Poole Pottery and price guide


 

 

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Collecting
Poole Pottery
Robert Prescott-Walker
Francis Joseph
ISBN 1-870703-63-4
Acknowledgements
Grateful thanks are due to the combined efforts of a number of people who helped with the production of
this book. Robert Prescott-Walker has taken the principal lead and he has thoroughly researched the subject
of Poole Pottery despite moving to New York. We made a great deal of use of the Internet over this period,
thanks largely to the effort of John Folkard who typeset this book. I would also like to thank John Clarke of
Art Deco Etc for providing a superb collection for photography and helping with valuations, and Cottees
Auction House of Wareham who provided additional photographs.
Also, of course, Trevor Leek who as usual did an excellent job with the photography.
Francis Joseph, Publisher
© 2014 and 2000 Francis Joseph Publications
ISBN 1-870703-63-4
Published by Francis Joseph,
5 Southbrook Mews, London SE12 8LG
Photography: Trevor Leek. Additional photographs Cottees of Wareham
Typesetting by E J Folkard Print Services, 199 Station Road, Crayford, Kent DA1 3QF
All information and valuations have been compiled from reliable sources and every effort has been made to
eliminate errors and questionable data. Nevertheless the possibility of error always exists. The publisher will
not be held responsible for losses which may occur in the purchase, sale or other transaction of items
because of information contained herein. Readers who feel they have discovered errors are invited to write
and inform us so that these may be corrected in subsequent editions.
Francis Joseph is an independent publisher and is in no way associated with Poole Pottery.
Contents
Foreword 4
Introduction 5
Chronology 9
Founding of the Factory - 1850s-1921 13
Carter, Stabler and Adams - The Art of Pottery 1921-39 20
The Tile Business - 1918-39 29
Post-War Style and Design - 1945-60 35
Regeneration - 1960-80 47
Modernisation - 1980-Present 52
Colour Gallery 57
Price and Pattern Guide 105
Tile Price Guide 125
Marks 132
Market Values 2014 133 150
Foreword
This book has come about for a number of reasons, not least the recent and current interest
in the post-war wares produced at the Poole Pottery. The post-war wares epitomise the
changes in contemporary British fashion, taste and society, and are heralded as examples
of such in the many exhibitions and books concerning the period which have appeared
over the last few years. This renewed interest, however, specifically in the wares of Poole
Pottery, stems as much from the early collectors of such ware, many originally sparked by
the exhibitions and publications of the early 1980s, as from the current interest being shown
in the post-war period. For my part, I undertook this book thanks largely to my friendship
with probably the longest standing collector of Poole, who has amassed one of the largest
private collections covering the whole history of the company, namely John Clark.
John and I first met on a damp and chilly morning at a Newark fair almost twenty years
ago. Sharing what appeared to be distinct similarities in terms of taste and ideas concerning
certain aspects of late nineteenth and twentieth century British ceramics, we struck up a
friendship that is still very much alive. It is John's collection, parts of which have already
been exhibited and photographed for books and magazine articles, as well as being filmed,
that form the majority of the illustrations in this book. I am, needless to say, very grateful
for his patience and resilience, both of us having had to move, open, unpack, pack and
replace innumerable boxes (the reserve collection) from the cellars and attic, during the
days when his house was invaded by several guests in order to photograph his collection.
That there is even as much interest in the history of the Carter Poole Potteries, their tiles,
architectural wares, sculptural wares, the ornamental and tablewares, is in no small measure
due to the knowledge of the former Poole Pottery archivist, Leslie Hayward. Leslie would
freely give his time to deliver numerous lectures for whom ever asked him as well as writing
numerous articles on the subject. The initial few years of the Club magazine would have
been very thin without his lengthy historical articles. For years and years the only reference
work, well researched that it was, was the Jennifer Hawkins book. This was, however,
seriously lacking, as far as collectors were concerned, in illustrations of the wares. This gap
was filled with the publication of the Leslie Hayward book, edited by Paul Atterbury,
in 1995.
Given the earlier works in this field, what I have tried to add is a historical context to the
story of the Pottery, highlighting whenever possible the significance of surrounding social,
economic and political concerns. Inevitably, events outside the walls of the Pottery played
an important part in shaping its direction and development, two of the more obvious events
being the First and Second World Wars. How the managers and supporting staff steered
the pottery through such events depended on numerous factors such as the personalities
involved, short term and long term planning and market research. Perhaps one of the most
important issues was being able to keep the balance of the commercial side of production
in line with that of the promotional or individual studio exhibition wares.
The longevity of the Poole Potteries, initially under the direction of the Carter family, aided
with a strong supporting team, and later through the persistence of new managers and
young designers, can only be seen as a testament to the happy and convivial working
environment under which ever single worker made their own contribution.
Introduction
To some degree, it could be said that Poole Pottery owed its success to the fact that it was
not located in or amongst the somewhat precocious and introverted Potteries of Stokeon-
Trent. As outsiders there was almost certainly a feeling of unfettered freedom and of
experimentation, probably due to their remoteness and being largely out-of-sight-andout-
of-mind. To many within the Potteries and elsewhere the wares produced by Poole
were considered initially as insignificant, akin to several other 'outsider seaside potteries',
of which there were many, for obvious reasons. Their wares were to a certain extent bright,
colourful, playful and amateurish, the designs on many of the 'gift wares' and even their
commercial ranges owing much to their marine locality.
When not obviously influenced by their immediate surroundings the surface pattern and
shape designs of Poole were heavily dependent on the apparently never-ending input of
the many artists and designers who were either working for or commissioned by Poole
Pottery. This again was something many within the Potteries considered an unnecessary
expense, certainly in terms of the freedom and support given to those who worked at or
with the Poole Pottery by the management.
From a technical stand point, Poole were always highly individual and innovative, often
seeking the latest mechanical devices to aid production. No other firm during Poole's lifetime
produced in-glazed wares on such a commercial scale. Poole & Co were the second
firm to install the revolutionary Dressier continuous firing tunnel kiln and the first pottery
to have four such kilns installed, Bourne & Co at their Denby works in Derbyshire coming
a close second along with Pilkington's Royal Lancastrian Works.
In the potteries of Stoke-on-Trent when artistic input was required, the artist or designer
was expected to stay very much within 'traditional' or 'acceptable' lines associated with
the pottery by which they were employed. Even here the artistic input, with a few exceptions,
was not recognised or promoted in any way, in fact the reverse was usually the case. On
the rare occasion when an individual designer or artist was recognised it was only with
reluctance that the name of the designers was used. The exception to this being the name
of Clarice Cliff whose work for Wilkinson's was promoted, as never before or indeed since,
her name appearing as part of company's trade mark in larger letters than that of the
company. In this instance such promotion was used by the managing director of the pottery,
Colley Shorter, as a deliberate marketing ploy, with great effect. Such high profile marketing
was soon being copied by a few others within the industry but only those with sufficient
funds and the gumption to take up the ideas.
At Poole, it mattered little 'who' was individually responsible for each and every piece or
design, as artistic input was encouraged from the thrower, the painter/paintresses and even
the management. The person who devised the original concept would often be attributed
with the work although the end result might have differed considerably from his or her
concept. The boundaries of attribution become distinctly blurred in the later 'Craft Studio'
wares. The recent tendency to 'label' and 'categorise' certain wares with certain
designers/paintresses is the result of misplaced research and writings by authors on much
of twentieth century ceramic and design history, where the objects and select individuals
become more important than the overall approach and working of the pottery concerned,
as well as being taken out of context by other cultural factors. Paintresses' script marks,
seen on the bases of much pottery, were either meant as indicators to enable rates of pay
or 'piece rates' to be calculated, something that those in the Poole Studio tried to avoid,
or indicators of work that might need to be referred to for some adjustments.
This approach is one of the many factors associated with Poole Pottery throughout its
history that distinguishes the working spirit and exceptional nature of the wares that were
produced, right from the very inception of the Art pottery wares at the turn of the century
through to the present. That is not to say that there have been some lean years over the
last century but there have been relatively few of them.
What becomes more apparent after a closer look at the history of Carter firm and wares
produced under the Carter umbrella, is the importance of the tile and architectural business
to the fortunes of the firm. Tiles in particular from the late nineteenth century right through
to today have become inextricably linked with cultural developments related to health,
cleanliness and status, as well as economic and political issues, whether coal miners strikes,
building booms or government building regulations. Tiles have played a far greater and
more significant role in the history of ceramics and the ceramics industry than many authors
have previously acknowledged, tiles being hived off and treated as a secondary and separate
industry. This is not surprising however, as even in the industry they were often regarded
as such.
At Poole one of the hidden qualities that is and always has been so important is the 'craft'
of pottery and the unique skills involved in the process. It is the conscious awareness of
the balance needed between retaining such craft skills and making use of mass production
methods and the use of machinery, that has helped to keep Poole in a unique niche amongst
rival potteries.
Recognition of the essential need to keep a balance between the commercial product and
the studio or limited production runs of exhibition quality wares is another underlying yet
vital requirement found throughout the history of the Poole Potteries. The need for such
a balance is perhaps more obvious in the ornamental and tablewares of the Poole Pottery
but there was just as much need on the tile and architectural side. At the White Works and
Architectural Pottery it wasthe high profile decorative hand painted panels, artistic individual
tile series and Delia Robbia style decorative works that overshadowed the more mundane
'white tile'. However, it is the more commercial plain off-white tiling anonymously covering
the walls of hospital corridors, operating rooms, lavatories, banks, hotels, bathrooms,
kitchens and boiler rooms that were produced in their millions, that swelled the factory's
coffers and should not be forgotten.
Standardisation of the tablewares through the introduction of the Streamline shape
combined with the surface glaze effects of the Two-tone range, brought about a significant
advance in the commercial viability of the pottery, bringing on-line the capabilities of high
volume mass-production to an International market. At the same time the firm was able
to make use of low-skilled labour to produce artist inspired and designed wares for true
industrial production. This was something that had first been talked about at any length
just prior to the First World War at the Bauhaus and later reiterated and discussed through
various British institutions concerned with the relationship between Art and Industry. It was
left to American manufacturers unhindered by historical precedence and 'tradition' to truly
take-up the possibilities that standardisation held. That it took until the late 1930s in Britain
to provide tangible items, be they designed by Susie Cooper or John Adams, for the
augmentation of a closer relationship between Art and industry is perhaps par for the
course. That the consumer and the manufacturer should lose sight of those achievements
so quickly after the Second World War, instead pandering to the fanciful and short lived
fashion styles of the 1950s and 1960s is our loss. In terms of ceramic production at least
the modified Streamline shape was able to offer a vestige of what was deemed 'good
design' for the consumer.
A. Another significant reason for the longevity of the Poole Pottery was it's ability to balance
the production of the essential high volume mass-produced wares with the 'high-end'
limited Studio or exhibition type wares. Whilst the latter expensive wares were essential in
promoting and creating a demand for the former, it was, after all, the far greater financial
returns from the volume production wares that supported the pottery. To this day much
the same parity exists with the Studio wares, Collectors Club pieces and special editions
in relation to the retail wares as seen in the shops and factory shop.
The one-off Studio wares are sought-after often purely because they were produced in
relatively limited numbers, compared to full scale mass-production, but in just sufficient
numbers and over a long enough period to make them locatable and therefore potentially
available to be supplied to collectors. The 'rare' pieces being the trials, one-off's (usually
experimental colourways, etc), exhibition pieces and special commissions, then becoming
usually the most prized and valued. Recently a one-off trial vase, from the hand of Guy
Sydenham in the 1970s Atlantis range of wares, must have left the ebay Internet auction
seller somewhat bemused when it sold for $1,035, some 21 bids later, to a UK buyer having
started at a derisory $5.00. Little did the seller know the significance of that impressed
triangular mark!
It is interesting to see that today several pottery firms are deliberately exploiting the 'rarity',
'limited' production run and 'special or exclusive' pieces, as part of their day-to-day
marketing strategy, Moorcroft pottery being amongst the leaders in this field. Poole Pottery
themselves have developed this strategy in recent years, albeit with a relatively small
turnover when compared to its overall commercial production figures.
Unlike potteries such as Shelley or Wilkinson, Poole did not pursue the path of high profile
promotion and advertising. Poole Pottery throughout much of its history has often had
paintresses giving demonstrations at its London shows, exhibitions or in the department
stores with special displays. Today a visit to the Poole Pottery visitor's centre will reveal
much of the current processes in the making of Poole Pottery, with a wide variety of
demonstrations, many unchanged since the centre opened in the 1960s, (Established due
to the high numbers of visitors since the 1940s who were becoming distracting). Poole
advertised fairly frequently in the monthly trade journals but their adverts, if anything, had
a subtle understated visual appeal, warm and homely, as opposed to the brash and vibrant
; contemporary look of some pottery adverts.
if there is one thing that should be gleaned from twentieth century British ceramic production
it is that artistic or designer enterprise and expression when competently directed, with
sympathetic and appreciative understanding, can make a marked and extremely valuable
contribution to the whole direction, input and spirit within a company. Sadly, all too often
in the Stoke-on-Trent Potteries in the twentieth century the story has been one of shortlived
artistic input and merit, with little competent support or guidance.
The general tendency amongst many authors on ceramic and even design history has been
to look at the objects and/or the designers plucked out of their surroundings. In such
circumstances, devoid of any contextual relationship and understanding of the social,
economic and political factors that might have had some bearing on the object or designer,
it is difficult to fully appreciate and understand the place of the product within society.
Previously authors have been keen to point to industry being 'hampered by tradition' as
well as an 'uneducated public', which largely miss the point. Industry, by its nature, in an
effort to exist amongst competition locally and from abroad, will produce whatever is
demanded of it, production being directed by the costs of the end product to the consumer
in the face of fellow competitors. Gone are the days when specific industries, such as the
tile and architectural industry, could be a largely self-regulating concern with standardisation
of products and co-operative or 'mutually beneficial' federations and associations to look
after its members interests, both at home and abroad. Whatever the edicts of the 'good
design' lobby or quiz committees, or the efforts of the government backed industry
associations and councils in promoting 'good design', it is always the 'end consumer' that
is of final concern to the manufacturer. Hampered by such a vast wealth of historical styles,
patterns, nationalistic or emblematic associations, the buying public in Britain can only ever
be served by producing a plethora of wares in innumerable styles or reducing all of those
styles, patterns and designs down to their basics and producing a limited range of
disassociated wares. In the end, whether the wares are deemed 'good design' or not
matters little to the buyer who buys, for example, floral patterned tea wares because they
like them and will use them.
Chronology
^ 1855 Patent Architectural Pottery established in Hamworthy (later known as the
Architectural Pottery).
1861 T. W.Walker's Patent Encausticand Mosaic Ornamental BrickandTile Manufactory
established on the East Quay Road, Poole, by James Walker, formerly chief
technician of the Architectural Pottery.
1873 Jesse Carter (1830-1927) acquired control of James Walker's works, the latter
having run into difficulties and been declared bankrupt. The works apparently
being titled Carter & Co.
1880 Purchase of part of the St George's Works, Worcester, Jesse Carter's part being
named the St George's Tileworks.
1888 St George's Tileworks now owned by Carter, Johnson & Co.
1892 St George's Tileworks records cease.
1881 Ernest Blake (born in 1856-1883), Charles (born 1860-1934) and Owen (born
1862-1919) joined the family firm. Only two years later Ernest Blake died of
rheumatic fever.
1890s Edwin Page Turner joins Architectural works along with his half brother James
Radley Young who arrived in 1893.
1895 Jesse Carter bought Patent Architectural Pottery, which had been producing hard
bricks and floor tiles since 1855. Floor tile production was concentrated there
leaving the Poole factory free for the production of glazed tiles and faience.
1896 William Carter Unwin, sculptor and modeller, joins company.
1900 The Art Pavements and Decorations Company was incorporated. The business
was founded in 1859 as Degrelle Houdret & Co.
1901 Jesse Carter retires leaving Owen in charge of the artistic and technical side while
Charles looked after the administration and business side. Another factory at
Hamworthy, formerly used for the manufacture of ultramarine blue, was bought
by the company and converted for making white glazed wall tiles (hence the
name it become known as "White Works") and later coloured tiles.
1905 Charles Cyril Carter(1888-1969)-eldestson of Charles Carterjoined the company.
1906 London offices established in Essex Street for the sale and contracting of tiles
run by Arthur Owen Carter (1874-1956) (son of Alfred Carter, the elder brother
of Charles and Owen) and assisted by Charles Cyril Carter.
1908 Carter and Co was registered as a joint stock company Ltd by shares. Roger
(1890-1959) and Henry Carter, younger sons of Charles Carter, joined the firm.
1912 London branch was registered as a separate company taking up the title of Carter
and Co, London, Ltd. having moved to 29 Albert Embankment. (A terrazzo
department under Mr. R G Robinson was extended to include jointless flooring
- sold under the name of "Laterite".)
1913 A continuous gas-fired Dressier tunnel oven for the firing of glazed tiles was built
at "White Works". At the time there was only one other Dressier-type tunnel oven
in existence in the country, that belonging to J H Barratt and Co, Ltd, Stroke-on-
Trent, (Barratts were acquired by the Carter group in 1928.).
1914 Association with the Omega workshops until in 1919 with the closure of the works.
1917 Benjamin Evelyn Elford appointed to the board having previously been the
company secretary.
1919 Owen Carter died. Charles Cyril Carter joined the board taking on the
responsibility of running the Hamworthy floor tile works until 1921.
1921 Carter, Stabler and Adams was formed as a private company to develop the
pottery work in which Cyril Carter and James Radley Young had been interested,
Harold Stabler (1872-1945) and John Adams ARCA (1882-1953) who was
managing director until his retirement in 1950, were partners. Truda Carter ARCA
(1890-1958) was responsible for much of the design work.
Cyril Carter become responsible for the domestic and ornamental wares, leaving
Roger, his brother, to officiate at Hamworthy.
1926 Jesse Carter died at the age of 96.
1927 Roger and Henry Carter left the firm for personal reasons. A Williamson tunnel
oven was installed at the Architectural Pottery, works and the whole works was
largely rebuilt. A second Dressier tunnel oven was also installed in the "White
Works."
1928 Charles Carter retired. Carter & Co Ltd. was registered as a public company with
R. E. Elford, C. C. Carter, A. O. Carter and Herbert Carter (chairman of Art
Pavements) as directors. Art Pavements and Decorators Ltd. and J. H. Barratt
(1927) Ltd. joined the group.
1931 The tiling department of Art Pavements and Decorators was transferred to Albert
Embankment as a result of joining the group in 1928.
10
1932 The Marbolith Flooring Co Ltd. was taken over by Carter and Co London Ltd.
and the jointless flooring section transferred to this company.
1934 Charles Carter died at the age of 74.
The Terrazzo department at the Albert Embankment was transferred to the Art
Pavements.
1937 The "White Works" were extended and a third Dressier kiln installed.
1938 John David Carter ARIBA AADipl., the second son of Cyril Carter joined the
company.
1939 A L Crampton Chalk CA(Con) and S Goddard Watts FIRA, were appointed
directors.
1945 Harold Stabler died. Roy T Holland appointed works manager.
1947 Benjamin Elford, and Herbert Carter retire. Cyril Carter elected chairman and
David Carter appointed a director.
ArthurOwen Carter retires after41 years managing the London office. H.R. Hidden
takes over as the new London office manager.
1948 Hartlington Supplies joined the Group.
1949 The terra cotta and faience production was transferred to A. P. works, Hamworthy,
leaving the Poole site free for the production of Poole Pottery.
1950 John Paget Bowman appointed director. Barratt passage kiln built. John Adams
retires. Lucien Myers appointed managing director. Claude Smale appointed as
designer but only for six months. Alfred Burgess Read RDI, was appointed to
replace Smale as head of the design unit responsible for both the Tileworks and
the Pottery.
1952 A branch office was established in Dean Street, Manchester. R Campbell and
Sons join the Group.
1954 Ronald George Cole MSMA, appointed director.
1955 William David Cash-Reed appointed director. Guy Stringer appointed managing
director of Carter Tiles.
1956 Tunnel kiln built at the "White Works" for bisque,
1958 Robert Jefferson appointed designer. The name Hartlington Supplies Ltd. was
changed to Carter Tiles Ltd. and the assets of the Poole tile works were taken
over by this company, leaving Carter and Co Ltd. as a holding company having
no direct concern with manufacture.
11
1963 Lucien Myers left. Roy Holland becomes managing director and Tony Morris joins
the firm.
Cyril Carter resigns from the Carter, Stabler & Adams board. After which the name
changed to Poole Pottery.
1964 Pilkingtons Tiles Ltd. of Manchester who became the parent company of the
Tileworks. Factories in Manchester, South Africa and Australia.
Cyril Carter finally retires aged 75 having spent 60 years with the firm.
1965 Robert Jefferson leaves.
1966 A second tunnel kiln built on the Floor Tile factory.
1969 Guy Stringer leaves Carter Tiles.
1970 Trevor Wright appointed as works director
1971 Entire Pilkington's Tiles Group purchased by Thomas Tilling Ltd.
1976 Roy Holland retires leaving Trevor Wright to become managing director. Guy
Sydenham leaves Poole.
1979 Crafts Studio winds down.
1983 Bone China body introduced for gift wares
1992 Management buy-out leaves Peter Mills in charge and Poole, once again, an
independent company.
1995 New Poole Studio established. Poole Pottery Collectors Club established.
2000 Poole Pottery move into new premises. Poole Pottery ceases manufacture of ware
at the Quayside works which is then demolished at the end of the year to make
way for factory outlets with housing above.
12
"^
Founding of the Factory
The early years 1850s-1921
That the town of Poole should be associated with pottery is hardly surprising considering
the vast local deposits of fine clay in the immediate area, not to mention the excellent
facilities for transporting raw materials and/or finished products from the Port. During the
eighteenth century regular consignments of the finest Dorset white ball clay were shipped
from the port, much of it destined for the Staffordshire Potteries.
Larger and more established businesses either grew from what had once been a small
practice, such as a country pottery, or in response to demand. The latter is the case for the
Poole Pottery as we know it today, the demand during the mid to late nineteenth century
for architectural and garden ceramics having moved on from merely being the domestic
requirements of the local population.
How Jesse Carter and the story of the Poole Pottery came about is largely due to a business
diversification and, as is often the case, fortuitous knowledge.
Jesse Carter was the part owner of a flourishing ironmonger and builders' merchant's
business based in Weybridge, Surrey, due West of London. It would appear that Jesse
Carter probably knew of the T. W. Walker Patent Encaustic and Mosaic Ornamental Brick
and Tile Manufactory, Poole, run by James Walker, through the purchase of tiles and similar
wares for the Weybridge business. Whether at that early stage Jesse knew that James
Walker was a spiritual brother, (both devoted members of the Plymouth Brethren) is hard
to say. Whatever the case, Jesse Carter most certainly would have known of the failing
circumstances of Walker's business, as a consequence of purchases for the Weybridge
business, and by two notices of sale by auction of the premises and stock being announced,
the first on 11th January, 1866, followed by another in 1869. By 1873, when Walker was
declared bankrupt, Jesse would have had plenty of time to consider the viability of taking
on the business. Whatever his reasons, Jesse became the new owner of the Patent Encaustic
and Mosaic Ornamental Brick and Tile Manufactory founded in the early 1860s, shortly
after Walker had been declared bankrupt, and moved his family to Percy House, 20 Market
Place, Poole.
One of Jesse Carter's first actions was to retain the services of James Walker to run the
pottery, as Jesse had little knowledge of technical processes required to run the pottery.
However, by 1876 discrepancies were found in the accounts and Walker was dismissed.
The Pottery kept going although on very rocky ground, managing in the process to survive
a fire in the newly erected lime kiln. Jesse was having little success in selling the wares
produced at the pottery during much of the 1870s, his rival across the quay, the Architectural
Pottery at Hamworthy being far more successful. Jesse tried to expand, buying the
St George's Patent Brick, Pottery and Terra Cotta Works, Worcester, from D. W. Barker in
1880. This did not prove successful; only eight years later a partner had been brought in
by the name of Johnson and by 1892 the St George's Tile works, as it was renamed, ceased
to exist.
All the while, however, Jesse was making considerable progress at his Encaustic and Mosaic
Ornamental Brick and Tile Manufactory, opening a London office in 1878 at 24, Featherstone
Buildings, Holborn. Some major names in the tile business, including Wedgwood, were
feeling the competitiveness of Jesse's firm, with agents complaining that not even they
13
could buy tiles cheaper than Jesse was selling them. By 1881 with demand for his Poole
tiles increasing Jesse brought in his three youngest sons into the business. Charles and
Owen working on the pottery side while Ernest Blake undertook the book keeping in the
London office, although Ernest was to die of rheumatic fever only two years later. Charles
took on the responsibility for the administrative side while Owen contributed to the
production and decorative side of the firm.
During the 1880s Carter & Co started to become a major force in the tile and architectural
ceramics business, with very healthy order books for shop frontages, and a wide variety of
floor and wall tiling schemes from plain geometric and encaustic to mosaic faience and
glazed embossed. There was particular demand for Carter's pictorial mural tile panels
initially within the town and surrounding area, but this shortly became national and even
international. Little is known about the artists responsible for executing these murals during
the 1880s but by the 1890s Carter's had employed Edwin Page Turner and his half brother
James Radley Young both of whom were to make significant contributions to the artistic
standards of the pottery. Even before their arrival, however, the company had found winning
ways, being awarded the silver medal for 'Superiority in Workmanship and Materials' at
the Building Trades Exhibition of 1886. Further awards, in the form of a Prize Medal and
a Star certificate, were gained in 1891 from the Society of Architects.
The enthusiasm and demand for Carter & Co products did not occur by chance nor indeed
was it entirely due to the excellence of the product. As has previously been mentioned,
demand for decorative architectural materials and garden ornaments had grown
considerably during the late nineteenth century, much of the demand created by numerous
recently published books on the subject of house decoration. Books such as Charles L.
Eastlake's Hints on Household Taste, published in 1878 and The House Beautiful by Clarence
Cook, published in 1881, led the way towards a new fashion for 'do-it-yourself interior
design and styling. This fashion evolved as a consequence of the increased wealth of the
burgeoning industries and growing international trade which filtered profits to a growing
middle and upper middle class. Houses and their adornment became status symbols of
new wealth and style, and in turn created further business opportunities for importing
goods to fulfil demand as well as in the creation of merchandise with which to adorn and
embellish the home. Firms such as Liberty were born from such beginnings, initially
established to import Oriental goods sold in warehouses near London's docks and then
developing into a high street retail outlet, making it more convenient for shoppers to select
from an ever increasing range of goods old and new.
Until the 1860s, the decoration and adornment of the family home had been the prerogative
of the man of the house, and his task was usually greatly eased by relying on inherited
goods to furnish the home. With the advent of more readily available industrially produced
wallpapers, fabrics, linen, furniture, tiling, etc, together with the ever increasing choice from
various manufacturers, not to mention the imported goods on offer, the whole process of
home decoration not only became more of a fashion statement but also became something
far more time consuming. This is when the woman of the house began to take charge of
the decoration of the home. Carter & Co were part of this new burgeoning industrial growth
supplying floor tiling, wall tiling, wall tile schemes, tiled fire surrounds, pictorial panels,
terracotta garden wares, etc.
Carter also realised the virtue of local patronage, developing contracts in the town of Poole
and its local environs. The business of local patronage was almost certainly helped by
Charles being elected to the Poole Town Council in 1888 as well as his being elected Mayor
14
for a term. To this day, there are dozens of buildings in Poole and the surrounding area
and as far as Birmingham, where one can see examples of the firm's output. The next
development was to gain wider national and international recognition and this Carter &
Co achieved through entering national exhibitions, such as the trade exhibitions discussed
earlier, but also through general industrial exhibitions. This path was to prove of particular
benefit in years to come.
Such was the success of the company that by 1895 they bought out what had once been
their rival business, the Architectural Pottery Company, to be followed by the acquisition
of an ultramarine blue manufacturers across the road from the Hamworthy Architectural
Pottery in July 1901, later to be named the 'White Works'. These two purchases, in many
respects, marked the arrival of the Carter company as a major force in the tile, ceramic
architectural and related wares field, very much amongst, if not above, the likes of Doulton
& Co., Lambeth, Maw & Co., Jackfield, Minton, Hollins & Co., Stoke-on-Trent, Wedgwood,
Etruria and Woolliscroft & Son. Stoke-on-Trent. Carter's were now able to locate specific
departments to certain sites. The newly acquired 'White Works' was devoted to the mass
production of everyday, functional white tiles, which were very much in demand in the
rapidly flourishing hospitals throughout the country. The Hamworthy works had been turned
over to the production of floor tiles and the main East Quay works produced the decorative
tiles, terracotta and faience.
The tiles themselves in terms of design were much like those of their competitors, with
many single tile or fireplace panel designs showing the prevalent stylistic influences of the
day. Art Nouveau stylised floral designs were moulded in low-relief and occasionally tubelined,
and there were stylised floral repeat designs and border tiles. The trade catalogues
published by the various tile manufacturers in the years after turn of the century often
showed little innovation, one catalogue looking much like another.
To add to the professional staff of Turner and Radley Young, William Carter Unwin joined
the firm as chief sculptor in 1896, being responsible for the figurative modelling of the
architectural faience. One of his important contributions was in the training of Harry Brown
as his assistant who went on to produce some significant work for the company.
The next stage in the development of Carter & Co resulted in the foundation of an entirely
new and separate business that was to become known as the Poole Pottery and involved
the production of ornamental and tablewares. This highly significant development was due
to Owen Carter and his interest and experimentation with glazes and handcraft techniques,
in particular his love of lustre glaze effects.
Carter's would almost certainly have been aware of the publicity, status, financial benefits
and general acclaim that followed the involvement of the Doulton Lambeth pottery with
the Lambeth School of Art in the late 1860s, and the subsequent development of Doulton's
own Doulton Lambeth Studio in the 1870s. When Carter & Co bought the rival firm, the
Architectural Pottery, they soon learned of the numerous blank tiles that had been supplied
to a certain William de Morgan, although by the late 1870s (therefore twenty years before
Carter's involvement) de Morgan had started to make his own tiles. The association between
Poole and de Morgan continued until at least 1905, as there are bowls and dishes decorated
by William de Morgan with impressed marks, Carter, Poole, and dated to 1904, one example
is a bowl in the Victoria & Albert museum, which had once belonged to the de Morgan
family.
During the 1890s Owen Carter began experimenting with glaze effects, in particular lustre
15
glazes, undoubtedly influenced by the work of de Morgan who was the pioneer in this
field, but also by the lustre designs executed at Maw & Co, after designs by Lewis F Day,
on tiles and vessels and perhaps also the work of the Burton Brothers at the Pilkington
Pottery, Manchester. Owen worked very closely with the recently appointed glaze technician
from Stoke-on-Trent, Alfred Eason, who was almost certainly responsible for the
development of lustre glazes on tiles and decorative pottery along with James Radley
Young. Young had recently rejoined the Poole pottery in 1906 following the establishment
of his own pottery in Haslemere, Surrey, where he experimented for five years with functional
and ornamental wares. All was now ready for the development of a new range of wares
that would form the basis for the now renowned brightly coloured floral, abstract and
animalistic designs, using a red earthenware body.
The new range of mainly lustre wares, along with other experimental glaze effects, were
used on vessels, candlesticks, dishes, vases, jardinieres, and bowls, not to mention the tiles
and tile panels, and were designed by both Owen Carter and James Radley Young. These
wares were often applied with insects, fish and reptiles, much in the manner of Continental
majolica pottery and some of Mark V. Marshall's designs for the Doulton Pottery, Lambeth,
during the 1880s. In the Poole Pottery Collection are several pieces of lustre ware with
colours ranging from a red/gold lustre through to green, silver and black, ruby, blue, orange
and purple. It appears from these and other known pieces, along with archive records, that
these wares were mainly made between
1900 and 1906, although some wares were
still being made and exhibited until 1918
(British Industries Fair), a year before Owen
Carter's death. Lustre tiles, which had
initially been available as early as 1896,
continued to be made into the 1930s. Such
was the quality and effectiveness of the
Carter lustre wares they frequently
received praise in contemporary journals.
It should perhaps be remembered that this
period from the turn of the century through
to World War One was a time of
experimentation within all aspects of the
pottery industry, from the processes of
manufacture and types of body, through
to surface decoration and glaze effects. It
was certainly helpful that public demand
for 'artistic' wares heightened the search
for new, better and unusual types of ware.
Behind the scenes in the pottery itself there
were also many major improvements in the
process and making of the wares. One of
the longest surviving, time consuming and
most arduous of the processes was the
tiring OT the Ware. The Solution tO the Part of a large screen printed tile panel, dating from about 1959, depicting the
problem Was found With the invention and mechanical and general making processes involved in the making of tiles in the
d e v e l o o m e n t of the Tunnel OVen which White We Works. One can easily make out the three long Dressier tunnel kilns,
L. ~I-J ,J • U ' C L and tracks for the trolleys, the clay presses on the right with jlint kilns to the far
Was tnen auuea tO Wltn TUrtner riglitandtliedecoratingandmakingshopbeloio,withit'soverheadconveyorbelt.
16
developments such as the Top Hat kiln and Circular oven, this new technology taking days
rather than weeks to complete the firing of an object. The end of the traditional bottle
oven, which took some six to eight weeks to fire from placing the wares to emptying the
kiln, was inevitable, although it took until the clean air act of the 1950s for it to actually
happen.
Carter & Co with innovation and experimentation firmly established within the pottery
decided to install a Dressier continuous firing tunnel oven in 1913, in an effort to cope with
demand, specifically for white tiles destined for hospitals, government buildings, hotels,
etc. That this Dressier tunnel oven was only the second ever such kiln to be built, the first
being installed at the tile firm of J. H. Barrett & Co Ltd, in Stoke-on-Trent, showed something
of the innovative and entrepreneurial spirit of the Carters. At 120 feet long, the tunnel oven
leeded to be housed in very large building, allowing extra space at either end for the
introduction and extraction of the kiln trolleys.
Carters, along with many tile producers, suffered as a result of the war, which greatly limited
production, but also the loss of staff. It was only due to the inventiveness of Owen Carter
and James Radley Young that some sort of production continued, sporadic though it was.
The remaining staff and kilns were turned over to the production of portrait plaques with
images taken from photographs (The image was burnt into a light sensitive gel a few
millimetres deep that coated a master tile, creating graduated layers according to the
depth of light and shade on the
photographic film. From the master, once
the gel had hardened, a copy was made
and developed into a mould from which
numerous tiles could then be made. A
majolica or pigmented glaze would then
be poured and painted onto the tile, the
deepest areas becoming darkest.)
Perfume bricks and fire-lighters both made
of an absorbent body which could then be
filled with scented oil or paraffin were also
produced.
James Radley Young's experimental work,
however, was to prove the next important
development for Carter & Co, laying the
foundations for the highly successful
brightly coloured wares of the 1920s and
1930s. Radley Young had been modelling
some of the large pots requested by
Liberty, which were produced between
1906 and 1910, but he had also started to
make some unglazed hand-thrown vessels
which he decorated with chevron and line
bands or scrolling bands in manganese
brown oxides. The shapes he used were
based on ancient Moorish and
Mediterranean originals, of simple form,
the surface being deliberately left
unfinished. Young particularly liked the
QRBAT HKITA1N
Early Carter, Stabler and Adams red earthenware jugs designed by ]. Radley.
Young (top two lines) and Erna Manners (bottom two lines). Studio Yearbook,
1922. This is the type of ware shoum at the early trade shows such as the British
Industries Fair.
17
idea of these wares being left in their natural state, showing the working method of throwing,
rather than the smoothed over artificial appearance of similar 'craft' worked wares aping
the perfection of mass production of industry. As a further development, Young produced
two tin-glazed lines of ware, one with simple scattered floral motifs and another with
horizontal and/or vertical blue lines, occasionally with floral motifs, that become known as
Blue Stripe Ware. The Carter & Co British Industries Fair stand, 1921, was completely full
of these wares along with the a few figurative models and two roundels by Phoebe and
Harold Stabler. This fair marked the departure of the old and a new beginning.
With the search for more work to keep the ovens firing Carter & Co must have been very
pleased and willing to help Roger Fry and his cohorts of the Bloomsbury group in the
Omega workshops. This association, although relatively small in terms of output, playec
a part in laying the foundations not only for the frequent external involvement of artist
and designers in the production of Poole Pottery but more importantly it gave an artistic
input that was to affect future ornamental wares. Roger Fry, Vanessa Bell and Duncan Grant
came to Poole to try their hand at throwing but it was Roger who showed the greater,
aptitude. Before long he was making prototype dinner wares, tea and coffee sets, vases
and bowls, as well as tiles. In 1916 Roger spent a great deal of time visiting Carters & Co
whilst working on the new commission to decorate Lalla Vanderville's flat, working on a
complete dinner set decorated in black, dull yellow, green or purple glazes. We have
already seen such an external influence through the lustre work of William de Morgan. The
highly expressionistic and colourful designs of Vanessa Bell, Roger Fry and Duncan Granl
together with the naivety and charm of their wares, made between 1915 and 1918, left
their mark on the 1920s Poole Pottery designs to come.
At the same time as the association with the Bloomsbury Group but on the tile and sculptural
side of the business, another artist, Joseph Roelants, was also to contribute in much the
same vein to the improvement of the artistic output of the company. Jozef (anglicised to
Joseph) Roelants arrived in Poole from Belgium in 1914 as one of many refugees. Shortly
after this, he and fellow countrymen began to work at Poole Pottery. By 1917, Roelants
had painted two series of tile designs, Dutch figures and Dutch boats togetherwith executing
several figurative sculptures, all of which were exhibited in the 1917 British Industries Fair,
held in the Victoria and Albert Museum. Roelants tile designs and figures were very much
in keeping with the freedom of expression and vibrancy found in contemporary Post-
Impressionist paintings and which were also reflected in the work of the Omega Group.
Roelants is also known to have carried out designs on bowls and other vessels, which like
his tile designs were all executed by in-glaze painting, also known as Delft, a technique of
which his countrymen where well aware.
It has been suggested that the Belgian refugees, Roelants amongst them, may have
introduced the Delft technique to Poole Pottery but it would appear more likely that this
decorative technique was introduced by Alfred Easton, who probably brought the idea
with him from Minton where he had previously worked. Certainly, Easton and James Radley
Young had developed the two tin-glazed lines of ware, Blue Stripe and scattered floral by
1914, it seems before the arrival of Roelants.
On a stylistic note the early pre-war Blue Stripe wares were, in the main, rather heavy in
appearance, the colours used were particularly strong and the designs somewhat harsh
and bold. The design often seems to overpowerthe shape, although the shapes themselves
were, more often than not, heavy in terms of visual appearance and often in terms of
weight. The few post-war pieces that were made up to about 1924 have an altogether far
18
more harmonious look to them, the shapes are less exaggerated and flamboyant, whilst
the designs have become bolder, covering more of the surface of the pot but in sympathy
with the shape. It also helped that an increased colour palette was being used, much of it
far more muted than previously. Perhaps the most significant change was to the designs
themselves, many still based on the pre-war James Radley Young designs, which were then
modified by Truda Adams and her female paintresses. This is where the wares of the Omega
Group, their greater freedom of expression and bolder use of a wider range of colours,
started to take effect.
The post-war unglazed wares again show more sympathetic surface patterns, bolder and
more confident, on shapes modified by Truda Adams. The previously used small scattered
cloral sprigs become bolder and less numerous, with a far greater use of colour, all the rims
laving a repeated blue dash motif. It would also appear that the paintresses might have
been given a slightly freer hand, and many of the post-war sprig designs may have originated
from the paintresses themselves.
One of the most obvious technical differences in these pre- and post-war wares was the
use of different bodies. The pre-war wares were in the main made from a semi-stoneware,
more akin to a high-fired earthenware, which had a pale grey appearance seen on the foot.
The wares made by the Bloomsbury Group used much the same body. The unglazed wares
were hand thrown using a coarse terracotta-like body normally used for making tiles and
were often extremely thin. The post-war Blue Stripe and floral decorated wares were either
formed of a darker grey semi-stoneware or red earthenware body, the latter forming the
basis of the future wares after this transitional
period. The unglazed post-war wares used a
high-fired terracotta coloured body and were
often glazed on the interior.
That all this change and experimentation
could take place was in part largely as a
consequence of the War or rather the
restrictions on what could and could not be
made, together with the drop in demand for
tiles and architectural wares due to the
suspension of building work. The wares of
James Radley Young had evolved largely out
of need to fill a gap in production but as a
result initiated the production of ornamental
and functional wares at Poole that was to
make the name of Poole Pottery known
throughout the world.
CARTER. STABLER fc ADAMS LIB
TOTTERS
TOOlt TJCR.SET
Carter, Stabler ant] Adams advert from the 1937 Pottery Gazette and Glass
Trades Review Directory and Diary. The image and graphics used say much
about the image and customer being sought after.
19
Carter, Stabler & Adams
The Art of Pottery 1921-39
The first decade of the twentieth century saw the firm foundation of the Poole Pottery but
the next ten years can be seen, in many ways, as the most important and significant period
in the history of the pottery, during which the ground work for the pottery's ultimate success
was laid. Although initiated due to circumstance, namely World War One, the development
of ornamental wares to run alongside, yet separate from, the tile and architectural business,
enabled the Poole Pottery to become a complete enterprise producing highly affordable
and well-designed wares for the public.
By 1910, Cyril Carter, Charles' son, was working for the family firm at their London office
in Essex Street, under Arthur Owen Carter, Alfred's son, who was in charge of the office
Cyril was responsible for developing all the tiling contracts and it was largely due to hi:
diligence and hard work that Poole Pottery reached the heights that it did by the beginning
of the war. When the demand for tiles waned due to the halt of all building programmes
Cyril was put in charge of the Hamworthy floor tiles works, before moving onto what woulc
be his most significant contribution to the pottery, the ornamental and decorative wares
Roger, Cyril's brother, took overfrom him at Hamworthy and around the same time Benjamir
Evelyn Elford was appointed to the board having been company secretary.
The next stage in this transformation was the input of artistic ideas and skills linked with
continued experimentation and technological improvement. This development was forceo
on the Carter family through the sad death of Owen Carter in 1919. Owen who had been
in ill-health for some months, had been the driving force behind the artistic and technological
developments at Poole, making the company a major force in the industry, and would be
a difficult person to replace.
