SOME ENGLISH SLIPWARES
SOME ENGLISH SLIPWARES
SOME ENGLISH SLIPWARES
Crafts Study Centre : Exhibition handlist
Some English Slipwares: 6 October – 12 December 2015 Š Crafts Study Centre, University for the Creative Arts, Falkner Road, Farnham, Surrey GU9 7DS Curator: Professor Simon Olding Curatorial support: Jean Vacher Design: David Hyde Technical support: Hannah Facey and Peter Vacher Administration: Margaret Madden and Ingrid Stocker Transport: Mark Watson Transport; Oxford Gallery The Crafts Study Centre is extremely grateful to the following makers, collectors and museums who have generously loaned work to the exhibition: Hampshire Cultural Trust; Professsor Alice Kettle; Michael OBrien; Sandy Brown; Philip Leach; Frannie Leach; Geraldine Richmond-Watson; Joanna Wason; Basil Woodd-Walker; Julia Quigley; Philip Eglin; James Fordham, Oxford Gallery; Ceramics Collection and Archive, Aberystwyth University.
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Some English Slipwares
CONTENTS What is slipware? ........................................................................................................ 5 Introduction ............................................................................................................... 6 Place, tradition and iconography: Bernard Leach and Simon Carroll .............................. 7 The exhibits .............................................................................................................. 18 Philip Leach: Jug making – a Bernard Leach grandson approach ................................. 30 Joanna Wason ............................................................................................................ 34
Slipware dish, Michael Cardew: see page 19
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Crafts Study Centre : Exhibition handlist
Square vase with rounded feet, Simon Carroll: see page 23
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Some English Slipwares
WHAT IS SLIPWARE? ‘What is meant by “slipware”? It sounds like skating or sliding, not like pottery…Firstly, it is lead-glazed earthenware – firing temperature between 8900C and 11000C. Secondly, the pots are decorated with coloured “slip” before they are fired in the kiln. Slip is clay mixed with water…All work that is earthenware and decorated in any way with slips before firing is called slipware’. Mary Wondrausch, Mary Wondrausch on Slipware (2001), A&C Black, p.7
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Crafts Study Centre : Exhibition handlist
INTRODUCTION This exhibition reflects on the development of
The exhibition presents work that operates within
slipware in English studio ceramics from the 1920s
a convention of slipware decoration, and it shows
to the present day. It takes as a starting point a
how the fluidity and risk of the technique can
slipware jug from Bideford, North Devon dated
be utilized with artistic freedom and spontaneity.
1843. 19th century slipware pieces such as this
There are rare examples of slipware by potters who
inspired the early studio potters, Bernard Leach,
only made in this technique occasionally (Henry
Hamada Shoji and Michael Cardew. Leach stated
Hammond and Katherine Pleydell-Bouverie, for
that Cardew ‘along with Hamada and I, rescued
example). Contemporary makers such as Sandy
English slip-ware from entire loss’, and their creative
Brown, Simon Carroll and Alison Britton have used
intervention can be felt through to work made in
their knowledge of slipware technique and history
the 21st century. The exhibition places early studio
to create inventive and entirely original forms.
work alongside contemporary pieces, both to establish how a tradition is kept alive, and how it is challenged and subverted. It shows how domestic jugs can both serve a function and a message.
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Some English Slipwares
place, tradition and iconography Bernard Leach
study and the study of images of work informed
In the 1920s, Bernard Leach made a series of large,
his practice. He regularly spent time in museums
slip-decorated earthenware plates. Nothing like
and commercial galleries in Tokyo, and he was a
these plates had been made in England since the
critical reader.
late 17th century, when Thomas Toft in Burslem,
The 17th century slipware chargers reached
Staffordshire and his fellow makers produced
their apogee in Ralph and Thomas Toft’s and Ralph
magnificent slipware chargers. Some 40 of these
Simpson’s work – vital and rapidly composed
works, dating back to the 1670s, and signed by
plates intended as special commemorative pieces
Toft, still survive. His designs include mermaids,
made for weddings or christenings and intended
unicorns and pelicans; portraits of King Charles II
for proud display as family heirlooms. The figures
and Queen Catherine and coats of arms. They are
that appeared on them were drawn, as Emmanuel
marked with a cross-hatched rim. They resonate
Cooper says, ‘with little or no regard for anatomical
with a national iconography and narrative.They are
detail’. The compositions fill the whole well of
celebratory, vigorous in conception and execution.
the plate and are characterized by a successful
They commonly offer praise: the praise of a system
combination of abstract and figurative designs, and
of royalty or of folk lore.
very often lettering appears on the rim: Thomas
Bernard Leach came across these bold, dynamic
Toft’s name, for example, plus a date.
pots in 1913, four years into his first extensive period
One significant source for Leach’s study of these
of residence as a young man in Japan, and some two
slipwares was a book by Charles J Lomax, Quaint
years after his first exposure to the craft of pottery.
