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.
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.
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.
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.
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.
I’m taking the opportunity to post a message from the SDC’s website about the refurbishment of our gallery and workspace in Rivington Street, a project that I’ve been involved with as a Trustee of the Society. I’ll continue to post news about the plan as it advances.
Fundraising for a Sustainable Future
“In our 130th year, the Society of Designer Craftsmen is excited to be working with Elliot Payne Architects to ensure the Society continues to be the success it is today. To help secure our future, we are currently fundraising to refurbish our headquarters in London’s vibrant Shoreditch to provide a members gallery for public exhibitions and creative spaces where members can meet clients and take part in workshops. If you wish to support us in this venture please contact email@example.com.”
When we were in Glasgow last week, the scaffolding on the art school obscured most of the Mackintosh building but indicated that it would soon be re-opened, improved beyond its condition when fire struck in 2014. Now comes the shocking news that another fire has damaged the building, undoing most of the painstaking restoration of the last three years.
The cause of the fire in not known yet. The 2014 fire was caused by gases from a canister used in a student project. (The Harrow art school fire at the University of Westminster in 2007 was also said to be caused by the ignition of materials used in a student project.) Will there be funds for another restoration? I hope so: the Mackintosh building is Grade A listed and an important part of Scottish heritage.
Glasgow was one of the first British government art schools to teach pottery. In 1893 the school opened its Technical Art Studios, teaching stained glass, needlework, bookbinding, painting on china, and metalwork. The chairman of governors was James Fleming, a pottery manufaturer.
BBC Radio recently broadcast an edition of Hancock’s Half Hour from 1959, The Poetry Society. Hancock has joined a bunch of poets, the East Cheam Cultural Progressive Society.
Hancock: “We sit on the old cardboard tombstones round the plastic coffins…and we indulge in philosophical analysis. We formulate our plans for our Brave New World; Gladys takes it down in her notebook and when she’s filled it up we’re going to publish it. We’re calling it “A Thesis on the Reconciliation of Homo-Sapiens in Relationship with his Natural Destiny and the Theory of Selective Evolution”.
Sid: What else do you do?
Hancock: Well, during the day we pursue our various artistic sidelines, some of us make pots and jugs. Then there’s Adelaide, she’s very good on the raffia-mats. Then there’s Percy and his Welsh bedspreads. Some of us paint, and sculpt…and the rest of us lie in bed, thinking.
I was amused to hear that Galton and Simpson identified the crafts with pretentious pseudo intellectuals, just after journalists had coined the term “beatnik” for the Beat with beret and goatee beard playing the bongos. Were studio potters really like that? Mick Casson, one of the founders of the recently-formed Craftsmen Potters Association, had a beard, but he was pretty straightforward and down to earth. Pottery students at Goldsmiths under Richard Dunning in the 1950s looked quite conventional (below).
But I do remember in bourgeois Stanmore in the late 1950s a couple of artists with a shop selling their jewellery and pottery, who did look like members of the East Stanmore Cultural Progressive Society, with beard and sandals, long hair and wooden beads, whom I greatly admired, so I suppose the Hancock stereotype was based on something.
I mentioned Sophie Conran’s Pebble range of tableware in my last post and thought I’d say a bit more about it.
It has been a popular range over a long period and says a lot about attitudes to handmade and factory-made pottery. It is factory-made, but with its wonky shapes and ridges it looks as if it has been thrown on the wheel (except that each piece is identical and has a practical, clear glaze). As factory-made pottery it is good, and highly original, but if it had been made by hand it would be bad.
Factory pottery can imitate studio pottery, and in the 1960s Denby produced some excellent studio-type tableware which you can still find in perfect condition in charity shops. But handmade tableware has to aim for a degree of fineness and regularity even if it doesn’t try to look factory-made. There are potters who are happy to make very rough mugs and bowls, but they are few now. My practice is different and the way I put it is that if you aim at perfection your work will be imperfect, but if you aim at imperfection it will be rubbish.
I also mentioned that Pebble was designed by a studio potter, one I know well. He is not acknowledged and his fee bore no relation to the profits this range has generated.