MALONE
GOLDMARK GALLERY
Jim Malone’s work is a powerful reminder of what can be achieved through a deep commitment to this ancient craft. It is clearly beyond pretension and it cuts a swathe through the superficial to the heart of the matter. Mike Dodd
I have believed for some time that Malone is the foremost British potter working today. Alex McErlain - Ceramic Review
It is a fact that few, since Bernard Leach himself, have displayed that indefinable touch, that intuitive sense of form and total understanding of the language of throwing. Phil Rogers - Ash Glazes
Front cover: No 23
Price ÂŁ10
MALONE
1
JIM MALONE The Pursuit of Beauty
With an essay by David Whiting
GOLDMARK 2008
Iconic Japanese potter and designated Living National Treasure Shoji Hamada, said there were two kinds of pot. The first he compared to hot house plants, the second to the tree growing on the mountainside. In his own work he aspired towards the latter and I, in so much as I am able, have endeavoured to do likewise. This has involved adopting a particular approach to both work and lifestyle in general. I knew from the start that what Michael Cardew referred to as a deliberately willed injection of personality would not do. This was not the way to make worthy pots. I had looked at those historical examples I admired and loved so much, be they sixteenth century Korean, thirteenth century Chinese, or medieval English, and realised that their essential beauty and vitality was a direct product of the working environment in which they were made. I knew that if I was to have any hope of achieving even a hint of such breadth and character in my own work I would have to create for myself (in so far as was possible in the late twentieth century) a similar living and working situation.
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I left the hot house of London, where I had been a student in the late nineteen seventies, and set up a workshop, initially in North Wales and later in Cumbria working, as I do now, within sight of the Cumbrian Fells. This involves a necessarily slower pace of life, in touch with essential values, from which pots can grow, naturally and unforced and free from the superficiality of urban demands. Such work speaks with a quieter voice, does not try to shock or disturb, and is neither concerned with nor affected by current trends. This work is a reflection of my life and my concerns to understand and communicate beauty, as I see it, through pottery form. This exhibition is the very best work from the last two firings of my kiln. The first, just before Christmas, was a little cooler in the first chamber and the lower parts of the second chamber, suiting perfectly the needs of those pots with brushed slip and iron or cobalt painting. The resulting softness to the glaze surface (even dryness in some cases) allows the slip and pigment to speak with a strong voice. Too hard or shiny a glaze and the effect is lost. The second firing, in late April, was an altogether hotter affair. The searing white flame, in places in excess of 1350°C, produced rich, black tenmokus, breaking to rust red on rims and edges, together with that rich surface texture and depth so essential to the character of good tenmoku and yet so difficult to achieve. In an article I once wrote A potter’s life is not easy. The hours are long and often lonely. But when he has played his part well, and the kiln has been kind, the good pot is a thing of lasting beauty and, as Bernard Leach once said, ‌worth any sacrifice, including life itself. This holds true for me still for this is not what I do; this is what I am. Jim Malone 2008
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The Pursuit of Beauty
I have written elsewhere that Jim Malone works in an isolation that is essentially self-imposed. I’ve always felt it worth stressing because although Malone is a warm and sociable man, he has never been much interested in the current ceramics scene, certainly not in its ephemeral, constantly changing aspects. He works on the margins, his creative method demands a certain silence. Yet, though uninterested in the promotional apparatus of the crafts world, of being on the circuit, his work alone has established Malone as one of our most exemplary artist-potters, a rightly celebrated member of the Leach School. For him pottery is genuinely a vocation, a committed way of life, not a career, but, very simply, (and the new academicism in ceramics circles would shy away from such a word) a continuing search for beauty. It is a beauty expressed in making functional pots that enliven and augment tradition, which measure the continually self-revealing and surprising properties of clay. To do this, day in day out, requires a great deal of focus, Malone attuning himself to the Cumbrian landscape, the source of his raw materials, a place that sustains his creative imagination too. As John Ruskin, who lived not so far from Malone, at Coniston, wrote you will never love art well till you love what she mirrors better and like his one-time neighbour and fellow fell-walker, the