Old English Pottery, which had been purchased for
He was still working through his ideas as a potter,
him by his artist friend Tomimoto. Lomax’s book
searching for an accommodation of style, motif,
had been privately published in 1909. It was a major
materials and form, doing this through the means
source book for Leach. Quaint Old English Pottery
of practice, consultation and experimentation. He
provided a commentary on a private collection
was also very persistent as a researcher, and artifact
drawn together by Charles Lomax of English 7
Crafts Study Centre : Exhibition handlist
earthenware, featuring the works of Thomas Toft
and artists. Soetsu Yanagi, for example, published a
and his family and fellow potters. It stirred Leach,
massive volume on Blake in 1914, the first in Japan,
and stimulated his desire to make slipware both in
dedicating it to Leach. It was a cultural exchange.
Japan and in St Ives. The ‘devices and decorative
But there was also an economic dimension to these
treatments’ to use Emmanuel Cooper’s phrase are
interplays. Leach wrote in A Potter’s Outlook that:
explicitly derived from such slipwares.
‘having become a potter in Japan – a land still new
Leach’s first experimental work in slipware, perhaps
to the affairs of industrialization – I did not realize
his very first, is seen on this little plate, 21 centimetres
the chasm which a century of factories had torn
wide, dating from 1917, now in a private collection.
between ordinary life and hand crafts such as mine.
It reveals something of Leach’s intense urge to cover
I thought that, as in Japan, the work would speak
surface: to crowd it with a fluid imagery and text,
for itself. But I have been forced to the conclusion
as if to load the plate with thought and reference,
that, except for the very few, this is not the case,
and then to free it from this dense context by his
and that unless the potter, weaver, wheelwright or
depiction of the bird’s rapid flight. It is as if his mind is
other craftsman, tells his own tale, no one else will
in tumult, and this tiny surface is all he has to express
or can do it for him’.
himself: as a painter, a reader, a critic and student of
And so, in this precursive Japanese-made plate,
pottery. This exceptionally rare plate, made in Japan,
Leach finds that slip-trailing from 17th century
is a precursor to his large chargers of the 1920s. The
England gives him the essential means to draw
little bird, perhaps a dove, perhaps the symbolic bird
together the creative forces of literature and poetry,
of peace, perhaps a sky lark, perhaps the precursor
and through drawing and writing in slip, he can
to an elegant cormorant that flies across many of
express the individuality of the hand made on the
his pots across his long career, is in a kind of rapt
simplest of domestic forms. It is a remarkable little
flight. The quotation form William Blake’s prophetic
plate: one in which pace, enquiry and reflection are
Book of Urizen reminds us of the significance of the
all in flux. This may be a Staffordshire pot as much
mystical poet to Leach and to his Japanese friends
as a Japanese one. Leach was reflecting on images
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Some English Slipwares
of Thomas Toft’s slipware chargers and other wares
remarkable for its individuality, its melding of
made at Burslem at the same time, and their role
English and Japanese iconography. He depicts a
as exemplars of an English ‘folk art’. Emmanuel
Japanese Well head; a Griffin from English heraldry;
Cooper asserts that ‘their unselfconscious sense of
the tree of life; the Pelican in her Piety; a deer,
pattern, inventive interpretation and the placing of
an owl, this last plate placed above the fireplace in
bold designs struck him as a successful blend of
the Leach Pottery. Sometimes these images were
skill and intuitive aesthetic handling’. Leach made
embedded in the mythology of Cornwall as in the
at least one larger slipware charger in Japan, a Hare
Mermaid of Zennor plate, a dish that for a moment
Dish in raku in 1919, now in the collection of the
in time Leach intended as a gift to the Crafts Study
Japan Folk Craft Museum in Tokyo. He gave it to
Centre collection, although it was passed to his son
his lifelong friend Soetsu Yanagi and said ‘this was
David instead, and is now in the collection of the
my first attempt after having started making pots
Harris Museum, Preston.
in an alien country to get my feet on the ground
Leach’s slipwares fuse culture: East and West.
