The Last American Catalogue 4

Page 1


Contained within these pages is the fourth and final collection of pots that have been returned to me from the United States. For 14 years I sent more than 1400 of my best pieces to a gallery in Boston. The relationship with the gallery there has ended and some of these pots have now found their way back to Rhayader. The pots featured here form a snapshot or retrospective look at the last 14 years as I have been careful to select what I consider good and interesting pieces from the entire period. For instance…there are some salt glazed pieces from the wood kiln when the second chamber was fired as a salt kiln. There are some jugs from my ‘Jug Show’ in 2006…some Shino pieces from the wood kiln and Tenmoku from my oil kiln. If any of these pieces are of interest to you I am pleased to say I will pack and ship within the UK for free. Shipping overseas will be at cost only. Overseas buyers should bear in mind the costs of shipping….I will always find the least costly option. For larger items I will use a tried and trusted shipper who is about the same price as the Post Office but where we can get insurance although that is an extra cost. For the future my intention is to prepare two of these turning page catalogues a year shortly after opening one or other of the large kilns so that new work can be viewed almost immediately. I do not want to send out too many emails to customers…it can be frustrating to find one’s inbox taken up with notices. So, I will always keep my emails to a minimum and only to inform you of new work, a sale weekend here or a fair we will be attending such as the Oxford Ceramics Fair in October each year. As in the previous two catalogues I am happy to deduct a 10% discount from the marked prices.

Please email me at marstonpottery@yahoo.co.uk with the number of the relevant item to reserve it. I have been asked to include methods by which payment can be made. We can accept cheques direct bank transfers from UK banks. International customers may make bank transfers or preferably use Paypal. However, I would respectfully ask that the sender accepts the fee for Paypal transfers. A payment to ‘friends or family’ incurs a much lesser fee than a business payment. The button for ‘friends or family’ will be found at the beginning of the payment process.


PR1

A wood fired Bottle. 2013.

Nuka glaze over the neck and shoulder. This bottle was fired close to the entry of the flame from the main firebox‌.the hottest area of the kiln. 8.5 inches tall. £220.00


PR2. Wood fired Bottle. 2011. A wood fired bottle with Pine ash glaze over the neck and shoulder. The clay body is my reconstructed Shigiraki clay based on analyses from Louise Cort’s book. 8.75 inches tall. £140.00


PR3 A wood fired squared and faceted bottle. 2011 A bottle that displays the gentle blushes of colour that are the gift of the wood flame. 10 inches tall. ÂŁ290.00


PR4. A Press Moulded Bottle. Salt Glazed. 2007 I have used a thick white slip with a soft brush and then combed through the wet slip to the body underneath. The darker area is a thin coat of local red clay that I dig on the other side of town. 9 inches tall. ÂŁ360.00


PR5 A Press moulded Bottle. 2009 I have used an ash glaze made from a local stone dust over a local clay slip. The finger wipe decoration through the wet slip reveals the slip underneath. 7.5 inches tall. ÂŁ240.00


PR6

Press Moulded Bottle. 2009

Press moulded bottle with Nuka glaze and finger wipe decoration. Finger wiping through wet glaze is a decoration that has to be done quickly and without hesitation. I require a clear picture in my mind of what I want but often the hand is quicker than the eye. Afterwards one has to decide if the motif is successful… if it isn’t I wash it off and start again. 6.75 inches tall. £325.00


PR7 A jug. Pine ash glaze. 2006 A jug from my exhibition of one form….the jug…in 2006. Pine ash glaze. Occasionally one makes a pot amongst a series of similar pots and for some intangible reason that particular one just sings. I find the proportions of this jug very pleasing… the handle too sits well with the inward curving neck. 10.5 inches tall. £220.00


PR8 A very tall, monumental bottle with an ash glaze. 2007 My use of ash glazes relies upon the fluidity of the glaze to seek out and embellish marks or ridges in the clay surface. The glaze will pool and in doing so changes colour and texture and thereby highlighting those features in a manner not unlike the way that salt glaze highlights marks in the surface of the clay. 17.5 inches tall. ÂŁ850.00


PR9 An ovoid bottle. Tenmoku glaze with finger wipe decoration. 2009. This piece is possibly the best of these particular pots that I have made. There is a subtle relationship between the curve of the body and the width of the lower part of the neck and the way the two elements meet. Finger wiping creates a motif that has a very direct relationship to the form as it is the fingers travelling over the clay surface that creates the pattern. 15 inches tall. ÂŁ750.00


PR10

A Wood fired Bottle. 2009

I have used my pine ash glaze over the neck and shoulder. This piece was part of a series where I played with the relationship of a tall neck to a barrel shaped bottom. The ‘mallet’ form has its roots in Chinese ceramics. 14 inches tall. £395.00


