Poole Pottery 1960-1980 Part Two

denbydump wrote:Maybe even a "lost paper" technique where the paper "masks"
burn off in the kiln, Doulton slater's patent almost...

Yes, the paper could have been left to burn off in the biscuit firing.

Looking at the design, it seems as though two layers of paper were used.

My guess is Tony worked with Guy soon after the charger had been thrown - when it had gone leather hard.

It's quite a hefty piece and I had some 3mm thick stainless steel wall supports made yesterday...

They look great!
I have loads of angle brackets so I'll get a few in the vice later

dantheman wrote:They look great!
I have loads of angle brackets so I'll get a few in the vice later

Yes, the guy at the local workshop did a good job. At first he cut and drilled four of these things, but then didn't think they looked very nice, so he had a worker make some using a laser cutter. I wondered what it would cost me, but he refused any payment!

Going back to the layering - the photo below highlights what I referred to...

these are the details that separated Tony's work from everyone else in the studio section at Poole, plus he was ,artistically,at a higher level

I once had dinner with Tony and couldn't resist asking him about his days in the studio section.
He was the most modest person I have ever met and seemed unaware that his work was better than any of his co-workers

well as I have been fairly quiet with the buying I thought i'd share a bargain as they are so few and far between at the moment.
The vase on the left I brought from Chris Brown from Peterborough but the bowl on the right was a bargain off ebay a couple of weeks ago.
Both have impressed TV stamps on the base

Unusual shade of blue to the internal glaze of the shape 17 pot

The blue is very nice...

Quick question - does anyone have examples of Poole Studio vases with the shape numbers impressed on the base ?

I haven't come across this before so was wondering if the example I've got is related to Poole trialling shapes for the Studio range.

I once had a 16" diameter studio bowl with the shape no. 59 impressed and also I've got 10" dia studio dishes with the shape no. 4 impressed. Both nos. are similar to the impressed shape nos used in the 50's but I've only seen them on 64-66 period pieces. I don't recall ever seeing impressed nos on 62-64 studio items. As to their significance ... were they trialling shapes for the Delphis range ? But I've never seen a shape 59 delphis bowl, only shape 57 and 58 sizes.

Thanks for that. It's jolted my memory and I think I have had a plate or two with the impressed shape number. What is interesting about this is that the impressed number is on a shape 60 vase and I can't think of another example I've had on a vase. As you say, it's similar to the 1950s vases with impressed shape numbers which is what made me think that they might have continued doing this with early studio pieces - but maybe that's not the case if you've had them on later studio pieces.

Ask cycladelic to check his large collection of studio vases.

ppcollectables wrote:Ask cycladelic to check his large collection of studio vases.

I've not had a Studio piece with an impressed shape number.

Thanks for that. The shape 60 in question is the one Chris had on eBay recently. I decided to buy it even though it was unmarked and have found that, although it doesn't have a stamp, it has the impressed shape number. That and that its glazed on the base made me wonder if it was an early trial of the shape.

this monogram is on a 1970's Delphis vase but I don't recall who it belongs to?

Jaqueline Mckenzie?

Back in 2016, I contacted a friend of mine - Pete Moss - who had taught ceramics at Lincoln Collage of Art. I'd mentioned Poole and he told me he was there (this would be c. 1966-68.) Here's what he said in his email:

When I was at Bournemouth College of Art, my ceramic tutor was David Ballantyne who encouraged me to work for a short period in Poole Pottery where I met Guy Sydenham and Trudi Carter.

I also inherited my mother's collection of Poole Pottery and when I moved to Nottingham College of Art and Design, I worked with John Adams, the son of Trudi.

Last year my wife and I spent a holiday in Poole with my brother and his wife and spent some time in both Poole Pottery showroom and the newly arranged Poole Museum which now houses a great collection of early Poole Pottery work.

Another contact was made when I went to the Royal College where I spent some time working with Michael Caddy who went to Poole College of Art and worked as a designer for Carter Tiles.  

It's a small world!

denbydump wrote:Jaqueline Mckenzie?

yes, I have seen her sign Aegean pots in the same way.
Thanks DD

Here's a 5" Studio dish with the TV mark...

Great 49'er cycladelic

super saucer

Yes, it's nicely fired and the design and brush work are good. There's a small chip on the back of the rim, but you obviously can't see it.

Picked this one up today not seen this pattern before so a good one for me

Most unusual, and never seen a full DD signature before.

the Ionian series was very short-lived, I would guess low hundreds were made of each shape and there were (I think) 3 shapes