of English tradition’. He was doing so here by
They fuse time: the chargers of the 1920s could
synthesis and study, and he began to realize in 1919
not have been made without reference to those
that he could ‘make pottery under circumstances
of the 1680s. They use the techniques that were
which offer unusually favourable opportunities for
appropriate for the job at hand: raku firings at first,
the development of his art’.This he would do, from
the use of Red Devon Clay. They are transitional
1920 onwards, in St Ives.
pots. They were also notoriously difficult to make
Leach slipware chargers formed an important
without error. They often simply exploded in the
part of his output at the Leach Pottery in Cornwall
kiln or misfired. They are prone to damage and
throughout the 1920s. He followed the style of
often carry deep firing cracks. The glaze does not
Thomas Toft by giving them a cross hatched rim
always cover the surface of the slip painting. But
and he sometimes signed his works on the rim,
they are also joyous exemplars of vernacular art,
as Toft had done before him. But his imagery is
and just occasionally after the 1920s, Leach would 9
Crafts Study Centre : Exhibition handlist
make a slipware piece perhaps to remind himself of
master, explaining the finer points of making a jug,
their potency and the vital role they played in the
plate or mug to his assistants.The Owl charger took
development of his practice and his search for an
pride of place here. After Leach’s death, and perhaps
independent artistic voice.
around the time of Janet Leach’s death, these two
The slipware chargers were also important
Tang figures and the owl charger disappeared from
because they laid out a template for a related
the pottery into a private collection in St Ives:
series of large plates he made in the 1920s with
perhaps donated by Leach. The Leach Pottery
iron brushwork rather than slip painting, including
decided some years ago to clear and stabilize the
one work in the Crafts Study Centre’s collections
fireplace so that it could be lit again, and in the spirit
showing Bali shadow puppets.
of recapturing the special significance of this micro
Leach was to say that ‘only in the remnants of
site, took steps to reconstruct the tableau of pots
folk life and folk culture will you find what I call
that had played such vital testimony to the sense
pattern. It’s comparable to metaphors, to poems,
of place and the idea of conversing about ceramics
to tools, little abstract simplifications of sound,
in the sight of exemplar works. The Leach Pottery
colours, shapes which can be repeated quickly as
commissioned Philip Leach (who was born in Four
in music or dance or in poetic couplets. William
Marks, Hampshire in 1947), Bernard’s grandson, to
Blake’s are good examples’.
make a slipware charger to take the place of the
As a postscript to Bernard Leach’s slipwares,
original. Philip takes up the story:
I want to remark, briefly, on the way that he
‘Making jugs in the old Leach Pottery St Ives.
displayed one charger, in particular. I mean his owl
Full to the brim with memories: Bill Marshall,
plate, which was situated in the corner fireplace
Scot Marshall, Paul Vibert, Horatio Dunn, Uncle
of the Leach Pottery. Two Tang figures from his
David, my Dad to name a few. Mr Laposter, now,
personal collection of ceramics were placed in the
how did you spell his name, a gardener taught me
niches above the fireplace. It was a place where
to pull up stinging nettles, just grab them hard!
Leach settled and performed the role of the pottery
No, it didn’t seem to work. The owl platter was
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Some English Slipwares
quite a curiosity because Bernard’s original platter
Simon Carroll
was heavily influenced I think by an owl from The
It may seem like a cultural wrench to take you
Slipware Book which inspired a lot of his work at
from the Leach Pottery to Simon Carroll, but I
that time…His owl was quite comical – brush
want to make a case for such a juxtaposition. I can
drawn, tinted possibly with an iron wash and glazed
bring geography in to my argument. Bernard Leach
in galena, I think.
settled, as we know, famously in St Ives in 1920
I decided to go for a trailed platter white slip
to establish the Leach Pottery. Simon Carroll set
on black and a honey glaze. Throwing in the old
up his first studio in his home town of Hereford,
workshop my back was near an incredibly cold
but eventually relocated to Cornwall in 2004.
damp wall and by the third morning I had managed
Here, he rented an unprepossessing but serviceable
to tear a muscle in my lower back. I realized that
Nissen Hut in a disused old airfield near Padstow.
working out of my comfort zone I was having
Carroll described, in an early artist’s statement, his
problems achieving the size of platter for this
journey from making domestic wares through to
project. A bit of potter’s bad luck crept in and the
the dramatic, vibrant, sculptural vessels with which
kiln managed to crack the two best plates so I was
he made his reputation as a ceramic artist resonate.