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late Edward Hughes, Malone’s pots, in their colours and textures, have so much of that landscape in them (of course quite literally); evocative of stone, lichen and mossy surfaces, of the varying hues of its weather. As with the work of William Marshall in Cornwall, Malone has made this corner of England his own, his pots full of the character of the place where they were made. Like Hughes, Malone learnt much of his approach and philosophy from a comparatively brief period with Ray Finch at Winchcombe Pottery. Both were there in the summer of 1975, on secondment from their respective art colleges. It helped instil in Malone a developed sense of material connectedness and an awareness that producing pots involves not just the actual making, but the peripheral activity, tasks that give one a greater and deeper awareness of the craft. Over the years since, Malone has refined a language which is the very antithesis of fashion, of what he regards as the more excessive and superficial developments on the crafts scene. His views – trenchantly expressed in his occasional articles too – reiterate and enlarge on what has been so forcefully articulated by Leach and Cardew, Malone bringing these ideas and convictions to a new audience. Jim Malone tries to deal with essentials, the essentials of each form he makes. He works with a core language of shapes and surfaces where you don’t chop and change, but let the pots grow and enrich as the potter grows. It is a gradual process that avoids coercion or inducement. It is about listening to the materials you have gathered, knowing the quiet idiosyncrasies of the kick-wheel (with what Malone calls its almost hypnotic rhythm) and the complex personality of the kiln. All become a largely unconscious part of the potter’s individuality, what distinguishes a Malone pot from any other. There is no interest
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in short-cuts, in fast routes and results. Malone understands the equal importance of each creative stage, and in those other influencing factors – the progress of the seasons, the changing texture of the light. They are all aspects which affect the pattern and shape of creativity in the workshop, which are brought into sharper focus when you are potting in comparative seclusion, acutely aware of the transforming physical character of the English year. Malone’s philosophy was movingly summed up in an eloquent article he wrote in Pottery Quarterly in 1985, entitled A Point of View; In a society that is in danger of losing its balance, at a time when too much emphasis is placed on technology and monetarism, it is not easy to retain one’s integrity and purity of purpose as a craftsman. But I am encouraged and reassured when I see work such as that exhibited recently by Richard Batterham at the British Crafts Centre, to know that it is still possible, when one is clear enough, honest enough and in touch with intrinsic values, to make work which speaks in a clear quiet voice, without resort to gimmickry, and with a love of life, in spite of the pain, and the joy of just being and working. ….If one is content with a few friends one knows and is humble enough to see that one is but a part of the whole process, and that the materials themselves have an important contribution to make, then it is possible I believe, given time, commitment and sensitivity, to form a relationship with and understanding towards the materials of sufficient depth to enable (even now in a society where pursuit of fame or profit threatens genuine expression) pots to be made which have real beauty and can enrich human experience. What is important is the motive, and this surely has to be love – love of the material, love of the work, love of the pots.
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After graduating from Camberwell School of Art in 1976, Malone set up his first workshop in Llandegla in North Wales, making tableware and individual pots in stoneware and some porcelain. The economic circumstances were difficult, with a local market virtually impossible to achieve, and it was only after a breakthrough exhibition in Guildford in 1978 that Malone’s reputation began to grow. He has supplemented his income with periods of teaching, most notably as a lecturer at Cumbria College of Art in Carlisle in the 1980s, a post through which he and his friend Mike Dodd established one of the most interesting and successful throwing courses in Britain, an experience which also enabled Malone to re-evaluate and loosen up his own working methods at the wheel. After a long period potting in the Eden Valley, he is reestablished further west, in a village near Wigton. Here he spent two years building his fourth kiln, a two-chambered oriental climbing structure, a type with which he is now very familiar – familiar that is with its unpredictable temperament, the quirks of firing that can result in unexpected riches when the kiln is opened (and occasional disappointment too). With this major exhibition, the largest and most important show since he established his new pottery, indeed since his memorable museum retrospective in 1997, we can see the full range of his work, appreciating his genuine, unhurried experimentation. Here are the runs and batches of forms through which Malone finds his particular pace and freedom of making – groups and families of pots which are variously glazed, and decorated by incising, painting, resist, cutting and beating. We notice on closer scrutiny that gradually changing definition of form – the quirks and idiosyncrasies of detail – which are part of the passage of making. This explains in part why Malone is widely collected, why his pots are so used and enjoyed. There is never a feeling that we have reached an impasse or the end of a journey.
