Studio Pottery

スタジオ・ポタリー / 1920s– / Style / Ceramic Styles

Ceramics made by individual artist potters in their own workshops, where one person carries a pot from forming through glazing to firing. It emerged in the early twentieth century as part of a wider revival of crafts and is deliberately non industrial. The Leach Pottery, opened at St Ives in Cornwall in 1920, became its best known centre.

Throwing rings, or the seams of coils and slabs, left visible instead of smoothed away / High temperature glazes: ash, celadon and tenmoku, returning again and again to brown black and grey green / Streaked copper red and purple glazes that ran in the kiln and stayed as unplanned marks on the wall / Incised lines inlaid with coloured slip under a white glaze, with a different glaze at rim and foot alone

Studio Pottery — Hans Coper, spade form vase, 1968 — Wikimedia Commons / CC0 — Hans Coper, spade form vase, 1968 — Wikimedia Commons / CC0 ／ Hamada Shōji, tea bowl with amber glaze and combed design — Wikimedia Commons / CC BY-SA 3.0 ／ Lucie Rie, vase, 1971 — Wikimedia Commons / CC BY-SA 3.0

Studio Pottery — Hamada Shōji, tea bowl with amber glaze and combed design — Wikimedia Commons / CC BY-SA 3.0 — Hans Coper, spade form vase, 1968 — Wikimedia Commons / CC0 ／ Hamada Shōji, tea bowl with amber glaze and combed design — Wikimedia Commons / CC BY-SA 3.0 ／ Lucie Rie, vase, 1971 — Wikimedia Commons / CC BY-SA 3.0

Dictionary entry

Best used for: Pulling a product away from factory evenness by keeping the forming marks and the glaze runs in the finish · Selling one off pieces online, where the photography has to show that no two of the same form match
Type: Keep any lettering small and thin, naming only the piece and the potter, and never decorative.
Composition: One piece large with space around it. Do not align a row; let heights and tilts stay uneven.
Material: High fired stoneware, porcelain and raku. Ash, celadon and tenmoku glazes and running copper reds, laid thick enough to let the coarse body show through.
Caution: Copying only the marks of the hand and adding wobble leaves out the high firing and the behaviour of the glaze, and produces a mass made object that merely looks uneven.
Further study: what Leach set down as standard for firing and glaze in A Potter's Book of 1940 / how the first Asian style climbing kiln in Europe, built at St Ives, works with its slope and its several chambers / Lucie Rie and Hans Coper placed side by side, and the difference between two forms out of the same workshop

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