It was two years after Owen's death that the company, through the efforts of Charles and
Cyril Carter, was able to find a solution to their problems and a new direction at the same
time. It was decided to continue along a similar vein to that on which Owen had been
concentrating, namely the ornamental and decorative wares, but to promote them more
vigorously, with a view to them being a separate highly commercial and, if possible selfsustaining
venture under the umbrella of Carter & Co. t o this end, two new partners were
brought into the fold, Harold Stabler and John Adams, and a new company was launched
in 1921 under the title Carter, Stabler & Adams. At least this is how the new advent of the
new venture has been relayed down to us over the years. In retrospect, I would be more
inclined to say that 'four' new partners joined the firm, as Pheobe Stabler and Truda Adams,
the wives of those previously mentioned, made a just as significant, if not more so, input
into the pottery as their partners. Truda Adams (later Carter after 1930 having married Cyril
Carter) in particular, made an enormous contribution in terms of design but also in the
training of many of her colleagues over her nearly 30 years working for the company. There
is much still to be researched about Truda's contribution to Poole, as well as several other
fellow female artists and designers.
Harold Stabler was a well-known and talented artist and craftsman, having trained within
the William Morris inspired Arts and Crafts Movement. He exhibited a multitude of works
in diverse materials through out his formative years, becoming a teacher at the Royal
College of Art and later at the Sir John Cass Technical Institute. Stabler's involvement with
the British Institute of Industrial Art and the Design and Industries Association from 1915
20
was to prove invaluable to Poole Pottery for many years to come both as a source of
commissions from his fellow members, but even more so as a source for promotion and
recommendation. Indeed, Harold's contribution to the development of the Pottery is far
less tangible than that of John Adams, for example, but none the less significant. Harold
was able, through his connections in London, the DIA and other major institutions to which
he belonged, to play a highly important promotional role behind the scenes. It was Harold
who persuaded several graduate students, manyfrom the Royal College of Art, to contribute,
in some form or other, to the designs and production at Poole Pottery. In many respects,
Harold and John Adams saw the occasional yet continuing contributions from external
artists as a means of adding to the then current, often controversial, arguments concerning
the links, or rather lack of them, between Industry and Art. Something that Poole could
not be accused of, in fact quite the reverse, the company often being held-up as an example
of how such associations could work.
Without getting too involved in the fascinating contextual issues and arguments of the
relationship between Art (for Art read 'expression of beauty') and Industry (read
'standardisation'), good and bad design and the conjecturing of the various institutional
bodies, government and independently backed, it is none the less interesting to see the
position of Poole Pottery wares in this debate. Poole Pottery wares rank amongst the select
craft-skills based 'Art wares' or 'Art Pottery' of the type advocated by those wishing to
promote the virtues of an English style harking back to the Jacobean times, of the simplicity
of honest craft work and design. The wares produced at Poole cannot be said to be based
on limitation of shapes to a few standard mass-produced shapes with fast unskilled applied
surface decoration, in fact quite the reverse. During this period, indeed throughout the
history of the Pottery, with the exception perhaps of some of the tea and dinner wares,
the production at Poole has been based on highly skilled and costly processes of production
and decorative surface design, with the aim of selling to a limited market section. This
hardly fitted comfortably within the 'fitness for purpose', simplicity and plainness of form
and economy of decoration advocated by the Design Industries Association (DIA).
This argument between advocates of the need for better designed wares and surface
decoration through the employment of more designers in industry versus the industrial
response that they (industry) knew their own market place and what it required, was most
active from 1918 through to the 1930s. There was genuine concern during this period
regarding the competition from imported cheaper foreign goods, coming from Japan,
Germany and other European countries, and also from the cheap mass production of
everyday items made by back-street firms who had sprung up over-night to make a quick
profit by flooding the market. Trade journals during this period had frequent articles from
both sides of the divide, extolling "The Place of the Designer in the Pottery Industry", this
the title of an article in the Pottery & Glass Trade Record by Arthur Finch in November
1924. In the early 1920s the example of the Carter, Stabler & Adams partnership was often
heralded and illustrated as the right direction for other pottery manufacturers to follow.
The 'example' being perhaps more related to the employment of designers at such a high
level within a company and with an obvious management strategy to recognise the
importance of design and the designer within the production process and ultimately, rather
than necessarily, the wares. It should be said that, as I mentioned earlier, such arguments
and articles were largely as a result of personal opinion and taste, and therefore subjective
in terms of the 'type' or 'class' of wares, upbringing and 'class' of the author, etc. This is
of course part of the eternal problem with trying to quantify 'good taste/design' and one
that could be said to be associated with the DIA Whilst the DIA did much for the promotion,
21
status and elevation of the Poole Pottery, not to mention the rewarding number of
commissions the pottery received, the rather negative, retrospective ideals and standards
associated with the DIA did little for a highly commercial pottery looking to broaden it's
customer base. The Poole Pottery exhibits and their presentation at the 1925 Paris Exhibition
and the International Exhibition of Industrial Art in Leipzig two years later, show that Poole
wares were not exactly revolutionary or particularly ground breaking when compared to
many of the other exhibits of their Continental competition. One certainly could not label
their wares 'modernist' in the strictest use of the term, in anyway, in either shape or surface
decoration. In fact, it was largely as a consequence of these two late 1920s exhibitions that
any concessions to modernism began to appear in the Poole Pottery pattern books, even
though, as is starting to be discovered through on-going research, many of these exotic
and elaborate designs were 'borrowed' from Continental sources. Stella Beddoe of the
Brighton Museum is gathering information related to some original sources for many Truda
Adams designs, amongst others, which seem to owe a great deal to French textile and
wallpaper designs, as well as other materials. Such designs, of course, would have been
shunned by the likes of the DIA members, as being overtly decorative and bold.
The Carters could not have wished to find a more suitable exponent and practitioner of
Art and Industry' issues than John Adams. Whilst Harold Stabler's official capacity at Poole
was perhaps more on the sidelines, as external design consultant, making significant
contributions in design and promotion, John Adams' involvement was to be far more
practical. John Adams was given the title of
Managing Director in the new partnership,
although it was with his input into the area of
design, especially shape design, along with his
technical abilities, that he was to make his mark.
He had developed his technical skills after
working in Stoke-on-Trent in the tile industry and
at Bernard Moore's pottery as a painter of lustre
ware. He and his wife Truda later developed a
pottery section with the School of Art in the
Durban Technical College, South Africa,
immediately before his arrival at Poole. One
particular feature of John Adams' work which
highlights the benefits of employing a designer
was his ability to see and listen to what the
demands of the buying public were, and then
reflect those requirements in the shapes and
designs he then produced. If the public wanted
cigarette boxes, ashtrays, wall vases, jam pots,
cheese dishes with covers, sandwich trays, etc,
then that is what he designed.
Gertrude (Truda) Sharp, before she met and
married John Adams, was a fellow student with
John at the Royal College of Art. Her work for
Poole was to be highly significant as the vast
majority of the 1920s and 1930s surface pattern
Early Carter, Stabler and Adams pottery designed by Truda Adams, designs for the Ornamental and deCOTative WareS
I. Radley Young and Harold stabler, studio Yearbook, 1922. were designed by her, and if not by her then by
22
her sister Minnie McLeish. Truda Adams (later married to Cyril Carter) is perhaps one of
the most underestimated and overlooked female ceramic designers of the twentieth century,
especially in light of the authorship concerning Susie Cooper, Clarice Cliff and Charlotte
Rhead, and latterly on the designs of Jessie Tait for Midwinter and Susan Williams-Ellis for
Portmeirion. Truda continued designing for Poole until her retirement in 1950 and even
carried on as external consultant for a few more years.
Pheobe Stabler was a recognised sculptress, modeller and designer in her own right,
exhibiting many works throughout the country in the major annual round of exhibitions
related to the crafts and decorative arts. Her business acumen was revealed through the
sale of several of her works, often with minor modifications or a change in title, to three
or four different manufacturers, often for sale on the High Street, although in different
media, at the same time.
The Stablers were able to bring to the new partnership some sculptures that they had
modelled in previous years, some of which were hastily made at the Poole Works to be
shown at the Feb/March 1921 British Industries Fair and then later in the year at the launch
of the new partnership at Regent House, Kingsway in London. These figures and roundels
were an important addition to the ornamental wares, and gave the display an extra interest
and vital dimension which was picked up by many of the reviewers. The roundels would
certainly have added colour and brightness, being decorated in the manner of the Italian
'Delia Robbia' wares, to the display. The oval wall medallion 'Spring' and its companion
'Summer', the latter certainly displayed at Regent House (assuming the title to be correct),
must have looked particularly stunning, with the brightly coloured Italianate colouring
highlighting the heavily moulded basket of naturalistic flowers. By the following year the
pottery was able to put various other previously
designed Stabler works into limited production, "**" m,T>™
including the large and quite stunning model of
The Bull, designed jointly by both Harold and
Phoebe and in production until the 1903s, as well
as the Picardy Peasants, the Buster Boy and the
Lavender Woman, designed by Pheobe. New
models included the two figures Bath Towel and
Buster Girl designed by Pheobe Stabler. One of
the most significant designs by Harold for the
Poole Pottery was that of the Galleon, introduced
in 1925, which became the unofficial symbol of
the Pottery, being exhibited and illustrated
constantly throughout the 1920s and 1930s. This
in turn led to smaller, less colourful versions being
designed later, some models with the name of
the pottery on the base and used in shop
advertising. At about the same time Harold also
designed the highly Art Deco stylised models of
The Goat and The Bear, both animals standing
on very angular rocky outcrops.
In the first few years after the formation of the
new partnership the output of the ornamental
and decorative Wares relied largely On What had Early Carter, Stabler and Adams pottery wares designed by Truda
been produced over t he preceding few years, md John Adams, studio Yearbook, 1922.
23
Early Carter, Stabler and Adams pottery designed by Truda and John
Adams and Ernest BanttOen. Studio Yearbook 1923.
namely the wares modelled and designed by
James Radley Young, with the addition of the
figurative works, mentioned above, by the
Stablers. However, the Young wares began to be
modified, as has previously been mentioned, by
Truda Adams, bringing to them a new lease of
life, developing from the 'simple, sound and
practical . . .' and 'the ingenious juxtaposition of
one or two simple colours . . .' (as reported in the
Pottery and Glass Trades review in 1921) to the
'Distinctiveness of form, refined yet soft colour in
free brushwork of painted patterns . . . pieces of
stoneware enriched with blue, purple, and other
rich colour schemes of fruits with greens of foliage,
in underglaze treatment' reported two years later.
It was not until about 1922 that the wares really
began to change, a time which coincided with
the introduction of a new red earthenware body,
covered with a semi-matt grey tinted glaze and
two years laterthe addition of a white slip together
with the use of a clearer glaze with more technical
alterations in the years to come. The surface
pattern designs gradually began to become
bolder and more confident throughout the early
1920s, with the flowers becoming more elaborate
and much larger, taking up proportionally more of the surface of the vessel.
Between 1924 and 1927 the reputation of and interest in the new Poole Pottery was
particularly strong, the wares being shown in many of the major International exhibitions
of the period; including the British Empire Exhibition at Wembley (1924), the famous Paris
Decorative and Industrial Arts Exhibition of 1925 (as a consequence of which we now have
the term Art Deco') and the Leipzig International Exhibition of 1927. It was through the
pottery's involvement with such exhibitionsthat John Adams, Harold Stablerand in particular
Truda Adams would have seen and
been influenced by the enormous
variety of work that they saw on display
there. Such influence was later to
become apparent in the distinctive
style that developed at Poole. There
were also many slightly smaller
exhibitions within Britain, such as that
at those held in London at the Heal's
Mansard Gallery, Bruton Place, and the
Gieves Gallery, in Old Bond Street,
along with the various British Industries
Fairs. It would appear that during the
important influential and formative
early years of the new partnership, the
wares produced at Poole were getting
particular a t t e n t i o n a n d publicity, centre decorated using coloured slip. Studio Yearbook, 1924.
24
certainly amongst the trade press, with favourable reviews accompanied more often than
not by numerous illustrations with the text. The special exhibitions which were held in
London to promote the new Poole Pottery wares also received generous coverage in the
press. Compared to that devoted to other contemporary potteries such coverage was to
say the least generous. Whether this has to do with a clever commercial and promotional
strategy on behalf of the Carter, Stabler & Adams partnership or due to the influence,
status or social connections of any of the partners, or was indeed based purely on the
merits of the wares themselves, is open to question. Perhaps it was in part due to all three.
It was recognised at the time by certain critics that the employment and training of a new
team of paintresses had done much to add to the development of the new lines. Initially
this team consisted of paintresses who had worked under James Radley Young, namely
Cissie Collett, Ann Hatchard and a Miss Kendall; these were joined by Margaret Holder
and Ruth Pavely. The later two, particularly Ruth Pavely, were to make significant
contributions to the Pottery. By the early 1930s there were over thirty paintresses working
on what became known as the 'traditional' ware.
The introduction of bold colourful patterns, mostly based on stylised floral designs, repeated
in bands, with the use of animals and birds as well, almost entirely covering the shape of
the vessel, immediately caught the eye of the public and critics alike. It was the particularly
striking use of bright and bold colours in such an enthusiastic manner that drew much
praise. During the early 1920s there was an increased use of colour on many decorative
art objects, especially those of France, which owed much to the bold use of colours seen
in the theatre back drops and clothing used by the Russian Ballet, going back as early as
1909, as well in the contemporary paintings of the period. Society throughout Europe
welcomed such as change, especially after the years of turmoil and struggle during the
first World War. The plethora of exhibitions in Europe during the ten years after the war
was arranged as much as to cajole industry and commerce into rapid development, as to
tell the world and it's own citizens that Europe was back on its feet. For many the war was
seen as a format to start with a clean slate, to change previously held ideas about buildings,
housing, socially accepted norms, etc. It was seen as an opportunity for a shift in direction
and ways of thinking. Each country, however, had its own responses to such notions, some
more easily swayed, whilst others preferred a slower studied pace, picking at what it thought
suitable for itself. Britain in the main was one of the latter.
In Britain new ideas concerning pattern, design and relationships between Art and Industry,
often took some time to formulate and certainly to become accepted. The influence of
what become known as Art Deco was very slow to catch on, but one of the first potteries
to explore the possibilities of the new angular abstract style was Poole.
It was particularly the work of Truda Adams that brought this transition about. Her designs
in the 1920s, especially for large vases, were truly magnificent with sixteen inch vases
lavishly covered with bold bouquets and sprays of flowers, sometimes including birds,
between banded, scalloped, chevron or wave bands. Truda designs ranged from the almost
naturalistic, through very stylised to full-blown abstract and all during a very short period
in the mid-1920s. Much of her work was inspired by French textile, carpet and fabric
patterns, and as on-going research has revealed, Truda often drew heavily on designs by
artists and designers such as E. A. Seguy, particularly some of his Egyptian inspired designs,
as well as the work of Rene Buthaud. One could equally point to many other influences
from the wrought-iron work and design of Edgar Brandt to printed packaging designs of
the period. This is one of the many topics concerning the history of Poole, another being
25
the Carter's & Co tile and architectural business, that has yet to be thoroughly explored
and one that certainly needs further research.
Various influences can be identified both in relation to shape and surface decoration, and
the influence of the 'Mediterranean' was certainly one. It should not be forgotten that this
was time of the great discovery and learning, hastened by a fast growing and ever more
efficient forms of communication. Egyptian tombs and civilisation, Aztec civilisation, Ancient
Rome and Greece, to mention a few, figured large in the press, magazines, exhibitions and
books of the period, as more and more discoveries were made from the beneath the earth
and the sea. Just one example that directly relates to Poole designs is the interest generated
by the works of the Delia Robbia brothers, dating from the late 15th and early 16th centuries
in Italy. Just before the turn of the Century, there were a number of major exhibitions of
their bold and brightly coloured architectural works along with several new books about
the life and work of the Delia Robbia family. The Victoria and Albert Museum in London
acquired numerous examples which then travelled the length of the country which in turn
set off a whole stable of artists making works inspired by the wares. Harold and Pheobe
Stabler are two shining examples in this mould, as we shall see. The use of such a bright
palette may well have some bearing on the colouration of the surface pattern designs of
Truda Adams, formerly a student of the RCA and therefore highly likely to have frequented
the local Victoria and Albert Museum and also to have visited galleries and perhaps even
artists, sculptors and designer's studios in Chelsea to see such works. Whatever the source
of these designs on Poole Pottery they are now amongst the most sought after by collectors.
Additional inspiration was warmly welcomed and encouraged via the use of external artists,
be they cartoonists, illustrators, sculptors or artists. This is something that has recurred
throughout the history of the Poole Pottery to this day. Apart from the obvious diversity,
fresh outlook and new approach that could be, and was, gleaned from such an influx, there
is perhaps a deeper and more meaningful reason for the continued association, namely
the relationship, often ambiguous as previously mentioned, between the artist and industry.
This aspect of the Poole Pottery has often been overlooked but is as important today as
it was in the early years. Harold Stabler was the great instigator of many external contacts
with additional contacts being developed by Charles who persuaded graduates from the
Royal College to provide some sketches either during or after a visit to the pottery, or
perhaps even from just seeing examples of the ware. Erna Manners was one of the first to
be involved for a short period, providing the 'Grape' and the 'Fuchsia' designs, the latter
being the only Poole Pottery design to rightly use the name. Olive Bourne produced a
series of designs based on female figures and heads in the late 1920s, with one dish of a
female head appearing amongst the branches of a bush holding some food for a bird,
which took pride of place in the centre of the Leipzig International Exhibition of Industrial
Art in 1927. Harold Brownsword was a notable figure having trained in the Hanley school
of art, later becoming the sculptor teacher for the Regent Street Polytechnic School of Art,
London, 1914. At Poole, he modelled various items including bookends in the form of
elephants, another pair as an equestrian figure, a commemorative plaque of King Edward
VIII and a small ashtray with a figure. Hugh Llewellyn, the local headmaster of the Poole
school of Art modelled a group of three monkeys, around 1922-23, which was then later
released as a slip cast figure using a stoneware body. Various other artists also contributed
to the tile production side, as will be seen in a later chapter.
In another interesting departure from what was considered 'normal practice' in the home
of the Potteries, Stoke-on-Trent, paintresses were often allowed to submit designs of their
own which could be and often were put into production, several lasting many years. Such
26
a practice in the Potteries was, if it ever took place, never admitted in public, the head
designer always being given the credit, as was the case with one or two Moorcroft designs
during the transition from father to son, and also in several cases at the Wilkinson/Newport
works under the head designer Clarice Cliff. In the latter case, the reasons were more to
do with keeping the gravy train of publicity and promotion on track than anything else,
especially as the factory was to continue to make the most of the designer's name on their
trade mark in the decades after Clarice had ceased serious involvement in the pottery.
As Truda Adams' confidence grew into the 1920s, along with a heightened demand from
the public and a growing acceptance of European-style highly stylised and abstract designs,
so she began to reflect the Continental flavour. By 1926-7 minimalist floral patterns began
to appear, still in bold colours, along with highly exotic all over patterns in semi-abstract
floral and foliate motifs. Truda also began experimenting with the colour palette into the
1930s, sometimes using just two colours against the pale white slip, or just three or four
colours. Occasionally Truda even altered the colour of the slip to a pale pink or pastel grey.
By the 1934, a white earthenware body was introduced, altering the look and feel of the
wares. Gone was the soft and gentle warmth of the red bodied wares and in came a sharper,
brighter and cleaner look. The patterns, previously slightly subtle and subdued, become
crisp and more defined, many looking to the angularity of European works and some
distinctly highly abstract, almost mechanical in the use of toothed wheels or gears, washers
and bearings as motifs.
The use of such abstract patterns on pottery was seen very much as a short-term fashion
statement and was marketed as such by several potteries. The peak of perfection of this
style can be seen in the designs by Eric Slater for Shelley, most notably in the minimalist
surface patterns that adorned so well the new angular shapes of 'Vogue ' and 'Mode' that
he designed. Looking at some of the highly abstract patterns and motifs on Poole one
sometimes has to wonder about the marriage with some of the shapes. But one doesn't
have to look far for the answer with the introduction of the wonderfully abstract shapes
designed by John Adams between 1930 and 1933, 'Everest' and 'Plane'. However, the
only decoration that was used on these shapes was a minimalist use of coloured bands,
as befits such wonderfully geometric shapes.
As previously indicated, such fashionable wares were made in relatively limited numbers
when compared to the high volume mass-production which a commercial factory required
to survive. These 'high-end' wares were seen very much as the flagship of the pottery and
were used as such to generate and promote interest. Once in the public eye the ordinary
more affordable volume wares could be brought in for those wishing to be seen to be in
fashion and vogue.
Fortoday's collectors the most sought after pieces are these'high-end'pieces, the extremes
of which are the pieces made specifically for exhibitions, that generate the most interest
and highest prices. Other collectable items during this period include the John Adams
designed candlesticks of grape-laden vine, in a particularly French manner, and those with
pierced or solid birds in flight amongst branches or birds perched in branches. These were
made in various sizes and designed to hold single or multiple candles. Numerous examples
of the experimental wares developed by John Adams can also be found, many with glaze
effects inspired by the contemporary interest in Studio Pottery, initiated by Bernard Leech,
as well as various examples with Oriental-inspired glazes.
For most of us, we have become familiar with the wares of Poole Pottery through the use,
handling, collecting and/or selling of the high volume mass-produced ordinary everyday
27
functional and ornamental wares. Items such as jam pots and covers, biscuit barrels and
covers (with cane handles), cheese dishes and covers, posy bowls, candlesticks, egg cups,
ashtrays, jugs and beakers. These wares, in many respects, are the important wares of the
Poole Pottery as it is due to the sale of these wares that the company managed to survive.
Although the glory and adulation went to the few highly decorative and expensive to
produce wares, the pottery's continued existence would not have been possible without
the volume sales of the domestic ware ranges. Amongst the ordinary wares there are some
wonderful shape and surface pattern designs, many adapted from the larger pieces, such
as the Harold Brownsword and John Adams bee box and cover, various hors d'oeuvres
trays and powder bowls and covers.
One of the most important and significant additions to the domestic wares offered by
Poole was the revolutionary 'Streamline' shape designed by John Adams in 1935-36. Ernest
Baggaley developed the finishing touch by creating a new Vellum semi-matt glaze which
could be produced in a range of new colours. A combination of two of the colours was
chosen for the new range. The interior of the teapots, coffee pots and hot water pots were
usually white. What was particularly important about the new glaze was that it was fairly
viscous and very durable and impervious to water, significant attributes for a heavily-used
tableware service, but the most important was that the glaze was highly consistent. The
result was that Poole now had a standardised tableware service, achieved with the new
shape and combination glaze effects. This meant that very high volume turnover could be
achieved in terms of production, feeding the hungry Dressier tunnel ovens, but also that
importantly, the losses, or defective wares, were dramatically reduced as a consequence
of the standardisation. The fact that the decoration did not involve any expensive and time
consuming hand-painting and that the shapes could be made mechanically or semimechanically
using mass production methods, significantly reduced costs. It is perhaps
interesting that one year later, in 1937, a third Dressier tunnel oven was installed in the
White Works reflecting not only the need to fire an even greater number of wares but also
that Poole had some very healthy order books to be able to afford to install yet another
such kiln. What it meant to the Poole Pottery was that they could produce a high volume
of ware for a minimal cost and therefore create new markets as well as developing old ones.
The development of the Streamline range was a huge shift in direction for Poole Pottery,
thanks largely to the efforts of John Adams and the ingenious introduction by him to the
firm of Ernest Baggaley from Stoke on Trent. The new glaze effects helped bring about
the development of new shapes including Everest, which was developed in 1931 and
launched in the following year, followed by Plane ware and Picotee, the latter involving
some forty-three banded glazing permutations at least. It was as if a new lease of life had
entered the pottery with the introduction of flying bird ornaments, shells, wall vases, models
of sailing ships and other items, all making use of the simplicity of the two-tone glaze effects
or the glazes used on the Picotee wares. These wares were made and even targeted at
the lower end of the buying market, thereby broadening the pottery's customer base. The
change in public buying demands, due to alterations in society, such as the building of
smaller houses, the increased use of electrical domestic products and other behavioural
patterns often related to class, was something that John Adams had been aware of and
was now able to address.
It was thanks to the development of the Streamline range and all that it meant in terms of
standardisation, that Poole Pottery could look forward to a highly successful commercial
future.
28
The Tile Business
1918-39
All that had been built up and put in place before 1914 at Carter & Co had to be put on
hold during the war, although, as previously mentioned, some developments in tile
production were made with the introduction of tin-glazed tile production. Even more
significant was the introduction of single pictorial tile designs by Joseph Roelants. In addition
to this the numerous brightly coloured and expressionistic tile designs by Roger Fry and
others of the Bloomsbury group, not to mention their table ware and ornamental pottery,
would not have gone unnoticed at the pottery.
The post-war period offered little immediate promise for decorative tiling with a shift
towards plain monochrome coloured machine made tiles. As far as Carter & Co were
concerned from a commercial level this was fine as they were ready to cope with such high
volume demand through the Dressier tunnel oven, even though the oven could be difficult
at times. Other tileries were not so well prepared.
More importantly Carter & Co were now, as one of the country's leading firms, almost
expected to lead rather than follow. This was part of the great transition that the firm
underwent during the post-war period and into the 1920s. The transformation was brought
about as a result of many factors but the pictorial tiles of Roelants and the artistic influence
of the Bloomsbury Group certainly opened the eyes and minds of those at Carters to the
potential and possibilities of what could be achieved. The frequent praise and mentions
directed at the exhibited Dutch inspired tiles by Roelants between 1917 and 1920 would
not have gone unnoticed.
The Blue Dutch and Coloured Dutch series designed by Joseph Roelants, are some of the
earliest tin-glazed tiles made at Carters, possibly as early as 1917. There are twelve designs
known in this series and they were produced in blue or in coloured versions executed by
hand painting. The Dutch series were the first in a new line of picture tiles utilising the tinglazed
technique produced at the new look Carter, Stabler & Adams, established in 1921
following the death of Owen Carter, and may well pre-date this new partnership. In 1917
Carter & Co had a medium sized stand (number L6) at the British Industries Fair, held in
the Victoria & Albert Museum, opposite the stand of J Sadler, (makers of teapots and
related wares) Stoke on Trent. In the 1917 Board of Trade exhibition catalogue under the
lengthy list of the types of tiles and related architectural fittings that Carter could supply
is listed "Hand painted Anglo-Dutch Glazed Tiles..." which would seem to indicate that
the Roelants' designs were available at this time. The same two series were later produced
using newly developed silk-screen printed techniques in the 1950s and 1960s.
It is interesting to note, as pointed out by Chris Blanchett (editor of 'Glazed Expressions',
the quarterly magazine of the Tile and Architectural Ceramic Society) that the blue screen
printed designs used three shades of blue to give the appearance of the earlier hand
painted tiles, while the coloured versions used up to seven screens. It would appear that
the screen printed versions were almost as time consuming as the earlier hand painted
versions, the major difference being the de-skilling effect, and consequent reduced labour
cost, of the screened tile.
Returning to the earlier period far rarer is the hand painted Blue Boats series, another of
Roelants' designs, probably dating from the same period, as well as the Coloured Boat
29
series. As with the previous Dutch series, these were also later to be produced by the silkscreen
method. The injection of new artistic and technical skills with the arrival of the
Stablers and the Adams's introduced a sudden shift in emphasis with the introduction of
numerous freelance designers and artists, as well as in the resident designers producing
designs for tiles. The results of the continual fresh input of new innovative tile designs made
Carter & Co one of the most influential tile firms in the 1920s.
With the arrival of Harold and Phoebe Stabler at Carter & Co, the faience department
executed many new commissions. The first such commission was the massive War Memorial
for Durban, South Africa, completed in 1925, depicting two larger than life angels holding
the body of Christ between them, a radiating sun behind with a dove above, all in bright
Delia Robbia style colours. This was by far the largest and most important architectural
commission executed by the Poole Pottery. Other large works designed by the Stablers,
and again in Delia Robbia-style colouring, included the Rugby School War Memorial,
executed before the Durban memorial in 1922 and the religious faience panels exhibited
atthe 1924 British Empire exhibition, later installed in the Mary Abbot's Kensington Infirmary
mortuary chapel and recently dismantled and installed back at the Poole Pottery.
During the 1920s there was a massive and long awaited house building programme
throughout Britain. Even before 1914 there had been a serious shortage of new houses,
the First World War only exacerbated the problem. Between 1919 and 1939 four million
new houses were built in England and Wales; the vast majority of those in the 1920s. Added
to this electricity for use in homes which had been available since the 1890s became cheap
enough to be affordable by those with very moderate incomes, with virtually all the new
houses being wired for electricity. On the strength
of this, numerous electrical household appliances
were developed and sold, including cookers,
heaters, lighting, water heating, etc, all promoted
as necessary forthe efficient and hygienic running
of a household. All new houses built after 1919
had to have a bathroom installed, less than 10 per
cent of households having them before.
Another important interior feature of the new
house building was the fireplace. This industry or
subsidiary industry was to see a rapid growth in
the number of businesses devoted to the
supplying and fitting of fireplaces during the
1920s and continuing though to the 1980s.
Various associations of fireplace manufacturers
were set up to help establish industry standards,
for joint promotion of all members and their
interests. National Fireplace Association still
going in 1995, with members being part of the
National Fireplace Manufacturers Association.
There was also the British Ceramic Tile Council,
the Glazed & Floor Tile Home Association and
the Glazed & Floor Tile Export Association all of
which had prior to 1960 been called The Glazed
& Floor Tile Manufacturers' Association. An Alfred Read designed
Fragonard Ltd Irish linen.
vase used in a promotional display for
Design magazine, 1957.
30
As a consequence of the new building programme, along with the emphasis on hygiene,
not only in public housing but numerous other buildings such as hospitals, hotels and public
lavatories, there was an extraordinary demand for tiles. Tiles were seen as being easy to
clean and therefore hygienic as well as durable. Such was the emphasis on the sterility of
tiles that whole rooms were often tiled, floors, walls and even the ceiling. Hospitals were
one of the main users of such tiles. Throughout much of the twentieth century whilst
corridors, wards, operating rooms, etc, in hospitals have been tiled with monochrome or
simple repeated tiling, there has been a special demand for more pictorial tiles in children's
wards. Up and down the country, there is still today plenty of evidence of some wonderful
tile panels and series of individual tiles in situ in many hospitals. Thanks to John Greene,
a member of the Tile and Architectural Society (TACS), there is now a far greater public
awareness and even a conservation campaign devoted to the protection of the numerous
tiles schemes still in hospitals. This has been underlined with the publication of his book,
Brightening the Long Days. Hospital Tile Pictures which was published by the TACS. The
designs used in many of the schemes were carried out by Carter & Co, designed by Harold
Stabler, Dora M Batty, Joseph Roelants, James Radley Young, E. E. Strickland and Phyllis
Butler. The tile schemes ranged from the use of previously designed individual series,
sometimes used on four tiles as a variation, to large multiple tile panels of anything up to
nine feet. Many of the tile schemes were illustrated in a promotional booklet dating from
about 1935; Carter Picture Tiles for Hospitals. There were occasionally larger panels
executed but nothing could possibly have been larger than the All the Fun of the Fair',
installed at the Middlesex Hospital, London, a twenty-six foot by seven foot and six inch
panel that covered an entire wall of the Bernard Baron Ward, the design in this case being
by Hadyn Jensen in 1929.
The various Dutch tiles series by Joseph Roelants, mentioned above, are typical of the sort
of tiling found in some of the hospitals along with other more specific designs related to
children, many of which were inspired by
children's books illustrated by designers such as
Mabel Lucie Attwell. Tile series such as Nursery
Rhymes and Nursery Toys were a particular
favourite designed by Dora Batty, a graduate of
the Royal College, during the early 1920s.
Another series, Playbox was designed by A. B.
Read although probably slightly later into the
1930s. These were also later to be produced
using screen prints in the 1950s and later.
One series of tile designs, Waterbirds, by Harold
Stabler, dating to between 1921-25, can be
found in nurseries and on Nursery tablewares,
and was still being produced on tiles in the 1950s.
Harold was responsible for persuading Edward
Bawden, another Royal College student, to
produce some designs for tiles, entitled The
Chase and Sporting, designed in about 1922.
Both of these series were hand painted and could
still be ordered in to the 1950s, although the later
editions were very different. Bawden also made ~ __, „ ,. ... ,, .
J Poole pottery m a South African retailers store on new demountable
a Significant Contribution tO t h e typographic display stands designed by Robert Wetmore. Design magazine 1957.
Display stand for exports
31
Poole Pottery house style, designing numerous wood cut illustrations which were used as
part of various advertising and promotional literature. A booklet published in 1922 entitled
'Pottery Making at Poole' was wonderfully illustrated by Bawden with amusing scenes
showing some of the processes involved in the making of Poole pottery. The frontispiece
of this book depicting a map of Poole with the pottery, High Street, railway station and
other local landmarks, was converted into two tile panels by Margaret Holder in 1930. One
panel was located on the staircase leading to the old showroom and another, with the
addition of a bus station and a bus, was situated in the Bournemouth bus station. The
former panel can now be seen in the present Poole Pottery museum while the latter seems
to have disappeared. Some details of these designs along with others designed by Bawden
were used to decorate the visitor's tea room which opened in 1932.
One of the most commonly seen and well known of these early pictorial tiles is the Farmyard
series, designed by E. E. Strickland in about 1922, in both single tile and four-tile panels.
It is the latter four-tile panels seen in Dewhurst butcher's shops and Mac Fisheries all around
Britain that are perhaps the best known. The technique on these tiles was slightly unusual
in that after the blocks of colour had been applied using stencils, a hand painted black
outline was used to cover up any white gaps or over laps that might have occurred in the
first process, also to add details and highlights. In the post-war period the colours used
became very harsh and lacked the softness of line. Three more stencilled tile designs were
developed as a consequence of Farmyard, namely; Seagull possibly by Irene Fawkes, Caller
Herrin' by Dora M Batty and Fishing Smacks by Minnie McLeish, all designed between
1921 and 1925 and made for Mac Fisheries. These designs along with four others were
also made to be used on pot lids.
In order to be ahead of the field Owen Carter and Harold Stabler realised the need to
invest in youth with a knowledge of what might be required in contemporary settings. With
this is mind they took on another graduate of the Royal College of art, Reginald Till, in
1923, at the tile works. Till was responsible for introducing new methods of surface
decoration as well as re-introducing old methods but employing them in a different manner.
Tube-lining was one such technique, and was adapted for single and panel tile production
during the late 1920s and 1930s. More usually associated with the swirling free-flowing
designs of Art Nouveau at the turn of the century, Reginald Till used the raised lines created
by trailing liquid clay onto the surface of a tile not only to separate colours, creating blocks
or areas of solid colour (much as in stencilling or later silk screen printing) but also as part
of the pattern. Tube-lining was effectively used on large multi-tile panels, for introducing
lettering and for special effects, such as the panel for the Building Trades Exhibition of
1930. If there was a complex repeated geometric design on a single tile, this was usually
more economically produced by moulded-raised lines or press-lined tiles. Just before
Reginald Till retired, in 1951-52, he was responsible for the development of yet another
new and very important innovative decorative tile technique, namely silk-screen printing.
During this period, there were various floral tile series, two produced by Reginald Till and
others by Truda Carter. Flowers designed by Truda Carter and Reginald Till, Truda Carter
adapting her colourful designs from her tablewares for tiles. Freelance artists were used
frequently at Carters as has already been seen, and the dog tile designs by Cecil Aldin,
six in all, dating from the 1930s are typical examples. The fact that the designs appear with
the artist's facsimile signature whereas other artist's work such as Bawden's did not, relates
to more to a compositional effect than anything else.
As we have already seen in a previous chapter, Poole were not adverse to supplying smaller
32
concerns with blank tiles which would then be decorated and returned to the pottery to
be fired, should the customer require it. William De Morgan along with Roger Fry and a
few fellow members of the Bloomsbury Group were artists who took advantage of this
facility. In 1929 and into the 1930s Sylvia Packard and Rosalind Ord initially relied on Carters
to supply them with tiles during the fledging years of their tile decorating concern which
soon became a full-scale business and is now trading as Marlborough Ceramic Tiles, in
Wiltshire. Many of the early Packard and Ord tiles, usually marked with a combined 'OR'
on the front, often appeared to be influenced by (sometimes were even confused with)
Carters tile designs, perhaps due to the method of decoration and choice of subject matter.
It was not long, however, before the company of Packard and Ord had established their
own fluent house style and even started to compete with Carters.
This peripheral influence, although somewhat loose, even extended to tiles produced in
South Africa at Olisfantsfontein. John and Truda Adams having established a ceramics
curriculum in the Durban School of Art between 1915 and 1921, had a great influence on
Gladys Short, Marjorie Johnstone and Joan Methley, students of the school of art, who
came together to produce architectural ceramics. Later joined by Audrey Frank and Thelma
Currie this group produced wares in much the same vein as Carters, using Delia Robbia
glazes and roundels, as well as tin-glazed tiles decorated with in-glaze designs. Some of
the pattern designs often bear a striking similarity to the work of Dora Batty and the Adams's.
Other miscellaneous tile sets were designed by numerous resident and visiting artists, and
all too often the resident designers designs were unattributed or gained little recognition.
The work of Arthur Nickols is a case in point. Nickols specialised in the execution of the
larger painted panel scenes, such as rural landscapes, scenes with cattle or sheep for
butchers or various fishing scenes for fish shops, often designed by J R Young, whose name
appears along the base of the panel but not that of Nickols. Nickols is recorded as having
designed one set of wall tiles, Dairy, dating from the 1920s and Fish in the 1930s but almost
certainly designed more. Certainly, one of his most impressive designs of a dolphin leaping
over bottle kiln was recognised as such, becoming one of the symbols, along with the
majestic galleon designed by Harold Stabler, of the Poole Pottery. It would also appear
that the tube-lined Alphabet tile set of the 1930s might also be his work, given that Nickols
used the technique to such a large extent in his large panels for town maps, although this
could equally have been designed by Reginald Till. Again it was either Till or Nickols who
was responsible for the design of the Poole Swimming Club stoneware plaque, dating from
1932, which has a tube-lined leaping dolphin much in the same vein as an earlier design
by Nickols. Many of the tiled signs for public houses and other buildings made during this
period also seem likely to be the work of Nickols.
Some of the biggest, most prestigious and time consuming achievements for the Carter
& Co concern the work carried out for some of the new modern and innovatory buildings
of the period, the most significant being the Firestone Factory in Brentford, Middlesex, the
massive Hoover factory, Perivale and the De La Warr Pavilion, at Bexhill-on-Sea in Sussex.
Both the Firestone and Hoover buildings were striking in terms of visual appearance through
the combination of the design and the use of Carters tiling to achieve the colours and
visual effect desired by the architects. The De La Warr Pavilion was a very different
achievement in terms of complex decorative faience workas opposed to the simple coloured
tiling of the buildings above.
One of Carter's commissions, which owes much to the social connections of Harold Stabler
and Cyril Carter, was the work carried out for the London Underground. Harold designed
some eighteen individual relief moulded tiles, between 1938-39, depicting well known
33
buildings; including St Paul's and the House's of Parliament, as well as motifs such as the
circle and line design of the London Underground. These were placed in decorative schemes
mainly on the City Line. The success and demand for tiles and architectural faience during
the 1930s brought with it many problems mostly related to factory space and firing capacity.
The firing capacity had already been improved in 1927 with the introduction of a Williamson
continuous firing tunnel oven installed at the Architectural Pottery works and a second
Dressier tunnel oven built at the White Works. The problems of space were solved, as they
had always been, by continually adding buildings onto already existing ones in a very
sporadic fashion. In 1937, with demand for wall and floor tiles ever increasing, a third
Dressier tunnel oven was installed in the White Works, the building having to be extended
in the process.
In many respects it seems a little odd that during the 1930s the designers at Carters did
not create some highly stylish and then very fashionable geometric high Art Deco and
abstract tile designs of the type being executed by Maws, of Jackfield, Shropshire,
Pilkington's of Manchester, Candy & Co and one or two other firms. On reflection, this may
well be due to the business philosophy of sticking with the tried, tested and successful,
namely the softer and appealing pictorial subjects unless of course the readers know of
any geometric Art Deco tiling? This attitude was, however, to change dramatically in the
post-war period following the arrival of a new group of designers and managers. Oddities
do and will continue to appear, which is all part of the fun of collecting. In 1995 a rare tubelined
four tile panel clock face, dating from about 1935, was discovered, the numbers
appearing against variously coloured balloon images, with a clown standing in the middle,
wearing a red peaked hat and a star studded yellow-ground costume. The clown had no
arms, as these would have been made out of metal to form the hands of the clock. As the
clock was not pierced in the centre for the spindle to protrude through to rotate the arms,
I think it is safe to assume that this particular set of tiles never full-filled their ultimate task.
There were of course numerous tiles, sets of tiles and panels made during this period and
the ones mentioned above are perhaps some of the better known ones. The large number
of hotel and public house contracts, including those for Carrington's, Mann, Courage's,
Watney Combe, together with those for banks, cinemas, private houses and shipping that
were undertaken by Carters would provide enough information to fill the pages of a book
in themselves. Numerous miles of tiling were sent abroad to cover the floor of the Jamaica
Cathedral, with other tiles finding their way to Shanghai, Vladivostock and Chile. The public
schools of Haileybury, Winchester and Cranford have Carter's tiles as do some other well
known companies, including Frys, Cadbury's, Schweppes, Shell House, the headquarters
of the BBC and even the Bank of England. It was because of such plentiful national contracts
that Carters remained one of the largest tile firms. There would appear to be a great deal
of research to be done in this field, with plenty of archival material largely unruffled for
many years in the Poole Pottery.
In 1928, Carter & Co Ltd became a public company, being joined by Carter & Co (London)
Ltd, Carter, Stabler and Adams Ltd and the Art Pavements and Decorations Ltd. Further
additions followed in 1931 and 1932 with J. H. Barrett & Co Ltd and the Marbolith Flooring
Co. Ltd, respectively, being purchased. The introduction of spray glazing and the redevelopment
of tube-lining are two of the many contributions made by Reginald Till during
his highly important and productive years working at Carters but those years were to end
with the introduction of yet another significant and arguably even more important decorative
process; silk-screen printing. Another of the many innovative ideas that kept Carter & Co
at the leading edge of the tile and architectural business.
