the marks of the assistant and thrower and the Doulton Lambeth oval stamp with the date 1875.

For sale is a delightful and very early Hannah Barlow Horses jug, dated 1874. Presented with two horses galloping to the front of the jug, wild grasses adorn the rear of the jug. Blue foliate designs dominate the neck up to the top rim and are typical of these early, simpler designs that are more understated than flamboyant. The handle is similarly decorated in repeated blue foliates from bottom to top.

In excellent condition, the piece is highly original, with only a small flake invisibly corrected to the rim. Everything else is correct and original as the day it left the factory. Stamped with the early oval Doulton Lambeth mark and dated 1874. Hannah Barlow’s initials are clear beneath as well as a production code.

This is a superb piece of Doulton Lambeth history which displays superbly and has a wonderful glaze to it. Should you be interested, you will not be disappointed adding it to your collection!

For sale we this delightful and cute little CH Brannam “open salt” decorated with two surprisingly detailed fish dating to 1901. This is the work of Frank Thomas, one of the better known artists for the potter. The fish are surrounded by various colourful waterplants. It is a little gem of a piece.

Condition

Offered in excellent original condition with no chips, cracks or restoration.

Authenticity

For authenticity, beneath, we have the registration number of CH Brannam, “Rd 44561”, the signature CH Brannam Barum, the signature “FT” signifying the work of Frank Thomas and the date 1901.

Martin Brothers Imp playing the Blocks – Robert Wallace Martin

For sale is this delightful and cheeky looking imp playing the blocks. It is in excellent condition, with a very minor old “touch in” to the tip of the block instrument. Otherwise it is in wonderful original condition. It hails from the prominent collection of Barry Stock, a well known collector based out of the UK.

The Martin Brothers Imps are a fascinating and highly collectible series of grotesque figures, each one depicting a whimsical imp engaged in playing various musical instruments. These figures, created by the renowned Martin Brothers, are celebrated for their unique blend of humor, artistry, and intricate craftsmanship. The Martin Brothers—Robert Wallace Martin, Edwin Martin, Walter Martin, and Charles Martin—were pioneers in the field of ceramic art during the late 19th and early 20th centuries. They are best known for their imaginative and often eccentric creations, which have garnered a dedicated following among collectors and art enthusiasts.

Antique Doulton Lambeth Jug by Florence Barlow, Dated 1874
An exceptional early work by a pioneering female artist of the Victorian ceramic movement

This distinguished Doulton Lambeth stoneware jug, dated 1874, is a rare and early example of the artistry of Florence Barlow, one of the most important female designers of the Doulton studio and sister to the renowned Hannah Barlow.

The jug features a finely detailed upper register adorned with seven sensitively modelled horse heads, each emerging from the clay in low relief and encircled above and below by delicate beaded borders. The rendering of the horses—marked by expressive line and form—is particularly notable, as Florence would soon transition to specializing exclusively in birds, leaving animal subjects like these to her sister, Hannah. This piece therefore captures a brief and significant phase in her artistic development.

The slender neck and lower body are decorated with stylized blue foliate sheaf motifs, set within zigzag and florette borders, creating an elegant interplay of texture and design across the jug’s surface. The decorative vocabulary is restrained yet dynamic, reflecting the sophisticated aesthetic typical of early Doulton Lambeth wares.

To the base, the jug bears the oval Doulton Lambeth impressed mark with the date 1874 to centre, alongside an early version of Florence Barlow’s personal monogram, confirming its authenticity and origin.

This piece stands as a rare and important example of early Doulton art pottery and of Florence Barlow’s formative work. It would make a significant addition to any collection of 19th-century British ceramics or women’s art pottery.

Dimensions: Height: 23cm ;  Width: 14cm
Condition: The jug has had an older restoration around the rim, where the blue rim border has been repainted. This has been done to a fair standard but due to the age of the repair, there is some age crackling to the restoration. Three florettes have nibbles or chips. Other than this, the vase is untouched.