unable to have a worthy piece for the opening of
In this early artist’s statement he discussed this
the fireplace. I thoroughly enjoyed the interaction
transition in his practice as well as the significance
with the visitors passing through and had some
of his observation of early English slipwares and
good chats…I have just read the correspondence
the part they played in his creative work:
between Yanagi and Bernard from 1912–1958
‘I have been working from traditional hand-made
and together with my own experience now I feel
pottery for a while, mainly ‘panchions’, large old
the Leach Pottery has very much a life of its own.
storage pots glazed on the inside and once used in
I have persevered and thrown four more platters
sculleries and kitchens for holding flour and cream.
now measuring about 16 inches and finished one
I like to consider the potters who made them,
which I think is worthy of the fireplace’.
their way of life, attitudes and approaches to the 11
Crafts Study Centre : Exhibition handlist
clay, which I feel they probably saw as churning
on pointed feet, for example) came in 2005 in
out the carrier bags of their time, having good days
preparation for his one person touring exhibition
and bad days and leaving visible evidence of their
curated by Emmanuel Cooper for Tate St Ives.
experience in their pots; scratches, finger marks,
It ended its tour at the Crafts Study Centre in
cracks and foreign bodies which affected the glazes.
2007. The Tate curators of the show, Sara Hughes
For my most recent work I have looked into
and Susan Daniel-McElroy remarked that these
17th and 18th century slipware, visiting museums
works had ‘a compelling unpredictability…whilst
to see the pots in the flesh and speaking to the
firmly rooted in the traditions of English slipware,
experts to find out exactly how they were made.
these works are not politely nostalgic and subvert
I am now attempting to create pots in the same
any expectations of the ubiquitous pot or the
way, while adding a few ingredients of my own.
perfect form’. Emmanuel Cooper also notes how
I throw my pots using raku, white stoneware, red
Carroll’s observation of the history of ceramics,
clay or combinations of these mixed with a large
and particularly English slipwares, underpins his
amount of smashed up house brick or tile, which
‘understanding and inventive use of material and in
I usually leave thick. I decorate these with white,
the fantasy of figurative, floral and abstract mark-
black and red slip and when they are almost dry
making. His loose, free approach to creating work…
I use an old wood saw to cut it up and break off
is part of a paradoxical quest for both freedom and
pieces, leaving isolated decoration on the fragments.
control, for suggestion and statement’.
Each piece is raw glazed and fired to about 1020
One might say that what Simon Carroll has
to 1060 degrees Centigrade. After firing I examine
taken from slipware is its spontaneity, the need for
what I have and re-fire the pieces, adding more
speed in the mark making, its risk and its joyful
glaze in places. Finally I reassemble the pot’.
expressiveness. Slipware is not an art of restraint
The great flowering of these tortured ‘slipwares’
here. Carroll prefers an abstract line, although in
(Carroll called them, variously, tall vases, thrown
some commanding vases a leaf like pattern, deeply
square pots, short vases or thrown square vase
gouged into the clay, appears. These are profoundly
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Some English Slipwares
manipulated vessels: hit at, punched at, wrestled
Leach’s. They both, it seems to me, assimilated a
and fought over in the manner of Peter Voulkos,
tradition by observation, contemplation, handling
for example. Then they are slip-painted with
and reading. They respected this convention and
honey and tin glazes. Patches of red earthenware
then ignored aspects of its. They interpreted it in
are left untouched, sometimes, to contrast with
uniquely personal ways.
the free marking and abandoned painting. Every vessel seems both totemically still and feverishly
Why is this important to the Crafts Study
full of movement. Emmanuel Cooper remarks
Centre?
how Carroll’s pots ‘freely thrown, wobbly and
First, and prosaically, because the Centre has long
wayward, are decorated with spots and drizzles
held an ambition to acquire a work by Simon Carroll
of glaze and splashes of slip in compositions that
for the collections: both to represent a significant
have all the dynamism and abandon of a Jackson
contemporary maker with a fine piece, but also as a
Pollok action painting’. They are pots of Cornwall
counterpoint to our collection of modern slipwares
by way of American Abstract Expressionism.
by Leach and Michael Cardew, who contributed
Carroll’s major touring show for Tate St Ives took
so significantly to the development of the genre.
these cultural references into play with even more
And then to stand up against the works by Dylan
vigour: Elizabethan ruffs, 18th century porcelains,
Bowen and Clive Bowen that we have acquired
decoration on Oribe Wares from Japan are all
more recently.
introduced. He wrote in 2002 that ‘it has always
The work we have acquired is called Square
been a good practice for artists to draw and look
Vessel with Rounded Feet and was recently displayed
at tradition. I believe this to be fundamental and
in
enriching’.