34
Post War Style & Design
1945 to 1960s
The years of the Second World War saw the virtual shut-down of the Poole pottery, with
the workforce reduced to a handful, most of the buildings being used for storage or offices
and Cyril Carter taking part in a counter-espionage group involved with interviewing
immigrants. With only a small export market, Carters' could not justify staying open to fulfil
orders and develop others. Other potteries, mostly involved with bone china, were able
to continue with overseas trade thereby securing valuable revenue for the war effort. At
Poole some wares were made, as there was still a demand for functional everyday items
forthe numerous war-time brides, replacements forware damaged or lost through bombing,
as well as for military use and as a result of evacuations.
There were various reasons for the imposition of undecorated monochrome ware to be
sold on the home market, minimum staff requirement, minimum resources, quicker
production, etc, but Government policy had much to do with the extreme restrictions of
such ware. The government, or rather the Board of Trade, in turn listened to the various
Advisory Committees' that were set up with various specialist members on specific related
committees. Largely through the efforts of eminent modernist design stalwarts such as
Gordon Russell, John Cloag, Enid Marx, A .B Read and others, the Government was
persuaded to enforce a strict policy of no or minimum decoration, monochrome colour, if
colour had to be used at all and standardisation, amongst other things. The new 'Utility'
ethos was promoted in exhibitions put on by
the Board of Trade, such as the one in
October 1942, as well as being advertised
widely in magazines and through articles in
the press, all in an attempt to gain public
acceptance. The latter was not forthcoming,
nor were the manufacturers at all pleased by
what they saw as Government interference,
but during the war years they accepted their
lot. The hoped for emergence in the
immediate post-war years, of a new simpler
and more modernist approach to general
industrial design throughout industry, as had
been advocated from the 'form follows
function' edicts of the Advisory' groups, did
not occur. The quashing of decoration and
colour during the war only made the thirst
for pattern and colour all the more desirable
for the British public and in turn the
manufacturers.
At Poole, the answer to Utility was simple
enough as the Streamline range, designed
by John Adams in 1935-36, more than fitted
the guidelines. The two colour glazes that ^ E ^ ^ * ^ ^ ^ ^ ^ * * * ' '
p z> published by the Curwen press vn 1922. In about 1930 the same design urns
had been USed before the War Were reduced made into a tile panel, which can now be seen in the museum.
35
to a single white crystal glaze, and Ernest Baggaley remodelled some of the shapes, most
noticeably the replacement of the slim finial with a button mushroom finial.
With the restrictions and shortages of industrial wares, a percentage of the public turned
to studio pottery, exempt from industrial restrictions, with its coloured glazes, incised,
faceted and cut decoration, as a way of adding colour and interest to the table.
During and after the War there was a new lease of life and popularity surrounding the crafts
in general but specifically the work of the studio potters. Numerous small potteries even
sprang up in response to the demand in the late 1940s, with men returning from the war
and moving into less demanding types of work than they had had before the war and as
a complete change from the strictures imposed by the services. The Rye pottery established
by the Cole brothers, the Crowan Pottery established by Harry and May Davis and the
Briglin Pottery, although producing very different types of ware, burst onto the market
place with orders constantly flowing in. The restrictions imposed on the commercial pottery
industry were to remain until 1952, allowing such new and old rural and/or studio potteries
to gain from the demand, their wares often being sold in high street shops such as
Woolworth's. Large London retail stores, such as Heal's and Peter Jones, during this period
needed to fill their shelves with pottery to supply the growing demand for such wares in
anything but white. Lucie Rie, at one time supplying buttons to the fashion industry, later
had her own 'urban' ceramic wares exhibited at the Henry Rothschild Primavera Gallery,
as did Bernard Leach and Katherine Pleydell-Bouverie.
The cry for colour was a constant theme amongst magazines and journals of the period.
In the 1951/52 Daily Mail Ideal Home book it stated that "Apart from a few rare export
rejects, all the pottery supplied to the shops comes from individual artists, or 'studio potters',
as they are called in the trade. Our Great Midland Potteries are entirely given over to export
trade, and the studio potters are responding well to the opportunity this situation opens
up for them. Sighing a little inevitably, but brave, they are abandoning their beloved pots,
beautiful but largely useless, and making instead fine sturdy cups, saucers and jugs for our
breakfast tables and our nurseries." Although somewhat trite in tone the author continues.
"Trends in pottery are following, in the most interesting way, the general longing for colour.
Just as our walls have escaped from the
exhaustive perpetual white and cream, our
tables demand clear bright pieces for us to
eat and drink from. The work of the Briglin
Potteries and Brannam ware is especially
charming from this point of view. The work
of most of our best British potters can be
recognised as easily as a Toulouse Lautrec or
a Graham Sutherland painting. There is a Mrs.
Lucie Rie, thought by some to be the best
potter in London." The author of this
statement obviously does not realise that
Mrs. Rie is in fact an emigre and therefore
not a typically British potter, in the true sense.
More importantly, however, the work of Lucie
Rie as well as other emigres in Britain did
bring a fresh approach and outlook to the
British ceramic scene that was to be taken
up and developed by others.
I.A. Yrjithait
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FOXTON FABRICS. POOLE POTTERY.LYGON STOOLS,
DRYAD CANE & METAL W0KK.ROWLEY WOOD PICTURES.
These.and many other excellent things for Christmas
Gifts forthose who appreciate fine craftsrnansrup.at
EDWARD HAR1AND & SONS
North Parade,Bradford,
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TUli ndvcrliiinu :il. df-ii:"' '•' I"' 1'rjnlt r.jvi.,n. (]>*..k» for iitwlf in tor
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the ilctrai
Edzvard Hartand & Sons, North Parade, Bradford. Dated 1923, this retailers
advert was used in a discussion on the merits of promoting good design through
the use of advertising in the Pottery Gazette trade magazine. It features an
early James Young unglazed Carters vase, although it is interesting to see that
the vasewas referred toas'Poole Pottery'. Of further interest is the surrounding
contemporary furniture and decorative ivares.
36
It was, of course, hoped, at least amongst the Gordon Russell fraternity, that this new
demand for studio pottery might lead to them having some say in future industrial
production. However, just by looking at the type and styles of ware being made during
this pre-1952 period, it could be seen that much of the ware was customer generated. The
new potteries were often making brightly coloured wares or wares that would sell quickly,
even the formerly well established firms, seeing the prevailing fashions and demand, altered
their normal studio practices to make more saleable wares.
What has the interest in studio pottery to do with the commercial wares of Poole Pottery?
Well, initially not a great deal but the interest studio pottery generated in the public,
whether it was one of disgust or pleasure, stayed and was to have a significant resurgence
in the 1970s, this time within the commercial industry. Any immediate effect, in terms of
commercial pottery and the lifting of restrictions in May 1952, was if anything to generate
a longing for the exotic, lavishly shaped and colourfully decorated wares that the public
had been used to before the war rather than the imposition of 'Utility' wares. It must be
said that there is a growing opinion amongst some of today's authors of design history,
that the 'traditional' or typically decorated floral patterned wares with gilt edging, so
despised by the 'educated' critics (often middle class) and purveyors of taste at the time,
have their merits and place amongst representative nationalistic designs. Such wares with
representational floral patterns and often overly complex shapes are seen as quintessential^
English, or as part of 'British tradition' and 'heritage', differentiating the British from its
European neighbours.
Even though much of European and British design had been curtailed by the war, other
countries carried on or were quick to regenerate after the war and it is here, between the
late 1930s and to the late 1940s, that the foundations were laid for the explosive surge in
design in the early 1950s. A radical transformation of not only the shape and surface
decoration of objects and forms but also in many cases the materials used in their
construction. On a further level the ideology and psychology of the pre-war years had
changed with the broadening of nationalistic concerns onto a more International platform
or forum. American aid fuelled the rebuilding of Italian homes and industry, European
emigres in Britain and America gave new direction and impetus to various areas and aspects
of design, at the same time creating a network of communication channels with former
colleagues and associates now widely scattered. Exhibitions proved to be a highly
constructive way of bringing all of these Internationalist elements together, helping to
enforce the cross fertilisation of ideas, renew and develop associations amongst the design
fraternity and educate the public at the same time. As an example of the helping hand
across the oceans, the House of Italian Handicrafts was opened in New York in 1947,
through which Italian craftsworkers and American retailers could meet, all thanks to the
Handicraft Development Incorporated in America.
What particularly marked out Italian design, post 1946, for special interest was the large
amount of trial and experimentation that was allowed in small and medium sized firms,
many based in and around Milan. Whilst some of these experiments can be said to have
gone to extremes, it was through the persistence of such a huge variety and wealth of work
that styles and future sources of influence were born. Typical of the innovative work of this
early period are designs for furniture by Carlo Mollino and Franco Albini, whilst Marcelo
Fantoni and Antonia Campi made wildly exuberant and boldly colourful ceramics, unfettered
by any previous styles. What in fact became 'Italian style'.
Whilst exhibitions such as the 'Organic Design in Home Furnishings', held at the Museums
37
of Modern Art. New York in 1940 might be said by some to have influenced the emergence
of the new 'soft forms', such inspiration can be seen as coming from the work of the
Surrealist sculptors and painters some twenty years earlier. Even more markedly, the use
of rounded organic styling, in the field of decorative arts, can be seen in the work of
designers from Sweden, Finland and Denmark. Specifically one could mention the works
of Wilhelm Kage for Gustavsberg, Sweden, from the late 1930s, ceramic tablewares and
ornamental wares by Kaj Frank for the Arabia pottery, in Finland, Alvar Aalto's and Aino
Aalto's revolutionary design for glass and wood as well as Hans Wenger and Arne Jacobsen
to name a few. The Scandinavian countries along with the Dutch had a greater interest in
their work being more in tune with and sympathetic with the materials, whilst still being
highly sculptural and innovative. Instead of taking things to the extremes, as the Italians
often did, these designers were more concerned with utilising the qualities within the
materials, with the materials, especially new ones such as plywood, often dictating the
form.
Many of these new developments and ideas were to have a marked effect at the Poole
Pottery, not only in terms of the visual appearance and styling of wares but also into the
attitudes and awareness of the management as to the need to make the most of such
market forces. This resulted, as we shall see, in the inauguration of the Poole Studio,
established along lines seen in Scandinavian potteries.
There were many other designers involved in the post-war rejuvenation and many more
influences, such as American Abstract Art, French fashion, etc, all of which were to play a
part in the fast-emerging 'New Look' as it was to become known. More than anything else,
however, this new style was fuelled by a sudden change in the consumer market with a
rapid growth in demand from high income earning young adults or young newly weds.
Along with the new consumer came new life style expectations and demands which were
developed from a desire to move away from anything associated with the previous
generation. Just as the Italians admired the American lifestyle, although mostly gleaned
from Hollywood imagery, so the new young Americans came to love the Italian chic and
debonair style, initially promoted through the early trade links and then celebrated and
glorified in the numerous Hollywood movies. This was also an influence on many in Britain
where a passion for a new life style was equally strong amongst the younger generation.
Typical symbols such as the coffee houses, the Vespa scooter and pointed shoes, along
with the music, much of it developed in Britain, signify the cross fertilisation of this
new style.
Pottery played a relatively minor role compared to the impact of furniture, fabrics and the
new industrial design products but it still had a significant contribution as part of the 'New
Look' of the period. There were, however, certain criteria and expectations associated with
the new ceramic wares. Bone china had for many of the young consumers associations
with the past and connotations of a certain lifestyle to be avoided. New shapes were called
for, more in tune with the changing living and life styles. Different and more affordable
ways of buying tea, dinner and everyday wares saw the introduction of boxed starter or
part sets, ideal for wedding presents or for buying when funds allowed. In Britain, after the
sudden rise in television sales following the Coronation of Elizabeth II in 1953, the 'television
sandwich set' was born. Vases and plant pots become extremely popular with the associated
growth of floral and/or arrangements of twigs that become part of the 'New Look'.
These new developments were soon to form a highly significant part of the Poole pottery
output, in fact Poole was to become one of the most innovative and highly regarded
38
potteries over the next two decades and more. It must be remembered that whilst all of
the above was taking place, largely between 1944 and the early 1950s, war restrictions on
the whole of the commercial British Pottery industry meant that nothing could be made
for the home market and very little for the export market until 1952. It must have been
enormously frustrating to have been a designer in any field in Britain during this period,
with restrictions, limited supplies of materials and a generally underdeveloped largely prewar
mechanised industry, watching and reading about what was going on in Italy,
Scandinavia, America and to an extent, in terms of fashion, in France.
However, certain industries did manage to make an impression during these early years
these were ones in which the designer could get involved, namely the fabric and wallpaper
industries. Initially American led area of the late 1940s, where the textile and wallpaper
industries had a close relationship, the British took on board the modern styles then pushed
them even further until in 1951 Lucienne Day won the Gold Medal at the Milan Triennale
for her 'Calyx' design, commissioned by Heal's. Leading Internationally known artists such
as Henri Matisse, Eduardo Paolozzi, Henry Moore, Barbara Hepworth, Graham Sutherland
and Alexander Calder, amongst others, were to design patterns for silk scarves created by
the silk-screen process. As a consequence some of these artists were asked to provide
further textile designs for newly founded firms or even for those such as David Whitehead,
established in 1949, who were to become the most innovative firm in Britain. Eduardo
Paolozzi even taught textile design from 1949 to 1955 at the Central School of Art, London,
whilst continuing to design for industry. These new boldly coloured, often abstract designs,
were also reflected in the new designs brought out by the wallpaper industry with designers
and artists commission to design for both industries. This in turn points to another feature
of the post-war attitudes towards design, where designers were not only held in a far higher
regard than they had previously been but also thatthey were frequently to be seen designing
within various decorative art fields, producing a healthy cross-fertilisation of ideas. Examples
of textile pattern designs being later used on pottery, such as Terence Conran's 'Chequers'
pattern for Midwinter, would have been unheard of previously.
It is precisely this innovative use of surface pattern design cleverly married to newly designed
'soft form' influenced shapes, akin to the work of Gustavsberg pottery, that played such
an important part in the forthcoming 'New Look' Poole Pottery wares. Other work cited in
contemporary articles points to the simplified geometric forms of Eva Zeisel as well as the
monochrome fluid 'mix and match' shapes of the American Russel Wright, designed during
the 1930s, (Later also developed by Kaj Franck for the Arabia Pottery, Finland,) as being
important stepping stones for much of the modern 'New Look' in ceramic design. The new
wares enabled Poole Pottery, once again, to become one of the leading potteries of the
post-war period. In order to bring this transition about Poole Pottery underwent a
programme of renewal across the board.
The Second World War caused a complete re-think at the Poole Pottery, staff numbers
were greatly reduced and machinery was in desperate need of repair, as were many of the
buildings, and decisions needed to be made concerning the future of the company. Even
some of the decision makers had had their fill, having already given the company the best
thirty years of their lives. John Adams was not a well man and Harold Stabler had died in
1945. Others left, including Ernest Baggaley, who set up his own pottery, the Branksome
China Works, in the New Forest, later recruiting former staff from the Poole Pottery.
In 1945, Cyril Carter was joined by his son David, who had trained as an architect, and in
the same year Roy Holland became the new works manager, having previously had ten
39
years working in potteries in Stoke-on-Trent. It was Cyril Carter who persuaded the directors
to inject investment into the ailing works, so that the Pottery could at least have a chance
of rejuvenation. Whatever Cyril's argument and with the help of David Carter and Roy
Holland, new buildings were erected at East Quay, although hampered by building
regulations and a new tunnel kiln was installed which was fired for the first time three years
after construction began in 1949.
Still under the home sales restrictions, Poole managed to revive a few overseas customers
enabling them to re-introduce some two-tone Streamlined tableware, although produced
with a lower lead content due to new regulations. This ware was now renamed Twintone
ware and a new range, Cameo, was introduced utilising an inexpensive coloured slip, which
contrasted with the white body. Other potteries were quick to catch-on to the popularity
of two-tone colours, including the Denby Pottery who produced the yellow and grey
Dovedale range, along with Manor Green, Cottage Blue and Homestead Brown amongst
others. As the Twintone wares used expensive metallic oxide colours, John Adams also
designed, in 1949, a more affordable range of tea and dinner wares; named Sherbourne,
it was available in a celadon green slip or shell-pink over the white body. Another shape
that was re-introduced was Wimbome, which was shown at the 1947 British Industries Fair.
Numerous other wares were made during the late 1940s, all for export with a few seconds
sold in Britain, mostly revivals from pre-war years, the Truda Carter floral decorated wares
being such an example. By 1949 Poole was ready for full-scale mass-production with a
significantly increased capacity due to the new machinery and buildings.
In 1949 John Adams, amidst great concern for the continued success of the pottery, (he
having been responsible for the overall artistic direction of the Pottery) decided to retire
as managing director following the successful introduction of Lucien Myers to replace him
in that capacity. Filling the post of head of design was, however, going to be a more difficult
task. Lucien Myers, having formerly been editor of the monthly trade journal the Pottery
Gazette and Glass Trades Review, brought with him a thorough knowledge and awareness
of the industry and already noticed that the American ceramics industry, through the
employment of designers, many from Europe, was making rapid progress in terms of
forward-thinking designs. When this was combined with the standardisation and massproduction
development in the 1930s, it resulted in very affordable wares. Myers had also
developed numerous useful contacts at home and abroad.
For the position of head designer, a recent young graduate from the Royal College of Art,
Claude Smale, was appointed in 1950. Claude was immediately faced with task of designing
commemorative wares for the Festival of Britain, although due to problems obtaining the
required licence for such special products very few pieces were ever made. His next
contribution, and one of his last as it turned out, was the introduction of several innovative
and highly contemporary shapes, very much in the manner of the 'soft forms' formerly
associated with Scandinavian pottery and even seen in some glass wares. The shapes
consisted of what was described as a carafe with a rounded body and flat base with a short
ringed neck, in four different sizes; some slightly swelling bodied vases with a tumed-in
rim, in various sizes; and a swelling round bodied vase narrowing to a slightly flared mouth,
raised on a rounded foot. These shapes, which were all hand thrown in a white earthenware,
are highly significant not only in terms of their contemporary look and styling but also as
they formed the foundation of successive shape designs. In many respects the vases with
the tumed-in rims and gently rounded look towards the base are more successful, in terms
of reflecting the prevalent organic softness of forms than later designs, which perhaps
explains why these designs remained in production throughout the 1950s. Unfortunately,
40
Smale's stay was only a short one lasting about six months, and there is very little evidence
as to why. Presumably, the management misjudged the complexity and depth of knowledge
required in such a demanding and all encompassing position, expecting too much from a
recent graduate. Certainly the next holder of the position had a great deal more experience
in the field of design and was not unfamiliar with Poole Pottery.
Born in 1898, Alfred Burgess Read was 52 years old when he was appointed to head of
design at Poole Pottery, having already had a very distinguished career as an industrial
designer, being rewarded for his progressive designs by becoming a Royal Designer for
Industry (RDI). As a recent graduate from the Royal College of Art where he had been a
pupil of Harold Stabler, Read designed some kitchen tiles for Carter & Co in 1923 at the
suggestion of his former teacher. A year after his appointment, in 1950, Alfred was joined
at Poole by his daughter Ann Read following her graduation from the Chelsea School of
Art, making her own individual contribution.
The 1950s were very much the period of the designer, in terms of individual merit, and
this in turn led to the growth of independent or free lance designers, as well design groups
or teams, and these designers became synonymous with the period. Amongst the leading
design teams was the new Poole Pottery Design Unit under the guidance of Alfred Read,
praised, at the time and by recent authors, as possibly the leading such enterprise in the
Pottery industry. In reality, the design unit at Poole consisted of one main designer, Alfred
Read, a thrower, Guy Sydenham and assistants who were promoted paintresses who
contributed to the surface pattern designs, such as Ann Read and Ruth Pavely. Ann Read
was given a free hand with her one-off or
special design pieces.
Other influential Teams or Studios included
the earlier Wade Studios, under Colin
Meboume, established as a secretive trials
and prototype studio. Colin Melbourne went
on to produce his highly sculptural vases and
animals at the experimental Beswick studio.
There were also the E. Brian & Co Foley China
Royal College of Art graduates, Hazel
Thumpston, Maureen Tanner, Peter Cave and
slightly later team leader Donald Brindley
and Tom Arnold at Ridgway later joined by
Enid Seeney. It could also be said that this
was a significant period forthe Royal College
of Art, whose design graduates, the first of
whom graduated in 1952, were being sought
after by forward thinking industries throughout
the country. The contribution to the
ceramics industry from the RCA during this
period was quite significant.
At Poole, the design team, in the early 1950s,
also incorporated the tile side of production
until the arrival of Ivor Kamlish in 1955, which
will be discussed later. The other members
of the team were Ruth Pavely, design
DesigiiQuizbooklet. 1947. illustrated is the John Adams 'Streamline'designed
teapot, before alteration to the knop in 1953/5 when a button knop was added.
The Streamline teapot is being heralded as 'good design', compared to the
drawn image.
41
assistant, and Guy Sydenham, thrower, who had been at Poole since 1932. As with the
other Studios or Teams in Stoke on Trent, there was a freedom of working practices within
the department in which the designers could create and produce trials in an atmosphere
far removed from that previously acceptable within a pottery. Donald Brindley, of E. Brain
& Co for example, recalled how much of the main work force were up in arms when he
and his team were allowed not to turn up for work on Saturday and even on occasion
during the week, preferring instead to spend some time sketching in the gardens and
conservatories of the nearby Longton Park. Such ideas derive from the studio environment
established by continental and Scandinavian potteries.
One of Alfred Read's first tasks was to redevelop the in-glaze colour palette used at Poole
to achieve a contemporary look to be used with new pattern designs. It wasn't long before
new shapes, adding to those already designed by Smale, were developed, including gourd
forms, bottle vases, broad open dishes and open conical vases. As if to emphasise
contemporary influences on the new designs by Alfred Read, Ruth Pavely and Guy Sydenham
their wares were often exhibited on and against textile and wallpaper designs, as well as
around contemporary furniture that enhanced the look of the exhibits. In 1953 a collection
of the new wares was exhibited at the Tea Centre in Regent Street, London, with
monochrome wares, Coronation pieces, Twintone wares and the rhythmical fabric-andwallpaper-
inspired abstract repeat patterns by Read, all set against contemporary fabric
designs, one in particular entitled 'Fall' by Lucienne Day. At the same venue only five years
later, the backdrop for similar wares along with the new 'Freeform' wares, were textiles
inspired by the abstract artist Jackson Pollock, 'Oak' designed by Dorothy Carr for Heal's
and with 'Projection' by Francoise Lelong, also for Heal's. Studying numerous advertising,
promotional and related photographs and illustrations during the 1950s, it immediately
becomes apparent how important the background settings, exhibition stands and furniture
are in orderto create overall appeal and the 'contemporary' look. Contemporary magazines
and professional magazines were also seen as important promotional opportunities and
were used as such by Lucien Myers, Cyril Carter and Read. If only part of the largermarketing
ploy, these promotional articles, advertising and inclusion in the contemporary Design Quiz
brochures and even television programmes did much to elevate Poole Pottery wares above
their contemporary manufacturers.
The Poole design unit kept on producing numerous new designs, keeping the wares looking
fresh and up to date, as well as beating any competition or mimics within the industry. By
the second half of the 1950s there were many firms in all the decorative arts fields who
started to produce thinly veiled imitations and even copies of the 'New Look', often referred
to as new 'Lookalikes', a term coined by Lesley Jackson. This particularly affected the
ceramics firms and fabric companies. The 'Lookalikes' products often being badly made
with little thought for colour balance, shape or overall composition, most degenerating
into 'kitsch'. One of the ways around this, systematically used by Roy Midwinter at the
Midwinter pottery, was to keep producing new fresh designs as fast as possible either
through internal designers or external commissions. In any event, this tactic suited the high
fashion wares that would by their nature have a short shelf life, unlike the traditional wares
that consumers bought to last a long time.
At Poole the conventionally decorated ware, the tried and tested 'traditional' designs were
brought up to date. Truda Adams's (later Truda Carter having married Cyril Carter in 1930)
floral patterns were still highly popular having over been for many years become an
established good seller for Poole. The designs were re-worked, becoming harsher and in
many respects simpler, than the pre-war designs. The body itself also changed due to
42
technological advances in the search for an even more refined body and smoother glaze.
As a result, the body became thinner and the glaze noticeably whiter, (it was called alpine
white), although there were also some variations in glaze colours available, such as a pearl
grey. These wares found growing markets in America, Australia, the West Indies, the Far
East and elsewhere. New shapes were added to fulfil demand. Changing life styles and
home environments demanded such forms as hors d'oeuvres sets, often painted with
stylised fish, crabs and related aquatic life or indeed flowers, table lamps, cheese dishes,
ashtrays, display boxes and cruets sets. In 1951, before the lifting of restrictions, the
tablelamps were inventively produced by joining two slop bowls at their rims and adding
holes for the electrical fittings and the wire.
Between 1955 and 1956 Ann Read was producing some remarkable, free-hand designs
meant for limited production. There are in the region of fifty-five plaques, each numbered,
dated and signed, which were produced in various sizes and shapes and using a black
ground, an alpine white ground and one or two others. Ann Read's special fiftieth anniversary
plate design for Cyril Carter, 1905-55, named 'Yaffle Hill' after Cyril's house is another well
recorded design of the period, as is her special bamboo patterned Streamline table ware
service design for Heal's, dating from 1956. This series of designs can be seen as a
continuation of the individualistic approach to design normally associated with formerfreelance
designers, such as Olive Bourne and Leslie Ward, and harks back to the artistic flair
of Truda Adams, Erna Manners and Margaret Holder.
From 1956 the Poole Pottery design team issued a new set of shapes and patterns that
were clearly ground-breaking in terms of British industrial ceramic wares; these were the
'Freeforms' designed by Alfred Read and Guy Sydenham,
although Read conceived the forms. The soft, rhythmic
shapes and patterns of the early 1950s 'contemporary'
wares gave way to highly sculptural forms, based on ideas
derived from the zoomorphic vases by Picasso whose work
was highly promoted and discussed in the early 1950s,
through to works by Richard Ginori, the 'California West
Coast look', as well as sculptural works by Henry Moore.
Similar influences of this period can be seen in the work of
Colin Melbourne for John Beswick, promoted as the 'CM'
series to match the contemporary scene', as well as designs
byTibor Reich forthe Joseph Bourne, Denby Pottery. Wares
were also produced at the Midwinter Pottery, Carlton ware
works, Wade, Heath & Co and Piikington's Royal
Lancastrian Pottery designed by the American born Mitzi
Cunnliffe.
The surface pattern designs in the second half of the 1950s
were produced in even greater numbers and frequency,
the free form shapes hand-painted with often very simple
repeated motifs, produced in various colour-ways and scale
to match the size of the piece, or in boldly coloured
monochrome glazes. Contrasting plain glazes such as black
panther, magnolia white, lime yellow and red Indian were
typical of the harlequin look of the period, numerous vases
_ r . _ i • L _ J J . I ' - I - C a j l Poole Pottery advert, 1959, in the Potteru Gazette
often being purchased to be arranged for the colour md GIJ Tmdes Review, illustJing the
combinations. The more simple the hand-painted pattern contemporary wares.
POOLE
fine earthenware
Vv\ <i V) rtilirrlt m nnge U L.illnjrr.
wo, hcntH*rti •••• id 5.11drd
AOWUMP, H H -J Mhn.li JIT SfcrtnMl.
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POOLE no
43
the faster wares and more inexpensively the wares could be produced. The fact that the
shapes were designed to be slip-cast further increased the rate of production, consistency
and reduced costs. At the same time the quality was assured and the high standards
maintained with the skills of the paintresses being paramount.
On occasion even rarer studio pieces that were meant as trial or one-off pieces can be
fond. These often have an even more exaggerated hand-thrown shape and tended to use
more variations and colours. Such pieces were shown, indeed made for exhibition, at various
venues in the late 1950s, including the Regent Street Tea Centre in London, as mentioned
earlier. Conversely, numerous new shapes were made in the freeform range for ordinary
domestic use together with the new highly abstract patterns, moving even further away
from the previously acceptable and well-established 'traditional' patterned wares. Such
pieces included cheese dishes, cucumber dishes, jam pots, cruets sets, hostess or television
sets, numerous small dishes and ashtrays.
For many in the pottery industry, indeed many consumers, Poole Pottery in the 1950s made
some quite startling changes to the traditionally accepted style of its work, but even more
was to come. In 1956 Ann Read became unwell and had to leave the pottery. Her father,
having had tuberculosis the year before and whilst recuperating come up with the 'free
form' shapes, continued for another year, retiring in 1958. In the same year Robert Jefferson
applied and was appointed to the post vacated by Alfred Read. Robert Jefferson was a
product of Professor Baker's closer links with industry strategy, producing designers specially
suited for industrial requirements, at the Royal College of Art where he was in charge of
ceramics. Robert managed the Odney Pottery at Cookham for the John Lewis Partnership,
as well as executing freelance designs for Minton, Ridgway and table wares for the Orient
line before taking on the position of lecturer of ceramics at the Stoke-on-Trent School of
Art in 1956, having earlier worked at the Bullers
studio. This new role as head of design for Poole
Pottery was in fact something Robert had long
wished for and for the next eight years was to
prove a high point in his career as well as a
significant period for Poole Pottery.
During this period Robert Jefferson's most
important contribution at Poole was to shift the
emphasistowards everyday functional tablewares,
not only with the introduction of new shapes and
types of ware but also the use of mass-production
methods of decoration and manufacture. He later
made important developments to the concept of
the Studio, in it's broader meaning, with the
introduction of numerous designers who were
allowed far more freedom to create and execute
their own work within the parameters of the Poole
Studio.
Pottery <>/ Distinction
GRAYS
POTTERY
STORE-ON 1R1M
*
C^
mat
V-»
M\* 1 .oi'vJP
£ W mP
Poole Pottery advert, 1960, ill the Pottery Gazette and Glass Trades
Revieio. This advert is promoting the printed Pebble pattern by
Robert Jefferson, designed in 1959, applied using a Murray Curvex
machine. Notice the rather retrogressive Grays Pottery design below
as well as the different approaches to advertising.
In his second year at Poole, having taken a year
to straighten out various issues that needed to
have a homogenous look to them, from
promotional leaflet designs, display boards,
advertising and the showrooms, Robert designed
44
the Contour range, his first significant statement of the future direction of the pottery as
he saw it. The Contour shape with its distinctive wide, open up-swept handle and rounded
compressed shape was an immediate success, selling in some of the Twintone colours as
well as with a new Pebble pattern created using the new Murray-Curvex off-set printing
machine. The 1959 Pebble pattern, produced in black or grey, was an early indication of
the way Poole Pottery production was headed. The new pattern received unreserved praise
in the trade journals, although this was the only pattern produced by Poole using the
technique. The 'Murray Machine', as it was advertised, involved the use of a 'gelatine bomb'
to mechanically transfer a pattern from an inked copper plate etched with the design, taken
up by the 'bomb' and transferred to an object. The nature of the 'bomb' meant that the
design could be applied perfectly, with no creases or joins associated with the use of
multiple and/or single transfer prints. Its limitations were that it was only really suitable for
flat or gently curved wares, such as the popular American influenced 'scoop' forms which
were currently fashionable. With difficulty other forms could be made to fit, such as a tureen
cover, a hole being cut into the pendulous 'bomb' in order for the pattern to cleverly start
under the knob and over the entire surface of the cover. Another well-known use of this
technique is the Enid Seeney' Homemaker' pattern for Ridgway & Adderley dating to about
the same time.
The growing informality of eating habits in much of Britain, Europe and America, together
with an increasing desire to eat culinary dishes from abroad, largely as a consequence of
the growing continental holiday market, saw the introduction of new types of vessels for
cooking and serving meals in the 1960s. Stoneware was rapidly becoming the fastest selling
pottery material compared to china and ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^
earthenware, particularly in America and
France, where firms such as Joseph Bourne
of Derbyshire were selling their Denby ranges
very successfully. The image of the sturdy
cooking vessel, eating hand prepared fresh
vegetables and being able to serve from the
vessel in which the meal was cooked, was
what the consumer wanted. Later into the
1970s other potteries began to make inroads
into the market, with Midwinter selling their
'Stonehenge' ranges, made to look like
stoneware even though they were made of
earthenware. Portmeirion also enjoyed strong
American and British sales.
In 1960, Robert Jefferson was able to
introduce this new style of 'oven-to-table'
ware at the Poole Pottery, largely because
little alteration was needed to the body of the
ware already being made as the firing
temperature for the earthenware was already
higher than normal. Two new designs were
developed for the new range, Lucullus and
Herb Garden, each combined with a solid
colourof'Blue Moon', a pale yellow, 'Celeste'
and 'Heather Rose', although the latter was
ft/tint tfy
* * * * * * * * * *
* Prints in one operation-no transfers required
* Lower cost—approximately one-third of traditional method
* Higher quality-better definition-wrinkles and join marks eliminated
* Leu lot! from "Dirty Ware" and breakages
* No washing-eff or hardening-oa
* Saves floor space and reduces handling costs
TOR FURTHER DETAILS, TRIALS, AND DEMONSTRATIONS CONTACT...
SERVICE (ENGINEERS) LTD
U
The Murray Curvex Printing Machine, advertised in the Pottery Gazette
& Glass Trades Review, 1958.
45
dropped early on. What is significant about these designs was that they were applied as
silk-screen prints, in themselves quite innovatory, directly onto the raw unfired glaze,
resulting in permanent in-glaze decoration. Robert also designed special packaging for
these wares, something several forward thinking potteries, such as Midwinter, were also
promoting. However the retailers had problems finding storage so the ideas were put on
hold. Selling boxed sets of ware was something for which firms such as the Susie Cooper
pottery had long been acknowledged. Equally it was Susie Cooper who was a very keen
not only to promote functional aspects of tea, coffee and dinner wares, but also showed
a remarkable awareness of the problems of storing large sets of dinner, tea and coffee
wares. Susie Cooper had patented her stackable and reversible tureen lids on her Kestrel
shape as early as 1934, indicating that it was important for ceramic designers to consider
aspects of storage creating as part of the design, wares that could be stacked. Robert
Jefferson in his next tableware design, Compact, 1965, showed his concerns on this area,
although the lids, deliberately made without a knop for further stacking, were later
redesigned by Tony Morris in 1969.
Robert Jefferson, on a more utilitarian level, also created highly successful gift wares such
as the famous leaping dolphin models which can still be bought today (Although modified
over the years). He also created numerous other designs, such as the table lamps for Helios
with their cylindrical or square pottery bases and numerous preserve jars, boxes and vases
all hand thrown in his Bokhara range in 1964. In the same year various moulded wall plaques
and trays, in the form of fish, birds and a knife were designed and others depicting a
mermaid or a castle were also made. The idea behind these pieces came from a visit to
Vallauris during his first years at Poole, encouraged by Lucien Myers, and another visit to
the Arabia studios in Finland (as part of an organised trip to Scandinavia by the Design
and Industries Association). Robert also travelled to America, seeing for himself the
prevailing styles of the day. These designs reflected the demands of the consumer of the
period with ever changing lifestyles. Equally Robert's early individual studio wares exhibited
at the Regent Street Tea Centre in London in 1961 not only reflected current contemporary
interests in studio pottery but also indicated something of what was being planned for
future developments at the Poole Pottery Studio.
46
Regeneration
1960 to 1980
The 1960s had seen a growing interest and heightened awareness amongst the public of
studio pottery. Often discussed and often vilified in the British press and ceramics trade
press studio pottery was eitherdismissed as being irrelevant 'Picasettes' (imitators of Picasso)
or irrelevant in terms of commercial pottery, the latter having had their fill of what they saw
as government backing for studio pottery since the War. Even so, amongst some of the
public, studio pottery fulfilled certain criteria related to attitudes in line with a new lifestyle
with earthy associations that were relevant to the openness and freedom of thought of the
period. This formed an important foundation for what in recent years has become
increasingly recognised as a highly significant contribution by Poole Pottery to the 1960s
and 1970s British ceramic scene.
Launched in October 1963 at Heals', London, with a new special back stamp by Robert
Jefferson, the Poole Pottery 'Studio' carried on a long tradition within Poole Pottery of not
only employing artists and designers, both internally and externally, but also, through such
initiative, staying at the forefront of contemporary ceramic design. The inauguration of the
studio was arguably one of the most significant post-War contributions made by a British
Pottery and one that certainly elevated Poole pottery to one of the most forward thinking
contemporary potteries. The Poole studio wares and overall philosophy were very different
to the Midwinter Pottery, another major innovative firm of the day. At Poole there was a
vast amount of experimental work carried out, mainly on glazes, and the introduction of
avant-garde hand-painted designs meant that no two pieces were ever the same. The team
had a far greater creative freedom more akin to that of an individual studio potter or fine
artist but working within the confines of a commercial concern. Other contemporary
commercial potteries during the 1960s and into the 1970s employed studio potters to
design ranges with limited success, not having the historical association between employing
numerous artists and designers that was such a normal procedure at Poole.
Initially developed by Robert Jefferson and Guy Sydenham, this duo were joined in 1963
by Tony Morris who graduated from the Newport School of Art in fine arts and who
contributed to the technical side of the studio as well as to the design side. Tony Morris
was recruited for his painting skills and inventive flair which is easy to detect in the works
he executed. As the Studio developed, more paintresses from the pottery and recent
graduates from the local School of Art joined the team, everyone being encouraged to
add their own individual statements to the shape and pattern designs. Christine Tate,
Elizabeth Hayne, Betty Bantten, Shirley Campbell, Jennifer Wiles, Margaret Anderson,
Thelma Bush, Carole Holden, and Geraldine O'Meara were amongst those who joined the
studio in the early years, Christine Tate becoming design assistant and later a supervisor.
The earliest wares developed by the studio were marketed under the name Delphis, which
initially included the individual hand thrown studio wares of Guy Sydenham, etc. Later
around 1970 Delphis came to represent in the eye of the public just the brightly coloured
orange, red, green and yellow glazes. As these colours were also the least costly and most
stable, they became the standardised production under the Delphis name. The designs
were gaudy, bold and abstract, reflecting contemporary painting and sculpture as well as
the hallucinogenic and psychedelic experimentation of the late 1960s period. Similar design
influences can be seen in textile designs of the period.
47
The earlier Delphis shapes were far more varied and numerous than the later, more
standardised, wares. Guy Sydenham and others created exaggerated compressed ovoid
vases and tall gently tapering vases, whilst some shapes were compressed cylinders with
sharp under cuts to the neck and/or base. The shapes were often heavily cut, faceted in a
band or cross-hatched with vertical lines, other pieces being carved and cut with anything
from abstract patterns or images to stylised sun faces, fish, birds, sea animals, landscapes
or sheep. These wares were a significant move away from the Studio pottery inspired wares
that Robert Jefferson had produced in the early 1960s, which largely picked up on the
prevalent interest in black and white decorated wares developed from the so called
'Picasettes' studio potters, as well as the interest in Op art. The glazes used on these wares
were initially based on previously known and used glazes at the pottery and it was only
after a number of years that additional mixtures were bought in. A large proportion of the
early pieces show the distinctive flair and imagination of Tony Morris, particularly the sun
faces, sun spots and heavily abstract designs with arrangements of blocks of colour and
shapes. Experimentation and individual designs were the norm.
Such luxuries could only exist because of the support and profits from the more commercial
side of the business, and Robert Jefferson had done much to develop this side. That the
studio and even the everyday wares produced by the pottery were allowed to continue in
this way is all the more surprising given that, in the midst of this renewed energy and
growth, Poole Pottery was taken over, although the word 'merger' was used at the time
and by subsequent critics, in 1964. Take-over is a more realistic assessment with the later
complete transition of board members in favour of Pilkington's. Pilkington's, however, were
more interested in the healthy tile side of the business which had been such competition
to them for many years. True to their word, Pilkington's injected much needed capital into
the domestic and decorative side of the business seeing the value of the financial
contribution made by Poole Pottery. Such largess was almost certainly due to the fact that
the board members of Pilkington's realised the value of the pottery side having earlier in
the century been amongst the numerous producers of even more lavish ranges of Art
Pottery themselves.
Even with the potential for growth as a consequence of the take-over, all was not well at
the management level. In the year preceding the take-over, in 1963, Lucien Myers, for so
long an ardent advocate and driving force of the artistic side of the pottery as well as an
ingenious promoter and salesman of Poole wares, resigned. The position of managing
director was filled by Roy Holland, who would have found it hard to match the passion and
drive of his predecessor, even if he had been given the freedom to do so. In the same year,
Cyril Carter, the last member in a continuous Carter family line, retired from the board,
leaving the company altogether two years later. The departures of both Cyril and Lucien
following the long negotiations with Pilkington's inevitably brought about change. The
outward appearance was one of growth and development but the spirit, internal support
and inherent trust following years of careful management were instantly and inevitably
swept aside with the take-over. In many respects, even following the much needed artistic
input of figures such as Tony Morris, Guy Sydenham and Christine Tate, the departure of
Robert Jefferson in 1965, having seemingly "designed himself out of a job", was another
huge blow to the pottery. For some unknown reason Robert Jefferson was not replaced,
perhaps due to the new management imposing some new financial constraints or being
unappreciative of the need for a full-time co-ordinating designer.
Whatever the course of events or the thinking at management level the pottery kept going
with new machinery and top-hat kilns which, consequently, created increased demands in
48
terms of production. The Studio, established by Robert Jefferson, was reorganised to
include both a shop and a new visitors centre, largely in an effort to free the working pottery
of the hordes of visitors that used to descend. The new-look studio, renamed the Craft
Section, was also to include traditional wares as well as the Studio ranges. The paintresses
were still very much encouraged to produce their own designs and this they did. Christine
Tate recalls how she "originated many of the designs and other girls filled in the colour
(then) putting their mark on the base." This further emphasises the anonymity of the
designers in the Studio or Craft section.
During the late 1960s experimentation was still very much encouraged with new 'outside'
colours and glazes being used in increasing amounts. Following a visit to Vallauris by Guy
Sydenham, the new senior craftsman, and Tony Morris, in 1966, the vital colours red and
orange that were to form the basis for the standardisation of the Delphis range, were
discovered. Initially red glazes had been developed from a by-product of sulphuric acid
and orange was formed from Uranium. These colours were replaced by the safer and
commercially available Zircon encapsulated Cadmium and Selenium. Christine Tate
mentions that the uranium orange was very difficult to fire, the glaze tending to burn to a
darker shade or to blister and even peel if the consistency was wrong. Christine also recalls
there being a wide range of colours available for the individual wares with new colours
being added from glaze manufacturers. Magnolia white, which was used from the beginning
on the backs of plates and inside vases, also became problematic being replaced in 1966
by a clear Crystal glaze producing a slightly matte appearance.
