studio pottery

The British studio pottery tradition was started in the beginning of the twentieth century when Bernard Leach met up with master potter Shoji Hamada in Japan and learned his potting techniques as well as taking on his philosophies. Previous to this pottery was either made on a large industrial scale or was made in small low tech potteries around the country for local use.

St Ives vase by Shoji Hamada

When Leach returned to Britain in 1920 with the help of Hamada he set up the St. Ives pottery in Cornwall where he produced many works in the Japanese style. He took on a number of apprentices among them Michael Cardew, Katharine Pleydell-bouverie, Norah Braden, William Marshall, Dorothy Kemp and many more including his own family members. Hamada stayed with Leach at St. Ives for several years and works by him occasionally turn up which bear the Japanese character for Sho and the St. Ives seal mark.

David Leech mug

It was a great struggle, at first, trying to get production to a reasonable standard with kiln and glaze difficulties and it wasn’t until after the WWII that his work began to be appreciated. By the end of the war people were more open to new ideas and with the publishing of a number of books on his philosophy and pottery Bernard Leach began to enjoy some success. His works now can fetch thousands of pounds.

Tyg by Kathrine Pleydell-Bouverie

Many of the potters who learned from him are well regarded and their works are now highly collected. Different styles and techniques have been used in studio pottery production from traditional wares, similar in style to medieval pieces, to futuristic designs such as those by Hans Coper and Lucie Rie as well as, to my eye, some rather strange designs.

There are still many studio potters today all over the world who produce some attractive, artistic and useful wares. I think in a world where we are geared up to buy cheap mass produced items it is good to support individuals and in doing so portray something of ourselves.