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There remains a sense of challenge, both for Malone in the making and for us in the handling. We continue to respond and learn. Many regard Malone’s jugs as the best in Britain. How does he, like the 14th century craftsmen, manage to avoid the slickness that can so often come with the repetition of a form? Most probably because Malone isn’t trying too hard. As with the medieval potters, his pitchers combine fluidity with a certain tautness. There is a rare crispness of throwing, cutting and engraving. Malone avoids a making routine. His concentration reins in that tendency to control, he doesn’t think too hard, he goes with the flow. The jugs show clay at its most directly expressive, deepened by closely aligned glazes. In Malone’s pots a particular unity results, a kind of epiphany. It is there in the way Malone incises foliate decoration into a tall bottle, where the runs of ash follow the contours of the form, emphasising its curves and calligraphic marking. His hakeme, perhaps flecked with iron, the deft lyrical brushwork – all maintain the innate movement of throwing. His painted or engraved leaping fish and blowing grasses are invested with life, underlining the sense of lift that each shape has. It is as if, though intimate with all these forms and motifs – from his biggest jars to his teabowls and yunomis – Malone maintains a certain lightness of hand. He wants the clay – with his mediation – to be able to speak for itself, to sing. David Whiting, April 2008
17
12
4
14
15
41 22
61 23
25
26
11
5
28
57 29 10
90
56
93,100
32
88,96
33
66
86
Biographical Notes 1946
Born Sheffield, England
Education 1972-6
Camberwell School of Art and Crafts, London
1975
Studied at Winchcombe Pottery, Gloucestershire
1976
B.A. Hons. Ceramics, First Class Honours
1976
Crafts Council, New Craftsman Grant
1993
Northern Arts Bursary
Grants
Workshops 1976-1982 Horseshoe Pass, North Wales 1984-2001 Ainstable, Cumbria 2001-2003 Burnby, York 2003
Lessonhall, Cumbria
Teaching Over thirty years, Malone has given many lectures and demonstrations to colleges and ceramic societies around the country. 1980
Artist in Residence, Cardiff College of Art
1980
Visiting Lecturer, Camberwell School of Art
1981-2
Visiting Lecturer, Wrexham School of Art
1982-90
Cumbria College of Art, Carlisle
Publications 1980
Tradition and the Individual Talent Christopher Reid, Crafts Magazine No.45
1983
A Point of View Jim Malone, Pottery Quarterly No.14/56
1993
Jim Malone in Conversation Ceramic Review, March issue Features, illustrations and reviews in numerous magazines and books, including:
1989
British Studio Ceramics in the Twentieth Century Paul Rice and Christopher Gowing.
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1990
British Studio Pottery in the V&A Collection Oliver Watson
1992
Video – Jim Malone - Artist Potter made by Alex McErlain
1993
Potters in Cumbria
Exhibitions Over the past thirty years Malone has exhibited widely in this country and around the world. His most recent shows include: 2002
Bettles Gallery, Ringwood, Hants – Solo show
2002
Totally Teabowls, Oakwood Gallery, Edwinstowe, Notts.
2003
Lynne Strover Gallery, Cambridge – Solo show
2003
Harlequin Gallery, London – Solo show
2003
Maltby Contemporary Art, Winchester – Solo show
2003
My Top Twenty, Alpha House Gallery, Sherbourne
2004
Contemporary Ceramics, London – Solo show
2005
Alpha House Gallery, Sherbourne – Solo show
2006
Oakwood Gallery, Thoresby Gallery, Newark – Solo show
2007
The Jug Show, Galerie Besson, London
2007
The Gallery at Shepherd Market, London – Solo show
2007
Castlegate House Gallery, Cockermouth – Solo show
2007
Bettles Gallery, Ringwood, Hants – Solo show
2007
Lynne Strover Gallery, Cambridge – Solo show
2008
Goldmark Gallery, Uppingham – Solo show Malone’s work is represented in many private and public collections including: Victoria and Albert Museum, London Paisley Museum and Art Gallery, Glasgow Ulster Museum, Ireland York Museum and Art Museum Bolton Museum and Art Gallery Southampton Museum and Art Gallery Cleveland Craft Centre, Middlesborough Manchester Metropolitan University Liverpool Museum and Art Gallery Crafts Council Permanent Collection, London
38
65
32,27,34
67,101,95,169,92
9
79
77
80
81
54,55 43
106, 103, 108, 104
10,38,35,69
105 45
75, 136, 22
46
176,179,175,107
47
53 48
17
21
71
73
178,176,177
174,180,175
173,171,169
161,157,155
158,156,164
144,141,148
115
112
111
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Exhibition List 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43.