The Delphis range become very popular selling particularly well in Japan, America and
Canada, amongst other foreign countries, which led to a standardisation in 1971 of the
best selling colours, namely orange, bold red, green and yellow, as well as a cobalt blue.
The number of pieces in the range was also reduced, again for commercial reasons, but
in terms of production the wares were so popular that they were still in produced in 1980.
Over the years some fifty-eight shapes were used for Delphis wares although only eight
were produced for the full period. Sometime in the early 1970s, probably after Pilkington's
was taken over by the Thomas Tilling Group in 1971, piece rates were brought in at Poole,
initially for the Delphis paintresses, in an effort again to speed up production but at the
cost of quality. By 1973 Delphis was being promoted as 'gift' ware along with ordinary
'traditional' wares indicating the reduced status of the wares within the pottery.
The new Aegean and Atlantis ranges, however, were given a higher status. The Aegean
range was introduced in 1970 having been developed in the previous year by Leslie Elsden,
the master of the spray glazing technique. Spray glazing had been introduced as part of
the production process in the 1930s, taking over from hand-dipping, and was seen to best
effect of the Picotee wares. The Aegean range, based on the spraying technique, initially
involved six 'special' methods of decoration in 1969, but only five were in evidence at the
time of production in the following year, the five being, silhouette, sgraffito, mosaic, flowline
and carved. It was the former two techniques that were the most popular. The silhouette
technique involved the use of a liquid rubber resist which was painted on to form the
pattern, often after the pattern outline had been pounced onto the piece, then sprayed
over in a colour which was allowed to dry before the rubber was peeled off and the piece
fired. Flowline produced a streaked and/or mottled effect through the overlaying and
interaction of two coloured glazes, the result being similar to the dripped harmony wares
of Shelley or the Delecia glaze wares of the Wilkinson factory, whist mosaic, as the name
suggests, produced a mosaic-like abstract pattern or picture through the use of different
blocks or areas of colours separated by resist lines. Some of the decorative techniques
49
used on the Delphis wares were much the same, especially on some of the more one-off
experimental studio wares, although there was a far greater degree of hand-painting
involved. Some of the Aegean pieces were very complex, involving several layers or areas
of colour which were then either carved through or involved different coloured segmented
spray-glazed areas which were then sgraffitoed through. These pieces initially known as
'extra special' Aegean were called Ionian after March 1974 and by June the remaining
unassociated patterns, including the signs of the Zodiac, knight in armour, and the complex
landscapes were all withdrawn.
Amongst the contemporary potteries, mainly based in Stoke-on-Trent, there were very few
that could match the variety, innovation and artistic individuality of Poole Pottery. Susan
Williams-Ellis, daughter of Sir Clough Williams-Ellis, owner of the extraordinary Italianate
styled village of Portmeirion on the Llyn peninsular in North Wales, took over the A E Gray
Pottery, Stoke on Trent, in 1959, later merging it with the Kirkham Pottery to form the
Portmeirion Potteries. Susan Williams-Ellis started to produce some highly individual
designs, mainly for sale at the Italian village, which reflected the fashion for bright and bold
colours, abstract pattern and form as well as exaggeration of shapes. Colin Melbourne
produced some highly sculptural and abstract wares for the Crown Devon pottery under
the name 'Memphis', which seems to owe much to Aztec artefacts and the taste for bold
extremes of shape and line, with the added hint of exotic lavishness. There were a few
other designers employed by pottery firms who were again give some freedom to produce
fashionable wares expressing contemporary high street fashion. Robert Minkin, for example,
designed tall cylindrical coffee sets for Wedgwood, Barabra Brown designed surface
patterns for Midwinter. Susie Cooper reflecting her extraordinary versatility, design skills
and awareness of contemporary trends, not to mention longevity, produced numerous
highly popular designs for Wedgwood (who had by this time taken over the Susie Cooper
China works), ranging from stylised floral designs to highly abstract geometric patterns.
Today Susie Cooper's innovative, indeed pioneering use of lithography to produce patterns
such as 'Diablo', 'Gay Stripes', 'Harlequinade' and 'Pennant', as well as the floral designs
'Com Poppy', 'Iris', 'Florida', etc, are all highly regarded as typifying contemporary fashion
trends and are highly collectable today. Her 'Can' shaped coffee cup is still in production
at Wedgwood some forty years after it was first designed.
The third style or type of ware produced in the Craft Section during this period, Atlantis,
was the most avant garde on the commercial pottery side. Initiated by Robert Jefferson
but fully developed and enlarged upon by Guy Sydenham from 1969, these wares had
more in common with contemporary studio pottery and in some respects hark back to the
earliest experimental lustre wares of Owen Carter, between 1900 and 1918. Guy Sydenham
who had been living with his family on a surplus Royal Navy MTB torpedo boat on Long
Island in Poole Harbour, moved to another island, Green Island, in 1968, where he
established his own small pottery. Looking at much of the Atlantis wares with this added
knowledge about Guy Sydenham's domestic arrangements immediately brings a greater
understanding of the some of the influences seen in the wares. The gauged, stippled and
sgraiffitoed surfaces of many of the vessels start to reflect the barnacles, pebbles, aquatic
foliage and crustaceans that were such an everyday experience for him. Where the hand
thrown and sometimes coloured bodied pieces have been glazed, Guy used a variety of
techniques, such as combining glazes of differing viscosity to produce a reactive effect, to
further enhance the marine visual effect of his pieces. After 1971 all the Atlantis pieces
were marked with a capital ' A ' to indicate that they were Atlantis designs, as if they weren't
50
distinctive enough, and continued to be produced until 1979, some three years after Guy
Sydenham had resigned.
The 1970s saw a general renewed interest in stoneware as a material, the emphasis
supposedly on the hand made 'truth of materials' attributes. Stoneware often being used
as rather a loose definition to include wares that 'looked' like or that apparently had the
attributes of stoneware. The previous decade had already seen a growth in the number of
people buying hand-made Studio Pottery as a form of non-conformist self-expression.
Denby Pottery of Joseph Bourne & Co, Derbyshire, were one of the successful stoneware
firms to emerge during this period making a wide variety of durable and functional wares
with patterns reflecting the 'back to earth' qualities of clay as a material. There was also a
growing interest in and presentation of gastronomic dishes from new 'foreign' countries.
Midwinter, following a few set-backs in the late 1960s, returned with a new 'Stonehenge'
range of shapes and a suitably speckled glaze,'Creation', which made there fine earthenware
body have all the appearance of stoneware. What was particularly noticeable during 1960s
and even more so during the 1970s, was the huge increase in wares made for the export
markets in North America, Canada, Japan and Australia. Midwinter, Denby, Susie Cooper
designs for Wedgwood, Martin Hunt designs for Hornsea and Poole Pottery were very
active in all of these markets each vying for space with continental and other manufacturers,
such as Rosenthal, Noritake, Richard-Ginori and Villeroy and Boch, amongst others, with
many new ranges being specifically designed and only sold in the export markets.
It was against this background that the New Stoneware tableware ranges designed by Tony
Morris and Guy Sydenham were made and exported from the late 1960s through to the
1970s, albeit in fairly limited numbers. Throughout this same period Robert Jefferson,
following a special commission, designed the Compact range which was in production,
from 1965 to 1992, and was augmented by a new Jefferson design in 1979 called Style.
The late 1970s were a very diverse and somewhat confusing period for Poole with the
opening up of seemingly endless new trends, styles and potential markets, the huge
potential of export markets becoming increasingly significant.
The 1970s for Poole Pottery had seen it's usual comings and goings with centenary
celebrations in 1973 to mark the establishment of the pottery, the take-over by the Thomas
Tilling Group of Pilkington's and the managing director Roy Holland retiring in 1976 ushering
in Trevor Wright as his replacement. In the same year, 1979, Guy Sydenham resigned
following some exhaustive years battling to preserve the integrity of the Poole Studio, and
fighting against the implementation of 'piece rate' working and for the continued freedom
of self-expression in the studio, amongst otherconcerns. In the end the commercial concerns
and interests of the new owners in a highly competitive business meant a change of direction
and emphasis. In about 1979 the Craft section declined rapidly finally closing in 1982, the
high costs involved in such intensive hand production wares becoming too great. No doubt
there are innumerable reasons why the closure occurred but in the end change is always
necessary indeed healthy for the continued success of any company. Whether the Craft
section was being heavily subsidised by the commercial side of production or whether it
was market forces that determined the change perhaps only time will tell. As if to mark
the significance of the closure, Poole Pottery was honoured in that year with a Royal visit
by Queen Elizabeth II and the Duke of Edinburgh, a fitting mark of former glories and
achievements over the previous century.
51
Modernisation
1980 to Present
The 1980s heralded a very significant change at Poole Pottery; one that the Pottery did
not always seem very comfortable with. The heavy bias towards giftwares, the introduction
of an entirely new body, bone china, and the closure of the Craft section with the consequent
loss and redeployment of staff, must have caused an unsettled feeling. It should be
remembered that throughout the 1970s and 1980s the Traditional hand painted range was,
of course, still being produced and formed a large part of production stability along with
the various tableware ranges.
Political and social issues changed again in the depression of late 1970s and early 1980s
with the tightening of financial purses due to a hike in the cost of oil, high interest rates,
as well as high unemployment and capping of wages. The 1970s can be seen as a transitional
period with a diversity and plethora of styles, which was reigned in to some extent, with a
new direction taken up by 1980. What it meant as far as most potteries were concerned
was a reduction in the number and range of pieces being made, thereby reducing production
costs, and the use of a wider range of patterns on the limited number of wares being
produced. This was not the solution for all pottery firms. Those at the top end of production
concentrated even more on the expensive end of production, producing new, innovative
and expensive wares for those wanting something with more individuality or recognisably
different.
The influence as far as Poole Pottery was concerned saw the Studio/Craft productions peter
out with the 'Sienna', 'Contrast' and 'Calypso' showing the last vestiges with the Elsden
reactive glazes and spray glazing techniques. Ros Sommerfelt's 'Olympus' range
emphasised the concerns of reducing the costs involved in production, not only by reducing
the number of shapes in the range but also by making use of a decorative technique that
only needed to be fired once.
The new team, promoted within the pottery, of Ros Sommerfelt, Alan White, Alan Clarke
and Elaine Williamson started to take shape. Tony Morris was one of the last of the Craft
team to depart during this period, leaving in 1982. Alan White took overfrom Guy Sydenham
and is still at the pottery today. The introduction of printed patterns and high volume selling
shapes such as mugs, numerous new vases, table lamps, trinket boxes and other such
dressing table and decorative bathroom wares showed the way ahead for the new look
Poole Pottery.
New lines were introduced by Ros Sommerfelt including the Art Nouveau inspired
'Beardsley' range and revivalist 'Camelot' plates. Although the 'Beardsley' range was
produced using printed patterns on slip-cast wares, pre-requisites for mass-production,
there were hand thrown vessels made in the early stages of development. Printed patterns
and slip cast wares were now the norm, the surface decorations often indicative of the
desire amongst the buying public for something 'quintessential^ English rural', floral or
simple and timeless. Elaine Williamson was now responsible for steering the new team
during the 1980s designing the highly popular 'Concert' tableware range which lasted until
1992. In typical Poole tradition the outside partnership of Queensberry Hunt first became
involved with the Poole pottery designing the Flair range, 1983 to 1986, followed by the
Astral tableware range, 1989 to 1990. The Queensberry Hunt partnership also designed
52
a range of vases, 'Calypso' and 'Cello', each with various glaze effects and patterns, as well
as some lamp bases, 'Corinthian', all during the 1980s. Other external designers also
contributed to the production with Robin Welsh designing the 'Campden' range in 1989
to 1991. The 'Aztec' range of vases, decorated with a simplistic printed band, was introduced
by Liane Hutchings of Mary Jones Design in 1988-89.
The new fast growing limited edition market which had seen the introduction of the Tony
Morris designed Medieval calendar plates, in 1972 and the Cathedral plates in 1973 saw
the introduction of new lines at Poole. One such new line was the production of animal
figures by Barbara Linley Adams, as well as her limited edition plates. It wasn't long before
the many of the ever growing number of Linley stoneware animals began to be made in
bone china, the same material also used to produce the six elegant figurines, Katherine,
Elizabeth, Abigail, Victoria and Lillie, each decorated with printed floral patterns and gilding.
Other modellers such as Bert Baggaley introduced or remodelled numerous other animals,
including the famous leaping dolphins, the single models having been designed by Robert
Jefferson and the double models by Tony Morris. The move into bone china production
was an inevitable part of the change in direction of the gift ware market. By the mid 1980s
Elaine Williamson and Ros Sommerfelt were producing trinket boxes, vases and ashtrays
with on-glaze transfer printed patterns such as' lona', 'Athena', 'Ophelia', 'Cymbeline' and
'Trelissick'.
The late 1980s brought with it yet another shift in emphasis due to better market forces
and a freeing of the restrained purse strings of the early 1980s. The new direction of Poole
can be seen in the 'Dorset Fruit' pattern designed by Alan Clarke in 1990, which was
inspired by the blue sponged wares of the external designers Hinchcliffe and Barber dating
from 1986. Yet again, it was the willingness, indeed openness of Poole Pottery to use
external designers, still after all this time something alien to most traditional potteries of
Stoke-on-Trent, that brought about a significant development for Poole. The 'Dorset Fruit'
collection and subsequent sponged and stencilled patterns enabled the Poole Pottery to
enter yet another significant period in the history of firm, just before its centenary
celebrations.
In October 1992 Peter Mills led a team of like-minded individuals in a management buyout
of the Poole Pottery from the parent company. Today it is still under the same control.
The most immediate visual public impact of the change was seen at the International Trade
Fair, 1993, held at the NEC on the outskirts of Birmingham, where an impressive new stand
had been designed showing off to great effect many new ranges. Since 1992 much has
changed or rather largely reverted to how it used to be. The Poole Studio has been reestablished
largely due the very healthy market conditions that prevail today. Higher wages
and very low unemployment in a generally cash rich society which wants to expresses itself
in a more individual and expressive way has meant this can happen. The return to the more
diversified and eclectic tastes of the International market and its continuing demand for
greater choice has enabled the lavish, high quality wares that develop from the studio
environment to be seen on the open market.
Initially the new artistic direction was guided by David Queensberry, who was appointed
Art Director at Poole in 1992, following a lengthy involvement with numerous potteries in
the 1970s and 1980s, including Poole, after his position as Professor at the Royal College
of Art in London. New young designers were brought in and a more focused approach
was taken towards potential future markets which reflected new production and marketing
strategies that had been going on in America, with firms such as Noritake. Tableware
53
production, now reflecting a more informal or casual manner of dining, has taken over as
the dominant part of commercial production with the gift ware markets still eagerly sought
after. In 1995 new distributors were appointed in Australia and New Zealand, with new
growth in the Japanese and Korean markets. Market research highlighted certain areas to
develop, one being the bridal market, in 1995 Poole was third on the Bridal Registry list
at Bloomingdales, in New York City. The American market saw a particularly strong growth
in the demand for Poole wares with the Alfama design by Anita Harris being made exclusively
for Tiffany's. Amongst the new internal designers Anita Harris's designs have proven to be
particularly popular, her designs often harking back to traditional tried and tested vine leaf
motifs and simple, yet highly effective, floral designs. Other notable designs have been
contributed by Kate Byrne, particularly 'Orchard' together with designs by Sarah Chalmers
and Nicola Wiehaln. Externally designs have been contributed by Rachel Barker, Andrew
Brickett and Fenella Mallalieu, their designs often using a combination of traditional
techniques in a simple cost effective manner. Some of the general designs more obviously
reflect the concentrated effort on certain markets in particular the use of late nineteenth
century seed packet designs as transfer prints. All the time the management has sought
special orders for certain retailers, chain stores and institutions such as the National Trust,
creating special or exclusive designs forthe clients. Old techniques have been re-introduced
to great effect, especially the spray glazed or air brushed designs of Alan Clarke, a pupil
of Leslie Elsden. The Craft studio concept has even been revived through the work of Alan
White who returned to Poole Pottery in 1983, having been made redundant a few years
previously, to run his own Studio making and selling his own wares until 1992 when he was
taken on by the new management to work on special projects. Today Alan, who originally
joined Poole in 1966 training under Guy Sydenham, continues to make one-off and limited
edition pieces, still in his studio within a pottery, highlighting not only his individual style
but also the influence of the local marine and pastoral environment.
Perhaps the most significant revival in recent years and one that is synonymous with the
history of Poole Pottery, is the establishment of the new Poole Studio, in keeping with a
long association with the in-house designer or team of designers. The new Poole Studio
was launched with the arrival of Sally Tuffin, in 1995, following her experiences at the
Moorcroft Pottery, having brought life back to that ailing pottery after it nearly collapsed
in the hands of some unsympathetic commercial pottery owners, as well working at her
own Dennis China Works. The launch of the studio went hand in hand with another new
venture, one seemingly symptomatic of the 1980s and 1990s, namely the inauguration of
the Poole Pottery Collectors Club. Again symptomatic of the public's growing awareness
of the historical impact and interest in the Poole Pottery was the publication of Leslie
Hayward's long awaited new book on Poole Pottery. Leslie had had a very long association
with Poole Pottery, two of his great uncles having worked with the Dressier tunnel kiln
before World War One and Leslie himself having worked at Poole since 1950 until his
retirement. Even then, Leslie returned as honorary curator of the factory museum due to
his extensive knowledge of the Poole Pottery, and this was where he could still be found
until recently.
Sally Tuffin's 'Strolling Leopard' year vase, 1995, was the first of the 'exclusive to members'
wares to be produced, followed in 1996 by the 'Forest Deer' vase and the 1997 Brede
class 'Poole Lifeboat' plate. Members who manage to attend what has become the annual
Gala Day are also able to order special commemorative dishes. Other special pieces were
exclusively offered to members such as the 'Yaffle' plate, 1996, as well as the 'Parasol' vase
and bowl, 1996, both designs by Sally Tuffin. Other designs from the Studio by Sally Tuffin
54
were available to the wider public, such as 'Seagull', 'Bird' and 'Fish' but in a remarkable
high-flying publicity scoop Sally's 'Blue Poole' design will take some beating in years to
come. Calling the commission "the biggest coup of the year so far," Peter Mills was
somewhat understating the case as British Airways commissioned and accepted Sally's
'Blue Poole' design, painted by Karen Brown, to decorate the tail fin of one of their aircraft,
as well as inscribing the name on the nose of the plane. The design also appeared on other
planes, "Jumbos and smaller regional aircraft", as well as "airline stationery, ticket wallets,
menu cards, etc." This commission exemplifies part of the new approach to marketing and
increasing the public profile of the pottery, commissions being taken on from numerous
sources. Today it is the work of Karen Brown, who arrived in 1996 working for Sally Tuffin,
who has risen to prominence within the Poole Studio, her Isle of Purbeck wares proving to
be very popular. Karen's 'Corfe Castle' design has caused just as much interest as the
original 'Viking', followed by the 'Old Harry', 'Lotus' and 'Caro' designs, with some of these
designs being produced in limited numbers. Karen has also production limited edition
pieces including the 'Ocean Liner' plate in 1998. Some of the latest designs to come from
Poole include two 'Classic Art Deco' vases, small and large, both pieces being hand-thrown
and hand-painted, borrowing heavily from former Poole Pottery designs by Truda Carter
in the early 1930s. The larger vase, 20 centimetres high, is being produced in a Limited
Edition of 100 whilst the smaller vase, 12 centimetres, has an edition of 150.
Peter Mills, again learning from the company's illustrious past, brought in external designers
of note to execute special designs for the company, including Sir Terry Frost an eminent
abstract painter, as well as Janice Tchalenko and Charlotte Mellis. Janice's studio pottery
wares have been highly regarded for many years, having already found their way into most
of the leading National museum collections, as well as many others abroad. Charlotte
Mellis's work for Poole, 1997,features some very dramatic sweeping abstract curved designs
in vivid colours, under the titles 'Blue Wash', 'Green Wash' and 'Blue/Yellow Wash'. Oneoff
limited edition special productions have also comefrom outside with Lawrence McGowan
creating a special plaque in celebration of the Antiques Roadshow twenty-first anniversary,
whilst Julie Herring of Bournemouth University produced 'Creating a Brighter Future' in a
limited edition of 250 plates of two sizes.
The most recent development at Poole has come from a joint effort between Alan Clarke
and Anita Harris, working with Janice Tchalenko, this being the 'Living Glaze' technique.
Owing much to the Delphis glaze effects of the 1960s, the revised and modernised approach
display the innovative and unique new designs to dramatic effect. Allan Clarke's 'Eclipse'
design is a perfect example of the evocative new technique. This design together with
Clarke's design, 'Millennium', are limited edition, 1,999 for the former and 2,000 for the
latter, but both designs are also made as more standard wares in three different sized dishes
with an additional vase forthe Millennium. The latest pieces of 'Living Glaze' wares have
been commissioned by the Guild of Fine China & Glass Retailers, based in Manchester,
with the Third Millennium dish (16.5 inches) being produced in a limited edition of 1,000,
with four other 'Living Glaze' ten inch plates being produced exclusively for the Guild until
March 2000 after which they will be available generally.
Janice Tchalenko is still very much an important part of the design team at Poole, although
she treads a lonely road as a studio pottery and designer working within the ceramics
industry, apparently pushed to the margins of studio pottery by her fellow potters. At least
the management within Poole recognise not only the vitality of her work but also, and
perhaps of greater significance, the encouragement and willingness Janice gives to her
colleagues at Poole. The general public, it would appear, strongly support her as the new
55
'Living Glaze' designs are proving to be extremely successful, with demand exceeding the
output. No doubt the popularity of this type of ware, along with others, will increase even
further following the exhibition of the new designs, now including the work of Tony Morris,
at the Richard Dennis Gallery in London.
In yet another interesting development Tony Morris, mentioned above, has been invited
to return to Poole to design some one-off designs which is particular pertinent as Tony's
original 1960s and 1970s designs have recently started to be eagerly sought after in auction
rooms throughout the country and even via the Internet. Tony created a series of one-off
dragonfly designs in 1999 all, with one exception on circular plaques, the other design for
a set of four tiles, with one design also appearing to be based on a setting sun behind
trees. The work of the Poole Studio must be seen in conjunction with that of the commercial
tableware, ornamental ware and gift ware side of production, as more often than not ideas
generated in one department are used in the other. Allan Clarke's skills and knowledge of
the airbrush technique, combined with stencilling, have created some highly innovative
and individual work, well as working in conjunction with Anita Harristo produce the distinctive
'Bluebell' and 'Fraiche' tableware designs, reflecting on the 1950s two-tone or Twintone
wares. The entwined relationship between the two departments, reflecting that of the tile
and commercial departments in earlier years, is a vital part of Poole Pottery, as is, and has
always been, the frequent external input and influences of other fine arts, designers and
the like.
As has been mentioned already, in previous decades under the Carter management,
understanding the importance of keeping a balance in the wares being produced is vital,
as is the need to react to and reflect changes in high street style and new fashions. Employing
a new generation of young designers together with a deeper and more involved
understanding of what various foreign and local markets require has enabled Poole Pottery,
once again, to rank amongst the top British ceramic manufacturers. The importance of the
direction and vision of Peter Mills, as managing director, should not be over looked. Nothing
happens in any business without the support and commitment, whether overtly or by
devolved responsibility of the management. In recent years, Poole Pottery having been
steered back to the top of the ceramics business in the early 1990s, it has become apparent
that the achievements of those years have spawned numerous rewards, high profile visits
and exciting new commissions. At the end of the day it is only by displaying the products
of the company in more and more places, whether the shop window of Bergdoff Goodman
on Fifth Avenue, New York; Bloomindales on Third Avenue, New York City; David Jones
in Australia; Harrods of Knightsbridge or at the trade show in Frankfurt or the NEC in
Birmingham. Wherever the wares are shown only the wares can speak for themselves.
The sudden rise in the company's fortunes during the 1990s has been quite dramatic, to
the point that today as I understand it, the company has out grown itself or rather its own
buildings. The current position, as far as I can gather, is that the main production side of
the pottery is about to move into new premises on a local industrial estate with some of
the most up-to-date equipment that is currently available. Much of the current production
site is either going to be sold and/or developed into a new shopping, leisure, marina and
hotel complex. This with the exception of the current Poole showrooms, museum and
tourist visitors centre which will largely remain as it is, possibly with some further
modernisation and improvement.
As we usher in the new millennium, Poole Pottery would appear to be equipping itself to
be around for at least another one hundred years, perhaps more.
56
Green lustre stone ware vase, designed by Owen
Carter. 1900-1918. &A ins. £200-£350/$330-S370.
Ruby lustre wall charger, designed by Owen Carter
and dated 1903.1900-18.18 ins. £500-£800/$825-
Carter Tiles promotional model of a Hon, circa 1905,
modeller unknown. Inscribed around the base;
Poole, Lustres, Mosaics, Terracotta, Faience,
Carters Tiles (4% ins long). Green glaze. £100-
£150/S165-$275.
An early Carter & Co lustre vase, cl908. £450-
£650/$740-S1200.
Unglazed wares designed by fames Radley Young, cl914. These wares are paler and unrefined compared
to the later modified versions and ivere left with unturned bases. Left vase: £120-£180/$200-$335. Plate
(13 ins) £200-£300/S330-$555. Tivo handled vase: £200-£350/$330-$645. Right £100-£150/$l65-$275.
A selection of early tin-glazed wares, 1915-20, hand painted with simple
decorative sprigs reflecting influences from Dutch tin-glazed wares at
the same time establishing the body-type for the Poole Pottery. Left: £80-
£120/$130-$220. Back vase (8!A ins high) £180-£220/$295-$405. Front
£200-£300/S330-$555. Right £120-£180/$200-S335.
A tall tin-glazed earthenware vase
(14'Ains), 1921-24. £350-£450/$575-
$830.
Unglazed ware, 1925-34. Left: £80-£120/
$130-$220; Large vase (13 ins), £400-£600/
S660-S1110. Right £40-£60/$65-$110.
57
A selection of early tin-glazed wares, 1915-22, hand painted with simple foliate
sprigs. The bowl at the front has a 'Made for Liberty' mark, £200-£250/$330-
$460. Back vase (9% ins) £120-£180/ $200-$335. Right vase £200-£250/
$330-$460.
Left: an Erna Manners designed dish, WW diameter, 1921. £150-£250/$245-
$460. Right: a John Adams plate design, 9" diameter c!924. £200-£250/
$330-$460.
A group of early tin-glazed earthenware based wares, 1921-24, mostly designed
by Truda Adams after similar designs by James R Young. Left £150-£250/$245-
$460.Back(14'Ains)£350-£450/$575-$830.Rightback£120-£200/$200-$370.
Front left £150-£250/$245-$460. Front middle £60-£90/$100-$165. Front right
£80-£120/$130-$220.
A rare Joseph Roelants model of a mother and child, cl917, in a white tinglazed
covered white stoneware body. Several such figures were exhibited at
the 1917 British Industries Fair, tile designs by Roelants also being shown at
this fair (4% ins). £300-£600/$495-$1110.
An early Truda Adams floral patterned tiii-glazed
dish (9lA ins), 1921-24, £250-£350/$410-$645.
A Truda Adams designed shallow bowl, 1924-27
(im ins diameter). £350-£500/$575-$925.
A rare Truda Adams designed dish with the Persian
Bird pattern amongst flowering branches (12 ins
diameter), late 1920s. This is, so far, the only known
extant dish with the Persian bird pattern amongst
flowering branches. £350-£450/$575-$830.
58
ATruda Adams designed red earthenware vase, 10lA
inches high, c!924. £400-£600/$660-$1110.
A rare John Adams vase loith Mondrianesqite
abstract design (9s/, ins), 1930s. £400-£650/$660-
$1200.
The Bull. Designed by Harold and Phoebe Stabler,
initially designed and modelled in 1914 and later
made at Poole from 1922 to the 1930s tl3'A ins
high). £1600-£2500/$2640-$4625.
Left: Truda Adams geometric hand painted design, 1927-34. £200-£300/$330-$555. Middle: a two handled
vase with a bird on a branch designed by Truda Adams. £150-£250/5245-$460. Right: a two handled vase
with a Truda Adams geometric design, after a design by James R Young, 1925-34, (6 ins high). £250-
£400/$410-$740.
A Truda Adams decorated planter, 1920s. £300-
£400/ $4954740.
Left: a geometric patterned bowl, 1927-34, designed by Truda Adams. £120-£180/$200-$335. Front: Truda
Carter designed vase (4 ins high), 1930-33. £80-£120/$130-S220. Back: ]olm Adams designed splashed glaze
pattern, 1930s. £200-£250/$330-$460. Right: Truda Carter patterned vase with a highly geometric and
brightly coloured pattern, 1930s. £150-£250/$245-$460.
A Truda Adams designed pattern on a powder box
and cover, 1925-32. £120-£180/$200-$335.
59
Left: a very rare bowl (currently the only one known to exist) decorated ivitli a Truda Carter design of a
parrot perched on a branch, 1934-37, (llf/i ins diameter). £400-£600/$660-$1110. Right: a Truda Carter
'Cocky Ollie Bird' design on a bowl, 1930-34. £250-£350/$410-$645.
A blue-bird decorated two-handled bowl designed
by Truda Adams, 1930s, the shape designed by
Harold Stabler (7 ins diam), 1925-26. £300-
£500/$495-$925.
Left: a Truda Adams patterned biscuit box and cover, 1928-34, with two globular tulip-like flower heads.
£220-£280/$365-$520. Front: a YJaterbird decorated mug designed by Harold Stabler, 1922. £100-
£150/$165-$275. Back: an early Carters Green glazed vase after designs by lames Radley Young, 1920s.
£120-£180/$200-$335. Right: a Truda Carter pattern adapted from an earlier James Radley Young design
1925-34. £120-£180/$200-$335.
A lavishly decorated Blue Bird design by Truda
Adams (12"), late 1920s. £1400-£1800/$2310-
$3330.
A rare Truda Adams design of a polychrome floral
basket, the reverse with a triple flower group within
an irregular chevron frame, late 1920s. £1000-
£1400/$1650-$2590.
A lohu Adams leaping stag decorated plate (12lA ins
diam), early 1920s. £400-£600/$660-$U10.
A rare large Jalm Adams leaping stag decorated
vase, (11 ins high) 1925-34. £800-£1200/$1320-
$2220.
60
A large lavishly decorated leaping stag vase
desigJied by John Adams (13 ins), late 1920s.
£1800-£2200/$2970-$4070.
A Truda Adams charger with deer amongst foliage
(15 ins), 1920s. £400-£700/$660-$1295.
A large Truda Adams Persian deer vase, the stag
amongst polychrome flowers and foliage, (15 ins
high) 1930s. £800-£1200/$1320-$2220.
Left: a Tmda Carter designed vase, 1930s. £400-£600/$660-$1110. Front: a txvo-handled globular vase with
a Truda Adams design of a bird amongst flowers. £300-£500/$495-$925. Right back: a tall vase with a Truda
Adams design of a bird amongst flowers in a panel (9 ins). £300-£500/$495-$925. Right: a polychrome
beaker vase with a Truda Carter floral design, 1930s. £120-£180/$200-$335.
A Truda Adams floral patterned vase, 1925-34
(10 ins high). £400-£700/$660-$1295.
A rare Truda Adams charger (11% ins) decorated
with a stylised tree and exaggerated flower heads,
1928-34. £400-£600./$660-$1110
Left: a lavish boldly coloured Truda Carter designed vase with overlapping flowers and foliage, 1932 (9A ins
high). £1000-£1500/$1650-$2775. Centre: a Truda Carter leaping stag vase, 1930-34 (8% ins high). £600-
£800/$990-$1480. Right: a rare abstract decorated vase designed by Truda Adams, 1928-1934.
£800-£1000/$1320-$1850.
61
A very rare and lavishly decorated vase designed
by Truda Adams, late 1920s (1.3 inches high).
£2800-£3800/$4620-$7030.
A Truda Adams abstract patterned vase (7% ins),
late 1920s, the shape designed by Harold Stabler.
A similar vase and pattern were exhibited in the
British Industries Fair, 1931, the piece fitted as a
lamp base. £400-£700/$660-$1295
A Truda Carter trumpet shaped vase with a highly
geometric pattern (9% ins), early 1930s. £600-
£900/$990-$1665.
Four highly geometric patterned vases each designed by Truda Carter, early 1930s. Left: £500-£800/$825-
$1480. Front: £300-£400/$495-$740. Back (8% ins) £200-£300/$330-$555. Right: £300-£450/$495-$830.
Aabstract patterned dish designed by Truda Carter,
with stylised tulips amongst scrolls and chevrons
in a band cl930. £350-£500/$575-$925
An unusual boldly decorated abstract patterned
small ginger jar and cover (7% ins), 1930s, designed
by Truda Carter. £1200-£1800/$1980-$3330.
Three highly abstract designs by Truda Carter. The tzvo-handled vase on the left dating from about 1930,
shows a typical experimental use of a txvo colour palette, £700-£900/$1155-$1665. Middle: early 1930s.
£300-£400/$495-$740. Right: an unusual pattern dating from the early 1930s. £800-£1200/$1320-$2220.
62
Bell formed spill vase, with an abstract Truda Carter
design, early 1930s. £100-£180/S165-$335.
A colourfully decorated Truda Adams stylised floral
patterned vase, 1928-1934 (11 ins high), £600-
£900/$990-S1665.
A large Truda Adams decorated stylised floral
patterned vase (10 ins), 1928-34. £600-£800/$990-
$1480.
The 'Leipzig Girl' charger, designed by Olive
Bourne, 1926-27. Named after appearing in the
1927 Leipzig Exhibition of Industrial Art (17lA ins
diam). £1200-£1800/$1980-$3330.
A later version of a 1926-27 design by Olive Bourne
(10 ins), 1950s. £120-£180/$200-$335.
A large vase (8lA ins) with an Olive Bourne portrait
design dating from 1926-27. £1200-£1800/$2220-
$3330.
A later version of an Olive Bourne portrait design
(11 ins) dating from the 1926-27. Although later
this is still a relatively rare piece and therefore has
a value of between £400-£700/$660-$1295.
A rare and impressive two-handled vase designed
by Truda Carter, hand painted with vertical panels
of stylised over-lapping elongated foliage, 1930-34
(10'A ins high). £1500-£2500/$2475-$4625.
A vase (8'A ins) with a design by Truda Carter,
1930-34, handpainted with Persian stylised flower
heads over chevron vertical columns. £3000-£4000/
$4950-$7400.
63
A good two-handled vase (8JA ins) designed by
Truda Carter, hand painted with panels of overlapping
elongated foliage, 1930-34. £700-£1000/
$1155-$1850.
A good two-handled boldly patterned vase (7 ins)
designed by Truda Carter, 1930-34, £800-
£1200/$1320-$2220.
ATruda Adams patterned vase (ll'Ahis), 1926-34.
£600-£900/$990-$1665,
A Truda Carter highly stylised foliate patterned
vase (9% ins), 1930-34. £800-£1200/$1320-$2220.
A Truda Carter highly stylised foliate patterned
vase (9% ins), 1930-34. £800-£1200/$1320-$2220.
A Truda Carter ginger jar and
stylised design (7% ins),
£1200/$1320-$2220.
cover with a highly
1930-34. £800-
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Left: a faceted vase with a scattered series of designs by Truda Carter on a coloured slip, 8 ins high, 1930-34.
£700-£1000/$1155-$1850. Right: a two-handled vase with a stylised foliate design on a white slip designed
by Truda Carter, 7 ins high, 1930-34. £700-£1000/$1155-$1850.
A tall Truda Carter cylindrical vase with a flared
mouth (93A ins), 1930-34. £600-£900/$990-$1665.
64
A group of Truda Carter designed vases and a bowl, 1930-34. Front left: £150-£250/$245-$460. Back left
(9 ins) £350-£450/$575-$830. Bowl: £300-£400/$495-$740. Right back: £220-£280/$365-$520.
A Truda Carter vase with a highly stylised foliate
and geometric pattern (10'A ins), 1930-34. £800-
£1200/$1320-$2220.
Two biscuit barrels and an unusual vase designed by Truda Carter, 1930-34. left (6 ins) £200-£300/$330-
$555. Middle: £250-£350/$410-$645. Right: £200-£300/$330-$555.
A targe Truda Carter vase decorated witli highly
stylised foliage (10% ins), 1930-34. £700-£1000/
$1155-$1850.
Three highly stylised Truda Carter foliate designs with large stylised flowers
amongst foliage, 1930-34. Left: £180-£220/$295-$405. Middle (U ins) £400-
£500/$660-$925. Right: £200-£300/$330-$555.
Three Truda Carter designed vases showing variations of the same pattern,
1930-34. Left: £200-£300/$330-$555. Middle (8 ins) £400-£500/$660-$925.
Right £200-£300/$330-$555.
65
A large and impressive Truda Carter designed vase
with stylised flowers amongst geometric motifs
(14 ins), 1930-34. £2000-£2500/$3300-$4625.
A Truda Carter designed vase decorated ivith a
broad band of stylised foliage, behveen wavy bands
(10'A ins), 1930-34. £600-£800/$990-$1480.
A highly stylise and simplified version of the multibell
formed floivers with lighting flash decoration
on the boarder (8A ins), 1930-34. £150-£250/$245-
$460.
A fine highly stylised multi-bell formed Truda
Carter pattern on a swelling cylindrical body
(ll'A ins), 1930-34. £800-£1200/$1320-$2220.
A rare large Truda Carter designed stylised floral
pattern (12 ins), 1930-34. £1200-£1800/$1980-
$3330.
An unusual octagonal sided bowl (4A ins high)
designed by John Adams, 1930s. £500-£700/$825-
$1295.
A rare highly stylised almost abstract floral
decorative pattern designed by Truda Carter
(63A ins), 1930s. £600-£800/$990-$1480.
An usual Truda Carter designed with a simplified
abstract cloud-like pattern in vertical sections
(7 ins), 1930s. £300-£500/$495-$925.
A good Truda Carter designed vase (6% ins) with
an over-lapping double lappet band, 1930s. £300-
£400/$495-$740.
66
All abstract decorated Truda Carter designed vase
(7 ins), 1930s. £300-£500/$495-$925.
A Truda Carter patterned candlestick with highly
stylised flowers amongst chevron bands (9'A ins),
1930s. £200-£300/S330-$555.
A Truda Carter stylised floral vase, against a partial
trellis ground (9% ins), 1930s. £700-£900/$1155-
$1665.
Left: a Truda Carter designed animal plate, 1930s. £200-£350/S330-SS45. Right: an abstract patterned dish
(107, ins) designed by Truda Carter, 1930s. £300-£450/$495-S830.
A limited palette Truda Carter designed vase with
stylised flowers (10'A ins), 1930-34. £500-£700/
$82541295.
A rare Truda Carter designed vase (9 7, ins) with a
strong abstract pattern, late 1930s. £1200-£1800/
$1980-$3330.
Two interesting Truda Carter octagonal vasi's, 1930s, each decorated with same pattern in different
colouneays. Left (9/uns) £300-£400/$495-$740. Right: £300-£400/$495-$740. Middle: £200-£300/$330-
$555.
67
A group of Truda Cater stylised floral designs, 1930s. Left back: £300-£500/$495-$925. Front left: £150-
£250/$245-$460. Back right (8 ins) £350-£450/$575-$830. Front right £200-£300/$330-$555.
A two-handled Truda Carter design vase (9 ins)
with a tinted ground, late 1930s. £400-£600/$660-
$1110.
Three Truda Carter vases with pastel tinted grounds, cl934. Left (9 ins) £300-£400/$495-$740. Middle
£120-£180/$200-$335. Right: £350-£450/$575-$830.
A lightly decorated vase (ll'A ins) designed by
Truda Carter, with repeated berry and leaf motifs
in vertical bands, 1950s. £350-£550/$575-$1015.
A Truda Carter stylised foliate decorated plate
(13 ins), dated 1939, commissioned by W.T.Lamb
& Sons to be given as Christmas presents £350-
£450/$575-$830.
The reverse of dated plate, 1939. A Truda Carter design vase (5 ins) zoith a highly
stylisedfoliateand cloud pattemon a tinted ground,
1930s. £300-£500/$495-$925.
Afaceted Truda Carter designed vase (8 ins) with ATritdaCarterdesignedstylisedfloralplate(9'Ains A slightly tapering cylindrical vase (9 ins)
stylised floral sprays on a tinted ground, 1930s. dia) on a tinted ground, late 1930s. £500-£700/ decorated with a highly stylised foliate pattern in
£300-£500/$495-$925. $82541295. limited colours on a tinted ground, designed by
Truda Carter, cl934. £400-£600/$66041110
Three Truda Carter designed vases showing some of the variety of colounvays used during the mid 1930s Primrose. An Arthur Bradbury designed wall
period. Left: £300-£500/$4954925. Middle (9 ins) £400-£600/$66041110. Right: £250-£450/$4104830. plaque hand-painted after a design dating from the
1930s 0 5 bis). £500-£800/$82541480.
The Sea Adventure. An Arthur Bradbury designed Reverse of Sea Adventure,
wall plaque painted in 1951 after an original design
dating from the 1930s (15 ins). £500-£800/$825-
$1480.
The Golden Hind. From a drawing by Margaret
Holder (12'A ins), 1979. £300-£400/$495-$740.
69
Waterwitch. An Arthur Bradbury designed plate,
handpainted in 1955 after an original design dating
from the 1930s (11 ins). £300-£500/$495-$925.
Reverse of Waterwitch. The Mayflower. Designed and painted by Ruth
Pavely (12% ins), 1957. £300-£400/$495-$740.
A collection of candelabra designed by John Adams, initially designed in
1928-29, each modelled with grapes and vine leaves, with faceted arms and
stand, raised on a slightly domed circular foot. Front left: £120-£180/$200-
$335. Back left (11 ins) £250-£350/$410-$645.. Middle £180-£250/$295-$460.
Right £80-£120/$130-$220.