‘Simon Carroll: Expressionist Potter’, at the
Simon
Carroll’s
retrospective
exhibition
And it is in this reimagining of slipware that
Victoria & Albert Museum and then touring to
Simon Carroll’s hand reaches down the 20 miles
the Ruthann Craft Centre. The expert advisors
of coast from Padstow to St Ives and touches
on our Acquisition Committee, Alison Britton 13
Crafts Study Centre : Exhibition handlist
and Felicity Aylieff, have been champions of this
collections include Pool by Alison Britton, in a style
purchase. Felicity wrote about Carroll in support of
more carefully composed than Carroll’s. Works by
the grant applications that he was ‘one of a handful
Clive Bowen (a large bread bin and vase) contain
of artist potters to recognize and use the wheel
naturalistic imagery as well as free, abstract lines, but
as a creative tool. His inventive and often radical
they are expressly functional works. Alison Britton
approach towards the generation of form and the
says that “Simon Carroll had an extraordinary
application of coloured slips and glazes has had an
verve with the practice of throwing and took it
enormous influence on many who have followed’.
into new and inspiriting territory. But beyond this,
To my mind, Carroll’s dominance over clay and the
and outstanding in my view, was the way the freely
abandoned moment of making is replicated in the
painted surface developed with the bravura of the
work of Sandy Brown, Ashley Howard and Gareth
forms, was built up and clawed into by his hands,
Mason amongst contemporary potters.
sloshed with slip and glaze, keeping a sense of the
I made this case to our potential funders (the Art
plasticity of clay. This work expresses many of his
Fund and the V&A Museum Purchase Fund):
painter/sculptor concerns in its formal variations
‘The work by Simon Carroll is expressive, gnarled,
from plane to plane”’.
fought over and radical in its shape. Its painting and slip trailing and scorings are done intuitively
Conclusion
and at speed. They carry the powerful trace of the
Leach and Carroll are unlikely companions. But in
hand, not content with a graceful or mannered line,
the re-imagining of English slipware in the 1920s
or the need to control the slip trailer with over
and in the first decade of the 21st century, they
precision. This is like painting with watercolour:
found common cause as artist potters. The faint
once the mark is applied, it has to stay in place.
spirit of Thomas Toft hovers behind them: and the
Everything depends on the moment. One can
English tradition of slipware has been immeasurably
argue that immediacy and spontaneity are the
enriched by what they have achieved. These
mark of all studio slipware. Pieces in the Centre’s
magnificent and individualistic works also pay due
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Some English Slipwares
reference to the potters of the past, and unleash their own sense of the worlds of painting, literature and the home. As one critic of Leach’s famously said of an exhibition held in Japan in the 1920s: ‘we admire your stoneware – influenced by the East – but we love your English slipware – born, not made’. Simon Olding, 10 June 2015 Edited from the lecture given to the symposium Shima Kara Shima E, 4 December 2014, held at the University for the Creative Arts, Farnham, commissioned by the symposium director Ashley Howard.
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Crafts Study Centre : Exhibition handlist
Shallow bowl, Henry Hammond: see page 25
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Some English Slipwares
Circular yellow and brown slipware dish, Michael Cardew: see page 22
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Crafts Study Centre : Exhibition handlist
THE EXHIBITS
Slipware jug Bideford, North Devon, dated 1843
Earthenware jar Paul Barron, 1950s
Loan: Hampshire Cultural Trust
Paul Barron taught at the West Surrey College of Art & Design, Farnham from 1949 –82 with Henry Hammond, and he shared a studio with Hammond in Bentley, Hampshire. Barron has used red earthenware clay covered with white slip and sgraffito decoration. The jar was donated to Harold and Doreen Cheesman in the 1950s when Harold was a lecturer at the Farnham School of Art.
CRH 1968.121.3
Loan: Julia Quigley
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Tall, lidded jar Clive Bowen, circa 1990s Thrown, earthenware, sgraffito and painted decoration, honey coloured glaze. Winchcombe recipe type. Crafts Study Centre 2011.15.a-b
Some English Slipwares
‘Pool’ Alison Britton, 2012
Thrown and altered vessel Dylan Bowen, circa 2013 Dark brown and cream slip, combed decoration below neck. Crafts Study Centre 2013.10
Built in slabs of red earthenware with poured slip and glaze.‘It was first fired to 11800C, is made of Keupers Red Earthenware, and the poured areas are first slip and then after biscuit firing, clear and coloured glaze, refired to 11000C.’ (Alison Britton) Crafts Study Centre 2014.21
‘Sgraffito scribble’ Sandy Brown, 2014 This vessel was made by Sandy Brown during a ceramic firing organized by John Edgler at Bideford in 2014. She has added an image of a rowing boat to denote her long standing activity as a rower. Loan: Sandy Brown
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Crafts Study Centre : Exhibition handlist
Slipware plate Michael Cardew, ‘River Pattern’, circa 1970 Michael OBrien bought the plate directly from Michael Cardew when he was leaving Wenford Bridge in 1974. He notes that ‘it had probably been up in his office (ie not for sale) for a couple of years. It is made from the Wenford throwing body with combing through white slip and glazed with the then ‘Standard’ glaze, a slip-glaze and fired to Cone 8 B’. Loan: Michael OBrien
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Slipware jug Michael Cardew Loan: Michael OBrien
Oval dish Michael Cardew, 1930s Slipware, Winchcombe Pottery. From the dinner service commissioned by the literary critic and Cambridge academic F. R. Leavis.