All sizes in cm
Tall Bottle. Bashed square. Tenmoku with copper pours Tall Bottle. Bashed square. Tenmoku with copper pours Tall Bottle. Bashed square. Brushed slip, iron painting Tall Jar with Lugs. Bands and nuka glaze, tenmoku pours Slender Bottle with Ridge. Dimpled pattern, tenmoku Slender Bottle with Ridge. Dimpled pattern, tenmoku Slender Bottle. Repeat indent pattern, pale nuka glaze Slender Tall Necked Bottle. Repeat indents, nuka glaze Slender Tall Necked Bottle. Ridge and stamped tenmoku Tall Necked Bottle. Finger wipe through tenmoku Big Globular Bottle, nuka type glaze, copper splashes Big Globular Bottle with Ridge and Pellets. Tenmoku Big Globular Bottle with Ridge and Pellets. Tenmoku Big Globular Bottle. Stamped, tenmoku and hedgerow ash Globular Bottle. Stamped ridges. Dark nuka type glaze Tall Necked Bottle. Brushed slip, iron and cobalt with copper Tall Necked Bottle. Brushed slip, iron painting with copper Tall Necked Bottle. Brushed slip, iron and cobalt with copper Tall Necked Bottle with Ridge Indents. Brushed slip with copper Slender Tall Necked Bottle. Brushed slip with copper splashes Globular Bottle. Brushed slip, iron and cobalt with copper Globular Bottle. Brushed slip, iron and cobalt with copper Large Globular Jar. Segmented, willow pattern. Ash and iron Large Globular Jar with Lugs & Ridges. Willow pattern, ash & iron Large Pilgrim Flask. Stamp and pellet pattern, tenmoku Large Pilgrim Flask. Stamp pattern, nuka type glaze Footed Bottle. Engraved honeysuckle. Granite, nuka over Footed Bottle. Engraved honeysuckle. Ash and nuka Footed Bottle. Engraved grasses. Hedgerow ash and nuka Footed Bottle. Engraved grasses. Granite and nuka Footed Bottle. Engraved honeysuckle. Ash and nuka Footed Bottle. Engraved honeysuckle. Granite and nuka Footed Bottle. Engraved honeysuckle. Ash and nuka Footed Bottle. Engraved honeysuckle. Granite & nuka Footed Bottle. Finger wipe through tenmoku, ash glaze Footed Bottle. Finger wipe through tenmoku, ash glaze Footed Bottle. Finger wipe through tenmoku, nuka glaze Footed Bottle. Finger wipe through tenmoku, nuka glaze Footed Bottle. Finger wipe through ash glaze, nuka over Footed Bottle. Engraved grasses with ash and nuka Footed Bottle. Engraved grasses, ash glaze with copper Footed Bottle. Engraved grasses with granite and nuka Footed Bottle. Engraved grasses with ash and nuka
56
59.0 x 24.0 59.0 x 23.0 59.0 x 22.5 55.0 x 27.5 51.0 x 24.5 49.0 x 24.5 44.0 x 21.0 48.0 x 22.5 45.0 x 22.0 37.0 x 21.5 52.0 x 36.0 52.0 x 34.5 50.0 x 36.0 47.0 x 32.0 42.5 x 29.0 45.0 x 22.5 45.0 x 23.0 43.0 x 21.0 42.5 x 23.0 41.0 x 19.5 39.5 x 26.0 40.0 x 26.0 45.5 x 33.0 44.0 x 30.0 45.5 x 34.5 44.0 x 33.5 35.5 x 21.0 34.5 x 21.0 34.5 x 22.0 33.0 x 20.0 32.5 x 21.0 31.0 x 19.0 30.5 x 19.0 27.5 x 18.5 36.5 x 18.0 34.5 x 16.0 27.0 x 16.0 22.5 x 16.0 22.0 x 17.0 33.5 x 16.5 32.5 x 17.0 29.5 x 15.0 28.0 x 16.0
3
All sizes in cm
44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89.