Tivo large models offish probably designed by John Adams, late 1930s, each
decorated zvith sprayed Picotee glazes. Left (7lA ins) £150-£250/$245-$460.
Right (8'A ins) £150-£25()/$245-$460.
A triple candelabra possibly designed by John A John Adams model of a leaping Springbok in the A pierced octagonal tray zvith a bird in flight
Adams, late 1930s, with two birds inflight amongst
stylised flozvers and foliage, raised on a stepped
rectangular base (ll5Ains). £180-£280/$295-$520.
Front: a small double candleholder, late 1930s. £25-
£45/$40-$85.
form of a book-end (8 ins), raised on a stepped
rectangular base, c!930. £200-£400/$330-$740for
a single model.
amongst flozvering branches in sprayed Picotee
glazes (12 ins long), late 1930s. £150-£250/$245-
$460.
70
A collection of various shell designs by Joint Adams, late 1930s. Left: £15-£20/$25-$35. Back left: £25-
£35/$40-$65. Front (10 ins long) £25-£40/$40475. Right back: £30-£50/$50-$80.
A hlursery Rhyme decorated plate (5 ins) designed
by Dora Batty, used on nursery wares and toilet
sets, 1921-22. £60-£80/$W0-$150.
Left: a John Adams designed small boiol with a toilet set design of two owls,
1922-23.£100-£150/$1654275.Middle:an EileenMcGrath 'Circus'decorated
mug (47, ins), 1934-35. £100-£150/$1654275. Right: a Harold Stabler
'Waterbirds' patterned mug after a design from about 1922. £100-£150/$165-
$275.
Three items with a design from the Nursery Rhymes series by Dora Batty,
1921-22. Left: small beaker £60-£80l$100-$150. Bowl (13Vi ins) £250-050/
$4104645. jug £250-£350/$4104645.
Two variations of an abstract geometric poli/chrome banded design, late 1920s
early 1930s. Left: two handled vase £400-£650/$66041200. Middle: £200-
£250/$330-$460. Right (97, ins) tinted glaze - £400-£650/$660-$1200.
Part of a tableware service designed by Truda Adams (plate 97, ins), late 1920s.
£100-£150/$1654275.
71
Mug from the Eileen McGrath Circus designs,
(1950s). £100-£150/$165-$275.
Plate from the Elieem McGrath Circus designs
(5 ins), 1934-35. £150-£250/$2454460.
A Tall vase designed by Truda Carter zvith a wide
band of highly stylised flowers, below ziggurat
banding (11 ins), mid 1930s. £500-£800/$825-
$1480.
A collection of egg cups dating from the 1920s. £10-£30/$15-$55 each. Two jam pots and two small vessels after designs by Truda Adams, dating from
the late 1920s and early 1930s. Left: £150-£250/$245-$460. Front: £50-
£90/$80-$165. Back(57, ins)£150-£250/$245-$460. Right:£50-£90/$80-$l65.
ATrudaCarter designed vase(6'Ains),1930-35.£120-£180/$200-$335.Centre:
Sugar sifter with a design after Truda Carter mid 1930s. £30-£50/$50490.
Right: Shallow bowl with a Truda Carter abstract pattern in a band. £80-
£120/$130-$220
A bird design on a bowl by Truda Adams design, made specifically for Beale's
of Bournemouth 01ms diameter). Late 1930s. £200-£300/$3304555.
72
Honey box design by Harold Brolonsword with the Little Red Riding Hood
nursery ware design by Dora Batty (47, ins wide), cl934. £250-£350/$410-
$645.
Sloneioare seated model of a cat, cl934, decorated with a semi-matt black Zulu
glaze, as it was known at the pottery, and is par! of the Sylvan range. Modeller
unknown, (8 ins high). £250-£450/$410-$830.
Two handle vase (9 ins) with a hand painted design probably decorated by Erua
Manners with a design of berries and leaves, 1920-22. £350-£450/$5754830.
Three Plane Ware vessels, 1930s, designed by John Adams. Left (5 ins) £100-
£250/$1654460. Middle: £80-£150/$1304275. Right: £80-£120/$1304220.
A collection of Everest Wares with angular forms and semi-matt white and
pastelglazes,1930s.Left:£120-£150/$2004275.Back(6ins)£180-£250/S295-
$460. Front: £80-£120/$1304220. Right: £120-£150/$2004275.
Three vessels decorated zoith the Picotee Ware glazes developed by Leslie Elsden,
1930s. Back (117, ins) £150-£350/$245-$645. Front: £50-£80/$804150. Right:
£120-£150/S2004275.
73
Studland shaped coffee pot designed by Harold Stabler, c.1930 (6'A ins), with
a Truda Carter floral design of the 1930s. £100-£150/$1654275.
Three Sylvan Ware vessels dating from the mid 1930s shozving the typical use
of monochrome slightly mottled glaze effects on hand thrown and slip cast
wares. Left (97, ins) £150-£250/$245-$460. Middle: £150-£250/$2454460.
Right: £150-£250/$2454460.
Two slip-cast Plane wares, 1930s. Hand thrown with applied handles. Left
(87, ins) £150-£250/$245-$460. Double handled bowl £200-£300/$330-$555.
Two liand-throzon vases, 1930s. Left: John Adams glazed vase (97, ins) £150-
£250/$245-$460. Middle: Chinese blue glazed vase £250-£450/$4104830.
Right: Sylvan Ware vase £200-£300/$330-$555.
A special commission Wadington's bowl showing the four suits from a pack of A 1951 Festival of Britain butter dish and cover. Left: £60-£120/$100-$220.
card, 1950s (97, ins). £200-£300/$3304555. Right (4% ins) An invite to the 1998 book launch by Richard Dennis
Publications. £40-£80/$654150.
74
Commemorative Coronation plate, 1953, Queen Elizabeth It (8'A ins). £60-
£80/$1004130.
Two hand thrown cylindrical vases by Jimmy Soper, early 1950s. Left (77, ins)
£150-£200/$2454370.. Right £120-£180/$2004335.
Three Claude Smale and Guy Sydenham designed carafes designed c!951, with
stylised Truda Carter floral designs, the Red Pippin design on the right. Left:
(10 ins) £180-£300/$2954555. Middle: £150-£250l$2454460. Right: £180-
£300/$2954555.
Tzvo Claude Smale and Guy Sydenham designed carafes, c.1951, and a vase
possibly designed by John Adams, 1930s, each painted with repeated vertical
tinesby Alfred Read,froml953-54.Left(10ins)£150-£250/$245-$460.Middle:
£80-£120/$1304220. Right: £60-£80/$1004150.
A Claude Smale and Guy Sydenham designed carafe, C1951, zvith a repeated
zoavy foliate design by Alfred Read (117, ins), from 1953-54. £200-£300/$330-
$555.
Three Claude Smale and Guy Sydenham designed carafes, c.1951, decorated
with alternate vertical lines of stars and lines of solid colour by Alfred Read,
from 1954. Left (117, ins) £300-£500/$4954925. Middle: £120-£150/$200-
$275. Right: £300-£500/$495-$925.
75
Four graduated carafes designed by Claude Smale and Guy Sydenham, cl951,
each with alternate vertical lines of stylised foliage and fronds designed by
Alfred Read, from 1953. Left to right: £80-£120/$130-$220; £120-£150/$200-
$275; £150-£200/$2454370; £200-£350/$330-$645
Three hand thrown decorated vases zvith wide bands in bracken and purbeck
colours zvith intertwined spirals, designed by Alfred Read, from 1954. Left
(10'A ins) £150-£250/$2454460. Middle: £80-£120/$1304220. Right: £150-
£250/$245-$460.
Large plate with intertwined spiral design on a purbeck ground by Alfred Read,
from 1954 (13 ins). £150-£250/$2454460.
Large plate with intertzoined spiral design on a bracken ground by Alfred Read,
from 1954 (13 ins). £150-£250/$2454460.
Three contemporary designed vessels by Alfred Read, 1953-54. Left (67, ins)
£150-£300/$2454555. Middle - £150-£300/$2454555. Right: a unique trial
piece - £200-£350/$3304645.
Plateand vasezoith narrozv intertzvined spirals forming circles on three coloured
bands designed by Alfred Read, 1953-54. Left (13 ins dia) £150-£350/$245-
$645. Right: £120-£180/$2004335.
76
Plate with a variation of the narroze Intertwined spiralsforming circles on three
coloured bands designed by Alfred Read (13 ins), 1953-54. £150-£350/$245-
$645.
Two peanut throzon vases and another vase each with three vertical coloured
bands containing intertwined spirals forming circles, designed by Alfred Read,
1953-54. Left (18 ins) £500-£800/$82541480. Middle: £150-£250/$2454460.
Right: £150-£250/$245-$460.
A peanut shaped vases, a tall bottle vase and another each with three vertical
coloured bands containing intertzvined spirals forming circles, designed by
Alfred Read, 1953-54. Left: £150-£250/$245-$460. Middle: £150-£250/$245-
$460. Right (153/j ins) £300-£600/$49541U0.
A group of Alfred Read designed wares, 1954, with repeated broken bracken
coloured bands on thin parallel lines. Left: £100-£180/$1654335. Middle: £180-
£250/$29S4460. Middle right: £80-£120/$130-$220. Right: £180-000/
$2954555.
A contemporary plate zoith a design of repeated broken bracken coloured bands
on thin parallel lines by Alfred Read (13 ins), 1954. £150-£350/$2454645.
Three contemporary pieces with a colour variation, charcoal, of the broken
repeated bands on thin parallel line designed by Alfred Read, 1954. Left: £100-
£150/$1654275; Plate (13 ins) £150-£350/$245-$645. Right: £200-050/
$3304645.
77
A group of Alfred Read designed vases, 1954, each zvith repeated solid lime
coloured horizontal bands over lines of rectangular motifs. Left: £120-£200/
$2004370. Left middle (15'A ins) £300-£600/$4954U10. Middle: £150-
£250/$245-$460. Right middle: £200-£350/$3304645. Right: £300-£600/
$49541110.
Twocontemporary vesselszvith designs bi/ Alfred Read, 1954, eactnvitll repeated
solid lime coloured horizontal bands over lines of rectangular motifs. Left: £80-
£120/$130-$220. Right (14'A ins) £300-£600/$49541110.
A group of contemporary vases each with a design of alternating vertical
intertwined spirals in charcoal and terra cotta by Alfred Read. 1954. Left
(10'A ins): £250-£450/$410-$830. Front left: £120-£200/$2004370. Middle:
£200-£350/$3304645. Front right: £80-£120/$130-$220. Right: £200-
£300/$3304555.
A group of contemporary vases each zvith a design by Alfred Read, 1954, of
alternating vertical intertwined spirals in charcoal and terracotta. Left: £200-
£350/$330-$645. Front: £120-£200/$200-$370. Back: £200-£400/$330-$740.
Middle right: £100-£150/$1654275. Front right: £80-£120/$1304220. Back
right (107, ins) £200-£350/$330-$645.
A group of contemporary vases each zvitli a design by Alfred Read, 1954, of
alternating vertical intertwined spirals in charcoal and terracotta. Left: £300-
£600/$49541110. Front: £120-£200/$200-$370. Back: £150-£250/$2454460.
Right (157, ins) £300-£600/$495-$1110.
A contemporary plate zvith a design of alternating vertical intertwined spirals
in charcoal and terra cotta by Alfred Read (13 ins), 1954. £150-£350/$245-
$645.
78
Two vases each zvith an alternating vertical intertwined spirals in cliarcoal and
lime designed by Alfred Read, 1954. Left: £200-£350/$3304645. Right
(157, ins) £300-£600/$49541110.
A mixture of Alfred Read designs for contemporary pieces, 1953/4. Back left:
£180-£280/$295-$520. Back middle: £150-£250/S2454460. Back right
(12% ins) £180-£280/$295-$520. Front left: £100-£180/$165-$335. Front
middle: £80-£150/$130-$275. Front right: £120-£200/$2004370.
Three Alfred Read designs, 1953. A 'Constellation' triple serving dish. £30-
£50/550490. A large 'Ripple' serving dish in purbeck and lemon (167, ins
long). £20-£50/$35-$90. An 'Ariadne' plate in terracotta and glacier blue. £40-
£60/5654110.
A group of Alfred Read designs, 1953-54. Ripple jam pot. £20-£35/$35465.
Ariadne plate. £20-£30/$35455. Ariadne cup and saucer. £10-£20/$15-$35.
Ripple plate. £10-£20/$15-$35.
A Ruth Pavely designed plate, 1954, zoith repeated zvavy line and dot motif in
bands on alternating terracotta and turquoise solid coloured bands (13 ins).
£150-£350/$2454645.
Tzoo cucumber shaped disheszvith repeated linesofoutlined leaveson two colour
bands designed by Ruth Pavely, 1954. Top (16'Ams long) £35-£55/$55-$65.
Bottom: £25-£45~/$40485.
79
A cucumber shaped dish with a Ruth Pavely design of stylised leaves in a line
on two colour bands, 1954. £25-£45/$40485.
A Ruth Pavely designed bozvl zvith repeated two colour bands and leaf motifs
in outline over the bands, 1954 (13'Ains). £150-£350/$2454645.
A group of Alfred Read and Guy Sydenham designed monochrome glazed hand
thrown vases and slip-cast freeform wares, 1954-57. Back left, ice green vase,
£100-£200/$165-$370. Back middle, Sky Blue vase £50-£80/$80-$150. Back
right freeform Magnolia White vase (147, ins) £100-£250/$1654460. Front
Black Panther freeform bozvl £30-£60/$50-$U0.
Agroup ofAlfred Read and Guy Sydenham designed monochrome glazed hand
tlirozvn vases and slip-cast freeform wares, 1954-57. Back left: freeform Black
Panther vase (147, ins) £150-£250/$245-$460. Back middle: Sky Blue bottle
vase £150-£250/$2454460. Back right: Lime Green vase £80-£120/$130-$220.
Front: Magnolia White freeform vase £150-£250/$2454460.
A group of Alfred Read and Guy Sydenham designed monochrome glazed hand
thrown vases and slip-cast freeform wares, 1954-57. Back left, Black Panther
freeform vase (8 ins) £100-£150/$165-$275. Back right. Red Indian freeform
vase £150-£250/$245-$460. Front left. Lime Green vase £50-£80/$80-$150.
Front right, hand thrown Ice Green vase £40-£60/$654110.
A hand thrown Alfred Read and
Guy Sydenham designed vasezoith
a Black Panther glaze (107, ins).
£60-£80/$1004150.
80
An unusual and rare hand thrown irregular bowl signed by Guy Sydenham,
painted 19.9.57 (6'A ins high). £350-£650/$575-$1200.
Rare Alfred Read designed vases, 1953/5, probable produced as one-off studio
zoaresfor exhibitions and display. Left (7% ins) £150-£250/$245-$460. Middle:
£200-£300/$3304555. Right: £150-£250/$2454460
A large Poole Pottery display ivall plaque designed by Ann Read, 1956, (14 ins
long). £350-£650/$575-$1200.
Two Ann Read designed display plates (13 ins diameter), early 1950s. Left,
entitled 'Snow Goose' £150-£250/$245-$460. Right, entitled 'Reflections'
£150-£250/$2454460.
A rare Ann Read designed oval zvall plaque (167, ins across), 'Freya', cl958.
One of only three numbered pieces. This is No: 1 and is signed by Ann Read.
£600-£800/$99041480.
Two unusual Ann Read designed plates (10'A ins) reflecting a sgraffito or linocut
styleofwhite lines on a black ground, 1955-56. Left: £100-£150/$1654275.
Right: £150-£250/$2454460.
81
Ruth Pavely designed dish (127, ins), Ravioli, 1956-57. £25-£45/$40-$85. Ruth Pavely designed dish (127, ins), Tears, 1956-57. £25-£45/$40-$85.
Ruth Pavely designed dish (127s ins), Tears, 1956-57. £25-£45/$40485. Ruth Pavely designed dish (12% ins). Tears, 1956-57. £25-£45/$40-$85.
Two Ann Read designed dishes. Basket, 1956-57. Left (7 ins) £20-£35/$35- Two Ruth Pavely designed dishes, 1956-57, Scroll (left, 7 ins) £20-£35/$35-
$65. Right £20-£35/$35-$65. $65. Tears (right) £20-£35/$35-$65.
82
Ruth Pavely designed ashtray, Onions, 1956-57. £80-£120/S130-S220. Three Ruth Pavely vases, 1956-57. Left, Peanut slurped vase with one off trial
pattern £300-£600/$49541110. Middle, freeform Burst vase (147, ins) £300-
£600/$49541U0. Right, freeform Horizontal Rope £300-£600/$495-$1110.
Left, Basket pattern vase designed by Ann Read £300-£600/$495-$1110.
Middle, Harlequin designed by Ruth Pavely £300-£600/S49541110. Right,
Bamboo designed by Ann Read (147, ins) £300-£600/$49541110.
Tzoo Ruth Pavely patterned vases and basket pattern vase by Ann Read, 1956-
57. Left, Totem (147, ins) £300-£600/$49541110. Middle, Basket: £300-£600/
$49541110. Right, One off trial pattern £300-£600/$49541UO.
Tzoo Ruth Pavely patterned vases and Basket pattern by Ann Read, 1956-57.
Left: Scroll (8 ins) £300-£600/$49541110. Middle: Totem: £180-£280/S295-
$520. Right: Basket, £150-£250/$2454460.
Tzvo Ruth Pavely patterned vases, 1956-57. Left: Loops £400-£600/S66041110.
Right: Harlequin (10 ins) £400-£600/$66041110.
83
Afreeformvase,1956-57byRuthPavely,left,Totem(10ins)£400-£600/$660- A Ruth Pavely patterned vase (9 ins high), 1956-57. Scroll pattern, £300-
$1110 and Bamboo by Ann Read, right, £400-£600/$66041110. £600/$495-$U10.
Two Ruth Pavely patterned vases, 1956-57. Left. Harlequin;. Right, Ravioli ARuth Pavely patterned freeform vase (7inshigh), 1956-57. LeftLoops. Right,
(9 ins) each £300-£600/$49541UO. an Ann Read Bamboo patterned vase. Each £300-£600/$49541110.
Three Ruth Pavely patterned vases, 1956-57. Left: Scroll £200-£300/$330- Three Ruth Pavely patterned vases, 1956-57. Left: Scroll (9'A ins) £180-£250/
$555. Middle, Loops (14V, ins) £300-£600/$4954U10. Right: Burst $2954460. Middle: Butterflies, £180-£250/$295-$460. Right: Horizontal Rope
£300-£600/$495-$ 1110. £180-£250/$295-$460.
A collection of small free form vases (4 ins) with Ruth Pavely designs and A Ruth Pavely patterned freeform vase (137, ins long) with an undulating
basket designedly AnnRead,includmg:Laops, Tadpoles, Stars, Totem, Bamboo ribbon trial pattern, 1956-57. £200-£300/$3304555.
and Bursts. Each £20-£45/$35-$85.
84
A collection of Bkohara wares designed by Robert Jefferson, C1964. Left, vase
in blackand blue glaze (8 ins high) £30-£60/$50-$110. Front, kitchen jar £20-
£40/535475. Back: preserve jar £20-£40/$35-$75. Right: preserve jar
£20-£40/$35-$75.
Two spice jars and a storage jar designed by Robert Jefferson with a green
diamond pattern, C1963. Two spice jars £15-£25/$25-$45. Storage jar £20-
£35/$35-$65.
Left a Delphis carved vase, early 1970s £60-£100/$1004185. Middle modern An early Delphis Studio plaque (16 ins), mid 1960s. £250-£400/$410-$740.
Picotee glaze (15'A ins) £60-£100/$100-$185. Right 1960s Delphis £60-
£100151004185.
Time early Delphis Studio zoare pieces, mid to late 1960s. Back (147, ins) £150- An early Delphis Studio plaque (14'A ins), mid to late 1960s. £300-£4Q0/$495-
£300/52454555. Middle: £75-£150/$125-$275. Front: £10-£25/$15-$45. $740.
85
Four early Delphis Studio dishes, mid to late 1960s. Back left (8 ins) £75- Four early Delphis Studio dishes, mid to late 1960s. Back left (8 ins) £75-
£200/$1254370. Back right £10-£35/$15-$65. Front left £10-£35/$15465. £200/$125-$370. Back right £75-£200/$125-$370. Front left £10-£35/$15-$65.
Front right £10-£35/$15465. Front right £10-£35/$15-$20.
ThreeearlyDelphisStudiodishes,midtolatel960s.Left(8ins)£75-£200/$125- ThreeearlyDelphisStudiodishes,midtolatel960s.Left(8ins)£75-£200/$125-
$370. Middle £75-£200/$1254370. Right £10-£35/$15-$65. $370. Middle £75-£200/$125-$370. Right £10-£35/$15465.
An early Delphis shield shaped dish, mid to late 1960s, (17 ins long). £35-
£65/5554120.
Arare Delphis Studio wall plaqueby Pamela Bevans, cl970, depicting a pelican Five small Delphis Studio ware dishes (5 ins), late 1960s. Each betzveen £10-
(16 ins). £300-£500/$4954925. £35/$15-$65.
86
Three Aegean zvare pieces after a design by Leslie Eldsen, early 1970s, using
the silhouette technique. Back circular plate (137, ins) £30-£60/$50-$U0. Front
dish £15-£20/$25435. Right: £20-£40/$35475.
Three Aegean zvare vases, 1970s. Left: £100-£200/$1654370. Middle: £80-
£150/51304275. Right: £80-£150/$1304275.
An Aegean shield shaped dish, 1970s (17 ins long). £40-£60/$654U0.
An Aegean shield shaped dish, 1970s (17 inches long). £20-£40/$35-S75. Three Aegean ware vases, 1970s. Left: £80-£150/S1304275. Middle: £80-
£150/51304275. Right: £60-£100/$1004185.
87
Tzoo Aegean decorated plates, early 1970s. Left, fish plate £20-£40/$35-$75.
Right, landscape plate £20-£40/S35475.
An Aegean zoare circular plate after a design by Leslie Elsden, early 1970s.
£20-£40/$35-$75. A Sea Crest cruet set designed by Toni Morris and Guy
Sydenham, late 1960s. £20-£40/$35475.
Three Aegeanwaredishes,1970s.Left:£10-£25/$15-i
$45. Right: £10-£25/$15445.
i. Middle: £10-£25/$15- An Olympus range vase (97, ins) zvith a design by Ros Sommerfelt, late 1970s.
£80-£120/$130-$220. An Studio red earthenware hand thrown vase, mid 1960s.
£200-£300/$330-$555. An Atlantis Studio vase of gourd form by Guy
Sydenham, mid 1960s. £200-£400/$330-$740.
A collection of Atlantis red earthenware hand thrown and carved gourd-like forms, 1970s, after designs by
Guy Sydenham. Left back (8 ins) £150-£350/$2454645. Middle back: £150-£350/$2454645.. Front left:
£150-£350/$2454645. Middle: £150-£350/$245-$645. Front middle: £150-£350/$2454645. Back right:
£150-£350/$2454645. Right: £150-£350/$245-$645.
A Sienna vase designed by Toni Morris and
Jacqueline Leonard, 1978, with a resist pattern
under spray colours on a white earthenware body
(9 ins). £60-£80/$1004150.
A rare Atlantis Guy Sydenham designed vase (12 ins), 1970s, with monkey faces amongst palm leaves carved around the neck under a wide flared rim of the hand
thrown body. £1500-£2000/$247543700.
89
A Commemorative plate 'The Queen's Silver Jubilee, 1952-1977,' depicting a
lion and a unicorn in the stained glass technique designed by Toni Morris.
Limited edition of 250,12'A ins. £150-£250/$245-$460.
A collection of Beardsley decorated wares, from 1979, designed by Ros
Sommerfelt. Left back, a rare hand-painted table lamp by S Pottinger (10 ins)
£200-£400/$3304740. Left front £30-£50/$50-$90. Right front £30-£50/$50-
$90. Right back, ginger jar and cover £100-£150/$1654275.
A collection of Beardsley decorated wares, from 1979, designed by Ros
Sommerfelt. Left: £30-£50/$50490. Front left £30-£50/$50490. Front right
£30-£50/$50490. Right pair candlesticks £40-£60/$654110. Back (8 ins)
£120-£150/$2004275.
Two Charlotte Mellis Poole Studio Collection dishes, 1997. Left, Blue Wash;
Right, Green Wash. Each £80-£150/$1304275.
A Sir Terry Frost designed dish, Arizona Blue,1996(167,ins). £350-£450/$575-
$830.
Trial plate by Ros Sommerfelt, 1990s (135S ins). £150-£250/$245-$460.
90
• • • M hsl
miliJ A Carter Tiles promotional box for tzvo terracotta
floor tiles. £20-£30/$35-$55.
A Poole Pottery promotional tile, 1950s. Such a tile
canbe seen illustrated aspart of the 1950s exhibition
display stands at the Tea Centre, Regents Street,
London. £25-£35/$40-$65.
A rare early Carter & Co peacock tile with coloured
slip trailing and hand-painting (6 ins square),
c!900. £120-£150/S200-$275.
A rare early Carter & Co fruits and leaves tile with
coloured slip trailing and hand painting 6 ins
square), c!900. £60-£80/$100-$150.
A rare Carter, Stabler & Adams floral hand painted
tile, possibly after a design by Truda Adams (6 ins
square), 1920s. £30-£40/$50-$75.
A rare Carter, Stabler & Adams fruit and foliage
hand painted tile, possibly after a design by Truda
Adams (6 ins square), 1920s. £30-£40/$50-$75.
WJ6
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i
Erl
An early Joseph Roelants designed rectangular
hand painted tile, 1917-20, depicting Dutch
peasants at work from the 'Dutch Scenes' Series.
£80-£120/$130-S220.
An early Joseph Roelants designed hand painted
tile, 1917-20, depicting Dutch peasant from the
'Dutch Scenes' series. £35-£50/$55-$90.
An early Joseph Roelants designed hand painted
tile, 1917-20, depicting Dutch peasants from the
'Dutch Scenes' series. £35-£50/$55-$65.
91
An early Joseph Roelants designed handpainted tile,
1917-20, depicting Dutch peasantsfrom the 'Dutch
Scenes' Series. £35-£50/$55-$90.
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A later Joseph Roelants tile design from the 'Dutch
Scenes'series, polychrome silk-screen printed (6 ins
square), 1950s. £25-£45/$40-$85.
Later Joseph Roelants tile design from the 'Dutch
Scenes' series,polychrome silk-screen print. 1950s.
£25-£45/$40-$S5.
Later Joseph Roelants tile design from the 'Dutch
Scenes' series,polychrome silk-screen print. 1950s.
£25-£45/$40-$85.
Later Joseph Roelants tile design from the 'Dutch
Scenes' series,polychrome silk-screen print. 1950s.
£25-£45/$40-$85.
Later Joseph Roelants tile design from the 'Dutch
Scenes' series,poly chrome silk-screen print. 1950s.
£25-£45/$40-$85.
One of a group of tiles designed by Harold Stabler
for the London Passenger Transport Board to used
on at certain underground train stations, 1938-39.
Moulded in the form of a Swan with a crown around
its neck (6 ins square). £80-£120/$130-$220.
One of a group of tiles designed by Harold Stabler
for the London Passenger Transport Board to used
on at certain underground train stations, 1938-39.
Moulded with the dome of St Paul's and the letters
St P (6 ins square). £80-£120/$130-$220.
An Edward Bawden design from his 'Chase' series,
1920s, (6 ins square). £30-£50/$50-$90.
92
'
Later Joseph Roelants designed tile from the 'Boat'
series, 1950s, polychrome hand-painted. £20-£40/
$35-$75.
Later Joseph Roelants designed tile from the 'Boat'
series, 1950s, polychrome hand-painted. £20-£40/
$35-$75.
Later Joseph Roelants designed tile from the 'Boat'
series, 1950s, polychrome hand-painted. £20-£40/
$35-$75.
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Later Joseph Roelants desigtied tile from the 'Boat'
series, 1950s, polychrome hand-painted. £20-£40/
$35-$75.
Joseph Roelants designed tile from the 'Boat'series,
1950s, polychrome silk-screen printed. £20-£40/
$35-$75.
Joseph Roelants designed tile from the 'Boat' series,
1950s, polychrome silk-screen printed. £20-£40/
$35-$75.
An Edzvard Bazoden design from his 'Sporting'
series, 1920s (5 ins square). £30-£50/$50-$90.
An Edzvard Bazoden design from his 'Sporting'
series, 1920s, (5 ins square). £30-£50/$50-S90.
An Edzvard Bazoden design from his 'Sporting'
series, 1920s, (6 ins square). £30-£50/$50-$90.
93
An Edward Bazoden design from his 'Chase' series, A Cecil Aldin design from a series of 'Dog' tiles, Fish tile design in surrounding Dutch style. Dated
1920s, (6 ins square). £30-£50/$50-$90. 1930s to 1950s. £35-£50/$55490. 1933. £30-£40/$50475.
A Harold Stabler designed tilefrom the 'Water Bird' Harold Stabler designed tiles from the 'Water Bird' Harold Stabler designed tiles from the'Water Bird'
series, 1920s to 1950s. £25-£45/$40485. series, 1920s to 1950s. £25-£45/$40485. series, 1920s to 1950s. £25-£45/$40485.
Chickens, an early handmade tile with canted edges Dora M. Batty designs from the 'Nursery Toys' Dora M. Batty designs from the 'Nursery Toys'
and no mark. It was designed by Truda Adams. £25- series, 1920s to 1950s. £25-£45/$40485. series, 1920s to 1950s. £25-£45/$40485.
£45/540485.
94
Dora M. Batty designs from the 'Nursery Toys' Designs by Dora M. Batty from the 'Nursery Designs by Dora M. Batty from the 'Nursery
series, 1920s to 1950s. £25-£45/$40-$85. Rhymes' series, 1920s to 1950s. £25-£45/$40485. Rhymes' series, 1920s to 1950s. £25-£45/$40-$85.
An Alfred B Read tile design from the 'Play BIM' An Alfred B Read tile design from the 'Play Box' An Alfred B Read tile design from the 'Play Box'
series, 1950s and 60s. £35-£50/$55490. series, 1950s and 60s. £35-£50/$55-$90. series, 1950s and 60s. £35-£50/$55-$90.
Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by
E E Strickland, 1920s to 1950s. £35-£55/S554100. E E Strickland. 1920s to 1950s. £35-£55/5554100. E E Strickland, 1920s to 1950s. £35-£55/$554100.
95
Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by
E £ Strickland, 1920s to 1950s. £35-£55/$554100. E E Strickland, 1920s to 1950s. £35-£55/$554100. E E Strickland,1920s to 1950s. £35-£55/$554100.
Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by Polychrome stencilled 'Farmyard' tile designs by
E E Strickland, 1920s to 1950s. £35-£55/$55-$100. EE Strickland, 1920s to 1950s. £35-£55/$55-$100. E E Strickland, 1920s to 1950s. £35-£55/$554100.
Polychrome stencilled 'Farmyard' tile designs by Susan Williams Ellis designs from the "Sea' series, Susan Williams Ellis designs from the "Sea' series,
E E Strickland, 1920s to 1950s. £35-£55/$554100. 1950s to 1960s. £20-£25/$35-$45. 1950s to 1960s. £20-£25/$35-$45.
96
Three stencilled Reginald Till designs from the 'English Countryside' series, 1950s and 1960s. Each £20-£35/$35-$65.
Tzoo kitchen tile designs, designers unknown, from two such series, 1960s. Each £10-£15/S15-$25.
97
Above: Six white glazed hand tube lined tile designs on a matte black terracotta
unglazed tiles. Designer unknown (4 ins square), 1950s. Each £20-£35/$35-
$65.
Right: Four polychrome hand painted tile designs showing
medieval subjects, 1950s and 1960s. Each £25-£45/S40-$W0.
A collection of early Carter & Co glazed
wares, 1900-25.
Top: left £150-£200/$2454370.
Top middle: £220-£320/$3654590.
Top middle right: £80-£120/$130-$220.
Top right: £120-£180/$200-$335.
Middle left £200-£300/$3304555.
Middle centre: £150-£200/$245-$370.
Middle right: £180-£220/$2954405.
Right: £150-£200/$245-$370.
Bottom: left £200-£300/$3304555.
Bottom middle: £200-£300/$330-$555.
Bottom right: £250-£350/$410-$645
98
A collection of unglazed zvare designed by Truda Adams after designs by James
Radley Young, 1921 to the early 1930s. Top: left £150-£250/$245-$460. Left
mid £80-£120/$1304220. Middle: £60-£90/$1004165. Mid right: £80-£120/
$1304220. Right: £150-£250/$245-$460. Middle: left £200-£300/$3304S55.
Back: £200-£300/$330-5555. Front: £120-£180/52004335. Right: £250-£350/
$4104645. Bottom: back left £250-£350/$410-$645. Back mid: £200-000/
$330-5555. Back right: £300-£400/$4954740. Front: left £150-£250/$245-
5460. Front right: £150-£250/$245-5460.
Acollection of jam potsandz'esselszoith Truda Adams/Carter, 1920s and 1930s,
together zvith a Picotee Ware jam pot (bottom centre left), 1930s. Each between
£40-£80/S654150.
Pierced tray designed by John Adams zvith a Picotee glaze (12 inches long),
1940s. £150-£250/$245-$460. A Love Birds bookend designed by John Adams,
1930s. £350-£450/$5754830. A pair of ship bookends after a design by Harold
Stabler, 1930s. £600-£800/S99041480. A pierced wall plaque designed by Lily
Markus, 1940s, in a Picotee glaze. £200-£400/$330-$740.
A collection of John Adams designed zvall mounts. A sailing yacht £60-
£90/51004165. Three flying ducks £200-£300/S330-$555. Set of three
graduated sailing yachts £300-£400/S495-$740. A seagull £80-£120/S130-
$220. A sailing boat (large) £120-£180/$2004335. Tliree flying blue birds
£200-£300/S3304555.
99
Three graduates flying seagulls £250-£350/$410-$645. Two deer £100-
£150/51654275. A circular brooch £80-£150/$130-$275. A shield shaped
pendant £50-£90/$804165.
A large Truda Carter design floral wall plaque (15 inches diameter) £300-
£500/54954925. A Large Ship zoall plaque after a design by Arthur Bradley,
entitled General Wolfe, late 1930s, (15 inches diameter) £600-£900/$990-
$1665.
A Queen Elizabeth II Coronation Commemorativevase, 1953. £200-£300/$330-
$555. A Poole presentation vase, Poole Swimming Club, 1930s. £180-£280l
$2954520. A Poole Swimming Club Jubilee Gala plate, 1935. £180-£220/$295-
An Ionian circular plate, mid 1970s. £180-£280/52954520. An Aegean charger
depicting a street scene £300-£500/$4954925. A tall carved Delphis vase, late
1960s £350-£450/$575-$830. A small carved Delphis vase £120-£180/$200-
$335. A small Delphis vase £60-£80/$1004150. A small Delphis vase
£80-£120/$1304220. Three moulded trays in the form of a knife £40-£60/$65-
$110 each.
100
A collection of later mainly standard Delphis zvare, 1970 to 1979. Top: left dish
£30-£60/S504100. Middle: small dish £15-£25/$25-$45. Right: vase£60-£90l
$1004165. Middle: two vases £40-£80/565-$150. Long dish £100-£200/$165-
$370. Right: small dish £15-£25/$25-$45. Bottom: left back long dish
£100-£200/$1654370. Front two dishes £15-£25/$25-$45 each. Right: £50-
£90/5804165.
A collection of later standard Delphis zvares, 1969-79. Top: £150-£250/S245-
$460. Middle: left £100-£150/$165-$275. Back: £120-£180/$2004335. Right:
£40-£80/$65-$150. Bottom: left £200-000/53304555. Back: £200-£300/$330-
$555. Right: £150-£250/$245-$460
A collection of Aegean zvares, 1970-79. Top plate £60-£80/$100-$150. Middle
Corfe Castle dish £80-£120/$1304220. Left ship plate £80-£150/$1304275.
Middle Snozvflake plate £25-£45/S40485. Right 'Harry Paye' plate designed
by Toni Morris £150-£250/$245-$460. Right Knight on horseback £120-
£150/52004275. Bottom vase £15-£25/$25-$45.
A collection of Aegean wares, 1969/79. Top: left £40-£80/$65-5150. Middle
landscapeplate£80-£150/$1304275.Rightpair£80-£120/$130-$220.Middle:
left galleon plate £120-£200/$2004370. Middle: vase £50-£90/$804165.
Right: fish plate £60-£100/$100-$185. Bottom: left vase £60-£100/$1004185.
Middle: 'Harry Paye' plate £180-£280/$2954520. Small vase £30-£50/S50-
$90. Right: vase £80-£140/$130-$260.
101
A collection of mainly Atlantis wares, 1972-77. Top: left small vase £40-
£60/5654110. Vase £50-£100/$80-$185. Right: slip trailed plate designed by
John Adams, late 1920s £120-£220/$2004405. Middle: left lamp vase £180-
£250/$154460. Small vase £80-£120/$1304220. Circular plaque £120-£220/
$200-5405. Right: carved rase £100-£200/$l 654370. Bottom: carved vase £80-
£120/$130-$220. Plate £30-£80/$50-$150. Front: small carved vase £30-£50/
$50495. Tall vase £50-£90/$804165. Left: carved vase £40-£90/$65-$165.
A collection of Atlantis zoares mostly designed by Guy Sydenham, 1972-77,
and a wall plaque. Top: left dish £50-£90/$804165. Middle: New Stonrware
coffeepot,1967,£50-£90/$804165.Right:fishdisli£40-£80/$65-$150.Middlc:
left speckle glazed vase £120-£220/$2004405. Middle carved vase £120-
£180/$2004335.Rightdish£50-£90/$804165.Boltom:iiicisedplaqueofCorfe
Caste £60-£100/$100-$185. Front: left dish £40-£60/$65-$110. Right green
speckled and white dish £60-£90/$1004165. Front: right £30-£50/$50-$90.
An Atlantis carved beer keg and mugs, 1970s. £20O-£400/33O-$74O. A collection of Barbara Linley Adams stonewares, introduced from 1972. Top:
small duck £20-£40/$35475. Plate £15-£25/$25-$45. Model of a wren £20-
£40/535475. Seated dog £40-£70/$65-$130. Middle: small plate of an elephant
from the Wildlife Collection, 1982-84, (5 ins) £10-£20/$15-$35. Model of a
Hedgehog £20-£50/$35-$95. Model of a duck £150-£300/$2454555. Bottom:
model of a goose £180-£300/$2954555. Model of an owl £50-£80/$804150.
102
Part of a set of Medieval Calendar plates designed by Toni Morris, limited edition of 1000 of each, 1972-
75. Each between £150-£350/$245-$645. Middle: left A Cathedral plate, 'Christ on The Cross', designed
by Toni Morris in a limited edition of WOO, 1973. £150-£350/$245-$645. Middle: right A commemorative
wallplaque,'TheSaintGeorge',1977-78,designedbyToniMorris.LimitededitionoflQ00.£150-£350/$245-
$645.
A large impressive Delphis Studio dish, early 1960s,
zvith a painted monogram for Tony Morris. Atl63/4
inches in diameter this is certainly one of the largest
dishes of its type. This dish was sold in Sotheby's
Chester auction rooms in about 1987/88 for
£462/$760. Should this particular dish appear on
the market again it would almost certainly sell for
between £3000-£6000/$4950-$11,100. Not a bad
investment in just over ten years.
A large impressive Delphis Studio dish, early 1960s,
zvith a painted monogram for Tony Morris. This
abstract decorated dish is typical of the most sought
after early Delphis which with the added zveight of
the Morris monogram zvouid certainly mean a price
of between £1800-£2800/$2970-$5180. This dish
zvas also sold through the Sotheby's Chester auction
rooms, along zvith tzvo small plates (see latter
illustrations) for £396/$650.
A gilt decorated black vase by Alan White, 1980s.
Burnished gold on a matte black panther glaze
(8'A ins). £60-£90/$100-$165.
A Delphis Studio plate, early to mid 1960s (sold
through Sotheby's Chester). Because this is quite
likely to have been designed and painted by Tony
Morris, compared to known examples and archive
documentation this will have value of between
£1500-£1800/$2475-$3330 even though it is only
8 inches in diameter.
A Delphis Studio plate, 1960s, 8 inches diameter
(sold in Sotheby's Chester). Typical of much of the
early Studio Delphis zvares this piece is not marked
zvith a monogram ivhich affects the price range, as
does the size. £1200-£1500/$1980-$2775.
103
Baker oven-to-tablezvare in celadon green,
designed by Robert Jefferson, 1960s. Notice the
packaging also probably designed by Roben. £30-
£40/$50-$75.
by Jean Cockram zvith a tivo headed bird, a crescent
in betzveen, the top of each zoing painted zvith a
horse's head and the base of the tail with the head
of a bull. The base marked Pembrok (14A ins high).
£800-£1200/$1320-$2320.
A tzvo-handled red earthemvare vase, early 1930s,
decorated zvith a Truda Carter design (6'A ins high).
£600-£800/$9904
A Delphis dish decorated in standardised colours,
1970s, (12 ins long). £20-£30/$35-$55.
A large zoall plaque, 'Sugar for the Bird', designed
by Olive Bourne, 1920s. £100-£150/$165-$275.
A standard Delphis circular dish, 1970s (12 ins
diameter). £20-£30/$35-$55.
A tall Delphis vase designed by Angela Wyburgh,
1968-69, zvith irregular impressions or dimples
around the neck. (15'A inches high). £350-£450/
$575-$830.
Three small standard Delphis dishes, 1970s (the largest 3 ins). £20-£30/$35-$55.
104
Price and Pattern Guide
The following price lists are to be regarded as 'rough' estimated guidelines. The estimated
prices are the sort of pricing to be found on wares at an auction house level and therefore
what might be considered middle level market prices. All estimated prices are for pieces
in 'perfect' condition. The prices indicated may also, in some instances such as the Delphis
and Aegean wares, referto an average price as two identically shaped pieces with seemingly
very similar patterns may have variably values depending on the designer/paintress/painter.
There are inevitably going to be very many factors to take into account when you are
assessing the price level of an item, such as condition, size, effectiveness of the decoration
(Meaning the success or not of the decoration of a particular shape), the paintress/painter,
etc. Equally you will find that the seller will have used similar judgements when deciding
on a price that they would like to obtain for certain pieces, sometimes dependent on how
much they want to sell it, how quickly they want to turn over their stock, etc. At the end
of the day, how much you really want a certain piece or how much you think a piece is
worth is entirely up to you.