Some English Slipwares
Slipware dish Michael Cardew, 1930s
Large teapot with a cane handle Michael Cardew, c. 1935
Plate Michael Cardew, 1930s
Moulded, trailed slip decoration.
Earthenware, red body, galena glaze over all excluding unglazed rim to lid and band at base.
Slipware, red body, combed decoration within circle.
Crafts Study Centre P.74.66
Crafts Study Centre P.74.56
P.74.124
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Crafts Study Centre : Exhibition handlist
Slipware jug Michael Cardew, 1930s Sgraffito decoration through white slip.
Circular yellow and brown slipware dish Michael Cardew, early 1930s
From the dinner service commissioned by F. R. Leavis and his wife Queenie.
Clear iron oxide glaze over sgraffito decoration through white slip.
Crafts Study Centre P.82.4
Crafts Study Centre P.82.1
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Oval baking dish Michael Cardew, c. 1930s Thrown and altered, red earthenware, dark slip and white trailed decoration, galena glaze. Crafts Study Centre 2009.1
Some English Slipwares
Set of five soup bowls Michael Cardew, early 1930s Slip-trailed decoration under honey-coloured glaze. Part of a dinner service that was commissioned by the literary critic F. R. Leavis and his wife Queenie. Crafts Study Centre P.82.5.a-e
Square vase with rounded feet Simon Carroll, 2005 Hand-built vessel, slip and glaze. Purchased with the support of funds from the Art Fund and the V&A Museum Purchase Fund. Crafts Study Centre 2015.8
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Crafts Study Centre : Exhibition handlist
Pitcher jug W Fishley-Holland, 1949 Jug ‘Slipping the Trail’ Philip Eglin, 2015
‘Swirl’ jug Philip Eglin, 2015
Made for a solo exhibition for the Ceramic Centre and Archive, Aberystwyth University, ‘Slipping the Trail & Responding to the Buckley Pottery in the Aberystwyth Collection’, 2015 and then touring in 2016.
Made for a solo exhibition for the Ceramic Centre and Archive, Aberystwyth University, ‘Slipping the Trail & Responding to the Buckley Pottery in the Aberystwyth Collection’, 2015 and then touring in 2016.
Loan: Philip Eglin with thanks to the Ceramic Centre and Archive, Aberystwyth University and the Oxford Gallery
Loan: Philip Eglin with thanks to the Ceramic Centre and Archive, Aberystwyth University and the Oxford Gallery
24
Slipware, sgrafffito decoration of a farm and animals round form. ‘Fill me with liquor sweet for that is good when friends do meet. When friends do meet & liquor plenty - fill me again when I.B.M.T.’ inscribed around form beneath handle. ‘To Bernard Leach from W. Fishley Holland Potter 1949’ inscribed at foot. Part of Bernard Leach reference collection Crafts Study Centre P.79.65
Some English Slipwares
Large dish T.S. (Sam) Haile, 1945-6
Shallow bowl Henry Hammond, 1946–51
Slipware with white slip trailed decoration under a clear glaze and black slip over a red earthenware clay body.
Turned foot, earthenware, red clay body, black slip coated interior, transparent glaze, white slip trailed decoration in a stylized leaf pattern over a resist outline.
Crafts Study Centre P.80.2
Crafts Study Centre P.89.5
Large harvest jug The textile artist Alice Kettle and the potter Alex McErlain often collaborated when they worked together at Manchester Metropolitan University. Their interest in collaboration was also made explicit in the ‘Pairings’ exhibition (Stroud International Textiles) as they sought to create ‘a dialogue between makers and materials in order to learn and understand an alternative perspective and reflect back on one’s own’. Loan: Professor Alice Kettle
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Crafts Study Centre : Exhibition handlist
Dish Bernard Leach, 1953 Baluster-shaped slipware vase Bernard Leach, 1933 –35
Slipware, sgraffito decoration inside rim. Made in Fujina Pottery, Japan.