PR11

A Tall Bottle. Pine ash with Elm ash glazes. 2011

This piece is wood fired. The pine ash glaze is a particularly good colour when wood fired. I think it may be because of the fluctuating atmosphere inside the kiln moving from reduction to oxidation as the kiln is stoked with wood. 15.25 inches. ÂŁ495.00


PR12. A Faceted Bottle. 2009 One of a number of larger faceted bottles I made at that time. I have raised the clay along the cut lines and then wiped away the glaze when wet to emphasise the facets. 14 inches tall. ÂŁ395.00


PR13 A Wood Fired Yunomi. 2011. This yunomi was fired near to the front of the kiln where the flame from the main firebox enters. Here the pots are at the mercy of flame, ash and vapour which creates subtle blushes of colour and variation of texture. 4 inches tall. ÂŁ95.00


PR14 A Shino Glazed Yunomi 2011 I have glazed this cup and then drawn my fingers through the wet glaze. Once dry, I have glazed it again. Wood fired. 4 inches tall. ÂŁ95.00


PR15

A Faceted Yunomi. 2011

After faceteing I have emphasised the edges of the cuts by using a roller to leave a strip or rib standing proud. 4.25 inches tall. ÂŁ95.00


PR16 A Yunomi with ash glaze. 2009 The glaze on this yunomi is made from wood ash mixed with a stone from a quarry in Kington. The stone is called Greywacke‌a hard sedimentary rock used for road mending. I collect the airborne dust to use in my glaze. 3.75 inches tall. £95.00


PR 17 Ash glazed Chawan. 2009 As with the bottle (PR8) this Chawan really shows very well the way in which a fluid ash glaze can bring the surface of a pot to life by pooling and changing colour and texture. I introduce features such as ridges and impressed or drawn patterns to give the glazes somewhere to gather and thereby highlight patterns or form. 5 inches diameter x 3.5 inches tall. ÂŁ150.00


PR18 Chawan. 2009 I have added a little extra iron oxide to the rim of this Chawan which has created the red colour from the Tenmoku glaze. 5 inches diameter x 3.5 inches tall. ÂŁ150.00


PR19 Chawan. 2009 A wood fired Chawan. When I built the two chambered wood kiln I wasn’t looking for those kinds of pots covered in running ash and various kiln deposits. I wanted pots that showed blushes of colour and subtle changes in texture and patina across the surface of the clay. This one has hakeme inside with my pine ash glaze. 5.25 inches diameter. £150.00


PR20 Chawan. 2011 The Tenmoku and Nuka glazes work together and compliment each other when the application is right and the kiln is fired to just the right temperature. Genereally I find that both glazes are at their best in the hottest area of the kiln. This one was fired in the oil kiln and reached Cone 12 ( 1310 degrees C) 5 inches x 4 inches. ÂŁ150.00


PR 21 Chawan. 2011 In Japan this combination of glaze and slip would be called Kohiki….In Korea, during the 15th and 16th centuries the dark clays were covered in white slip and a clear glaze…this was Bunchong. 4.75 inches diameter x 4 inches tall. £150.00


PR22 A Bowl. 2011 A larger bowl with hakeme and iron brush painted pattern. Wood fired. 6.25 inches x 4.25 inches tall. ÂŁ175.00


PR23 A Yunomi. 2011 Nuka and Tenmoku glazes with a combed surface. 3.75 inches tall. ÂŁ95.00


PR24 A set of four dessert or soup bowls. 2009. Each wood fired bowl has a combed pattern to the inside. Pine ash glaze. 6 inches diameter. ÂŁ160.00


PR25 A wood fired dish. 2009. A shallow dish with Pine ash glaze. Stamped and combed decoration. Wood fired. 12 inches diameter. ÂŁ320.00


PR26 A square dish. 2009 A square press moulded dish with a recessed foot. Nuka glaze with Tenmoku pours. 9.25 inches across. ÂŁ190.00


PR27

A very tall Jug. 2006

A large jug with Nuka and Tenmoku glazes. I have wiped away glaze with a piece of soft rubber to reveal the local clay slip. 15.2 inches tall. ÂŁ395.00


PR28

A Tall, ash glazed Bottle. 2009

This bottle illustrates again the decorative effect of a fluid ash glaze and a surface designed to take advantage of the running and pooling glaze. 19 inches tall. ÂŁ1100.00


PR29 Large ash glazed Bottle. 2005 Combed decoration under my pine ash glaze. 18.5 inches tall. ÂŁ850.00


PR30 Tall Bottle with Tenmoku glaze. 2009 This piece has been flattened to provide two faces for decoration. I have wiped away the glaze with a piece of soft rubber. 14 inches tall. ÂŁ550.00


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