ADAM KOSSOWSKI STAINED GLASS

DSC_0652 (2) relic chapel a
Relic Chapel, St Simon Stock

We went to the Aylesford Friars to see Adam Kossowski’s ceramic reliefs in the chapels, not expecting to find that he had also designed stained glass. The Carmelites returned to Aylesford in 1949 and his windows, made in the 1950s, are abstract, complementing his narrative ceramics and not distracting from their story with representation.

DSC_0637 st annes a
St Anne Chapel
DSC_0686a
Relic Chapel, St Simon Stock
DSC_0701aa
Relic Chapel, St Simon Stock
DSC_0699aa
Relic Chapel, St Simon Stock

 

MURRAY FIELDHOUSE

fieldhouse
Bowls by Murray Fieldhouse (V&A Museum)

I learned today of the death of Murray Fieldhouse, an important figure in post-war studio pottery who edited the magazine Pottery Quarterly, the first periodical on the subject, which came out irregularly from the mid-1950s to the early 1980s. He was also one of the founder members of the Craft Potters Association.

Murray was born in 1925, and after an unconventional wartime national service, when he became a pacifist, he alighted on the crafts as a way of living out his Utopian and anti-establishment ideals. The choice of pottery came later. He served an apprenticeship with Harry Davis in Cornwall, who was also an anti-establishment Utopian, but more austere in his habits than Murray, who was well-known for his enjoyment of life.

In the 1950s, Murray ran Pendley Manor, an education centre in Hertfordshire to which he invited most of the top names in studio pottery to demonstrate. When I was researching the life of Dora Billington, he gave me some photos of her demonstrating there.

Pottery Quarterly in its early days contained reviews of everything that was happening in British pottery and it is an important record of the period, but Murray was a fierce advocate of the Leach style of pottery and his reviews of exhibitions by potters who didn’t follow it became harsher over the years. Nevertheless, he was a close friend of William Newland, who was not in the Leach circle and didn’t like his artistic dominance.

Another of Murray’s initiatives was the Dacorum and Chiltern Potters Guild, of which he remained honorary president until 2009, when he retired and the job passed to Mervyn Fitzwilliam.

ART IN CLAY, HATFIELD

lukacs-ringel-vase

I usually list my top ten potters from the annual ceramics festival at Hatfield, but this year I’m just posting a picture of a vase I bought from Susanne Lukács-Ringel. Her studio is in the south of Germany where she fires in a multi-chamber, wood-fuel kiln. The variegated surface on this beautiful faceted vase is created entirely by the flying wood ash, which volatilizes at high temperatures and then condenses on the pots, colouring them with random patterns from the minerals it carries.

DORA BILLINGTON VASES

grey-vase

The owner of two Dora Billington vases has given them to me because she is moving house and has no room for them. They are signed and of good provenance. They are important pieces because there is little studio pottery by Billington still extant and none that I know of this size. The grey vase is 27 cm high, the black one 26 cm.

black-vase

They are hard to date, though further investigation of the signature may give a clue. Billington started making high-fired stoneware in the late 1920s and probably donated these pieces in the 1950s or 1960s. They are heavily potted, and so may be early works.

I plan to give them to a museum in due course. I am curating an exhibition at the Crafts Study Centre about Billington’s life and work, to be opened in 2020, and these noble vases will be exhibited there.

A HOUSE IN FRANCE

IMG_20180731_110333920

We stayed for a few days with our friends in France, where they have an old farmhouse well away from town in a peaceful spot with roses and fruit trees. In the sweltering heat we preferred to stay indoors, protected by two-foot walls, but the evenings were pleasant in the garden under the vines.

IMG_20180731_122943988_HDR

Over the years they have built an eclectic collection of china and pottery, for use and ornament, found in antique shops and brocante stalls, and generally bought for a few euros. Here are some pictures, and also pictures of other items from their cabinet of curiosities.

IMG_20180803_124206351IMG_20180731_110420146IMG_20180731_110232490IMG_20180731_110655537IMG_20180731_123244720IMG_20180731_110443103-(1)IMG_20180731_110449647IMG_20180731_110527700
IMG_20180731_123214547

HAND OF THE MAKER

On Tuesday I was stewarding at “Hand of the Maker“, the Society of Designer Craftsmen’s exhibition at Chelsea School of Arts. The SDC is the leading body of designer makers in the UK and their major shows always have interesting and outstanding work. I have chosen some that I like.

IMG_20180717_112120829

Colin and Louise Hawkins

IMG_20180717_143516305

IMG_20180717_143547974

Table by Neal Crampton. This large piece of elm was a rare find, extraordinarily beautiful and somehow enhanced by the split and the oak ties.

IMG_20180717_143621658

Painted silk by Tori McLean.

IMG_20180717_143702500

Batool Showghi’s touching, personal paper constructions recall her family’s life in Iran and refer to forced migration in the Middle East. Her close relatives were Sufis and musicians and suffered persecution in their home country. She told me that there were many Syrian and Iraqi refugees in Iran.

IMG_20180717_150405224

Helen Banzhaf’s apparently abstract tapestries turn out to be pictures of vessels.

BENJAMIN HAYDON

Punch or May Day 1829 by Benjamin Robert Haydon 1786-1846

After delivering my work to Chelsea College of Art yesterday, for the Society of Designer Craftsmen’s summer exhibition Hand of the Maker, I went across the road to Tate Britain to take a quick look at the 19th century galleries. Victorian painting, with the exception of the Pre-Raphaelites, is unfashionable, but there were several serious visitors there.

I was attracted to Benjamin Haydon’s Punch or May Day (above), which is well labelled. It was a derogation from his preferred historical subjects, in which he didn’t achieve the success he thought he deserved, but to the modern eye it’s lively and interesting, and Tate point out the clever contrasts it contains, notably the hearse almost colliding with the wedding coach, the church on the horizon and the pagan May Day celebration at the bottom, and the black servant on the coach and the blacked-up sweep in the foreground.

Haydon (1786-1846) is the most famous failure in art history. His admirable confidence in his own ability was not shared by everyone. Dickens, who as an art critic could be as acerbic as Brian Sewell, said of him, “No amount of sympathy with him and sorrow for him in his manly pursuit of a wrong idea for so many years — until, by dint of his perseverance and courage it almost began to seem a right one — ought to prevent one from saying that he most unquestionably was a very bad painter, and that his pictures could not be expected to sell or to succeed.” He had constant money troubles, spent time in a debtor’s prison and was reduced to painting pictures of Napoleon at five guineas apiece. He was argumentative, tactless and rude to his clients. He conducted a long war against the Royal Academy, who refused his application for ARA, and is portrayed in Mike Leigh’s wonderful film Mr Turner ranting at a Royal Academy hanging. The main cause of his bitterness, unless it was something in his personality, was his failure as a history painter. He finally shot himself in the head, failed to kill himself and then cut his throat.

Haydon was a man of strong ideas, not entirely foolish. He was smitten by the Elgin Marbles and became a staunch advocate of Greek art as he conceived it and of drawing from life. He advocated public funding for art education for all classes, to be based on life drawing, which did not become standard until it was instituted at the Slade at the end of the century. He was a tireless petitioner of powerful individuals, including prime minister Melbourne, who was interested and whom he told that French superiority in manufactures derived from state support of art education. He advocated free public museums of art and public patronage for paintings in public buildings. As Stuart MacDonald says, “It would be foolish to pretend that all these means were realized because of Haydon, but they were realized, and Haydon was their chief protagonist and suffered ridicule for his opinions.”