Made in Dartington, Devon.
Crafts Study Centre P.75.44
Crafts Study Centre P.75.46
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Lidded oven dish Frannie Leach, Springfield Pottery, circa 2014 Loan: Frannie Leach
Some English Slipwares
Trailed bowl Philip Leach, Springfield Pottery, 2015
Large jug Philip Leach, Springfield Pottery, circa 2014 Experimenting with pouring and marbelling with black and white slips, then adding brushed on colours before glazing in a borax glaze, electric kiln firing. Loan: Geraldine Richmond-Watson
‘I made the bowl shortly after watching Michael Cardew throw a bowl when he was practically in his 80s on a video clip. He slowly thumped the clay on a wheel into a fairly even ring, and then with a slurry mix threw up the bowl on an old kick wheel. It was great to listen and to watch’. Loan: Philip Leach
Large jug with Minoan and traditional influences Philip Leach, Springfield Pottery, 2015 Hakeme brushed white slip over black, slip trailed octopus fully round the jug, poured honey lead bisilicate glaze with copper blue alkaline glaze overlapping, reduction firing in gas kiln bringing out the red copper. Loan: Philip Leach
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Crafts Study Centre : Exhibition handlist
Two harvest jugs Emilie Taylor, 2014
Large dish Katharine Pleydell-Bouverie, 1961 Brown and white slipware, clear glaze over trailed and combed white slip decoration on interior, unglazed with incised decoration on exterior. Crafts Study Centre P.84.7
Emilie Taylor was artist in residence at Manor Estate, Sheffield and Chatsworth Estate, Derbyshire in a project led by Yorkshire Artspace. Stoker Devonshire writes that ‘Emilie has brought together what were once both Cavendish Estates, by contrasting The Manor today with historic decoration from the Chatsworth in the Baroque age’. This juxtaposition of a great historic house and a low rise housing estate with acute levels of social depravation enables her to use a conventional commemorative style on a standard ceramic shape, some with contemporary images that as Sara Roberts says are ‘provocative and politically challenging’. These jugs contrast the items requested to be donated to the growing number of free food banks on the Manor with the grocery items available at the Chatsworth organic shop. Loan: Basil Woodd-Walker
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Some English Slipwares
Two vases Joanna Wason, 2015 Made for a solo exhibition at the Leach Pottery. Loan: Joanna Wason
Plate Joanna Wason, 2015 Made for a solo exhibition at the Leach Pottery. Loan: Joanna Wason
Cider jar Mary Wondrausch, circa 1976 The jar commemorates the Silver Jubilee of Elizabeth II, and is decorated with images of Elizabeth I, Elizabeth II and the Royal Coat of Arms. Mary Wondrausch is renowned for her contribution to the development of slipware both through her significant book ‘Mary Wondrausch on Slipware’ and other writings and the slipwares made at her studio in Compton, Surrey. Loan: Hampshire Cultural Trust
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Crafts Study Centre : Exhibition handlist
PHILIP LEACH Jug making:
your left hand inside, right hand out, thrust out the
a Bernard Leach grandson approach
belly as the neck starts to sink a little. The elasticity
Not stuck in a traditional slipware rut
in that clay is very forgiving and when you look from the 10lb clay lump to the finished jug there is
As a child I remember growing up, a Leach water
a thrill. Throwing and coiling on large pieces I can
jug was on the dinner table the handle springing
understand but I prefer the challenge of throwing
from about half way between the middle and the
largish jugs in one, without producing the the gas
top and attaching a hand’s width down the jug,
bottle and loads of flame and steam. North Devon
a barrel form, stoneware glazed over a dark slip
jugs, made to carry water, cider and also carrying
outside, a well formed spout quite a homely form.
records of events, pottery poems and drawings
Much later when I first began throwing jugs
from the very small to the large, fat Harvest Jugs.
with Clive Bowen the handle sprang from the jug’s
The history of the Harvest Jug, my take being, the
rim or a little bit below there was a neck and the
potter would make one or two a year in the summer
handle tended to find a point on the shoulder of
months when the evenings were long. Free thrown
the bellied base. My father, possibly quoting, said
jugs with combed slip, or a good simple glaze,
the adage that a good handle can save a pot. I prefer
maybe some flashing in the kiln can be a very fine
the handle to be roughly pre-pulled before I take
form and carry the same weight and poise as the
it to the jug, and then finally pulled on the form to
integrity in a Japanese tea-bowl. We have two very
give a spring to the handle and corrections to its
good jug makers in North Devon – Clive Bowen
thickness before attaching it to the jug.
and Sven Bayer.