For sale we have this outstanding quality Hannah Barlow biscuit barrel decorated with six cats in various states from relaxation to spats! The navy sgraffito work is some of the best we’ve seen and is a testament to her skills as a master ceramicist at Doulton Lambeth. This piece looks so good we decided to display it for a couple of years before deciding to put it up for sale. The barrel boasts one large work of a sleeping cat, two cats having a stand-off spat, and three others sitting and socialising. Such as endearing piece. The top and bottom borders are bands of mini florettes and blue rush groups repeated all the way around. Two blue lug handles finish the effect on either side.

Condition wise, there are a few things to mention here. First, and rather obviously, the lid has gone missing and this is an old replacement lid that came with the piece when we acquired it. The original lid would have been stoneware. Secondly, the top rim has two nibbles (one 5mm and the other 1mm) and the top inside rim also has two nibbles (one 8mm and the other 5mm). The base edge has one 2mm nibble. Other than this, there are no other cracks, chips or any restoration to the piece. The photos clearly show the condition. Beneath, we have Hannah Barlows “HBB” monogram together with the shape code 498 and the Doulton Lambeth cog and “England” present and correct. This places the production of the piece around the early 1890s.

If as a collector you can look past the lid and a few nibbles to the tremendous quality of this example, this is a piece that will give you a lot of enjoy.

Antique Doulton Lambeth Stoneware Jug with Victorian Silver Rim

Overview

This exceptional Doulton Lambeth stoneware jug, dated 1878, represents a stunning example of late 19th-century British art pottery. Hand-decorated by renowned artist Florence Barlow, this piece balances rich cobalt glazes with delicate, organic forms. A hallmarked Victorian silver rim crowns the vessel, adding a layer of functional luxury to a celebrated art pottery design.

Description

The jug features an ovoid body transitioning into a flared neck and an elegant strap handle. Striking vertical panels define the design, alternating between deep cobalt blue and soft cream glazes. Raised white beaded slipwork accents the central seams, introducing rhythmic texture to the smooth glaze. Near the foot and neck, stylized feather and leaf motifs flow naturally around the body, highlighting the movement inherent in Barlow’s work. A hallmarked Victorian sterling silver rim from Birmingham caps the top, providing a crisp contrast to the earthy stoneware.

About Florence Barlow & Her Style

Florence Elizabeth Barlow ranks among the most influential decorators of the Doulton Lambeth studio, where she worked from 1873 to 1909. Alongside her sister Hannah Barlow, Florence pioneered early studio ceramics for women during the Arts and Crafts movement.

While Hannah specialized in incised animal scenes, Florence gained acclaim for her delicate botanical treatments, bird studies, and structural foliate patterns. Her work relies on flowing forms, texture, and natural harmonies. This jug highlights her mastery of line, space, and applied slip decoration, showcasing her refined decorative balance.

Provenance & Marks

The underside bears clear, authentic factory marks confirming its origin:

• Manufacturer Mark: Impressed circular “Doulton Lambeth” mark with the production year 1878.

• Artist Monogram: Incised “FEB” monogram for Florence Elizabeth Barlow.

• Assistant Marks: Additional impressed assistant monograms, including “HW” (Henry Winstanley).

• Silver Rim: Fully hallmarked Victorian sterling silver from the Birmingham assay office.

Condition & Dimensions

• Condition: Excellent original condition. The piece shows no damage, cracks, chips, or restoration. The silver rim remains securely fitted with light, age-appropriate patina.

• Height: 22 cm

• Width: 13 cm (approximate)

Collector’s Summary

Early dated pieces by Florence Barlow remain highly prized by collectors of Victorian art pottery and Arts and Crafts design. The combination of Barlow’s distinct hand-carved detailing, rich glaze execution, and a hallmarked silver mount makes this piece a rare and valuable addition to any serious collection.