Where there are no prices this is either because such wares very rarely appear on the market
and therefore estimating values is somewhat redundant as it value will depend on the
depth of the buyer's pockets/and or the desirability of the item. Other pieces without
estimates may be due to the fact that they are still in production, in which case refer to the
Pottery for current retail prices, or have been made in the last ten years or so and therefore
usually, although not always, have values close to their retail value. Limited Edition pieces
or wares that were only in production for a limited time may well attract various prices.
Sculptures and Figures
Advertising Lion. Modelled lying on a stepped rectangular base, a shield below its chin.
Designer unknown. Used as advertising model between 1905 and the late 1920s. £100-
£150/$165-$290.
Joseph (Jozef) Roelants
Belgian Peasant Folk Modelled by Joseph (Jozef) Roelants, circa 1917. White stoneware
body and white tin glaze (8%ins). £400-£800/$660-$1560.
Mother and Child Modelled by Joseph (Jozef) Roelants, marked 'Carter's Poole, 1916,
Belgium'. White tin glaze over a white stoneware body (5%ins). £300-£600/$495-$1170.
Candleholder Modelled by Joseph (Jozef) Roelants, as a red glazed figure dressed in long
robes carrying a basket, formed into a candle sconce, raised on an unglazed circular domed
stepped base, red stoneware body, marked 'Carters Poole', 'J. Roelants' on the side. (6'/ins).
£400-£800/$660-$1560.
The Flight from Louvain' Modelled by Joseph Roelants, one of numerous figures and
groups exhibited at 1917 British Industries Fair (whereabouts unknown). £600-£1000/$990-
$1950.
105
Harold & Phoebe Stabler
These figures were in the main made and modelled by Harold and Phoebe Stabler using
a buff coloured stoneware clay prior to the couples association with the Poole Pottery in
1921. Many models were later made as slip cast figures at the Poole Pottery. Other works
designed by the Stablers and produced at Poole also exist, such as the polychrome roundel
probably emblematic of Spring exhibited at the British Industries Fair in 1921, the faience
panels modelled in 1924, exhibited at the Wembley Empire Exhibition and later installed
in the mortuary chapel, Mary Abbots, Kensington Infirmary, (the prices given are for Poole
Pottery models).
Picardy Peasants Designed by Phoebe Stabler, 1911. Two figures seated on stepped
rectangular bases (c.10%ins). Later made at Poole from 1922 through to the 1930s. £250-
£450/$410-$875.
Lavender Woman Designed by Phoebe Stabler, 1911. Seated woman holding a baby in
her arms. Later made at Poole from 1922 through to the 1930s. £200-£400/$330-$780.
The Bull Designed by Harold and Phoebe Stabler, 1914. Later made at Poole between
1922 and the early 1930s (13ins). £1600-£2500/$2640-$4875.
The Piping Fawn Roundel designed by Phoebe Stabler, 1914, (plain) (15ins). Later made
in plain and coloured versions at Poole, 1920 to 1930s. £800-£1000/$1320-$1950.
Piping Boy Designed by Phoebe Stabler, 1914-18 (14%ins). Later made at Poole from early
1920s through to the 1930s. £500-£800/$825-$1560.
Shy Designed by Phoebe Stabler, 1914-18. £600-£900/$990-$1755.
Harpy Eagle Designed by Harold Stabler, 1916 (26ins). Introduced at Poole from the mid
1920s through to the 1930s. £500-£800/$825-$1560.
Buster Boy Designed by Phoebe Stabler, 1916. Introduced at Poole from the early 1920s.
£350-£550/$575-$1070.
Buster Girl Designed by Phoebe Stabler, 1916. Introduced at Poole from the early 1920s.
£350-£550/$575-$1070.
Bath Towel Two figures designed by Phoebe Stabler, Introduced at Poole from about 1922.
£250-£350/$410-$680.
Fighting Cock Designed by Harold Stabler, 1923-24 (7J*ins). Later made at Poole. £250-
£400/$410-$780.
The Galleon Designed by Harold Stabler, circa 1925. This was to become synonymous
with of the Poole Pottery. Made of red earthenware and at 20 inches high this should not
be confused with the many later versions. £600-£1100/$990-$2145.
Spring Flowers Wall Medallion Designed by Harold Stabler, circa 1921. Decorated in
Delia Robbia style primary colours (14!*ins). £600-£900/$990-$1755.
Summer Flowers Wall Medallion Designed by Harold Stabler, circa 1921. Decorated in
Delia Robbia style primary colours. £600-£900/$990-$1755.
Bird on Stump Designed by Harold Stabler whilst at the Poole Pottery, 1931 (6ins). £400-
£600/$660-$1170.
106
St George Designed by Harold and Pheobe Stabler, 1922. Part of a commission for the
Rugby School War Memorial. £1500-£3000/$2475-$5850.
The Goat Designed by Harold Stabler, mid 1920s (16ins). (Bronze metal versions of this
model and its companion, The Bear, signed and dated 1928, 14/e inches high, are also
known to exist). £350-£500/$575-$975.
The Bear Designed by Harold Stabler, mid 1920s (16ins). £350-£500/$575-$975.
Rabbit Designed by Harold Stabler, circa 1930. Vellum white glaze. £250-£350/$410-$680.
Eagle Designed by Harold Stabler, circa 1930. Vellum white glaze (71/ins). £500-£800/$825-
$1560.
Other artists
Elegant Figures- Katherine, Elizabeth, Abigail, Eleanor, Victoria and Lillie Designed
by John Bromley, made in white earthenware from 1980-81 and then produced in bone
china from 1982 (10ins). £60-£90/$100-$175.
General - Book-ends and/or wall mounted ornaments
Love birds Designed by John Adams, late 1920s, celadon stoneware (see later version).
£250-£450/$410-$875.
Ship Designed by Harold Stabler, modelled by
Harry Brown, 1926 (10Hins). £350-£500/$575-
$975.
Ship Book-end, smaller version. £250-
£350/$410-$680.
Springbok Book-end, designed by John
Adams. £300-£500/$495-$975.
Basket of Flowers Designed by John Adams,
1930-31 (7ins). £300-£500/$495-$975.
Three Monkeys Designed by Hugh Llewellyn,
1922-23, buff stoneware (7>4ins). Later produced
as a terracotta stoneware slip cast model. £300-
£500/$495-$975.
Model of a Knight Designed by Harold
Brownsword, 1928-30, stoneware, (8ins). £400-
£600/$660-$1170.
Model of an Elephant Designed by Harold
Brownsword, 1930, stoneware. These were later
remodelled in about 1935 in earthenware. £250-
£350/$410-$680.
Carter, Stabler and Adams blue glazed vase designs by John Adams and
the Goat and the Bear book end models by Harold Stabler. Studio
Yearbook, 1927.
107
Ornaments
Love Birds Modelled by Harry Brown, after a design by John Adams, 1935. Decorated
using a Picotee glaze, earthenware body. This has an oval base as opposed to the shaped
and faceted rectangular base of the original design. £350-£450/$575-$875.
Love Birds lamp base This is almost the same model as the Harry Brown version above,
with the addition of a column in the form of a tree trunk, and the base as further detailing.
The overall model is very crisp in design and can be covered a monochrome glaze. £400-
£500/$660-$975.
Zulu cats Seated grey stoneware models of cats in a semi-matt black glaze, designer and
modeller unknown, circa 1934, (8ins high). £250-£450/$410-$875.
Yachts
Racing Yacht Probably designed by John Adams, 1937-38. Two-tone colours. (15Mins).
£120-£160/$200-$310. (10ins). £80-£120/$130-$235. (6Xins). £50-£70/$80-$135. (/Wins).
£30-£50/$50-$95.
The Egeria Schooner. (As above, also made for wall mounting). £180-£260/$295-$505.
Wall vases
Flared Floral with scroll sides, 1930s, (24^ins high). £25-£45/$40-$85. (20 ins high). £20-
£35/$35-$70.
Double pocket scallop outer bowl, 1930s, (8!4ins). £40-£60/$65-$115.
Elongated Floral with scroll sides (very like two above only narrower), 1930s, (12%ins). £45-
£60/$75-$115. (9 ins). £30-£45/$50-$85. (6Xins). £20-£30/$35-$60.
Star shape 1930s, (7 ins). £40-£60/$65-$115.
Elongated scalloped body, with fan-shaped sides, 1930s, (20 ins high). £45-£60/$75-$115.
{8% ins). £35-£45/$55-$85. (6% ins). £25-£35/$40-$70. (5 ins). £35-£45/$55-$85.
Birds
Ducks. Set of three wall mounted flying ducks, designed by John Adams, 1936-39. Pictoee
glaze effects, (largest 11 Mins). £200-£300/$330-$585.
Seagulls Set of three wall mounted flying seagulls, designed by John Adams, 1936-39.
Pictoee glaze effects, (largest 10Jfins). £250-£350/$410-$680.
Blue Birds Set of three flying bluebirds, designed by John Adams, 1936-39. Pictoee glaze
effects, (largest 5 ins). £200-£300/$330-$585.
Love Birds Wall mounted ornament, designed by John Adams, 1936-39. Pictoee glaze
effects. (4ins). £350-£450/$575-$875.
108
Wall Mounted Heads
Alsatian Modelled by Harry Brown, 1930s, (4^ins). £20-£30/$35-$60.
Red Setter Modelled by Harry Brown, 1930s, (4ins). £20-£30/$35-$60.
Terrier Modelled by Harry Brown, 1930s, (4ins). £20-£30/$35-$60.
Greyhound Modelled by Harry Brown, 1930s, (4ins). £20-£30/$35-$60.
Bush Buck Head Designed by C.J. Astley Maberly, modelled by Harry Brown. 1950s. £30-
£40/$50-$80.
Springbok Head Designed by C.J. Astley Maberly, modelled by Harry Brown. 1950s. £30-
£40/$50-$80.
Lion Head Designed by C.J. Astley Maberly, modelled by Harold Brownsword. 1950s. £40-
£80/$65-$155.
Leopard Head Designed by C.J. Astley Maberly, modelled by Harold Brownsword. 1950s.
£40-£80/$65-$155.
Candleabra
Cherub Designed by Harold Brownsword, modelled holding a cornucopia of flowers, 1928-
30. £80-£150/$130-$290.
Berry and Leaf Designed by John Adams, single branch candelabra, 1928-29 (7ins). £80-
£120/$130-$235.
Berry and Leaf Designed by John Adams, triple branch candelabra, circa 1930 (814ins).
£180-£250/$295-$485.
Berry and Leaf Designed by John Adams, two branch candelabra, 1947-49. £120-
£180/$200-$350.
Berry and Leaf Designed by John Adams, four branch candelabra, 1947-49. £250-
£350/$410-$680.
Bird and Floral Possibly designed by John Adams, pierced two branch candelabra, 1933-
37. £180-£220/$295-$430.
Single small spiral Candlestick, in Picotee glaze, late 1930s. £20-£30/$35-$60.
Miscellaneous
Pierced tray Octagonal handled tray depicting a bird in flight amongst flowers and foliage,
1930s, (12ins long). Decorated in Picotee glazes. £150-£250/$245-$485.
Pierced faience wall panel A leaping deer amongst foliage within a frame of pierced
oriental style square tiles, probably designed by John Adams, 1932. £500-£800/$825-
$1560.
Pierced animal wall panel Birds and squirrels in a tree with two bucks at the base, decorated
in Picotee colours, designed by Lily Markus (12^ins). £200-£400/$330-$780.
Pierced faience wall panel Depicting bunches of grapes, foliage amongst repeated scrolls,
109
designed by Reginald Till for the Carters stand at the 1927 Ideal Home Exhibition.
Subsequently relocated into John Adams house at Broadstone. £400-£700/$660-$ 1365.
Shell moulded bowls and dishes - Produced in two tone colours between the 1930s to
the 1950s.
Nautilus- Large, £40-£60/$65-$115. Medium, £25-£35/$40-$70. Small, £15-£20/$25-$40.
Winkle - Large, £30-£50/$50-$95. Medium, £25-£35/$40-$70. Small, £15-£20/$25-$40.
Scallop - Large, £25-£35/$40-$70. Small, £15-£20/$25-$40.
Conch - Large, £25-£40/$40-$80. Medium, £15-£25/$25-$50.
Rounded Shell - £20-£30/$35-$60.
Ashtray - Rowing Boat 1930s, two tone glaze. £20-£30/$35-$60.
Figural octagonal red stoneware, designed by Harold Brownsword, 1928-29. £60-
£100/$100-$195.
Pfates - Octagonal embossed dessert plate with a foliate border, 1930s. £60-£80/$100-
$155.
Circular leaf and berry plate possibly embossed, 1930s. Two sizes. £60-£80/$100-$155.
Brooches Various Truda Carter designs were adapted for small, octagonal, oval and circular
brooches, the designs including flowers, birds amongst flowers some of the brooches being
pierced or moulded. These were made between 1939 and the 1950s. £60-£220/$100-
$430.
Terrier head (1940-53). £20-£40/$35-$80.
Stylised Fish (1990). £20-£40/$35-$80.
Fish Models
Tall Fish Possibly designed by John Adams, 1930s. Pictoee glaze effects. (15ins). £150-
£250/$245-$485.
Tall Fish Possibly designed by John Adams, 1930s. Pictoee glaze effects. (81/ins). £120-
£250/$200-$485.
Tall Fish Mounted on black rectangular stand. Possibly designed by John Adams, 1930s.
Sylvan glaze effects. (17ins). £200-£400/$330-$780.
Long Fish Possibly designed by John Adams, 1930s. Pictoee glaze effects. (7!^ins). £150-
£250/$245-$485.
Small Fish Possibly designed by John Adams, 1930s. Pictoee glaze effects. (4ins). £40-
£80/$65-$155.
Animals
Stylized Rabbit Designer and modeller unknown, made in two sizes, 1930s. £40-£60/$65-
$115.
110
Airedale Dog Designed by John Adams, 1937-38. £30-£60/$50-$115.
Stylized Horses Designed by John Adams, two sizes, mid 1930s. £30-£60/$50-$115.
Model of a Bird Probably designed by John Adams, 1930s. £20-£40/$35-$80.
Seated Lamb Designed by Marjorie Drawbell, late 1940s. £70-£100/$115-$195.
New Forest Colt Designed by Marjorie Drawbell, late 1940s. £80-£120/$130-$235.
Bear Cub Designed by Marjorie Drawbell, late 1940s. This is one of six bear and bear cub
designs from the late 1940s. These models can also be found in experimental glazes. £100-
£200/$165-$390.
Rabbit Designed by Marjorie Drawbell, head turned to the left, late 1940s. £60-£100/$100-
$195.
Gazelle Designed by Marjorie Drawbell, two sizes, (both illustrated in the Decorative Art
Studio Yearbook, 1949) late 1940s. £80-£120/$130-$235.
Dolphin brooch Designed by Robert Jefferson, 1967-present. £50-£90/$80-$175.
Dolphin model Designed by Robert Jefferson, modelled by Tony Morris, small, 1967-
present. £100-£150/$165-$290.
Dolphin model Designed by Robert Jefferson, modelled by Tony Morris, large, 1969-
present. £100-£150/$165-$290.
Dolphin model Designed by Robert Jefferson, modelled by Bert Baggaley, medium, 1979-
present. £80-£120/$130-$235.
Double Dolphin Designed and modelled by Tony Morris, large, 1987-present. £120-
£150/$200-$290.
Double Dolphin Designed and modelled by Tony Morris, small, 1988-present. £60-
£90/$100-$175.
Dolphin Tray Designed and modelled by Tony Morris, 1967-80. £40-£80/$65-$155.
Between 1975 and 1979 Tony Morris designed and modelled seven other similar sized
trays including studies of; a penguin, fish, deer, seagull, squirrel an owl and a zebra. The
latter appears not to be mentioned in the records.
Penguin Designed and modelled by Tony Morris, small, 1975-80. £20-£40/$35-$80.
Penguin Designed and modelled by Tony Morris, large, 1975-80. £30-£60/$50-$115.
Seal Designed and modelled by Tony Morris, 1976-96. £20-£40/$35-$80.
Squirrel Designed and modelled by Tony Morris, 1976-78. £20-£30/$35-$60.
Otter Designed and modelled by Tony Morris, 1976-96. £20-£30/$35-$60.
Seahorse brooch Designed and modelled by Tony Morris, 1979-82. £30-£50/$50-$95.
Whale Designed and modelled by Tony Morris, 1980-81. £30-£50/$50-$95.
Whale Designed and modelled by Tony Morris, second version, 1991-93. £20-£40/$35-
$80.
Trout Designed and modelled by Tony Morris, 1981-82. £30-£50/$50-$95.
111
Trout Designed and modelled by Tony Morris, second version, 1995-present. £30-£50/$50-
$95.
Alligator Designed and modelled by Tony Morris, 1981. £20-£40/$35-$80.
Alligator Designed and modelled by Tony Morris, second version, 1991. £20-£40/$35-
$80.
Old English Sheepdog Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-
$60.
Scottish Terrier Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-$60.
Afghan Hound Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-$60.
Dachshund Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-$60.
Yorkshire Terrier Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-$60.
West Highland Terrier Designed and modelled by Bert Baggaley, 1981. £20-£30/$35-
$60.
Cat Designed by Elaine Williamson and modelled by Alan Pepper, large, 1987-present.
£30-£50/$50-$95.
Cat Designed by Elaine Williamson and modelled by Alan Pepper, small, 1987-present.
£20-£40/$35-$80.
Duck Designed and modelled by Claire Heath, 1995-present. £15-£20/$25-$40.
Leaping Salmon Designed and Modelled by Claire Heath, 1995-present. £20-£50/$35-
$95.
Cats Designed by the Ceramic Undertones Craft Centre, Poole, in buff stoneware, in the
manner of Barbara Linley Adams, 1996. Includes; a large cat seated £20-£40/$35-$80; a
large cat lying £20-£40/$35-$80; two kittens cleaning themselves £10-£20/$15-$40 and
two kittens asleep £10-£20/$15-$40.
Springbok Reworked version of earlier model, issued in blue, green or beige, 1998. £80-
£120/$130-$235.
Elephant Reworked version of earlier model, issued in blue, green or beige, 1998. £80-
£120/$130-$235.
Bear Reworked version of earlier model, issued in blue, green or beige, 1998. £350-
£500/$575-$975.
Galleon Reworked version of earlier model, issued in blue or polychrome, 1998. £600-
£1100/$990-$2145.
Barbara Linley Adams 1972-83
During the eleven years that Barbara was associated with the Poole Pottery she modelled
over 100 hundred animals and birds, the first being a Wren on a branch and varying in size
from a few inches to about 15 inches. All the models were initially made in stoneware, a
few being released in limited editions of 1,000 others made specifically for commission
and after 1990, the first polychrome coloured versions appeared which are still being made.
112
From 1979, some of the models were produced in earthenware and between 1985 and
1986 a series of birds and a few animals were made in bone china.
Over the years several series of embossed and/or incised plates and single plates were
also designed by Barbara Linley Adams, issued mostly in limited editions, all 8>4ins diameter,
including:
Stoneware Animals:
Wren on Branch - 1972-74. £20-£40/$35-$80.
Wren on Apple - 1972-89. £20-£40/$35-$80.
Mouse on Apple - 1972-89. £20-£40/$35-$80.
Canada Goose - Limited edition 500. 1973-78. £50-£100/$80-$195.
Barred Owl - 1973-78. £60-£90/$100-$175.
Mallard Ducking- 1973-78. £20-£40/$35-$80.
Mallard - Limited edition 1000. 1973-84. £50-£100/$80-$195.
Chickadee on pine cone - 1974-89. £20-£40/$35-$80.
Quail - 1974-81. £40-£60/$65-$115.
Pair of Sandpipers - Limited edition 1000. 1974-82. £80-£120/$130-$235.
Pair of Grouse - Limited edition 1000. 1974-82. £80-£120/$130-$235.
Thrush -1975-83. £20-£40/$35-$80.
Little Owl - 1975-89. £30-£50/$50-$95.
Toad- 1975-77. £10-£20/$15-$40.
Mouse crouching - 1975-78. £10-£20/$15-$40.
Mouse sitting - 1975-78. £10-£20/$15-$40.
Mouse standing - 1975-7. £10-£20/$15-$40.
Dormouse awake- 1975-78. £10-£20/$15-$40.
Dormouse asleep - 1975-78. £10-£20/$15-$40.
Rabbit sitting - 1975-78. £15-£30/$25-$60.
Rabbit preening - 1975-78. £15-£30/$25-$60.
Rabbit washing - 1975-78. £15-£30/$25-$60.
Rabbit standing - 1975-78. £15-£30/$25-$60.
Merlin - 1977-89. £40-£60/$65-$115.
Fawn - 1977-84. £800-£1000/$1320-$1950.
Goldcrest- 1977-89. £20-£40/$35-$80.
Squirrel - 1977-82. £30-£50/$50-$95.
Cat - 1978-82. £40-£60/$65-$115.
113
Baby Owl - 1979-89. £20-£40/$35-$80.
Robin on flowerpot - 1979-89. £30-£50/$50-$95.
Tortoise- 1979-89. £20-£30/$35-$60.
Seal -1979-82. £20-£30/$35-$60.
Small Fawn - 1979-89. £30-£50/$50-$95.
Blue Tit - 1980-89. £30-£50/$50-$95.
Hedgehog - 1980-89. £15-£30/$25-$60.
Otter- 1980-82. £30-£50/$50-$95.
Sparrow- 1980-84. £15-£30/$25-$60.
Fox paperweight - 1980-81. £20-£30/$35-$60.
Nuthatch- 1981-89. £30-£50/$50-$95.
Pony- 1981-83. £40-£60/$65-$115.
Robin on brick- 1981-89. £30-£50/$50-$95.
Wren on shoe - 1981-89. £30-£50/$50-$95.
Pair of Badgers - 1981-89. £50-£80/$80-$155.
Harvest Mouse- 1981-89. £10-£20/$15-$40.
Guinea Pig - 1984-89. £15-£25/$25-$50.
Fox- 1985-89. £30-£50/$50-$95.
Hound - 1985-89. £20-£30/$35-$60.
Vole -1985-89. £20-£40/$35-$80.
Stoat- 1987-89. £20-£40/$35-$80.
Puppy on slipper - 1988-89. £30-£50/$50-$95.
Kookaburra- 1984-?. £30-£50/$50-$95.
Puffin- 1974-?. £30-£50/$50-$95.
Miscellaneous wares:
Mouse lamp base- 1982-83. £20-£40/$35-$80.
Bird lamp base - 1982-83. £400-£600/$660-$1170.
Owl & Mice lamp base - 1985-89. £80-£100/$130-$195.
Owl Carving - 1988. £60-£90/$100-$175.
Heron Carving - 1988. £60-£90/$100-$175.
Pony Heads - Shetland, Welsh Mountain, Exmoor, New Forest. 1980-81. £20-£40/$35-
$80.
114
Decoy ducks - Each on oval bases; Pintail, Mallard, Great Crested Grebe, Teal, Tufted
duck, Canada Goose. 1982. £60-£90/$100-$175 each.
The Four Seasons (quatrefoil wall plaques) (9ins x 8ins). 1983-89. £60-£90/$100-$175.
limited Edition Plates:
British Birds - Limited to 5,000. Wren, Robin, Blue tit, Swallow (only produced up to 1981),
Blackbird, Thrush (8Xins). 1978-83. £20-£50/$35-$95.
North American Birds- Limited to 5,000. Mallard, Heron, Horned Owl, Bald Eagle (8>4ins).
1978-82. £20-£50/$35-$95.
Game Birds - Limited to 5,000. Pheasant, Red Grouse, Woodcock, Blackcock (8>4ins). 1982-
84. £20-£50/$35-$95.
Mouse Plates- Mice eating blackberries (1982 only), mouse and butterfly, mouse eating
nut, mouse and snail, harvest mice, mouse chasing leaves (1982 only). 1982-88. (5ins
diameter.). £10-£20/$15-$40.
New Forest - Limited to 5,000. Rabbits, Foal, Deer, Fox (5ins). 1983-88. £10-£20/$15-
$40.
Birds - Limited to 5,000. Baby Robin, Wren, Goldcrest, Owls (5ins). 1982-88. £10-£20/$15-
$40.
Cats - Limited to 5,000. Cat and dragon fly, cat asleep, cat and wool, cat and butterfly
(5ins). 1983-88. £250-£450/$410-$875.
Dogs - Limited to 5,000. Dachshund, Labrador, Beagle, Poodle (5ins). 1983-88. £10-
£20/$15-$40.
Wild Animals - Limited to 5,000. Baby elephant, baby giraffe, lion cub, zebra foal (5ins).
1984-88. £10-£20/$15-$40.
Mouse- Limited to 5,000. Mouse and butterfly, mouse eating nut, mouse and snail, Harvest
mouse (5ins). 1983-88. £10-£20/$15-$40.
Seal plate - Limited to 7,500, for the World Wildlife Fund (8Kins). 1979-82. £20-£50/$35-
$95.
Christmas plates: (all 8%ins).
1978 Santa's Helpers - Limited to 10,000. £100-£200/$165-$390.
1979 Three Wise Men - Limited to 10,000. £100-£200/$165-$390.
1980 Temptation - Limited to 10,000. £100-£200/$165-$390.
1981 Christmas Carol - Limited to 5000. £100-£200/$165-$390.
1982 Waiting for Santa - Limited to 5000. £100-£200/$165-$390.
1983 Playmates - Limited to 5000. £100-£200/$165-$390.
1984 Expectations - Limited to 5000. £100-£200/$165-$390.
1985 Carol Singers - Limited to 5000. £100-£200/$165-$390.
1986 Away in a Manger - Limited to 10,000. £100-£200/$165-$390.
115
Mother's Day plates: (8!4ins.)
1979 Tenderness - Limited to 10,000. £80-£180/$130-$350.
1980 Devotion - Limited to 10,000. £80-£180/$130-$350.
1981 For You - Limited to 5000. £80-£180/$130-$350.
1982 Family Frolics - Limited to 5000. £80-£180/$130-$350.
1983 Patience - Limited to 5000. £80-£180/$130-$350.
1984 Puppy Love - Limited to 5000. £80-£180/$130-$350.
Other Designers
Map plates, designed by Tony Morris between 1963 and 1978. The initial idea for these
largely commission-based wares developed following the Pool Harbour plate design by
Robert Jefferson in 1963. Some of the plates include; Hampshire, Jersey, Isle of Wight,
Dorset, Beaulieu, Isle of Purbeck (designed by Ros Sommerfelt) and Bournemouth
(Oakmead School) amongst others.
Many other locations, buildings and people were commissioned and appear on various
shapes, including small rounded rectangular dishes and rounded triangular formed dishes.
Cathedral plates, designed by Tony Morris, in a Limited Editions of 1000, issued with
certificates and presentation boxes.
Adoration of the Magi 1975. £200-£300/$330-$585.
Christ on the Cross 1975. £200-£300/$330-$585.
Flight into Egypt 1975. £150-£250/$245-$485.
Passion of Christ 1975. £200-£300/$330-$585.
Thomas A'Beckett charger. Limited Edition of 25, issued by Ricemans of Canterbury. £400-
£700/$660-$1365.
Medieval Calender plates, designed by Tony Morris, in a Limited Edition of 1000, issued
with certificates and boxed.
January 1972. £200-£400/$330-$780.
February 1972. £150-£200/$245-$390.
March 1972. £100-£200/$165-$390.
April 1973. £100-£200/$165-$390.
May 1974. £100-£200/$165-$390.
June 1974. £100-£200/$165-$390.
July 1975. £150-£200/$245-$390.
August 1975. £150-£220/$245-$430.
September 1975. £150-£220/$245-$430.
October 1975. £150-£200/$245-$390
116
November 1975. £150-£200/$245-$390.
December 1975. £100-£200/$165-$390.
Pattern Guide to Table Ware Ranges
Traditional tablewares - Possibly designed by John Adams, early 1920s, with floral designs
by Truda Adams.
Purbeck tea ware - Designed by John Adams between 1930-33.
Studland tablewares - Designed by Harold Stabler, 1930.
Everest tea wares - Introduced in the early 1930s.
Picotee tableware - Introduced in the 1930s.
Wimborne ware - Designed by John Adams in the 1940s.
Ariel ware - Introduced in the 1930s.
Streamline tablewares - Designed by John Adams (1935-36). Updated by Alfred Read,
with circular knop design and rimless plates (1953-55). Two-tone ranges renamed Twintone
in the 1950s. Pebble design in black or grey, 1959.
Sherbourne Range - Designed by John Adams in the late 1930s and introduced into
production in 1949.
Dorset range - Variation of Streamline supplied exclusively to Heal & Son, 1936-40.
Oven-to-Table ware- Designed by Robert Jefferson, 1960, launched 1961. Lucullus range,
designed in 1961, launched 1962. Herb Garden, designed in 1961, launched 1963.
Contour tableware - Designed by Robert Jefferson, 1963-64. Desert Song range by Pat
Summers 1960s. Morocco by Tony Morris, 1969.
Compact tableware - Designed by Robert Jefferson, 1965 and available until 1992 in
Parkstone glaze and Broadstone glaze. Lids remodelled by Tony Morris in 1969.
Bokhara - Designed by Tony Morris in 1964. Consisted of jars and boxes with covers and
vases.
Sea Crest tableware accessories - Designed by Tony Morris and Guy Sydenham, 1967-68.
Blue Lace tableware accessories - Designed by Tony Morris and Guy Sydenham, 1967-68.
New Stoneware coffee set - Designed by Guy Sydenham, 1967.
Oven Ware range - Available between 1975 and 1994.
The Style Range - Designed by Robert Jefferson, in production between 1979 and 1988.
The Flair Range - Designed by the Queensberry Hunt Partnership and available from 1983
until 1986.
The Concert Range - Designed by Elaine Williamson and the Poole design team, available
between 1985 to 1992.
Astral - Designed by John Horler (Queensberry Hunt Partnership) available between
1989/1990.
117
Campden - Designed by Robert Welsh, 1989-91.
Next-Late 1980s.
Homespun ovenware - Designed by Alan White in 1989.
Microlyte ware - Designed by Trevor Wright, 1988-90.
Dorset Fruit - Designed by Alan Clarke in 1990.
Morning Glory shape - Designed in 1994 and still being used in 1999. After this
shape/pattern new shape designs, Ranges or Collections as they are sometimes referred
to in the promotional literature, seem to become nameless, there being a reliance on
pattern name instead which can appear on either of the above or indeed new nameless
shapes.
Pattern Designs - 1992 to Present
Arden- 1975-76.
Argosy- 1975-76.
Cyclamen - 1975-76.
Lagoon- 1975-76.
Sherwood- 1975-76.
Vortex- 1975-76.
Legumes- Designed by Sarah Chalmers (freelance), 1992.
Black Horse mug - Commission for Lloyds Bank pic, 1993.
Brush Stokes Floral - Designed by Anita Harris (freelance), 1992.
Gypsy- Designed by Anita Harris (freelance), 1992.
Reflections - Designed by Anita Harris (freelance), 1992.
Vineyard- Designed by Anita Harris (freelance), 1993.
Blue Vine - Designed by Anita Harris (freelance), 1993.
Blue Leaf- Designed by Anita Harris (freelance), 1994.
Green Leaf- Designed by Anita Harris (freelance), 1994.
Barley- Designed by Anita Harris (freelance), 1994, for Whittards, Chelsea.
Winter Vine - Designed by Anita Harris (freelance), 1994.
Vincent- Designed by Anita Harris (freelance), 1994.
Acorn and Oak Leaves - Designed by Anita Harris (freelance), 1994, for the National Trust.
Polka - Designed by Queensberry Hunt, 1994.
Morning Glory- Designed by Nicola Wiehahn, 1994.
Stourhead- Designed by Julie Depledge, forthe National Trust, 1991.
118
Nasturtium - Desinged by Bryony Langworth, 1991.
Alfama - Designed by Anita Harris (freelance), for Tiffany & Co, 1994.
Tiffany Tulips - Designed by Anita Harris (freelance), for Tiffany & Co, 1992.
Tiffany Spice - Designed by Anita Harris (freelance), for Tiffany & Co, 1994.
Peony- Designed by Anita Harris (freelance), for Tiffany & Co, 1994.
New York Toile - Designed by Anita Harris (freelance), for Tiffany & Co, 1994.
Orchard - Designed by Kate Byrne, 1994.
Gold leaf- Introduced 1994.
New England - Designed by Anita Harris (freelance), 1995.
Charlotte - Designed by Anita Harris (freelance), 1995.
Sweet Pea - Designed by Anita Harris (freelance), 1996, made for the National Trust.
Calabash - Designed by Anita Harris (freelance), 1995.
Seed Packets - Introduced 1996 after designs of American seed packets from the late
1800s.
Omega - Designed by Fenella Mallalieu, 1997.
Country Rose - Designed by Lindsey Stevens, 1996, for MFI.
Highland Cattle- Designed by Anita Harris (freelance), 1996.
Sheep - Designed by Anita Harris (freelance), 1996 the above two being designed for
Edinburgh Woollen Mills.
Terracotta - Designed by Rachel Barker and Andrew Brickett with Alan White, 1997.
Fresco - Designed by Rachel Barker and Andrew Brickett, (a colour variation using a chilli
in place of the olive was made for Heal's) 1997.
Cranborne - Designed by Rachel Barker and Andrew Brickett, for Laura Ashley, 1997.
Rustic Wash -Adapted by Anita Harris after a design by Rachel Barker and Andrew Brickett,
for Alders, 1998.
Sahara - Designed by Anita Harris, for Alders, 1998.
Bluebell- Designed by Anita Harris, for Marks & Spencer, 1998.
Woodland White - Designed by Anita Harris, for Marks & Spencer, 1998.
Fleur- Designed by Anita Harris, for Harrods, 1997.
Chickens - Designed by Anita Harris, for BHS (British Home Stores), 1998.
Fresco Wash - Designed by Rachel Barker and Andrew Brickett, 1997.
Citrus Grove- Designed by Anita Harris, for BHS 1998.
Faberge - Designed by Anita Harris, for MFI 1996.
Ferruccio - Designed by Anita Harris, for MFI 1996.
119
Vermont- Designed by Anita Harris, for MFI 1996.
Da Vinci - Designed by Anita Harris, for MFI 1995.
Matisse- Designed Sue Green (Queensberry Hunt Partnership), adapted by Anita Harris,
for MFI 1995.
Bellini - Designed by Anita Harris, for MFI 1995.
Indigo - Designed by Anita Harris, for MFI 1995.
Fraiche- Designed by Anita Harris, adapted forthe airbrush method by Alan Clarke, 1998.
Moonlight- Designed by Alan Clarke, for Alders, 1998.
Clouds - Designed by Alan Clarke, for John Lewis partnership, 1996.
Shadow Stripe - Designed by Alan Clarke, for John Lewis Partnership, 1997.
Glen Baxter- Mugs and plates, Introduced 1995.
Liberty Year mug - 1998, transfer print taken from Liberty & co archive.
Gardening - One of series of mugs for the Museum of Garden History, 1995.
Java - Designed by Anita Harris, 1998.
Late - Designed by Anita Harris, 1998.
Green Leaf- Designed by Anita Harris, 1998.
Pattern Guide to Gift and Ornamental Ware - 1970s to Present
Contrast Design developed by Leslie Elsden, 1977. 19 shapes in the range, mainly vases,
bowls and dishes.
Sienna Designed and developed by Tony Morris and Jacqueline Leonard, 1978. 20 pieces
in the range, mainly vases, bowls and plant pots.
Olympus Designed by Rosalind (Ros) Sommerfelt, 1977. 12 pieces in the range with
Rosalinde and Seashore pattern.
Calypso Developed by Leslie Elsden, 1977-78. 18 pieces in the range.
Domino Introduced in 1976-77. 14 pieces - vases, bowls, plant pots and trays.
Beardsley Designed by Ros Sommerfelt, 1979. Initially 16 pieces, 11 more piece added
in the following two years.
Fleurie Design by Ros Sommerfelt, transfers printed Mucha-style female heads, applied
to Beardsley collection shapes. 1979-80.
The Country Lane Produced between 1979-83 on the Beardsley shapes.
Wild Garden Designed by Elaine Williamson, 1981, produced in the Beardsley shapes.
Bow Bells Designed by Ros Sommerfelt, 1981, produced in the Beardsley shapes.
Wren & Robin Designed by Barbara Linley Adams, 1982-84, produced in the Beardsley
shapes.
120
Kandy Designed by Ros Sommerfelt, 1982-83, produced in the Beardsley shapes.
Camelot plates Lady of Shalott and Arthur and Guinevere designed by Ros Sommerfelt.
Voyage to Avalon and Excalibur designed by Tony Morris, 1977 (8J£ins).
Calypso Queensberry Hunt Partnership, introduced 1984. A 'pastel' range was issued
initially followed by 'plain' and 'lustre' monochrome coloured wares available from 1987.
Later six decorated vases were issued, 1990.
Corinthian Queensberry Hunt Partnership, 1987. Monochrome fluted vases.
Cello vases Queensberry Hunt Partnership, 1990. Four shaped vases with differing
marbleised finishes.
Fruit Cocktail Queensberry Hunt Partnership, 1990. Grecian and trumpet shaped vases
with sponge fruit patterns.
Aztec vases Decorated with a Mary Jones Design pattern by Liane Huthchings, 1988-89.
Studio vases - Athens Designed by Ros Sommerfelt, stylised tulips, 1986. Carnation
Designed by Sara Pearch, 1991. Classic Designed by Anita Harris, 1993.
Black and Gilt vase. Egyptian scene designed by Karen Hickisson on a hand thrown vase
by Alan White, 1977 (19!^ins).
Unnamed dish - Designed by Phillip Sutton, a full female face amongst stylised flowers,
1986 (16ins diameter).
Scenic Plates - There were in excess of 250 different scenes designed on sets of four, six
and eight plates between 1983 and 1994. In all there were over 47 scenic plate sets
produced during this period which would make it prohibitive to try and list them all.
Bone China giftware (interesting to see that Shell dish and Shell vase are still in production
having been introduced in the early 1930s.).
Rosalind Designed by Elaine Williamson and Ros Sommerfelt, 1983-87.
lona Designed by Elaine Williamson and Ros Sommerfelt, 1986-87.
Athena Designed by Elaine Williamson and Ros Sommerfelt, 1986-87.
The Ophelia Designed by Elaine Williamson, 1983-87.
Cymbeline Designed by Elaine Williamson, 1984-87.
Trelissick Designed by Elaine Williamson, 1986-87.
Pattern Guide to Poole Studio Collection - 1995 to Present
Gala Day dish - Designed by Sally Tuffin, exclusive to Poole Pottery club members, 1995.
Strolling Leopard - Year vase, designed by Sally Tuffin, exclusive to club members, 1995.
Parasols vase - Designed by Sally Tuffin, exclusive to club members, 1996.
Parasols dish - Designed by Sally Tuffin, exclusive to club members, 1996.
Gala Day dish - Designed by Sally Tuffin, exclusive to club members, 1996.
The Yaffle bowl - Designed by Sally Tuffin, available to club members, 1996.
121
Forrest Deer - Year vase, designed by Sally Tuffin, exclusive to club members, 1996.
Flags charger - Designed by Sally Tuffin, 1996.
Flags vase and cover - Designed by Sally Tuffin, 1996.
Seagull - Vase, designed by Sally Tuffin, 1996.
Seagull - Large dish, designed by Sally Tuffin, 1996.
Seagull - Medium dish, designed by Sally Tuffin, 1996.
Seagull - Small dish, designed by Sally Tuffin, 1996.
Fish - Vase, designed by Sally Tuffin, 1996.
Fish - Vase and cover, designed by Sally Tuffin, 1996.
Fish - Large dish, designed by Sally Tuffin, 1996.
Fish - Medium dish, designed by Sally Tuffin, 1996.
Fish - Small dish, designed by Sally Tuffin, 1996.
Bird - Vase, designed by Sally Tuffin, 1996.
Bird - Large dish, designed by Sally Tuffin, 1996.
Bird - Medium dish, designed by Sally Tuffin, 1996.
Bird - Small dish, designed by Sally Tuffin, 1996.
Brede Class Lifeboat plate - Year plate, designed by Sally Tuffin, club members, 1997.
Blue Poole - Vase and dish, designed by Sally Tuffin, for British Airways, (this design was
used on a British Airways aircraft) 1997.
Arizona Blue - Designed by Sir Terry Frost, 1996.
Trewellard Red - Designed by Sir Terry Frost, 1996.
Isle of Purbeck series by Karen Brown:-
Old Harry Rocks vase - exclusive to club members (16cms), 1997.
Old Harry Rocks vase - exclusive to club members (8ins), 1998.
Old Harry Rocks vase - (25cm), 1998.
Old Harry Rocks dish - exclusive to club members, 1998.
Old Harry Rocks dish - (25cms), 1998.
Old Harry Rocks dish - (42cm), 1998.
Corfe Castle vase - exclusive to club members (8ins), 1998.
Corfe Castle dish - exclusive to club members, 1998.
Viking Ships vase - exclusive to club members (8ins), 1998.
Viking Ships vase - (25cm), 1998.
Viking Ships dish - exclusive to club members, 1998.
122
Viking Ships dish - (25cm), 1998.
Viking Ships dish - (42cm), limited edition, 1998.
Lotus vase - Athens shape, special offer to members, (8ins), 1998.
Lotus vase - (36cm), 1998.
Lotus vase - (25cm), 1998.
Lotus dish-(17cm), 1998.
Lotus dish - (26cm), 1998.
Lotus dish - (32cm), 1998.
Gala Day Caro vase - Athens shape, special offer to members (8ins), 1998.
Gala Day Caro dish - special offer to members, 1998.
Charlotte Mellis
Blue Wash - Charlotte Mellis, from 1997.
Green Wash - Charlotte Mellis, from 1997.
Blue/Yellow Wash - Charlotte Mellis, from 1997.
Dolphin Tankard - Designed by Alan White for the Poole Collectors Club, 1997.
Carp Dish - Designed by Alan Clarke, limited edition of 250 available exclusively to club
members, 1997.
Janice Tchalenko: Introduced three ranges in 1996.
Yellow Flower - A vase (21cm), three dishes (32cm, 26cm and 17cm) and a ginger jar
(23cm).
Blue Flower - A vase (21 cm), three dishes (32cm, 26cm, and 17cm) and a ginger jar (23cm).
