QUERUBIM LAPA

On a visit to Lisbon I found that the azulejo tradition is not only more deeply rooted in Portugal’s culture than I realised but that it remains alive and is being continually renewed.

The Lisbon metro has been decorated in azulejos over the last twenty years, using modern techniques like screen printing and styles and themes that are completely contemporary. Then, when we were walking past the Pasteleria Alcôa at 37 Rua Garrett, I saw the tiled shop front made by Querubim Lapa in 1960, a beautiful, softly-painted panel in shades of blue.

Lapa, I discovered, was one of Portugal’s principal contemporary ceramic artists. The high esteem in which tile painting is held in this country meant that after a training and early career in easel painting, he was able to concentrate entirety on ceramics.

The shop in Rua Garrett, originally for Casa da Sorte, was a collaboration between architect Francisco Conceição Silva and Lapa. Lapa rated his contribution so highly that he asked for his application for the chair in ceramics at the school of fine arts to be assessed on it alone.

When Casa da Sorte closed, there was concern for the future of this fine ceramic work, but, when Alcôa took over the building in 2015, they undertook not to disturb it.

NICHOLAS VERGETTE TILE PANEL DISCOVERED (2)

I posted earlier about the discovery under a false wall of tile panels by Nicholas Vergette. I went to see them recently and was bowled over: they are interesting and a beautiful thing to have in a house. One panel decorates a chimney breast, another the lower half of a wall in a sitting room. They are signed “Vergette” and although there are no documentary records I have no doubt that they are by him.

The first panel, dated 1955, is of stoneware tiles, which were probably made by Vergette himself, glazed in a silk-matt white glaze and decorated in a shiny blue glaze applied over wax resist and with marks scratched through (above). Vergette often used wax resist and sgraffito on his ceramics and the blue-and-white colourway is characteristic of his work of this period. The floral design is free and asymmetrical and well scaled for the chimney breast and the small room it is in.

The second, dated 1956, is in some ways more remarkable. It is large, comprising 189 six-inch tiles. It has an eight-colour design with a deep violet and blue-grey background and with floral and animal motifs in royal blue, sky blue, olive green, primrose yellow, brown and red. The background, with the violet cross hatched to reveal grey lines, is original. Vergette painted the motifs first, then covered them in wax and then washed in the dark background. Today we have water-soluble wax emulsion to get resist effects, but Vergette would have used hot candle wax, which is difficult to control and produces noxious fumes – I stopped using it after I almost passed out in my studio.

Vergette’s panel is painted on tiles made by Johnson’s of Stoke-on-Trent, probably bought unglazed and then covered by him in a tin glaze and decorated using the maiolica technique. He may have decided at this stage that manufacturing his own tiles was too difficult and that it was best left to a specialist – tile making takes up a lot of space and the problems of warping and estimating shrinkage are considerable. To decorate the tiles, Vergette would have laid them in position on the floor and painted them, then numbered them, fired them and later re-assembled them on site. This way of decorating was illustrated by Kenneth Clark, a contemporary of Vergette, in his book “Practical Pottery and Ceramics”, showing Tony Hollaway at work (below).

Applying the design to a large tile panel

At the time he made these tiles (just before he went to America) Vergette was working with William Newland and Margaret Hine in a studio in Bayswater, where they received commissions to decorate the coffee bars that were springing up all over London. Vergette and Newland were also teaching at the Central School of Arts and Crafts. Newland thought that British troops advancing through Italy had developed a taste for good coffee and demanded it when they got home. The coffee bars were certainly part of the Italian wave of the ‘fifties, with Gaggia machines, names like “Moka Ris” and openings by Gina Lollobrigida. The maiolica plates and tiles designed by the Bayswater three enhanced their Mediterranean feel. Newland observed that coffee bars gave young people for the first time somewhere to sit indoors without supervision, without having to drink alcohol and without having to spend a lot of money. By the late 1950s, youth fashion was also Italian-influenced.

Nicholas Vergette demonstrating at  the Ceramics in the Home exhibition in 1952.

Dora Billington, under whom Vergette worked at the Central School of Arts and Crafts, said  in“The New Look in British Pottery” that his work, “though much of it is in the round, somehow suggests a painter’s approach. His best work is evocative, always suggesting more than is actually stated.  … it is good to see him turning seriously to tiles.” Billington illustrates a contemporary tile panel, but its present whereabouts are unknown, if it still exists. Nearly all the decorations made by Vergette and his colleagues are lost or destroyed, and if he ever made any tile panels for coffee bars they no longer exist, so these recently discovered panels are outstanding as the only surviving example of tile work by him. The fact that the polychrome tiles were covered up indicates that they weren’t much valued, and it’s fortunate that they weren’t hacked off.

The details of the commission are unknown, but there is a clue in two artists associated with the Central School who lived near the house, Newland and the illustrator Val Biro. They may have introduced the owner to Vergette.

NICHOLAS VERGETTE TILE PANEL DISCOVERED

A hitherto unknown tile panel by Nicholas Vergette has been discovered in a house in England. I was contacted by the owner who wanted to authenticate it and from the photos he sent me I am almost certain it was made by Vergette. I have yet to see it, but there is little doubt it was by him. It is dated 1955 and is from the period of the plate illustrated above, in the V&A collection.

Vergette was one of the Bayswater Three, the studio he shared with William Newland and Margaret Hine, who had a successful career in the 1950s decorating coffee bars with colourful plates.

The house owner was refurbishing his old property and took down a false wall to reveal the tiles beneath, covering the entire room. More tiles were discovered in another room. This is an exciting find. The panel is larger than anything by Vergette from this period that I have seen before.  The details of the commission are unknown but there are indications that the person who ordered the tiles may have been acquainted with Newland.

I plan to visit the house in the next few weeks and hopefully will post pictures of the tiles here.

POSTSCRIPT
More details about the tiles, with pictures, here.

CHELSEA OLD TOWN HALL

Delft tiles in Chelsea Old Town Hall

I’ve been exhibiting my ceramics at the Old Chelsea Town Hall over the weekend at the craft fair Handmade in Britain. Down the street in Kings Road is “The Chelsea Potter”, the pub named in honour of William De Morgan, who used to work in the area.

The old town hall was built in 1908, and in the café is a fireplace with pretty Delft tiles (pictured). Where do they come from? Are they antique Dutch tiles, which they certainly look like, or are they reproductions? I don’t know of any English pottery that made Delft-style tiles c.1900, so my guess is they’re Dutch, especially as the Dutch, according to Alan Caiger-Smith, made 800 million of them between 1600 and 1800.