Footed Cut Sided Bottle. Pale ash glaze Footed Cut Sided Bottle. Nuka type glaze Footed Cut Sided Bottle. Nuka glaze Footed Cut Sided Bottle. Pale ash glaze with nuka over Footed Bottle. Fluted, granite glaze with nuka over Slab Bottle. Brushed slip, iron rushes with copper splashes Slab Bottle. Brushed slip, iron rushes with copper splashes Slab Bottle. Brushed slip, iron rushes with copper splashes Slab Bottle. Brushed slip, iron rushes with copper splashes Slab Bottle. Brushed slip with iron and cobalt rushes Slab Bottle. Impressed, nuka glaze with tenmoku pours Slab Bottle. Impressed, tenmoku with copper pours Footed Bottle with Handle. Pellets and nuka type glaze Footed Bottle with Handle. Pellets, tenmoku & copper pours Footed Bottle with Handle. Repeat pellets, tenmoku glaze Korean Type Footed Bottle. Indents, tenmoku & copper pours Korean Type Footed Bottle. Repeat indents, tenmoku Korean Type Footed Bottle. Nuka type glaze, copper pours Korean Type Footed Bottle. Repeat indents, nuka type glaze Korean Type Footed Bottle. Engraved grasses, granite & nuka Korean Type Footed Bottle. Repeat stamps, tenmoku Korean Type Footed Bottle. Engraved grasses, granite & nuka Korean Type Footed Bottle. Segmented, pellets and nuka Korean Type Footed Bottle. Segmented, pellets and tenmoku Korean Type Footed Bottle. Finger wipe through tenmoku Korean Type Footed Bottle. Finger wipe through tenmoku Korean Type Footed Bottle. Segmented, nuka type glaze Korean Type Footed Bottle. Brushed slip, iron & cobalt rushes Korean Type Footed Bottle. Brushed slip, iron rushes & copper Korean Type Footed Bottle. Brushed slip, iron & cobalt rushes Korean Type Footed Bottle. Brushed slip, indents and copper Footed Bottle. Lugs. Brushed slip, iron painting and copper Footed Bottle. Lugs. Brushed slip, iron painting and copper Lidded Pot. Stamped shoulder, tenmoku with copper pours Lidded Pot. Stamped shoulder, granite and ash glaze Lidded Pot. Repeat stamp pattern, nuka glaze Lidded Pot. Repeat stamp pattern, tenmoku glaze Lidded Pot. Stamped shoulder, ash and granite glaze Lidded Pot. Repeat stamp pattern, tenmoku glaze Tall Jug. Pellets and tenmoku glaze Tall Jug. Pellets and tenmoku glaze Tall Jug. Pellets and tenmoku glaze Tall Jug. Pellets and tenmoku glaze Baluster Jug. Pellets and nuka type glaze Baluster Jug. Pellets, granite and ash glaze Baluster Jug. Pellets and tenmoku glaze
58
30.5 x 19.0 30.5 x 17.0 30.0 x 18.0 29.0 x 18.0 27.0 x 18.0 32.0 x 19.0 31.0 x 11.0 31.5 x 11.0 32.0 x 19.0 32.0 x 19.0 31.0 x 11.0 32.0 x 11.0 33.5 x 22.5 32.5 x 22.0 31.5 x 21.0 40.0 x 21.5 40.0 x 22.0 40.0 x 25.0 40.0 x 23.0 36.5 x 21.0 36.0 x 20.0 34.5 x 20.5 32.0 x 17.5 31.0 x 17.5 31.0 x 17.0 29.5 x 18.0 28.0 x 15.0 36.0 x 21.5 34.5 x 20.0 34.5 x 18.0 29.5 x 18.0 33.0 x 22.0 37.5 x 21.5 25.0 x 21.0 25.0 x 21.0 25.0 x 20.0 30.0 x 23.0 27.5 x 23.0 24.5 x 21.0 38.5 x 23.0 38.0 x 20.5 38.0 x 21.5 38.0 x 23.0 36.0 x 21.0 35.0 x 20.5 33.5 x 21.0
16
All sizes in cm
90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. 115. 116. 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135.