Red Flower-A vase (21cm), three dishes (32cm, 26cm and 17cm) and a ginger jar (23cm).
New Delphis - Designed by Anita Harris and Alan Clarke, together with Janice Tchalenko
using the 'Living Glaze' technique. 1999. A tall flared vase, a ginger jar and cover and a
wall plaque.
Eclipse - Designed by Alan Clarke using the 'Living Glaze' technique. Three dishes, 25cm,
35cm and 42cm, each produced in a limited edition of 1999 pieces of each shape, boxed
with certificates. 1999.
Millennium - Designed by Alan Clarke using the 'Living Glaze' technique. Two dishes,
25cm and 42cm and an Egyptian vase, 35cm high, each being produced in a limited edition
of 2000 pieces boxed with certificates. 1999.
Nursery Wares
1921 appears to be the year in which nursery ware designs were first created at Poole with
designs by Harold Stabler, John and Truda Adams and Dora Batty. As with other potteries
demand fluctuated over the decades with new designs being created following a response
from the public or the introduction of new designers interested in promoting or up-dating
the company's range. The wares themselves range from tea wares such as bowls, mugs,
123
plates and egg-cups through to the large toilet sets. Many of the designs, as previously
mentioned, were also used to decorate tiles and were hand-painted and coloured until
the 1960s.
Waterbirds series - Harold Stabler, circa 1921.
Nursery Toys series - Dora Batty, circa 1921-22.
Animals series - Truda Adams, 1920s.
Nursery Rhymes - Dora Batty, circa 1934.
The Zoo - Eileen McGrath, 1934-35.
The Picnic - Eileen McGrath, 1934-35.
The Circus - Eileen McGrath, 1934-35. (This should not be confused with the tile designs
by Clifford and Rosemary Ellis.)
London Characters - Truda Carter, 1934-35.
Kensington Gardens - Truda Carter, 1934-35.
Toys -Truda Carter, circa 1934.
Play Box-Alfred Read, circa 1935.
Animal set - Robert Jefferson, screen-printed black and white designs on yellow and blue
grounds, 1962.
Nursery Rhymes - Elaine Williamson, transfer printed set, 1979.
My Little Pony set- Elaine Williamson for Hambro Industries , 1985.
The Mad Hatters Tea Party - Sarah Chalmers, boxed sets, 1994.
124
Tile Price Guide
1917 to t h e Present
ITTERY—BRITISH
vr
The following list of tiles by various designers is only meant to be a representative selection
rather than a complete list.
Blue Dutch (£35-£60/$55-$115 each) and Coloured Dutch (£35-£60/$55-$115 each) series
designed by Joseph Roelants, possibly from as early as 1917. There are twelve designs
known in this series produced in blue or coloured versions executed by hand painting.
Later produced using silk-screen printing in the late 1950s and 1960s (later blue version,
£25-£45/$40-$85 Coloured £25-£45/$40-$85).
Blue Boats series (£35-£60/$55-$115). This appears to be a far rarer hand painted design
by Roelant's, probably dating from the same period and was also produced in as a Coloured
Boat series (£35-£60/$55-$115). As with the previous Dutch series, these were also later
to be produced by the silk-screen method (later blue version, £25-£45/$40-$85. Coloured
£25-£45/$40-$85).
Nursery Rhymes (£25-£45/$40-$85) and Nursery Toys (£25-£45/$40-$85) tile series
designed by Dora Batty during the early 1920s. Another nursery series, Playbox (£35-
£60/$55-$115) was designed by A. B. Read although probably slightly later on in the 1930s.
These were also later to be produced using screen prints from the 1950s onwards.
The Chase (£30-£60/$50-$115) and
Sporting (£30-£60/$50-$115) designed by
Edward Bawden in the early 1920s. Both
of these series were hand painted and
could still be ordered in to the 1950s,
although the later editions were very
different.
Waterbirds series designed by Harold
Stabler between 1921-25. Hand painted,
thesedesignscan also be found on Nursery
tablewares, and were still being produced
on tiles in the 1950s.
Farmyard series designed by E. E.
Strickland in about 1922. One of the most
commonly seen and well known of these
early pictorial tiles. There were single tile
or four tile versions, the latter being
ordered for all the Dewhurst and Mac
Fisheries retailers around Britain. For the
single tiles £35-£55/$55-$105 (later
versions £20-£30/$35-$60) and forthe four
tile panels £70-£100/$115-$195 (later
versions £40-£70/$65-$135).
Seagull possibly by Irene Fawkes.
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A selection of Carter & Co Ltd tile designs - Nursery Rhymes by Dora Batty,
Water Birds by Harold Stabler, Flozvers by Truda Adams. Studio Yearbook, 1924.
125
Caller Herrin' by Dora M Batty. (£35-£50/$55-$95)
Fishing Smacks by Minnie McLeish. (£35-£50/$55-$95)
Three tile designs developed as a consequence of the Farmyard series, all designed between
1921 and 1925 and made for use by Mac Fisheries. These designs along with four others
were used on pot lids. All three were stencilled.
The Ship designed by Harold Stabler, circa 1925, using a faience tile covered with silver
lustre, (8ins square), (£60-£90/$100-$175).
Dairy tile panels designed by Arthur Nickols, 1920s, (£50-£80/$80-$155).
Fish designed by Arthur Nickols, 1930s, (£30-£50/$50-$95).
Alphabet series, possibly designed by Reginald Till, 1920s. Tube-lined (£50-£80/$80-$155).
Pelican designed by Truda Carter, 1920s, (£40-£70/$65-$135).
Flowers designed by Truda Carter and Reginald Till, 1920s, (£600-£900/$990-$1755). Truda
Carter adapting her colourful designs from her tablewares for tiles. During this period there
were various floral tile series, two being produced by Reginald Till and others by Truda
Carter, with other versions designs into the 1950s.
Grapes & Vine designed by Erna Manners or Truda Adams, early 1920s. (£50-£80/$80-
$155)
W. H. Smith promotional tile panels, dating from the 1920s. Designer unknown. (£100-
£200/$165-$390).
Florida designed by Reginald Till in the 1920s. Sunburst effect motif from a combination
of green, blue and/or Salmon being thrown onto a thick buff tile. (£50-£80/$80-$155)
London Underground tiles designed by Harold Stabler between 1938-39. In all there were
eighteen designs each moulded in low relief depicting well known buildings; St Paul's,
House of Parliament, etc as well as motifs such as the circle and line design of the London
Underground. (£60-£120/$100-$235)
Dogs tile designs by Cecil Aldin, (£35-£50/$55-$95 each. Six in all). Freelance artists were
used frequently at Carter & Co as has already been seen, and these, dating from the 1930s,
are typical examples. Unusually the designs appear with the artist's facsimile signature.
Poole Swimming Club stoneware plaque by Reginald Till or A Nikols, dating from 1932.
(£80-£180/$130-$350)
Dolphin leaping over bottle kiln designed by A Nikols, 1930s. (£80-£120/$130-$235).
Fishes tube-lined panel, 1930s, designer unknown. (£150-£250/$245-$485)
Golfing tile panel, 1930s, stencilled designer unknown. (£150-£250/$245-$485)
Children's Clock face unknown designer, c.1935 (£100-£200/$165-$390). In 1995 a rare
tube-lined fourtile panel clock face was discovered. The numbers appeared against variously
coloured circular balloon-like images, with the body of a clown standing in the middle,
wearing a red peaked hat and a star studded yellow ground costume. The clown had no
arms, as these would have been made out of metal to form the hands of the clock. As the
clock was not pierced in the center for the spindle to protrude through to rotate the arms,
I think it is safe to assume that this particular set of tiles never fulfilled their ultimate task.
126
Hospital Tiling
The Lord Mayor Treloar Hospital, Alton, Hants.
Eight tiled fire places, installed in the 1930s. These consisted of a central picture of four
tiles with individual tiles. The designs were executed by E.E. Strickland and Joseph Roelants
and are taken from the Farmyard series by Strickland and the Dutch figures in rural scenes
by Roelants.
Hemel Hempstead Hospital, West Herts.
Installed in the children's ward in about 1939, there are ten panels depicting animals wearing
various human clothes, hats, bow ties, etc. Eight panels are 1' 6' by 1' and two are 3' 6"
by 1'. They depict a fox, a piglet, a tortoise and hare, a giraffe, a camel, an elephant, a
rhino, an owl, a duck and a cock and hen.
Heswell Hospital, Merseyside.
There are various manufacturers involved in the three areas of tiling here, Carters seem
likely to have carried out some of the animal and children designs in one of the rooms.
The hospital closed in 1985 and the tiling has hopefully been re-installed in the Liverpool
Alder Hey hospital for Children by this time.
Bolingbroke Hospital, Wandsworth, London.
The main tiling here is the thirteen Simpson Nursery Rhyme panels. There are four smaller
panels by Carters, dating from 1925-6, of animals in human clothing. Alligator in black
trousers and a blue coat, Lion in blue trousers and a green coat, Monkey riding an ostrich
and an Alligator in red trousers and a grey jacket.
King Edward Memorial Hospital, Ealing, London.
There are some fifteen panels, dating from 1934, painted by Phyllis Butler, senior paintress
atthe time, depicting various nursery rhymes,
a biblical panel and two panels of the Royal
Princesses, Elizabeth and Margaret thatched
cottage. The largest panel being 8' by 5' and
the smallest 4' 6" by 4'.
Guys Hospital, London
There are some twenty-six panels still in situ
in part of the hospital no longer used for
children, all the panels depict nursery rhymes
themes and date from the early 1930s.
The Middlesex Hospital, London.
Described as probably Carters biggest single
contract, the commission called forthe new
West Wing of the Middlesex Hospital, dating
from 1930, to have almost all of its wall, floors
and corridors tiled by Carters. There are
nineteen pictorial panels of village scenes,
animals, pets and nursery rhymes, with the
largest panel All the Fun of the Fair, designed
by a Mr Hadyn Jensen, almost covering a
whole wall, measuring 26' by 7' 6". This huge
panel also used a technique never used at
Carters before described In the Carters 1935
CARTER Hand Printed Tiling
iit Haiaault Forest Secondan Sdiool, Essex,
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The iilc<hn»n on ihe left bttCd m o'»iuik.imii »iili pl.im
tikN of Ihc iLiiltr colour lot (hi- txncrjl « j[l traOWSBt, J»d
Mother band pttated tfla i . u^d ui (tmn ihc (Has, The
tik. mra deviLined and atr.mp.-d hj I'cjjty tafia,
CARTER M
Peggy Angus hand printed tile design and scheme for the Hainault Forest
Secondary School, Essex. Design magazine, 1953.
127
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mm Peggy Angus tile designs for Carter & Co Ltd, making use of a simple diagonal pattern design in different colours
which can be used to produce numerous geometric panels. Design magazine, 1953.
hospital tile brochure as
"Flat masses of bright
colours were desired,
masses applied in what
we think of as the poster
manner "
Poole District General
Hospital, Poole, Dorset
In 1970, intheirown back
garden, although under
the name of Pilkington,
Carters were able to
contribute to the main
entrance corridor with a
series of pictures of stylised flowers in shades of brown against off white tiles when the
new hospital was built.
Kent and Sussex Hospital, Tunbridge Wells, Kent.
Completed in about 1934 when the building was opened, there would appear to have
been almost thirty panels in this scheme which consisted of a main panel of a big Noah's
Ark, 5' 6" by 3' 6", with numerous smaller panels of various animals and nursery rhymes.
Maesteg General Hospital, Maesteg, West Glamorgan.
The children's ward was built in 1926 and the tiling completed in 1936. The tile scheme
consisted of a variety of animals in human clothing, painted in a two tile high frieze bordered
by dark blue tiles, heading for a large Ark at the end of the ward. One other large panel
depicts The Old Woman who lived in a Shoe.
St Helier Maternity Hospital, St Helier, Jersey.
Here are two panels unlike previous Carters designs. Dated 1925 and initialled J.R.Y for
James Radley Young, the two panels depict Christ blessing children and a girl gazing at a
fairy wedding with hares and elves.
Tile Price Lists
The following list of tiles by various designers
is only meant to be a representative selection
rather than a complete list.
1950s-Picture Tiles
Sea Plants By Phyllis Butler £10-£15/$15-$30
each
Sea By Susan Williams-Ellis. £10-£15/$15-
$30 each
Nursery Toys By Dora Batty. £15-£30/$25-
$60 each
Sporting By Edward Bawden. £15-£30/$25-
$60 each
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Clifford and Rosemary Ellis Circus tile designs, hand-painted, for Carter &
Co Ltd. Design magazine, 1953.
128
Dutch Scenes By Joseph Roelants. £40-£80/$65-$155 each
Play Box By Alfred Read. £20-£40/$35-$80 each
Fish By A. Nickols. £20-£40/$35-$80 each
English Countryside By Reginald Till £20-£35/$35-$70 each
Farmyard By E. E. Strickland. £10-£20/$15-$40 each
Flowers By Truda Carter and Reginald Till. £10-£20/$15-$40 each
Kitchen By Alfred Read. £10-£20/$15-$40 each
Pub Games By Reginald Till. £15-£30/$25-$60 each
Chase By Edward Bawden. £30-£60/$50-$115 each
Water Birds By Harold Stabler. £20-£40/$35-$80 each
Dogs By Cecil Aldin. £20-£40/$35-$80 each
Ships By Reginald Till. £10-£15/$15-$30 each
Nursery Rhymes By Dora Batty. £15-£30/$25-$60 each
The Circus designed by Clifford and Rosemary Ellis, early 1950s. This series included a
sealion, a kangaroo, a zebra, a horse two trapeze artists and two clowns, with a four-tile
central panel of a female figure standing on the back of a horse with a ring master, all within
circus ring. Single tile - £15-£30/$25-$60. Panel - £40-£80/$65-$155.
1950s
Peggy Angus - 'Classic Range'. Silk screen printed and designed between 1950-55. Still
in use in the late 1960's. Black and white repeat designs of circular abstract motifs. Also
included are designs using simple a wavy line, large dots, diagonally divided pattern
produced in various colour-ways (CPR608 to CPR611). £30-£50/$50-$95.
Commemorative. 1953. Screen printed, Coronation of Queen Elizabeth II. (£20-£30/$35-
$60)
Cupid & Dolphin 1950s. Screen printed, designer unknown. (£20-£30/$35-$60)
1958-64
Silk screen prints by various artists internal and freelance, including:
Ivor Kamlish - sgraffito cross-hatch design (PR484), horizontal broken bands (PR521),
irregular lines of dots (PR490), repeated atomic motif (PR517), segmented lines in bands
with line through the middle of each band (PR486), two segmented compressed circle
(PR414) and square divided into sixteen squares each with six rectangular sections (PR522).
All produced in various colours, 1955-65. £30-£60/$50-$115.
Robert Nicholson - Freelance. Vertical lines crossed with single and double lines, better
known as 'barbwire' design (PR378). Produced in various colours, c1955. £30-£60/$50-
$115.
A. B. Read - Repeated small black outlined diamond motifs inside similar shapes in light
and shade (PR302). £30-£60/$50-$115.
129
Gordon Cullen - Freelance. Light and shade twisted vertical bands on shaded ground
(PR127) and a stylised floral diagonal repeat pattern (PR268), 1958-60. £30-£60/$50-$115.
Laurence Scarfe - Freelance. Produced four geometric repeat patterns of kaleidoscopic
form, as part of the Classic Range (CPR616 to CPR619), 1960. £30-£60/$50-$115.
Textured Tiles
Designs for these were initially created by Ivor Kamlish (TS1 & TS2) and later added to
by AJ3. Read. These were produced by moulding the surface pattern in the form of repeated
rectangular depressions with diagonal sections (TS1) creating light and shade areas within
each rectangular and repeated lines of ovals (TS2) again creating light and dark areas, each
changing with the direction of the light source. Both having a value of £20-£50/$35-$95.
1960s - Picture Tiles
Fauna by Sylvia Ball. £10-£15/$15-$30 each
Lakeland by Phyllis Butler. £10-£15/$15-$30 each
Pub Games by Reginald Till. £15-£20/$25-$40 each
Fish by A. Nickols. £15-£20/$25-$40 each
Cookery by Claire Wallis. £10-£15/$15-$30 each
Field Grasses by Phyllis Butler. £15-£25/$25-$50 each
English Countryside by Reginald Till. £10-£15/$15-$30 each
Sea Plants by Phyllis Butler. £10-£15/$15-$30 each
Pet Dogs by Margaret Matthews. £10-£15/$15-$30 each
Flora by Phyllis Butler. £10-£15/$15-$30 each
Veteran Cars by Margaret Matthews. £10-£15/$15-$30 each
Herbs by Margaret Matthews. £10-£15/$15-$30 each
Sea by Susan Williams-Ellis. £10-£15/$15-$30 each
Farmyard by E. E. Strickland. £35-£55/$55-$105 each
Birds by Peggy Angus.£350-£450/$575-$875 each
1964-Picture Tiles
Several of the above 'Picture Tile' series were still being advertised; Fauna, Veteran Cars,
Herbs and Field Grasses. New designs included a set of Zodiac tiles (£6-£10/$10-
$20),Alphabet tiles (£10-£15/$15-$30) as well as new designs forthe Kitchen (£10-£15/$15-
$30), Carriages (£10-£15/$15-$30), Ships (£10-£15/$15-$30), English Countryside
(£10-£15/$15-$30), Fishes (£15-£20/$25-$40) and others all making use of the silk screen
process. New designers including Una Hart, Brian Moore and Daphne Padden, amongst
others, created some of these designs.
The tiles mentioned above were all very much part of everyday production, being produced
in large numbers for both retail outlets as well as for architectural commissions. Special
commissions also played a large part of the output of the Hamworthy decorative wares
130
departments. Individual productions varied from those designed and modelled by Tony
Morris in the Faience department, where he produced various sized slabs modelled in lowrelief
with fish, plankton shells, and other crustacean (1967) to individual rectangular faience
tiles with unique abstract hand painted patterns, which can still be seen on the outside
walls of the pottery (1963). Other tile designs by Tony Morris include a recently discovered
framed twenty-eight tile panel decorated with a wonderful abstract design using Delphis
colouring and possibly dates from the late 1960s.
1970s
Mask series by Leslie Elsden (£15-£30/$25-$60). Printed in black on a white ground. The
same designer also created a series of scenes or views of streets, rivers, etc making use of
a red stoneware body (£10-£15/$15-$30). These dated to between 1977 to 1979.
Delphis tiles - painted by Janet Laird, c1972. £15-£30/$25-$60.
131
Marks
As with any other long standing major ceramic manufacturer the number of marks used
throughout it's long history are extremely varied and often inaccurate in terms of dating.
Marks supposedly stopped in a certain year, especially printed ones, continued to be used
along side new marks for many months and sometimes years. At Poole they used the whole
gambit of methods of marking from impressed stamps, hand incised marks, printed, painted,
stencilled and screen printed. Some marks were specifically used on only one type or range
of wares and even for only one year whilst other marks were in use for 30 or 40 years.
Just to add to the complexity there are several other marks relating to the shape, thrower,
paintresses, designers, trial marks and more. In recent years the identification and listing
of the painters and paintresses has become increasingly important to many collectors. No
longer just satisfied with collecting a certain type, range or style of ware, many collectors
are now seeking out certain painters and/or paintresses work in much the same manner
as some of the Moorcroft pottery collectors.
For some collectors and dealers the two most useful marks are the shape number and the
pattern code. It is only through a combination of letters and/or numbers that patterns and
their various colour ways can be identified as specific pattern names were not generally
used at Poole. Thus '343/FSU' equates to a angular waisted double cone vase decorated
with 'stars' motifs of a certain colour. Inevitably, more recognisable and understandable
names have become associated with many of the patterns, especially those associated
with the 1950s Contemporary designs of Alfred Read, Ann Read and Ruth Pavely namely
Butterflies, Bamboo, Loops, Tadpoles, Basket weave, etc.
For many years one of the tricks of the trade as an aid to
identifying the approximate date of some of the Traditional
ware has been the use of a pink coloured glaze inside and
on the base of pieces. The use of this tinted glaze has been
generally accepted to indicate a mid to late 1930s date.
After this time Traditional ware had a white interior glaze
• . * r i | i r w / - \ . l IJJ - J . r £ 1951 saw the introduction of a new mark that was
and then from the late 1960S thrOUgh the introduction Of again associated with a change in management and
modern machinery and t h e refinement of raw materials staff at Pooie, namely Luaen Myers and Alfred
Read, as well as change in artistic direction. The
initial mark can be seen in the centre of this
impressed mark, namely POOLE over a Dolphin
zvith ENGLAND beneath used from 1951 to 1955.
The use of a Dolphin as part of a mark ivas first
used on early lustre wares beizveen 1900 and 1908.
This mark, however, was not only used on the base
of the zvares but zvas also incorporated into all the
advertising and promotional brochures, letter heads
and anywhere else it could be used as part of a new
corporate image. The mark illustrated here is the
second version with Eland Made, Hand Decorated
outside a circle and ivas used from 1952 to 1955.
The use of these words outside the mark is indicatizie
of the nezv higher profile status that the management
at Poole zvanted to project, at the same time
reflecting public interest and demand for things
'Hand Made'.
Carter & Co - Initially incised from 1900 and then
used as an impressed mark from about 1908 zvith
the addition of'Poole' in the mark. This impressed
mark zvas used until 1921, the end of the first
significant period at the Carter/Poole pottery after
zvhich the new partnership of Cater, Stabler and
Adams evolved.
Carter, Stabler, Adams. Poole. England. This mark
formed the bases for a new set of impressed marks
used between 1921 and 1934, zvith one variation;
POOLE over ENGLAND within a rectangle
becoming a standard mark, although zvith later
improvements, still in use today.
132
these wares generally began to become thinner and the glaze more matte and consistent.
Amongst all the marks there are a few essential marks that indicate important or significant
alterations to the marks used at Poole which used with later variations for significant periods
of time.
This hand painted mark, used between 1956 and
1959, came about as a consequence of the use of a
black panther glaze.
From 1955 the 1951 mark zvas modernised zvith a
slicker looking Dolphin and alteration to the
graphics of the lettering. This mark and it's
variations zvere in use until 1969. This mark or
rather variations of it, zvas still in use in the late
1960s until 1972 were it can be found on the new
ranges of Oven to Tablewares amongst other zvares.
Another change in staff zvith the arrival of Robert
Jefferson as designer sazv another transformation
in the mark. The changes, released in 1962, involved
a further updating of the Dolphin mark with a new
more realistic drawing and the incorporation of the
zvord Studio into the mark. The use of the word
Studio emphasises still further the type of zvork
initiated through the zvork of Alfred Read, Guy
Sydenham, Ann Read and Ruth Paziely. This
particular mark zvith a line and england under the
zvord Studio zvas used between 1964 and 1966. The
initial mark of the re-drazvn dolphin between
POOLE and STUDIO zvas use from 1962 to 1964.
Traditional zvares and other zvares that formed the
main line of production used the same mark but
zvith the zvord England replacing Studio. This mark
being used between 1966 and 1980.
This impressed mark, POOLE ENGLAND, seen
here on a piece of Atlantis zvare, ivas initially used
in 1974 and is still being used today. It is very much
a continuation of a mark used on Poole since the
mid 1920s.
As if to emphasis the winding down of the Studio
and Hand Craft operations at Poole zvith the
departure of various members of the Studio, a
completely new approach to marking Poole zvas
instigated in the late 1970s. Transfer printing now
took over from traditional impressed and/or
stamped marks. This change inaugurated a whole
plethora of marks and variations that zvere possible
through this method. Individually specific and/or
limited runs of marks could be made zvith greater
complexity. What is interesting to note is the return
of the previous 1959 sleek dolphin motif as if to
emphasis the longevity and trustworthiness of the
old firm. This mark is one of the many transfer
printed marks is use in more recent years. Also
noteworthy is the return to more traditional use of
caligraphy.
POOLE STUDIO
fir
a
ROYAL ACADEMY OF ARTS
1995 sazv the re-introduction of Studio ware at
Poole through the nezo Poole Studio after a twentyfive
year gap. This followed three years after the
Management buy-out. Sally Tuffin fresh from
transforming the fortunes of the Moorcroft Pottery
between 1986 and 1992 zvas the first to create the
nezv look at Poole. This mark dating from 1996,
says much for the renewed emphasis and dynamism
at Poole. Sir Terry Frost, RA, zvas asked to develop
two designs for a limited production of 100 to be
sold at theRoyal Academyof'Arts.The useoflimited
production pieces reflects the demand of the
burgeoning collectors market of the 1980s and the
fact that such a major fine artist zvas asked and
agreed to carry out the commission extends a long
tradition at Poole pottery. Another major
contemporary artist zvorkingwith Poole at this time
is Janice Tchalenko.
133
Market Report 2014
The market for Poole tends to fall in to the early period, pre 60s, and the modernist period of the 1960s
and 70s. When one era falls out of favour, the other seems to come up. Overall though, it is the early
period to which most value (and effort) is attached. Freehand painted, Poole is exception in that its
location is well outside the Potteries (though recently it has relocated there), and the designs are
distinctive and elegant.
In 2013, the following piece sold at Cottees and was reported thus by the Antiques Trades Gazzette:
‘Arousing more immediate interest than anything when Shapes’ catalogue went online, this 16in (40cm)
tall Deco period Poole pottery vase bore the impressed mark of Carter Stabler and Adams and the
monogram of Truda Carter.
Estimated at £700-1000, it sold to a collector over the phone for £7000 at the Edinburgh sale on July 6
[2013].
That is a very healthy price these days, albeit way short of the record £16,000 set back in 2004 by Poole
Pottery specialists Cottees of Wareham for a c.1926 vase painted by Ann Hatchard. Even at the height of
the market, that price was described as 'phenomenal' by auctioneer John Condie and there has been
nothing near it since.
Below are auction prices for more mundane pieces, inevitably from the eBay auction site. Ebay attracts
misrepresentation and poor service, with many a sorry tale to tell in relation to quality and accuracy of
description. Hence, good pieces of Poole should go to a proper auction.
2014 Internet Sales of Poole Pottery
10.5"
Poole
Studio
Plate
(1964-­‐66)
£225.00
14"
Poole
Pottery
Dish
-­‐
SIGNED
by
Irene
Kerton
£49.99
18"
POOLE
BLUE
ABODE
RIDGE
VASE
NEW
WITH
LABELS
£57.00
1930s
Poole
Ruth
Pavely
Hors
D'Oeuvres
Set
Charity
item
£55.00
1950's
POOLE
Pottery
FREEFORM
Alfred
Read
Flower
Ring
Patt.
PR.B
£65.00
1950's
POOLE
Pottery
FREEFORM
Alfred
Read
Flower
Ring
Patt.
PR.B
£72.01
1950's
POOLE
Pottery
FREEFORM
Alfred
Read
Flower
Ring
Patt.
PR.B
£65.00
1950s
POOLE
FREEFORM
PJL
PATTERN
BOWL
PERFECT
£120.00
1950s
POOLE
FREEFORM
PLT
PATTERN
VASE
£122.00
1950s
POOLE
FREEFORM
PLT
PATTERN
VASE
£140.00
1950s
POOLE
FREEFORM
PY
PATTERN
BOWL
PERFECT
£120.00
1950s
RETRO
POOLE
FREEFORM
BLACK
PANTHER
VASE
PERFECT
CONDITION
£67.67
30's
POOLE
ART
POTTERY
SYLVAN
GLAZE
VASE
BY
JOHN
ADAMS
£61.00
50's
Poole
Pottery
'Bamboo'
Freeform
Vase
Ann
&
Alfred
Read
&
Guy
Sydenham
£155.00
50s
poole
freeform
footed
display
bowl
'plc
pattern'.
painted
by
gwen
haskins
£54.00
50s
poole
freeform
lamp
base
'plt
pattern'
by
alfred
read.
£49.99
60s
POOLE
POTTERY
GUERNSEY
MAP
PLATE
-­‐
MID
CENTURY
MODERN
POTTERY
£45.00
60s
POOLE
POTTERY
STUDIO
RANGE
DECORATED
BY
GERALDINE
O'MEARA
COLOURING
£44.99
60s/70s
Poole
Pottery
LARGE
10.3ins
BOWL
Shape
4
Andree
Fontana?
£55.00
8"
HAND
PAINTED
VINTAGE
POOLE
POTTERY
VASE
£75.05
8"
HAND
PAINTED
VINTAGE
POOLE
POTTERY
VASE
£75.05
8"
Poole
Studio
Plate
(TV
mark
1962-­‐64)
£108.71
A
class
hand
made
British
product
from
this
studio
£49.20
A
POOLE
POTTERY
ELEPHANT
FIGURE
£60.00
A
STYLISH
POOLE
ART
DECO
BLUE
BIRD
POTTERY
VASE
C.1935
£65.00
Abstract
Poole
Pottery
Delphis
Charger
14
inch
Shape
5
Jean
Millership
1969
£75.00
Alan
Clarke
-­‐
Poole
Pottery
-­‐
Planet
Plate
10.5"
-­‐
Ltd
Edition
-­‐
Earth
£149.99
Alan
Clarke
-­‐
Poole
Pottery
-­‐
Planet
Plate
10.5"
-­‐
Ltd
Edition
-­‐
Neptune
£149.99
Alan
Clarke
(Ex
Poole)
large
Timeslip
charger
-­‐
40cm
£56.00
Alan
Clarke
(Ex
Poole)
large
Timeslip
charger
-­‐
40cm
PAYPAL
ONLY/UK
ONLY
£56.00
AN
ART
DECO
POOLE
POTTERY
GEOMETRIC
DESIGN
EGG
CUP
1930's
£44.00
and
Poole
Pottery
Vase,
Atlantis
range.
Throwers
signature
on
base
£77.00
Anita
Harris
-­‐
Exciting
New
Enamel
&
Silver
Fashion
Jewellery
-­‐
Oval
Pendant
Anita
Harris
Amsterdam
Oval
Vase
19cm
Tall
-­‐
Ex
Moorcroft
Poole
Pottery
£60.00
Anita
Harris
Amsterdam
Oval
Vase
19cm
Tall
-­‐
Ex
Moorcroft
Poole
Pottery
£60.00
Anita
Harris
Art
Pottery
-­‐
Another
incredible
'Twilight'
piece-­‐17cm
Skittle
Vase
Anita
Harris
Art
Pottery
-­‐
Twilight
'
17cm
Bella
Vase.
£44.25
Anita
Harris
Aura
Trial
12.12.12
Peardrop
Vase
41cm
Tall
-­‐
Ex
Moorcroft
Poole
£125.00
Anita
Harris
England
'Sailing
Home'
teardrop
vase
Poole/Moorcroft
link
-­‐
signed
£87.50
Anita
Harris
England
'Sailing
Home'
teardrop
vase
Poole/Moorcroft
link
-­‐
signed
£87.50
Anita
Harris
Hot
Coals
Dragon
Figure
22cm
Tall
Ex
Moorcroft
Poole
Pottery
Design
£55.00
Anita
Harris
Planter
&
Vase
1
of
1
Shape
-­‐
Ex
Moorcroft
Poole
£80.00
Anita
Harris
Planter
&
Vase
1
of
1
Shape
-­‐
Ex
Moorcroft
Poole
£80.00
Anita
Harris
Pottery
England
'Puffin
Island'
vase
Moorcroft/Poole
link
signed
£44.95
Antique
1912
Thomas
Poole
Royal
Stafford
32
Piece
China
Tea
Set
£129.99
ART
DECO
CARTER
STABLER
ADAMS
POOLE
HAND_PAINTED
SEA
GULL
JUG
1921-­‐1934
MARK
£67.00
ART
DECO
CARTER
STABLER
ADAMS
POOLE
HAND_PAINTED
VASE
1921-­‐1934
MARK
£52.56
ART
DECO
POOLE
FOOTED
SHALLOW
BOWL
RE
PATTERN
£60.00
ART
DECO
POOLE
FOOTED
SHALLOW
BOWL
RE
PATTERN
£60.00
Art
Deco
Poole
Pottery
Bowl
Carter
Stabler
Adams
Ltd
Bluebird
Pattern
£44.99
Art
Deco
Poole
Pottery
Geometric
Portugese
Stripe
Vase
Shape
580
Patt.LT
1922-­‐34
ATLANTIS
POOLE
PEBBLE
VASE
£91.00
Beautiful
Collector's
Dish
-­‐
Aubrey
Beardsley.
Poole
Pottery.
Art
Nouveau.
Rare.
£42.00
Beautiful
Poole
Pottery
Deiphis
Large
Charger
£169.99
BEAUTIFUL
POOLE
POTTERY
STUDIO
CHARGER,
27.5
CM
IN
EXCELLENT
CONDITION
£460.00
C1930
POOLE
POTTERY
LARGE
HAND
PAINTED
VASE,
TRUDA
CARTER
DESIGN
YO,
D.
MARSHALL
£52.05
c1930s
ALL
OVER
HAND
PAINTED
DECORATIVE
CARTER
STABLER
ADAMS
POOLE
POTTERY
VASE
£44.00
CARTER
STABLER
ADAMS
POOLE
POTTERY
VASE,
1930s,
YO
PATTERN
£68.00
Carter
Stabler
Adams
poole
pottery
vase.
grape
design.
£175.00
Carter
Tile
Modernistic
Design
Black
and
White
Retro
Poole
Pottery
£45.88
Carter
Tile
Modernistic
Design
Black
and
White
Retro
Poole
Pottery
£42.88
Catherine
Connett
Poole
Studio
Pottery
Carved
Atlantis
Vase
A192,
a/f
£45.00
Charles
Collard
Crown
Dorset
Poole
Pottery
(Pre-­‐Honiton)
Cavalier
Motto
Jug
£46.03
Classic
110
piece
set
Poole
Pottery
Twintone
dinner
service.Tableware.
Crockery.
£165.00
COLLECTABLE
POOLE
POTTERY
ORANGE
VASE
31
£45.00
Commemorative
Stoneware
Lidded
Jar
,
Guy
Sydenham,
Poole
Pottery
£55.00
Commemorative
Stoneware
Lidded
Jar
,
Guy
Sydenham,
Poole
Pottery
£55.00
Contemporary
Large
Poole
Pottery
Volcano
16”
Diameter
Charger
£50.00
CSA
Poole
Pottery
Art
Deco
Modernist
Chevron
CR
Pattern
Flower
Jug
£43.80
DORSET
FRUITS
POOLE
POTTERY
-­‐
x
2
mugs
apple
pear
good
condition
£46.52
carter
stabler
adams
huge
poole
planter
1920/30s
art
deco
signed
ep
£83.51
Poole
Pottery
1930s
Vase
Art
Deco
artist
signed
£69.00
POOLE
POTTERY
CARTER
OF
CARTER
STABLER
ADAMS
SIGNED
VASE
£78.98
Poole
Pottery
Carter
Stabler
Adams
Art
Deco
Vase
£51.00
Poole
Pottery
Carter
Stabler
Adams
Ltd
ED
Jug
By
Marjorie
Batt
-­‐
Art
Deco
£79.00
Poole
Pottery
Carter
Stabler
Adams
Ltd
ED
Vase
By
Marjorie
Batt
-­‐
Art
Deco
£95.00
ATTENTION
TO
DETAIL,
SO
REALISTIC,RARELY
SEEN
£60.00
Large
Poole
Pottery
Studio
Charger
Dish
-­‐
Volcano
Design
Trial
Piece
£149.00
POOLE
DELPHIS
DISH
/
PLATE
£47.12
Poole
Pottery
Aegean
Shape
91
Dish
/
Tray
£79.00
Poole
Pottery
Delphis
Shape
32
Vase
-­‐
Retro
!
£48.00
Poole
Pottery
Delphis
Shape
82
Spear
Dish
/
Tray
By
Carol
Cutler
£110.00
Fine
Poole
Pottery
Bluebird
Vase
Decorated
By
Winifred
Collett
-­‐
Art
Deco
£119.00
Fine
Poole
Pottery
FL
Vase
By
Marjorie
Cryer
-­‐
Art
Deco
£129.00
1950s
Poole
freeform
vase,
excellent
condition.
£193.00
1950s
Poole
freeform
vase,
excellent
condition.
£132.00
POOLE
CARTER
STABLER
ADAMS
POT
-­‐
HE
PATTERN
BY
RUTH
PAVELY
1922-­‐34
£78.99
Guy
Sydenham
Portland
Toad
(poole
Pottery
Int)
£87.01
Guy
Sydenham
Queen
Chesspiece
Saltglazed
(Poole
Pottery
Int)
£175.00
HAND
PAINTED
PHEASANTS
IN
SNOW
VASE
BY
EX
ROYAL
WORCESTER
ARTIST
R.
POOLE
£250.00
POOLE
POTTERY
DUCK
VOLCANO
PATTERN
£55.25
1970'S
SIGNED
POOLE
POTTERY
VASE
DELPHIS
AEGEAN
£41.00
Huge
Abstract
Poole
Pottery
Delphis
Charger
14
inch
Shape
5
Jean
Millership
1969
£75.00
JOAN
SYDENHAM
STUDIO
POTTERY
BEADED
NECKLACE
WIFE
OF
GUY
SYDENHAM,POOLE
£127.00
Kevin
O'Grady
Oceanic
Tide
Pool
Collection
Pendant
Glass
&
Sterling
Silver
£51.64
Large
11.5
inch
Poole
Pottery
Cat
Right
hand
cat
£42.50
LARGE
BLACK
PANTHER
POOLE
POTTERY
FREEFORM
VASE
SHAPE
715
£55.66
LARGE
CARTER
STABLER
ADAMS
POOLE
POTTERY1920'S
VASE
962
/
CE
ANNE
HATCHARD
£310.51
LARGE
LTD
ED
POOLE
POTTERY
(CLARKE)
"ECLIPSE"
CHARGER/PLATE
1999:
14"
DIAM:
VGC
£49.99
LARGE
POOLE
DELPHIS
POTTERY
VASE
15.5"
TALL
SHAPE
85
JANET
LAIRD
£90.00
LARGE
POOLE
DELPHIS
VASE
-­‐
9
INCH
-­‐
CIRCA
1960's
£42.00
LARGE
Poole
Pottery
'VOLCANO'
16"
40cm
CHARGER
Dish/Plate
£74.00
LARGE
POOLE
POTTERY
BARD
OWL
-­‐
ONE
OFF
£1,000.00
LARGE
POOLE
POTTERY
BARRED
OWL
BARBARA
LINLEY
ADAMS
VGC
32CM
HIGH
COLLECTABLE
Charity
item
£171.05
LARGE
POOLE
POTTERY
CARTER
STABLER
ADAMS
FLOATING
BOWL
ART
DECO
PHEOBE
STABLER
£250.00
Large
Poole
Pottery
Delphis
Shape
32
Vase
By
Andree
Fontana
-­‐
1970's
Retro
£79.00
Large
Poole
Pottery
Delphis
Vase
/
Stick
Stand
Vintage
Retro
1960s
1970s
£60.99
large
poole
pottery
fawn
(rare)
£89.95
Large
Poole
Pottery
Galaxy
Pattern
Wall
Hung
Charger
Plate
16inch
£45.00
LARGE
POOLE
POTTERY
PHEOBE
STABLER
PERSIAN
DEER
WALL
PLAQUE
CHARGER
1930s
DECO
£600.00
Large
Poole
Pottery
PRB
Freeform
Dish
Designed
By
Alfred
Read
-­‐
1950s
£139.00
LARGE
POOLE
POTTERY
STONEWARE
SLEEPING
CAT.
£85.99
LARGE
POOLE
POTTERY
VOLCANO
RECTANGULAR
PLATTER
20
1/4
INCHES
WIDE
£87.55
LARGE
SLEEPING
STONEWARE
POOLE
CAT
£67.22
LIMITED
EDITION
CAITHNESS
GLASS
SLICED
FRONT
PAPERWEIGHT
"MILLEFIORI
POOL"
£60.00
MASSIVE
POOLE
POTTERY
CHARGER/PLATE
42CM
MILLENNIUM
£67.23
Mid
Century
Modern
Poole
Pottery
Olive
Bourne
Portrait
Plate
Freeform
£62.05
MID-­‐CENTURY
MODERNIST
POOLE
POTTERY
ALFRED
READ
HAND
DECORATED
VASE
£62.88
Millennium
Commemorative
Plate
(Poole
Pottery)
-­‐
Alignment
of
Planets
£142.00
MINIATURE
vintage
TRADITIONAL
POOLE
pattern
CRUET
SET
S
5
PC
D
£68.00
N.
Masserella.
one
of
one,
Poole
pottery,
wall
pocket
£49.50
Paula
Humphries
Polperro
pottery
mounted
Crusader.
£75.00
pce
Poole
Pottery
Retro
Twintone
Brown/Cream
6
Person
Dinner
Service
1970's
£110.00
Pool
Pottery
L.
Loader
Owl
£47.00
POOL
POTTERY
PLANET
PLATE
(EARTH)
IN
EXCELLENT
CONDITION
£80.00
Pool
pottery
twintone
7
soup
bowls&saucers,
1-­‐
8"
1-­‐
9"
3-­‐10"
plates
1
platter
£51.00
poole
-­‐
Art
deco
vase
-­‐
Carter,
Stabler
&
adams
£66.00
POOLE
-­‐
FALCON/MERLIN
-­‐
Bird
of
Prey-­‐
B
Linley
Adams
-­‐
Signed
Ltd
Ed
-­‐
£80.00
Poole
'Vincent
Sunflowers'
5
x
Large
Mugs
£150.00
Poole
'Vincent
Sunflowers'
6
x
Cereal
Bowls
£90.00
Poole
'Vincent
Sunflowers'
6
x
Dinner
Plates
£90.00
Poole
'Vincent
Sunflowers'
6
x
Large
Pasta
Bowls
£120.00
POOLE
1930s
ROWING
BOAT
542
ART
DECO
TWINTONE
JOHN
ADAMS
DESIGN
£87.00
Poole
1950s
Freeform
Vase
shape
no
692
pattern
PGS
Alfred
Read
7
5/8"
1954-­‐57
£155.00
Poole
1950s
freeform
vase.
No
Reserve.
£57.00
Poole
1950s
freeform
vase.
No
Reserve.
