BILLINGTON MAIOLICA JUG

1942 maiolica jug manchester small.jpg

I went yesterday to see this Dora Billington jug in the Manchester Art Gallery. I saw it there about twenty years ago but it has not been on display for several years and I had to go down into the store to look at it. It made an impression on me when I first saw it and it was the starting point of my interest in Billington because it showed her mastery of maiolica, a technique not widely practiced by British  potters and not held in high esteem by collectors of British studio pottery. From this interest came a determination to bring her work to to wider notice and this jug will be shown in an exhibition of her work that I am organising at the Crafts Study Centre, Farnham, next year.

The jug, about 30cm high, was made in 1942. Billington said that she turned to art to escape the anxieties of war. Much of the Central School of Arts and Crafts, where she had taught for over twenty years, had been evacuated and the building in Southampton Row was damaged by bombardment. In those conditions she made this beautiful and life-affirming piece of pottery – one of her best. The calligraphic brush work is absolutely characteristic. She had trained in calligraphy with Edward Johnston at the Royal College of Art and had worked part-time as a decorator for Bernard Moore when she was a student, so this sort of loose, free decoration became second nature to he. It was a great pleasure to see it again.

TONALÁ POTTERY

tonala-bird.jpg
I’m not a collector but sometimes I see something I like, and then I learn something new. I bought this pottery bird in a charity shop. I thought it had been made in continental Europe but after having it a few years I discovered it was Mexican, made in Tonalá, where handicrafts is the major industry (below) and where pottery has been made from  pre-Hispanic times.  The clay is burnished and not glazed and the brushwork is very delicate. The shape is particularly nice – other Tonalá birds are not as pretty.

 

img121

 

LETCHWORTH GARDEN CITY

img_20190207_105100362

img_20190207_105039067

 

These houses are next to one another in a street I visited in Letchworth Garden City today. They were built in the inter-war years in the vernacular, Arts and Crafts tradition established by Raymond Parker and Richard Unwin, and although they’re unique they appear familiar because the Letchworth style dominated suburban England between the wars. Jonathan Meades, in a scathing opinion piece on Letchworth (below), described this kind of architecture as a trip down false-memory lane.

 

img_20190207_105227717img_20190207_105125745

 

I think it was Colin Ward who pointed out that the design of Letchworth seemed to realise the world invented by Kate Greenaway (below). Its characteristics are whitewashed roughcast walls, gables, dormer windows, hanging tiles, timber boarding, low-slung roofs, casements and mullions.

 

sports-day-kate-greenaway

img_20190207_105039067img_20190207_105014066img_20190207_104946338img_20190207_104914997img_20190207_104840399

 

 

‘THE KING OF THE GOLDEN RIVER’

kinggoldenriver

I tweeted about the Ruskin exhibition at 2 Temple Place, mentioning that Ruskin’s great influence on English thinking came about partly because his books were given as school prizes right up to the 1920s. Michael Rosen commented that he read Ruskin’s tale The King of the Golden River many times over as a boy and loved it. I had never read it, in fact I’d never heard of it, but I read it last night.

Ruskin wrote the story for the young Effie Gray and it became very popular. Ruskin is one of the great prose stylists of the 19th century and this is a beautiful moral tale, beautifully written, but it is the only children’s story he ever wrote.

The illustration above is by Arthur Rackham, from an edition made in the 1920s. Rackham was good at myths and fables and had done good illustrations for Wagner’s Ring of the Nibelungen ten years earlier. All Rackham’s illustrations are now hugely collectible.

 

CRAFT MENTORING

 

Eliot-Payne

 

I’m co-ordinating the mentoring programme of the Society of Designer Craftsmen, which we run to help our new young members develop their professional careers, and as I don’t believe in reinventing the wheel I’m talking to organisations that run similar programmes. I’ve always worked this way, believing that standards are raised by sharing good practice.

So I was surprised to find that a few publicly-funded bodies were unwilling to talk to me. Their curt replies mean I can only guess why they are so unco-operative and my conclusion is that, now that such bodies regard themselves as businesses, some treat what they do not as a public service but as a commodity, and they treat other organisations doing the same thing not as colleagues but as competitors.

SEASIDE MORRIS DANCING

accordion3.jpg

I’m working on a series of drawings of Morris dancers in English seaside resorts. I’ve been fascinated by this tradition for years, particularly Border Morris because of the way its dress updates a tradition with punk elements and random collections of ornamentation. (The dancer below had sausages in her hat.) And I connect the dancers with the seaside because that’s where I’ve come across them, like modern end-of- the-pier shows.

SIDMOUTH 3.jpg

Border Morris goes in for weird dress and violent dancing, which involve shouting  and striking sticks together, and some dancers introduce modern instruments like saxophones and electric guitars. Like all traditions, this one is curated, continually re-invented, altered and embellished.

MARGATEsmall

But Border Morris (unlike the bells-and-hankies type of Morris dancing from the Cotswolds) has become embroiled in controversy because its traditional dance requires black face, which, with the dancers’ penchant for sunglasses, makes their performance look even more malevolent. A Border Morris side in black face was recently stopped from performing in Birmingham, the first time they have been challenged. The bemused response of the dancers is to say that black face has nothing to do with racism and originated in the need of dancers to disguise themselves. But others have said that this story is repeated from an assertion by Cecil Sharpe without evidence, and that there is evidence to the contrary of the co-incidence of black face Morris with black face minstrel shows, and of 19th century dancers talking of “going niggering”. Compared with Cotswold Morris, Border Morris has a sinister back story which its supporters are unaware of. I expect that in a rapidly changing climate it will have to re-invent itself again.

The English seaside resort also has an uncomfortable history. It has been in decline for fifty years and seaside towns are among the most socially deprived in the country, but there is also a steep social gradient on the coast – between, say, chic Deal and squalid Margate.