Baluster Jug. Pellets and nuka type glaze Baluster Jug. Pellets and tenmoku glaze Baluster Jug. Pellets and tenmoku glaze Baluster Jug. Pellets, tenmoku and ash glazes Baluster Jug. Combed decoration, ash and tenmoku glazes Dumpy Jug. Repeat indents, tenmoku glaze Dumpy Jug. Repeat stamps, granite and ash glaze Cut Sided Baluster Jug. Tenmoku and ash glazes Cut Sided Baluster Jug. Tenmoku and ash glazes Baluster Jug. Combed with ridge, ash and tenmoku glazes Baluster Jug. Pellets and tenmoku glaze Baluster Jug. Pellets and tenmoku glaze Fat Baluster Jug. Three pellets, tenmoku and ash glazes Teapot. Tenmoku with finger wipes Teapot. Tenmoku with finger wipes Teapot. Dark nuka type glaze with finger wipes Teapot. Tenmoku with finger wipes Teapot. Brushed slip with iron motif and copper splashes Very Big Teapot. Tenmoku with finger wipes Big Dish. Brushed slip, cobalt and iron painting with copper Big Dish. Tenmoku with copper glaze pours Big Dish. Tenmoku with copper glaze pours Large Dish. Engraved willow. Ash with tenmoku outside Big Bowl. Brushed slip, iron and cobalt, rushes with copper Big Bowl. Brushed slip, cobalt and iron repeat foliate motif Big Bowl. Brushed slip, iron foliate motif and copper splashes Big Bowl. Ridged, brushed slip. Iron foliate motif and copper Bowl. Ridged, brushed slip. Iron motif with copper splashes Bowl. Ridged, brushed slip. Iron & cobalt motif with copper Bowl. Ridged, brushed slip. Iron & cobalt motif with copper Bowl. Ridged with brushed slip. Iron and cobalt rushes Big Bowl. Ridged, ash and tenmoku glazes Big Bowl. Ridged, ash and tenmoku glazes Big Bowl. Ridged, ash glaze, nuka pours & stamped pattern Ridged Bowl. Nuka with tenmoku pours Deep Flared Bowl. Brushed slip, iron rushes & copper splashes Deep Flared Bowl. Brushed slip, iron rushes & copper splashes Flared Bowl. Brushed slip with iron rushes motif Deep Flared Bowl. Brushed slip with cobalt and iron rushes Deep Flared Bowl. Brushed slip, iron rushes & copper splashes Deep Flared Bowl. Brushed slip with iron foliate motif Deep Bowl. Brushed slip, iron foliate motif & copper splashes Deep Bowl. Brushed slip, iron foliate motif & copper splashes Deep Bowl. Brushed slip, iron foliate motif & copper splashes Deep Bowl. Brushed slip, iron foliate motif & copper splashes Bowl. Brushed slip, iron and cobalt foliate motif with copper
60
34.5 x 21.0 33.0 x 19.5 31.0 x 19.5 30.0 x 19.0 28.0 x 19.5 28.5 x 21.0 28.0 x 19.5 33.5 x 21.5 29.0 x 19.0 20.5 x 16.5 18.0 x 16.0 17.5 x 16.0 24.5 x 18.5 22.0 x 21.5 22.0 x 22.0 22.0 x 20.0 27.0 x 25.0 27.0 x 25.5 30.0 x 27.0 13.0 x 43.0 12.0 x 40.0 12.5 x 41.5 10.5 x 36.0 16.5 x 33.5 17.0 x 32.5 15.0 x 31.0 13.0 x 29.5 13.5 x 28.5 12.5 x 28.0 12.5 x 28.0 13.0 x 26.5 15.0 x 32.5 15.0 x 32.5 14.5 x 32.0 14.0 x 26.5 16.0 x 28.0 16.0 x 28.0 13.0 x 25.0 14.5 x 23.5 13.5 x 23.0 13.5 x 23.0 13.0 x 23.0 12.0 x 22.5 12.0 x 22.5 13.5 x 23.0 12.0 x 22.5
6
All sizes in cm
136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. 177. 178. 179. 180.
