Sir Edward George Clarke QC caricatured as a tall distinguished fantastical bird jar and cover
Salt-glazed stoneware, ebonized wood.
15 1/8 in. (38.4 cm) high
Collar incised Martin Bros/London + Southall/2-1898, base incised 2-1898/Martin Bros/London +
Southall, and firm’s printed paper label MARTIN BROS./POTTERS,/16. BROWNLOW ST.,/HIGH
HOLBORN,/LONDON and James Bourlet & Sons Ltd. printed paper label. Together with period
photograph signed and dated E.C 7.11.1925.
Sotheby’s, Belgravia, “Studio Ceramics,” November 8, 1973, lot 487
Dr. Washington, 1973
Richard Dennis Gallery, London
Sotheby’s, Belgravia, “Studio Ceramics,” July 12, 1979, lot 219
William E. Wiltshire, London
Sotheby’s, London, “The William E. Wiltshire Collection,” November 18, 1991, lot 80
John S. M. Scott, Esq., London
The Fine Art Society, London
Sinai and Sons, London, 2014
Acquired from the above
“The Martin Brothers Potters,” Sotheby’s Belgravia, London, September 16-October 14,
“The John Scott Collection: Decorative Arts from the Nineteenth and early Twentieth
Centuries,” The Fine Art Society, London, June 11-20, 2014
“Fantastique,” Sinai and Sons, Masterpiece, London, June 25-July 1, 2015
The Martin Brothers Potters, exh. cat., Sotheby’s Belgravia, London, 1978, p. 19, no. 333
Malcolm Haslam, The Martin Brothers Potters, London, 1978, illustrated p. 132
The John Scott Collection: British Art Pottery, Volume 3, exh. cat., The Fine Art Society,
London, June 11 – 20, 2014, illustrated cover, pp. 34-35
Timothy Brittain-Catlin, “Full House, Every Inch of John Scott’s Notting Hill Home…,” The
World of Interiors, July 2014, illustrated p. 103
Fantastique, exh. cat., Sinai and Sons, London, 2015, illustrated pp. 48-49
Robert Wallace Martin may have felt some sort of kinship to Sir Edward Clarke (1841-1931).
They were born in the City of London, less than half a mile apart, and within two years of
each other, Clarke being the older man. Both had shown a fierce independence of spirit and
a determination to succeed in their chosen, albeit very different, careers.
Wallace’s caricature of the famous barrister emphasizes the narrowness of Clarke’s eyes
(whether that was a natural feature or a forensic gimmick) and has not spared his victim’s
tendency towards corpulence as he had grown older and more successful. Sir Edward had
stood for the defense in several high profile cases, including the so-called Royal Baccarat
Case, in which he had famously cross-examined the Prince of Wales, and, most notably, the
three trials of Oscar Wilde in 1896. There is a contemporary photograph of this bird along
side another bird with a note on the verso of the print, in Clarke’s handwriting, that identifies
this piece as a caricature of himself, and the other as a caricature of the Liberal prime
minister William Gladstone.
Wallace always kept abreast of the major news topics of the day and sometimes drew on
them as a source of inspiration for items of pottery. For example, when the public was avidly
devouring newspaper stories about polar expeditions, Wallace made several of his so-called
“Eskimo” jugs. As well as bird-jars caricaturing Clarke, Gladstone, and Disraeli, there were
low-relief portrait plaques of Queen Victoria, commemorating her Golden and Diamond
Jubilees. At the height of the political debate over tariff reform, in the early years of the
twentieth century, Wallace modeled a face-jug with Arthur Balfour caricatured on one side,
and Joseph Chamberlain on the other. It should be remembered that one of the many jobs
Wallace had after abandoning his formal education was working as an office-boy for a
parliamentary reporter in Westminster.
Wallace maintained a keen interest in current affairs right up to the end; Sydney Greenslade,
visiting the pottery during WWI, found Wallace (then in his seventies) modeling a three-
handled mug commemorating the destruction of a zeppelin, and carving an allegorical group
with personifications of Germany, Austria, Bulgaria, and Turkey riding a grotesque beast. By
then, of course, Walter and Edwin were dead and the pottery virtually defunct. Fortunately,
this bird-jar caricature of Sir Edward Clarke was sculpted, colored and fired when the Martin
brothers’ skills were at their zenith.