I seem to prefer the traditional North Devon
I was drawn to the vitality of earthenware
slipware jug form whether throwing small or large.
even though I grew up surrounded by some
There is something exciting about jug throwing,
beautiful tenmoku, celadon and ash glazes –
especially with the Fremington clay which allows
white china plates were a rare thing! I have a
you to take the thrown cylinder and then with
rather poor knowledge of chemistry (physics-
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Some English Slipwares
with-chemistry ‘O’ level grade 6) but have
more colours and I was keen to move into that
experimented with low temperature glazes. I’m
territory. I remember in my teens drawing an old
receptive to influences from my travels and quite
shed in a mine workings, and then colouring each
happily bring those to my work. During my early
panel with blocks of different colours – this was
years whilst trying to escape from ‘pottery’ and
met by furious rage from my dad for some reason!
‘Leach’ I ended up in Iran for six years. There
I still seem to want to challenge the working surface
I found the copper blue alkaline glaze which
with some distraction.
was a great excitement and you might say has
With two of my latest jugs, I’ve tried the Minoan
become a trade mark to our pottery (Springfield
form with their characteristic pouring lip, with
Pottery). More recently, my wife Frannie and
white slip I trailed an octopus over the entire jug
I were visiting Crete where we not only saw the
over a brushed-on black slip. A challenge! The slip
magnificent Larnaxes and jugs with birdlike spouts
was a little runny. After the biscuit firing with a
decorated with flowing octopi, but we also came
large ladle – the Japanese use handled bamboo
across a beautiful 15-inch 12th-century Persian
ladles for glazing – I poured down the jug streams
dish glazed in a clear alkaline glaze over delicately
alternately of Honey LBS and Blue Alkaline glazes.
painted floral pattern in cobalts and copper. We
The result was exciting, good quality glaze, a lot of
were also able to dig up Minoan and Roman
copper reduction where the copper blue glaze has
shards at an ancient palace site on a mountain top.
thinned over the honey glaze, the gas kiln is great
We came back inspired and enthused, tried out a
for that.
new glaze. To work with other potters and artists is something I’ve ventured into and we collaborated with a German artist, Matti Braun, who wanted me to throw large platters so he could use the Palette of our glazes and colours. He also wanted to add 31
Crafts Study Centre : Exhibition handlist
Large jug with Minoan and traditional influences, Philip Leach: see page 27
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Some English Slipwares
‘Swirl’ jug, Philip Eglin: see page 24
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Crafts Study Centre : Exhibition handlist
JOANNA WASON I grew up in North Devon, near Bideford where
My gas kiln is in a granite shed. My porcelain
for at least four hundred years slipware has been
pots are wheel-thrown and usually glazed with
made for local use and for export. Bideford library
white or ash glazes, which show up well on the pale
had a permanent display of old slipware jugs which
porcelain. My stoneware pots are thrown, formed
I always really liked. Now the Burton Art Gallery
over ‘hump moulds’, or slabbed, and they are usually
in Bideford houses the amazing R. J. Lloyd slipware
decorated with iron rich glaze or ash glaze. Both
collection.
the porcelain and the stoneware pots are fired to
Having made a few pots and figurative sculptures
1280 degrees C in a reduction atmosphere in a gas
since the early 1970s, I came to work for Janet Leach
kiln. These clays are from John Doble, whose sand
in 1988, mixing her clays and glazes, making saggars
and clay pit is just outside St. Agnes.
for her special smoke firings and acting as her general workshop assistant until her death in 1997.
The terracotta pots are sometimes thrown, but more often slabbed and constructed.The terracotta
I continued to make pots in the old Leach
dishes are thrown or formed in slump moulds. The
Pottery workshop until it was converted into the
terracotta pots are decorated with coloured slips,
Leach Pottery Museum and I moved my wheel
glazed with honey or transparent glaze, and fired to
into an old showman’s caravan once belonging to
1080 degrees C in an electric kiln.
a Danish circus but now on Penwith moor where I live. It became my workshop, complete with its cut-glass light-fittings, sturdy plank flooring and beautifully rounded and finished features. Sadly that old caravan gradually collapsed and was replaced by a rather charmless static caravan made of flimsier aluminium, and colder than the old one, even though the door of this one shuts without the need of an old railway sleeper leaning against it! 34