Bowl. Brushed slip with iron motif and copper splashes Bowl. Brushed slip with iron motif and copper splashes Bowl. Brushed slip with iron and cobalt rushes Bowl. Brushed slip with iron motif and copper splashes Bowl. Brushed slip, iron and cobalt motif and copper splashes Teabowl. Tenmoku with finger wipes and ash glaze within Teabowl. Stamped pattern, tenmoku and ash glaze Teabowl. Stamped pattern, tenmoku and ash glaze Teabowl. Stamped pattern, tenmoku and ash glaze Teabowl. Tenmoku with finger wipes and ash glaze within Teabowl with Ridge. Stamp pattern, tenmoku and nuka Teabowl with Ridge. Stamp pattern, tenmoku and nuka Teabowl with Ridge. Stamp pattern, tenmoku and nuka Teabowl. Stamp pattern, nuka glaze Teabowl. Stamp pattern, nuka glaze Teabowl. Stamp pattern, nuka glaze Teabowl. Stamp pattern, nuka and copper Teabowl with Ridge. Nuka Teabowl with Ridge. Nuka with tenmoku pours Teabowl. Brushed slip with iron painting and copper splashes Teabowl. Brushed slip with iron painting and copper splashes Teabowl. Brushed slip with iron painting and copper splashes Teabowl. Brushed slip, cobalt & iron painting, copper splashes Teabowl with Ridge. Brushed slip, iron painting and copper Teabowl. Brushed slip with iron painting and copper splashes Teabowl. Brushed slip, cobalt painting and copper splashes Teabowl. Brushed slip with iron painting and copper splashes Teabowl with Ridge. Brushed slip, iron painting, and copper Teabowl with Ridge. Cobalt & iron painting & copper splashes Teabowl. Stamp pattern, nuka glaze Teabowl. Stamp pattern, tenmoku and ash glaze Yunomi with Ridge. Stamp pattern, tenmoku glaze Yunomi with Ridge. Nuka with copper pours Yunomi with Ridge. Stamped, tenmoku and ash glaze Yunomi. Engraved, granite and nuka glazes Yunomi. Engraved, granite and nuka glazes Yunomi. Stamped, nuka glaze Yunomi with Ridge. Stamped, nuka with copper pours Yunomi. Brushed slip, iron and cobalt with copper splashes Yunomi. Brushed slip with iron painting and copper splashes Yunomi with Ridge. White slip, iron painting & copper splashes Yunomi. Brushed slip, iron and cobalt painting and copper Yunomi. Brushed slip, cobalt and iron painting and copper Yunomi. Brushed slip with iron painting and copper splashes Yunomi. Brushed slip with iron painting and copper splashes
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11.5 x 19.5 10.5 x 19.0 11.0 x 18.5 10.5 x 17.5 10.5 x 17.5 9.0 x 13.5 8.5 x 13.5 8.0 x 13.0 8.5 x 14.0 8.5 x 13.0 8.0 x 14.5 8.0 x 14.5 8.5 x 15.0 8.5 x 13.5 8.5 x 13.5 8.0 x 14.5 8.0 x 14.0 9.5 x 12.5 8.5 x 14.5 9.0 x 14.0 9.0 x 15.5 9.0 x 14.0 9.0 x 14.0 9.5 x 13.5 9.0 x 13.5 8.5 x 13.5 9.0 x 15.5 8.5 x 15.0 9.0 x 14.0 9.0 x 14.5 9.0 x 13.5 10.0 x 9.5 10.0 x 10.0 9.0 x 9.5 10.5 x 9.0 10.0 x 9.0 10.0 x 9.5 10.0 x 9.5 10.5 x 9.5 10.5 x 9.5 9.50 x 9.5 9.0 x 8.5 9.5 x 8.5 9.0 x 8.5 9.5 x 8.0
62,8,7
Goldmark Gallery, Uppingham, Rutland, LE15 9SQ +44 (0)1572 821424 info@goldmarkart.com
Text © Jim Malone 2008 Text © David Whiting 2008 Photographs © Jay Goldmark Design Porter / Goldmark
ISBN
978-1-870507-43-1 2008
Jim Malone pots may be purchased direct from Goldmark Gallery view online at www.modernpots.com
‌ he stands well apart from the others because of the unsurpassed quality of his pots. Paul Rice - British Studio Ceramics
GOLDMARK GALLERY Uppingham Rutland England