As I expected, the National Art Library was a great place to do some research.
I wish I could have spent longer there, but I had a date with Antigone at the National Theatre in the afternoon (highly recommended). Nevertheless, I did what I came to do; the books I had ordered were waiting for me, and the system worked flawlessly, thanks to the friendly and patient staff who bore with all my newbie questions.
Regarding the British Empire Exhibition, it’s a case of a few answers and many more questions. Thanks to The Lion Roars at Wembley by D.R. Knight and A.D. Sabey, and a cheerful contemporary guide by M. Grant Cook, I now know more about the Cyprus exhibitions in 1924/25.
According to Cook, in 1924:
‘The Cyprus Pavilion transports us quickly to the far-famed island with its sun and colour, its ancient traditions, its fascinating legends and history… Pottery appears in all the familiar classic forms, but distinguished by a characteristic native touch from other pottery.’ (Cook, p.66).
Perhaps unsurprisingly, this doesn’t give much insight into the background or nature of the ceramics on display. The exhibition was organised by Mr W. Bevan, who was the Director of Agriculture in Cyprus; it would seem reasonable to assume that his attention would be focused more on the natural resources of Cyprus than on its artistic contribution. Which leaves the question of who selected the ceramics, and from what collection.
Knight and Sabey explain that the Exhibition as a whole was considerably in deficit when it closed in 1925, which may explain why the contents were sold off. They give details of the auction of the Hong Kong artefacts, but it’s not clear yet how the Cypriot ceramics came to be sold. I think my next step is to consult the Colonial Office annual reports for Cyprus for the relevant years; if I can track them down!