£57.00
POOLE
ART
DECO
BLUEBIRD
POTTERY
BROOCH
-­‐
£160.50
Poole
Atlantis
Earthenware
vase,
By
Jennie
Haige
£130.93
POOLE
ATLANTIS
TABLE
LAMP
BASE
£75.00
POOLE
ATLANTIS
TABLE
LAMP
BASE
£75.00
Poole
Beach
Huts
6
Dinner
Plates
28
Cm
/
11"
Mint
Unused
£45.00
Poole
Beardsley
egg
shaped
trinket
box
£55.00
POOLE
BLUE
GLAZE
small
FAWN
BABY
DEER
ANIMAL
FIGURE
-­‐
BARBARA
LINLEY
ADAMS
£91.89
POOLE
BLUE
GLAZED
PONY
ANIMAL
FIGURE
-­‐
BARBARA
LINLEY
ADAMS
£172.00
POOLE
BLUE
ROBIN
ON
FLOWER
POT
BIRD
FIGURE
-­‐
BARBARA
LINLEY
ADAMS
£74.99
POOLE
BLUE
ROBIN
ON
FLOWER
POT
BIRD
FIGURE
-­‐
BARBARA
LINLEY
ADAMS
poole
carter
tiles
-­‐
Strickland
£77.00
Poole
Christmas
Plate
1986
'Away
in
a
Manger'
by
Barbara
Linley-­‐Adams
£90.00
Poole
Comical
Bird
1930's
Vase
£75.00
Poole
Cranborne
6
x
Trios
-­‐
Cups
Saucers
Tea
Plates
Excellent
Condition
£49.99
POOLE
DELPHIS
ART
POTTERY
PLATE
MARY
ALBON£50.00
Poole
Delphis
Dish
£42.50
Poole
Delphis
FOUR
trapezium
pin
dishes
£43.00
Poole
Delphis
Large
Plate
(10
and
1/2
inches)
£47.00
POOLE
DELPHIS
SHAPE
15
VASE
SIGNED
JJ
OR
JS
£49.99
POOLE
DELPHIS
SPEAR
PLATE
17"
SWEET
DISH
82
JEANETTE
SPODE
£54.99
Poole
Delphis
Vase
#84
£47.00
Poole
Delphis
Vase
signed
£60.87
Poole
Dephis
Tear
Drop
(Shape
91)
Dish
:
P
Bevans
-­‐
in
good
condition
£48.50
POOLE
Dining
Set
With
Plates,
Dishes,
Cups
&
Saucers
-­‐
EK
B84
Charity
item
£69.00
Poole
Dinner
and
Tea
Service
£77.00
POOLE
ECLIPSE
PLAQUE
-­‐
LIMITED
EDITION
£45.00
Poole
Elephant
book
ends
£335.00
POOLE
ENGLAND
POTTERY
RETRO
SMALL
FRUIT
BOWL
.A
57.
£210.00
POOLE
FREEFORM
CONTEMPORARY
PR.B
VASE
595
MID-­‐CENTURY
MODERN
ALFRED
READ
PRB
£169.99
POOLE
FREEFORM
CONTEMPORARY
PR.P
LAMP
BASE
PRP
MID-­‐CENTURY
MODERN
A/F
£59.99
POOLE
FREEFORM
HUGE
10"
CLUB
ASHTRAY
SLITS
UIT
CONTEMPORARY
MID-­‐CENTURY
MODERN
£109.99
Poole
Freeform
Large
Art
Pottery
'Totem'
Vase,
Alfred
Read
&
Guy
Sydenham,
1956
£750.00
Poole
Freeform
Large
Retro
Art
Pottery
'Scroll'
Vase
Alfred
Read
&
Guy
Sydenham
£115.06
Poole
Freeform
Pottery
Vase
£51.64
Poole
Freeform
Vase
£260.00
Poole
Fresco
Green
Tableware
£150.00
POOLE
GALLEON
£193.00
Poole
Manhattan
'Graffiti'
Vase
25cm
with
'Living
Glaze'
£65.00
Poole
Plate
The
Elements
Water
25cm
Dish
£50.00
Poole
Pottery
-­‐
2
Plates
and
a
large
vase
£60.00
Poole
Pottery
-­‐
Beardsley
Collection
-­‐
Jug
8
inch
£87.00
Poole
Pottery
-­‐
Beardsley
Ginger
Jar-­‐
9
inch
£57.00
POOLE
POTTERY
-­‐
FLORAL
VASE
-­‐
SHAPE
353
£45.00
Poole
Pottery
-­‐
Picotee
Vase
shape
number
806
-­‐
Art
Deco
Pottery
#
162
£45.00
POOLE
POTTERY
-­‐
THE
BEARDSLEY
COLLECTION
-­‐
GINGER
JAR
£56.00
Poole
Pottery
'Aegean'
Julia
Wills
Large
Owl
Signed
Platter
£51.00
POOLE
POTTERY
'DELPHIS'
SPEAR
SHAPED
SWEET
DISH
Shape
#82
17"
x
7"
1960s/70s
Charity
item
£156.00
Poole
pottery
'Gemstones'
planter
flower
pot
1st
Quality
£55.00
Poole
Pottery
'summer
Glory
'
Large
Set/
50
Piece/
Very
Collectable/low
Price!!
£69.99
POOLE
POTTERY
'THE
SHIP
of
HARRY
PAYE'
PLATE
POOLE
SHIPS
COLLECTION
ltd
ed
boxed
£75.00
POOLE
POTTERY
'WATERWITCH'
PLATE
POOLE
SHIPS
COLLECTION
limited
edition
&
boxed
£46.96
Poole
Pottery
"Summer
Days"
Coffee
Set
by
Ruth
Pavely
1950s
£67.00
Poole
Pottery
"Summer
Days"
Coffee
Set
by
Ruth
Pavely
1950s
£67.00
poole
pottery
£62.00
Poole
pottery
£67.00
Poole
Pottery
10ins
dinner
plates
Cranborne
Design
£62.00
Poole
Pottery
12ins
Safari
Lamp
Discontinued
£50.00
POOLE
POTTERY
16"
Collectable
Studio
Charger
/
Plate
Artist
Signed
Ex
Condition
£49.99
Poole
Pottery
1930s
Carter
Stabler
Adams
Ltd
Red
Clay
9
inch
Plate
£48.00
POOLE
POTTERY
1950s/60s
HAND
THROWN
MAGNOLIA
WHITE
FREEFORM
VASE
£49.95
Poole
Pottery
1960's
Studio
Mark
Pin
Dish
£50.00
POOLE
POTTERY
2010
LIVING
KILN
Ltd
EDITION
17
OF
20
+
12
MINITURE
VASES
£455.00
Poole
pottery
2010
UNIQUE
studio
piece
'Sea
Shell'
theme
42cm
plaque
£50.00
POOLE
POTTERY
21
piece
TEA
COFFEE
SET
STREAMLINE
ICE
GREEN
/
SEAGULL
1970's
£42.10
Poole
Pottery
26cm
Fantasy
Manhattan
£74.99
POOLE
POTTERY
40
PIECE
CHESTNUT
DINNER
SERVICE
UNUSED
LEIGH
WN7
£59.95
Poole
Pottery
42cm
Tree
of
Life
Charger
£125.00
Poole
Pottery
42cm
Tree
of
Life
Charger
£75.00
POOLE
POTTERY
A
TANNER
GEMSTONE
METROPOLITAN
VASE
BOXED
£44.00
POOLE
POTTERY
AEGEAN
SAILING
YACHTS
27cm
SHAPE
4
CHARGER
DISH
CAROLYN
WILLS
£69.99
Poole
Pottery
Aegean
Swan
Dish
by
Jane
Brewer
12''x
8''
£44.99
Poole
Pottery
Aegean
Vase
-­‐
Carole
Kellett/Cutler
-­‐
Shape
15
-­‐
c1976
9"
High
VGC
£65.00
Poole
Pottery
African
Sky
Bottle
Small
28cm
£48.39
POOLE
POTTERY
AFRICAN
SKY
METROPOLITAN
LARGE
VASE
1st
quality
HANDMADE
NEW
BOXED
£56.00
POOLE
POTTERY
AFRICAN
SKY
METROPOLITAN
VASE
23cm
1st
quality
HANDMADE
NEW
BOXED
£44.00
Poole
Pottery
African
Sky
Purse
Vase
26cm
£82.95
Poole
Pottery
Art
Deco
Nursery
Ware
1930s
Vase
Handpainted
Flowers
Floral
£46.55
POOLE
POTTERY
ART
DECO
PERIOD
TRIPLE
CANDLESTICK
1930s
JOHN
ADAMS
VINTAGE
£43.87
Poole
Pottery
Art
Deco
Vase
Bold
Floral
YW
Pattern
1930s
Vintage
£42.80
POOLE
POTTERY
ATLANTIS
ONION
VASE
A5/1
BRUSHWORK
DECORATION
CATHERINE
CONNETT
£49.99
Poole
Pottery
Atlantis
Pebble
Guy
Sydenham
£50.00
POOLE
POTTERY
ATLANTIS
PEBBLE
VASE
A6
JENNIE
HAIGH
£196.00
Poole
pottery
atlantis
pebble
vase
guy
sydenham
£123.25
POOLE
POTTERY
ATLANTIS
STUDIO
3.5"
OVOID
VASE
by
SUSAN
DIPPLE
Pattern
A2-­‐1
£53.27
Poole
Pottery
Atlantis
Vase
by
Jenny
Haigh
£45.66
POOLE
POTTERY
BEACH
HUTS
MANHATTAN
VASE
26cm
1st
quality
HANDMADE
UK
NEW
BOXED£70.00
Poole
Pottery
Bird
dish
/
tray
/
plaque
-­‐
Robert
Jefferson
vintage
£45.05
POOLE
POTTERY
BIRD
SITTING
ON
A
SHOE
COLLECTABLE
ORNAMENT
WREN
£73.99
Poole
Pottery
Black
Pebble
Collection
of
Plates
£155.00
POOLE
POTTERY
BLUE
GLAZE
FOX
&
PERFECT
£115.00
POOLE
POTTERY
BLUE
GLAZE
SLEEPING
KITTEN
(LARGE)
PERFECT
&
£68.66
POOLE
POTTERY
BLUE
GLAZE
WASHING
KITTEN
PERFECT
&
£122.00
POOLE
POTTERY
BLUE
GLAZED
BIRD
.
£82.11
POOLE
POTTERY
BLUE
GLAZED
ELEPHANT.
and
DISCONTINUED
MODEL.
£86.00
POOLE
POTTERY
BLUE
GLAZED
MALLARD
DUCKLING
-­‐
PERFECT
&
£49.00
POOLE
POTTERY
BLUE
GLAZED
PUFFIN
-­‐
VERY
and
REPUTEDLY
ALWAYS
A
TRIAL
£205.00
POOLE
POTTERY
BLUE
GLAZED
PUPPY
WITH
SLIPPER.
BLA.
COLOURWAY.
£84.00
POOLE
POTTERY
BLUE
GLAZED
PUPPY
WITH
SLIPPER.
BLA.
COLOURWAY.
£84.00
Poole
Pottery
Blue
Moon
-­‐
60
items
£43.00
Poole
Pottery
BM
Pattern
Floral
Decorated
Dish
-­‐
Nice!
£43.00
Poole
Pottery
Bowl
No
291
ROC
Freeform
?
EXCELLENT
CONDTION
£86.00
Poole
Pottery
Breakfast,
Dinner
&
Tea
Set
"Sunflower"
-­‐
68
pieces
£205.00
poole
pottery
calendar
plates
£51.00
poole
pottery
calendar
plates
£55.00
Poole
Pottery
Carol
Cutler
Mid
Century
Modern
Delphis
Floor
Vase
Vibrant
Yellow
£110.00
POOLE
POTTERY
CARTER
OF
CARTER
STABLER
ADAMS
SIGNED
STONE
VASE
£43.04
POOLE
POTTERY
CARTER
STABLER
ADAMS
ART
DECO
GEOMETRIC
VASE
1925
£85.00
Poole
pottery
Carter,
Stabler,
Adams
jug
-­‐
Bluebird
pattern
£62.00
POOLE
POTTERY
CATALOGUE
1972.
Contains
all
1972
ranges
-­‐
Delphis,
Aegean,
Gifts.
£52.22
Poole
Pottery
Cats
£60.00
Poole
Pottery
Cats
£62.52
Poole
Pottery
Ceramic
African
Sky
Small
Bottle
Vase
28cm
1st
Quality
UK
Made
New
£64.25
Poole
Pottery
Ceramic
Dragonfly
Small
Purse
Vase
20cm
1st
Quality
UK
Made
New
£80.25
Poole
Pottery
Ceramic
Gemstones
Purse
Vase
20cm
First
Quality
UK
Made
New
£64.25
Poole
Pottery
Ceramic
Himalayan
Poppy
Concave
Vase
17cm
First
Quality
Brand
New
£48.00
Poole
Pottery
Ceramic
Lava
Concave
Vase
17cm
First
Quality
Boxed
UK
Made
New
£51.00
Poole
Pottery
Ceramic
Sunrise
Plaque
Plate
Charger
25cm
1st
Quality
UK
Made
New
£53.50
Poole
Pottery
Ceramic
Volcano
Manhattan
Large
Vase
36cm
£54.00
Poole
Pottery
Ceramic
Volcano
Small
Manhattan
Vase
26cm
First
Quality
UK
Made
£64.25
POOLE
POTTERY
CHARGER
SIGNED
ALAN
CLARKE
£59.00
Poole
Pottery
China
Blue
Whale
Ornament
£42.95
Poole
Pottery
Collectors
Beardsley
Vase
*
Large
Vase
*
The
#4103
£82.00
Poole
Pottery
Collectors
Beardsley
Vase
*
Large
Vase
*
The
#4103
£82.00
Poole
Pottery
Collectors
Traditional
Floral
Vase
Art
Deco
*5851
£44.65
POOLE
POTTERY
COLOURED
STONEWARE
KITTEN
PREENING
-­‐
MARMALADE
COLOURWAY
£248.00
POOLE
POTTERY
COLOURED
STONEWARE
PONY.
Barbara
Linley-­‐Adams
model.
BLA.
Perfect.
£335.00
POOLE
POTTERY
COLOURED
STONEWARE
TABBY
CAT.
Very
item.
BLA
MODEL.
£270.00
POOLE
POTTERY
COLOURED
STONEWARE
WOODCOCK
TRIAL
-­‐
RARE.
£410.00
Poole
Pottery
Cranborne
Dinner
Plates
£68.00
POOLE
POTTERY
CRANBOURNE
MUGS
£60.00
POOLE
POTTERY
CSA
~
LARGE
ART
DECO
VASE
~
YO
PATTERN
by
MARGARET
HOLDER
£55.00
Poole
Pottery
CSA
Geometric
BY
Pattern
Art
Deco
Vase
Winifred
Rose
1932
-­‐
1938
£144.80
Poole
Pottery
decorative
plate
set
£41.00
POOLE
POTTERY
DELPHIS
~
LARGE
HANDTHROWN
VASE
by
MARGARET
ANDERSON
circa
1966
£65.30
Poole
Pottery
Delphis
Aegean
&
Shield
Spear
&
Others
Job
Lot
16
Items
In
Total
£155.00
Poole
Pottery
Delphis
Blue
Backstamp
Orange
Peel
Glaze
Jardiniere
Planter
Pot
£64.99
Poole
Pottery
Delphis
Carved
Shape
92
Planter
Jardniere
Mid
Century
Modern
£58.05
Poole
Pottery
Delphis
Charger
Plate
vintage
perfect
1960s
orange
retro
14
inches
£45.00
Poole
Pottery
Delphis
Dish
-­‐
Red
Abstract
£56.10
Poole
Pottery
Delphis
Lamp
Base
decorated
by
Ros
Summerfelt
£50.00
Poole
Pottery
Delphis
Pin
Dish
with
Studio
Mark
1960s
£49.00
POOLE
Pottery
Delphis
Spear
Dish
£48.00
Poole
Pottery
Delphis
Spear
plate
/
dish
17"
inches
pattern
82
£51.50
POOLE
POTTERY
DELPHIS
STUDIO
DISH
WITH
WEIRD
FISH,1964,MARK
No
45
£122.00
Poole
Pottery
Delphis
Studio
Plate
20cm
Blue
Mark
Signed
Carolyn
Bartlett
£119.00
Poole
Pottery
Delphis
Studio
Stick
Stand
Vase
-­‐
Retro
1970's!
£75.73
Poole
pottery
Delphis
type
charger
L
L
to
base
+
58
Loretta
Leigh
13.5"
across
£120.00
Poole
Pottery
Delphis
vase

Ingrid
Hammond
1971-­‐73
shape
32
£65.00
POOLE
POTTERY
DELPHIS
VASE
£59.78
Poole
Pottery
Dinner
Service
Vintage
1960's
£69.00
Poole
Pottery
Dinner
Service,
hand
painted.
£49.69
Poole
Pottery
Dorset
Fruits
Crockery
£45.00
POOLE
POTTERY
ENGLAND,
NUT
TREE,
TABLE
WARE,
DINNER
SERVICE,
TEA
SET
£50.00
POOLE
POTTERY
EVEREST
LAMP
BASE
DESIGNED
BY
JOHN
ADAMS
1930'S
£149.00
POOLE
POTTERY
EVEREST
VASE
c1930
ART
DECO
£149.00
Poole
Pottery
Fish
Design
Plates
x
3
1950's
Ruth
Pavely
or
Jean
Cockram
Wilson
£49.95
POOLE
POTTERY
FLYING
DUCKS,
1950`S
SET
OF
THREE.
£67.00
POOLE
POTTERY
FOREST
FLAME
PEBBLE
TABLE
LAMP
£49.99
Poole
Pottery
Free
Form
Freeform
Vase
Hand
Painted
With
Stars
Pattern.Mark
41
£42.00
POOLE
POTTERY
FREEFORM
BOTTLE
VASE
PGT
PATTERN
PERFECT
£317.51
POOLE
POTTERY
FREEFORM
BOWL
PRP
PATTERN
£65.00
POOLE
POTTERY
FREEFORM
BOWL
TOTEM
PATTERN
VINTAGE
RETRO
50's
60's
CERAMICS
£140.00
Poole
Pottery
Freeform
Bowl-­‐Ps
Bamboo
Pattern,Designed
By
Ann
Reed.
£197.00
Poole
Pottery
Freeform
Cucumber
Dish
Contemporary
Ware
Vintage
Retro
Ceramics
£41.020s
CARTER,
STABLER
ADAMS
POOLE
POTTERY
PLATE

IRIS
SKINNER
£41.00
Poole
Pottery
Freeform
planter
Harlequin
design
£127.00
Poole
Pottery
Freeform
vase
£46.00
POOLE
POTTERY
FREEFORM
VASE
FST
PATTERN
PERFECT
£133.82
Poole
Pottery
Freeform
Vase
Shape
724
Guy
Sydenham
Alfred
Read
1950s
Retro
£255.22
Poole
Pottery
Freeform
Vase
Shape
724
Guy
Sydenham
Alfred
Read
1950s
Retro
£192.69
Poole
Pottery
Fresco
Green
Desert
Cereal
Bowls
Rachel
Barker
£73.00
Poole
Pottery
Fresco
Green
Dinner
Plates
Rachel
Barker
£67.03
Poole
Pottery
Fresco
Green
Dinner
Plates
Rachel
Barker
£78.00
Poole
Pottery
Fresco
Green
Dinner
Plates
Rachel
Barker
£78.00
Poole
Pottery
Fresco
Green
Side
Plates
Rachel
Barker
£62.00
Poole
Pottery
General
Wolfe
(Newfoundland
Trader)
Ship
Dish
By
Arthur
Bradbury
£249.00
POOLE
POTTERY
GINGER
JAR
FLEURIE
PATTERN
,DESIGNED
BY
ROS
SOMMERFELT
£47.00
POOLE
POTTERY
GLAZED
WEST
HIGHLAND
TERRIER-­‐
WESTIE.1981
model
£67.00
Poole
Pottery
Gold
Dolphin
VERY
£62.00
Poole
Pottery
Gold
Dolphin
VERY
£77.00
POOLE
POTTERY
GREEN/BLUE
GLOSS
STOAT
ANIMAL
FIGURE
produced
in
1989
only
£53.00
Poole
Pottery
Hand
Painted
Flowers
Vase
-­‐
Art
Deco!
£59.99
Poole
Pottery
Hand
Painted
Flowers
Vase
-­‐
Art
Deco!
£60.99
Poole
Pottery
Hand
Painted
Large
Charger
Plate
Trial
Design
L.Whitmarsh
2008
£99.99
Poole
pottery
handpainted
mug
£91.00
Poole
pottery
Harebell
design.
Over
50
Pieces
£45.99
Poole
Pottery
Holly
&
Berries
Christmas
Platter,
Jug
&
Candlestick
£45.00
POOLE
POTTERY
KINGSTON
LACY
BLUE
CAT
JUG
NATIONAL
TRUST
SERVANTS
HALL
£62.00
POOLE
POTTERY
KINGSTON
LACY
BLUE
CAT
PLATE
NATIONAL
TRUST
SERVANTS
HALL
£50.62
POOLE
POTTERY
KINGSTON
LACY
BLUE
CAT
PLATE
NATIONAL
TRUST
SERVANTS
HALL
£48.54
POOLE
POTTERY
KINGSTON
LACY
CAT
PLATE
NATIONAL
TRUST
EXCELLENT
CONDITION
£54.00
Poole
pottery
lamp
£85.00
Poole
Pottery
Lamp
and
shade
£130.00
Poole
Pottery
Lamp
Very
Excellent
Condition
£136.00
POOLE
POTTERY
LARGE
10"
ART
DECO
VASE
ANN
HATCHARD
£361.15
poole
pottery
Large
42cm
Square
Dish
£50.00
Poole
pottery
large
decorative
vase
£60.00
POOLE
POTTERY
LARGE
PLATE
£50.00
POOLE
POTTERY
LARGE
STONEWARE
SQUIRREL
-­‐
PAINTED
DETAILS
£77.01
POOLE
POTTERY
LARGE
VASE
PEACOCK
FEATHER
DESIGN
ANDREW
TANNER
£55.98
POOLE
POTTERY
LEFT
HAND
LARGE
RED
CAT
PERFECT
&
VERY
£52.00
Poole
pottery
limited
edition
Sedna
plate
£41.00
POOLE
POTTERY
LIVING
GLAZE
INFUSION
TABLE
CENTRE
OBLONG
PLATTER
CHARGER
£60.00
POOLE
POTTERY
LOBSTER
DESIGN
LARGE
CHARGER
/
BOWL
£75.00
Poole
Pottery
Ltd
Ed
Tony
Morris
Stained
Glass
Cathedral
Plate,
Christ
on
Cross
£41.00
POOLE
POTTERY
MEDIEVAL
CALENDAR
CHARGER
FOR
"MARCH"
DESIGN
TONY
MORRIS
£70.00
Poole
Pottery
Modernist
Art
Deco
Plane
Ware
Vase
£163.97
Piece
Vintage
Poole
Pottery,
Twintone
ice-­‐green/seagull
Dinner
&
Tea
Service
£160.99
POOLE
POTTERY
NURSERYWEAR
CUP
WITH
BEAR
DESIGN
3"
HEIGHT
STAMPED
£62.00
POOLE
POTTERY
ODYSSEY/DELPHIS
CATS
PERFECT
&
VERY
£84.00
POOLE
POTTERY
ODYSSEY/DELPHIS
CATS
PERFECT
&
VERY
£84.00
Poole
Pottery
Otter
holding
fish
signed
by
Barbara
Linley-­‐Adams
£74.99
Poole
Pottery
Persian
Deer
Hand
Painted
Mid
Century
Modern
Shallow
Plate
Bowl
£64.00
POOLE
POTTERY
PERSIAN
DEER
PLATE
DESIGNED
BY
TRUDY
CARTER
Discon1963
£79.00
Poole
Pottery
Planet
Series,
Full
Set
of
9
Ltd
Edition
25cm
Alan
Clarke
Chargers
Limited
to
500
worldwide
all
numbered
with
box
£873.00
poole
pottery
plate
£113.00
Poole
Pottery
Plate
Abstract
Design
Marked
Poole
Studio
1960's
Delphis
£45.00
POOLE
POTTERY
PLATE
ART
CERAMIC
ENGLAND
DELPHIS
WARE
CAROL
CUTLER
SHAPE
82
70s
£46.00
Poole
Pottery
Plate
Planet
Alignment
689
Limited
Edition
£59.99
Poole
Pottery
Plate
With
SK
(Persian
Deer)
Design
-­‐
Circa
1950's
£159.00
Poole
Pottery
Poole
Whaler
1783
Ship
H/painted
1968
Blackmore
Vintage
Plate
11"
£141.00
POOLE
POTTERY
POPPY
FIELD
MANHATTAN
26cm
VASE
1st
quality
UK
HANDMADE
NEW
BOXED
£57.00
POOLE
POTTERY
POPPY
FIELD
MANHATTAN
26cm
VASE
1st
quality
UK
HANDMADE
NEW
BOXED
£57.00
POOLE
POTTERY
POPPY
FIELD
MANHATTAN
LAMPBASE
NEW
IN
BOX
£91.00
POOLE
POTTERY
POPPY
FIELD
METROPOLITAN
23cm
VASE
1st
quality
HANDMADE
NEW
BOXED
£44.00
Poole
pottery
purse
vase
'African
Sky'
Large
9.5"
£65.00
Poole
Pottery
Red
Delphis
Vase
4.5"
tall
Pattern
No
32
Signed
Carol
Cutler
1970s
£65.00
POOLE
POTTERY
RED
EARTHENWEAR
25CM
£41.00
Poole
Pottery
Red
Poppies
26cm
Manhattan
Vase
£46.50
POOLE
POTTERY
RIGHT
HAND
LARGE
RED
CAT
PERFECT
&
VERY
£52.00
POOLE
POTTERY
SET
3
FLYING
BLUEBIRDS
WALL
PLAQUES
£90.00
poole
pottery
set
of
tableware
fresco
blue
£140.00
POOLE
POTTERY
SET
OF
WALL
HANGING
SEAGULLS
£170.00
Poole
Pottery
Stoneware
-­‐
1977
Commemorative
Lion
Vase
-­‐
Unusual!
£64.89
POOLE
POTTERY
STONEWARE
8.25"
PLATE
-­‐
PHEASANTS.
BLA.
GREEN
BANDED.
£50.50
POOLE
POTTERY
STONEWARE
8.25"
PLATE
-­‐
PHEASANTS.
GREEN
BANDED.
£58.70
POOLE
POTTERY
STONEWARE
8.25"
PLATE
-­‐
WOODCOCK
or
SNIPE.
BLA.
GREEN
BANDED.
£56.00
POOLE
POTTERY
STONEWARE
COLOURED
SANDPIPERS.
BLA
MODEL.
£950.00
Poole
pottery
stoneware
game
birds
plate
limited
edition
black
grouse
no
57
£68.00
Poole
pottery
stoneware
game
birds
plate
limited
edition
black
grouse
no
57
£68.00950s
RETRO
POOLE
FREEFORM
BLACK
PANTHER
VASE
PERFECT
CONDITION
£67.67
Poole
pottery
stoneware
game
birds
plate
limited
edition
red
grouse
no
80
£67.00
Poole
pottery
stoneware
game
birds
plate
limited
edition
red
grouse
no
80
£67.00
POOLE
POTTERY
STONEWARE
MERLIN
-­‐
Coloured
version.
Perfect
condition
£155.00
Poole
Pottery
Stoneware
Merlin
VERY
signed
by
Barbara
Linley-­‐Adams
£70.00
Poole
Pottery
Stoneware
Merlin
VERY
signed
by
Barbara
Linley-­‐Adams
£70.00
Poole
Pottery
Stoneware
Model
of
a
Decoy
Duck
thought
to
be
a
Teal.
£56.55
Poole
Pottery
Stoneware
Nuthatch
Bird
on
Branch
by
Barbara
Linley
Adams
£57.51
Poole
Pottery
Stoneware
Nuthatch
Bird
on
Branch
by
Barbara
Linley
Adams
£57.51
POOLE
POTTERY
STONEWARE
PONY
HEAD
BY
BARBARA
LINLEY
ADAMS
£50.00
POOLE
POTTERY
STONEWARE
ROBIN
CHICK
ON
NUTHATCH
STUMP
-­‐
MODEL
£522.00
POOLE
POTTERY
STONEWARE
ROBIN
ON
FLOWERPOT
-­‐
OPEN
BEAK
MODEL
£310.00
POOLE
POTTERY
STONEWARE
SEALION
-­‐
VERY
TRIAL
ITEM
£620.00
Poole
Pottery
Stoneware
Squirrell
£62.00
Poole
Pottery
Studio
-­‐
Large
SUNBURST
/
Living
Glaze
-­‐
Medium
Concave
Bowl
£49.95
POOLE
POTTERY
STUDIO
12"VASE
by
JENNIE
HAIGH
Pattern
A19'2
£88.99
Poole
Pottery
Studio
Corfe
Castle
Charger
Dish
By
Sally
Tuffin
*5891
£85.00
Poole
Pottery
Studio
Delphis
Plate
Tony
Morris
1964
-­‐
66
TV
Mark
8"
£79.00
POOLE
POTTERY
STUDIO
DOG
FIGURE
-­‐
BERT
BAGGALEY
-­‐
SCOTTY
SCOTTISH
TERRIER
£53.74
Poole
Pottery
Studio
footed
bowl
designed
Robert
Jefferson
1960's
£291.00
Poole
Pottery
Studio
Freeform
Rope
Pattern
Huge
Vase
£250.00
POOLE
POTTERY
STUDIO
GALLEON.
PERFECT
condition
with
ONE-­‐OFF
status.
£155.85
Poole
Pottery
Studio
Old
Harry
Rocks
Charger
Dish
By
Sally
Tuffin
*5890
£85.00
Poole
Pottery
Studio
Viking
Charger
Dish
By
Sally
Tuffin
17cm
*5889
£85.00
POOLE
POTTERY
SUNRISE
PURSE
MEDIUM
VASE
1st
QUALITY
NEW
IN
BOX
£56.00
Poole
Pottery
The
Beardsley
Collection
Regency
Candy
Jar
£49.20
Poole
Pottery
The
Planets
by
Alan
Clarke
Set
of
9
Plates
-­‐
Boxed
£1,200.00
POOLE
POTTERY
TRADITIONAL
LE
BLUE
YELLOW
BIRD
LAMP
BASE
JEAN
COCKRAM
1950's
658A
£41.00
Poole
Pottery
Truda
Carter
Style
Hand
Painted
Flowers
&
Birds
Large
Custard
Jug
£44.99
Poole
Pottery
Twin
Tone
Studio
Orange
and
Cream
Vase
Number
725
£113.11
Poole
Pottery
Twin
Tone
vase
c57
£76.99
Poole
pottery
Twintone
C104
Sky
blue
&
dove
grey
x5
15cm
plates
£42.80
Poole
pottery
Twintone
cigarette
box
£68.66
POOLE
POTTERY
VASE
-­‐
6
INCHES
HIGH
£49.00
Poole
pottery
vase
'Ruskin'
lidded
vase
/
jar
1st
Quality
(4930)
£65.00
Poole
Pottery
Vase
£49.99
Poole
pottery
vase
352
shape,
totem
pattern,
freeform
£142.00
Poole
pottery
Vase
Andree
Fontana
£50.00
POOLE
POTTERY
VASE
ART
DECO
1930s
QM
PATTERN
£65.00
Poole
Pottery
Vase
Black
Panther
Pattern
shape
723
£45.00
Poole
pottery
vase
collectable
£190.00
POOLE
POTTERY
VASE
DELPHIS
15.5
INCH
1960'S
ORIGINAL
MINT,
ARTIST
INITIALS
TF?
£67.00
Poole
Pottery
Vase
ED
Pattern
Floral
Design
-­‐
Art
Deco
£59.00
Poole
Pottery
Vase
ED
Pattern
Floral
Design
-­‐
Art
Deco
£59.00
Poole
Pottery
Vase
Old
Harry
Rocks
10
inch
1999
des.
Karen
Brown
£180.00
Poole
Pottery
Vase
Pattern
=
Clouds
&
Seagulls
Height
=
9
inches
£65.00
Poole
Pottery
Vase
Pattern
PGT
shape
700
Pat
Dightam
£200.00
Poole
Pottery
Vase
Pattern
PQB
shape
687
Diane
Holloway
1955-­‐59
£56.00
Poole
Pottery
Vase
Pattern
PQB
shape
687
Diane
Holloway
1955-­‐59
£56.00
Poole
Pottery
Vase
Pattern
PRP
shape
693
Pat
Dightam
£45.00
Poole
Pottery
Vase
Pattern
PRP
shape
700
Diane
Holloway
£200.00
Poole
Pottery
Vase
Pattern
YHS
shape
685
Jean
Cockram
1952-­‐55
£51.00
Poole
Pottery
Vase
Pattern
YHS
shape
686
Gwen
Haskins?
1952-­‐55
£51.00
Poole
Pottery
Vase
Pattern
YMP
shape
684
Gwen
Haskins?
1952-­‐55
£221.50
Poole
Pottery
Vase
shape
198
pattern
DL
£46.99
Poole
Pottery
Vase
Shape
337
PJL
Pattern
Mid-­‐Century
1950's
-­‐
WOW!
Alfred
Read
£189.00
POOLE
POTTERY
VASE
VIBRANT
FLOWERS
RENE
HAYES
ART
DECO
STYLE
£85.00
Poole
Pottery
Vase,
Atlantis
range.
Throwers
signature
on
base
£77.00
Poole
Pottery
Vincent
Mug
x
4
£57.00
Poole
Pottery
Vineyard
£51.00
Poole
Pottery
Vintage
Ice
Green
Bud
Vases
£53.89
POOLE
POTTERY
VOGUE
SATIN
&
SILK
HUGE
16"
CHARGER
/
WALL
PLAQUE
-­‐
FREEPOST
£49.95
POOLE
POTTERY
VOLCANIC
VENEZIAN
LARGE
VASE
8.5"
TALL
£50.00
Poole
Pottery
Volcano
Charger
£68.66
Poole
Pottery
Volcano
Charger
£68.66
POOLE
POTTERY
VOLCANO
MANHATTAN
26cm
VASE
1st
quality
NEW
IN
BOX
£50.00
POOLE
POTTERY
VOLCANO
METROPOLITAN
VASE
LARGE
1st
QUALITY
UK
HANDMADE
NEW
BOXED
£56.00
Poole
Pottery
Winter
Vine
3
Dinner
Plates
and
3
Side
Plates
£50.00
Poole
Pottery
Winter
Vine
Pattern
-­‐
Xmas
Tableware
£123.00
Poole
Pottery,
1959
Black
Pebble
10"
Dinner
Plate's
x
4,
Excellent.
£64.00
POOLE
POTTERY,CARTER
STABLER
ADAMS
FIGURE
-­‐OPENING
BID
RESERVE
£290.00
Poole
Pottery.
Small
Dish.
Onions
Pattern.
Ruth
Paverly.
Very
£50.00
POOLE
POTTERY*
IONA
DESIGN*
1970s
4
pieces
£45.00
POOLE
Scarce
7.6"
Red/Ochre/Mustard
1969
CAROL
CUTLER
DELPHIS
VASE
-­‐Shape
32
£82.84
POOLE
SIGNED
CAROL
CUTLER
13.5"
DELPHIS
DECORATED
BOWL
SHAPE
No
58
c.1970's
£57.98
POOLE
SPRINGTIME
34
PIECE
DINNER
SERVICE
£82.00
POOLE
STONEWARE
"MERLIN"
£79.00
POOLE
STONEWARE
HOUND
DOG
-­‐
BARBARA
LINLEY
ADAMS
£56.01
POOLE
stoneware
MERLIN
BIRD
OF
PREY
ANIMAL
FIGURE
-­‐
BARBARA
LINLEY
ADAMS
£87.01
POOLE
STUDIO
JANE
BREWER
SAILING
SHIPS
SEABOUND
PERFECT
COND
BUY
IT
NOW
OR
OFFER
£80.00
POOLE
STUDIO
PIN
DISH
£55.05
POOLE
STUDIO
PIN
DISH
£55.05
POOLE
STUDIO
PIN
DISH
£73.50
POOLE
STUDIO
PIN
DISH
£73.50
POOLE
STUDIO
PLATE
IN
EXCELLENT
CONDITION
-­‐
RARE!
£45.00
Poole
studio
pottery
£56.05
Poole
Studio
Pottery
Atlantis
Vase
Vintage
Retro
Ceramics
£119.99
Poole
Studio
Pottery
Atlantis
Vase
Vintage
Retro
Ceramics
£149.99
Poole
Studio
Pottery
Atlantis
Vase
Vintage
Retro
Ceramics
£69.99
Poole
Studio
Pottery
Atlantis
Vase
Vintage
Retro
Ceramics
£79.99
Poole
Studio
Pottery
Charger
£50.00
POOLE
STUDIO
POTTERY
FREEFORM
"YO
YO"
VASE
PKT
PATTERN.
£169.00
POOLE
STUDIO
POTTERY
FREEFORM
BLACK
PANTHER
GLAZED
VASE.
£80.00
POOLE
STUDIO
POTTERY
FREEFORM
BOWL
/
PLANTER.
£77.00
POOLE
STUDIO
POTTERY
FREEFORM
VASE.
£225.00
POOLE
STUDIO
POTTERY
FREEFORM
VASE.
£516.88
POOLE
STUDIO
POTTERY
LARGE
RIBBED
VASE
£42.33
Poole
Studio
Pottery
Mackerel
Fish
16"
charger
by
Tony
Morris
1999
£360.00
Poole
Studio
Pottery
Piece
by
Ruth
Pavely
£91.33
Poole
Studio
pottery
plate
c1960
£64.00
POOLE
STUDIO
POTTERY
PLATE/SHALLOW
BOWL
ABSTRACT
GREEN
DESIGN
8
INCHES
ACROSS
£245.00
POOLE
Stylised
Fish
1920s/30s
Buy
it
now
£170.00
POOLE
TRADITIONAL
ART
DECO
BOWL
BY
HILDA
HAMPTON
1927-­‐39
£75.00
POOLE
TRADITIONAL
ART
DECO
BOWL
BY
HILDA
HAMPTON
1927-­‐39
£75.00
Poole
Traditional
Art
Deco
Jug
£43.70
Poole
twin
tone
Seagull
&
ice
green
coffee
service
C57
the
lot
or
will
split
£89.00
Poole
vintage
Art
Deco
antique
hand
painted
vase
£45.00
Possible
Painter's
Mark
For
Ruth
Pavely
£42.55
Potters
Wheel
By
Poole
Pottery
British
Master
Studio
Potter
Guy
Sydenham
WOW
£285.00
Pottery
Carved
Delphis
Plate
Jefferson
Tony
Morris
Studio
Trial
£92.00
POTTERY
CHUB
FISH
STUDY
BY
COLIN
ANDREWS,
WALL
HANGING
£60.00
QUALITY
1920's
POOLE
TRUDA
ADAMS
BLUE-­‐
BIRD
PATTERN
JUG
£50.00
RETRO
1950s
POOLE
FREEFORM
PKC
PATTERN
LARGE
FOOTED
BOWL
£150.00
Retro
Large
Joyous
Purbeck
Poole
Broadstone
Art
Deco
studio
vase
hand
thrown
£50.51
Retro
mid
century
VIBRANT
modernist
POOLE
POTTERY
ABSTRACT
Plate
£51.92
Retro
Poole
Freeform
Pottery
Dish,
Tears
Pattern
by
Ruth
Pavely,
1958.
£44.90
Retro
Poole
Pottery
Freeform
Large
Peanut
PKT
10.75"
Mid
Century
Modern
Vase
£255.00
Retro
Poole
Pottery
Tea
set
cup
saucer
blue
grey
two
tone
21
piece
60s
70s
£60.00
Retro
Poole
Pottery
Twintone
Freeform
Wave
Vase:
Ice
Green/Mushroom
£70.00
Retro
Twintone
Brown/Cream
6
Person
Dinner
Service
1970's
£110.00
Royal
Doulton
Signed
H.
Piper
Hand
Painted
'Apple'
Antique
Plate
9
1/2"
£69.00
Royal
Doulton
Signed
H.
Piper
Hand
Painted
'Apple'
Antique
Plate
9
1/2"
£69.00
Set
Breakfast
Plates
Poole
Cranbourne
Pottery
£50.25
Set
Cranbourne
Poole
Pottery
DINNER
plates
£46.00
SET
OF
3
POOLE
POTTERY
SEAGULLS
£139.00
SET
OF
FOUR
POOLE
POTTERY
ART
DECO
PLATES
SEASONS
PLATES
£60.00
SMALL
BLACK
PANTHER
POOLE
POTTERY
FREEFORM
VASE
SHAPE
688
£57.01
Small
Poole
Pottery
Unglazed
Pot
£50.01
Sorry
ended
by
mistake
Had
to
relist
£108.00
SUPER
ART
DECO
CARTER
STABLER
ADAMS
POOLE
VASE
£244.00
thC.
DONNA
RIDOUT
Persian
Deer
vase
10"
tall
£500.00
THE
IAN
MESSITER
POOLE
POTTERY
FORTUNE
TELLING
CUP
1970s
£49.99
THREE
CUPS
AND
FOUR
SAUCERS
BY
POOLE
POTTERY
IN
PRIMULA
PATTERN
£54.99
Three
Poole
vases
signed
Nikki
Massarella
£51.00
TILED
COFFEE
TABLE
POOLE
DELPHIS
POTTERY?
£119.99
Tony
Morris
Poole
Studio
Vase
1962-­‐66
£946.00
TRIO
OF
POOLE
POTTERY
£117.65
TV
Studio
Mark
Poole
Pottery
Delphis
Pin
Dish
Knights
on
Horseback
£62.00
ULTRA
POOLE
POTTERY
BARBARA
LINDLEY
ADAMS
WOODCOCK
£113.00
V.
LARGE
POOLE
DELPHIS
VASE
in
the
'
PACKET
of
CRISPS
'
PATTERN
-­‐
SHAPE
90
£275.00
Very
Large
Retro
Poole
Pottery
Delphis
Carved
Vase
1960s
-­‐
No
Reserve!
£455.00
Very
Poole
pottery
Twintone
cigarette
box
£68.66
VERY
POTTERY
BASS
FISH
STUDY
AMAZING
DETAIL,BY
COLIN
ANDREWS,
WALL
HANGING
VERY
POTTERY
CHUB
FISH
STUDY
AMAZING
DETAIL,BY
COLIN
ANDREWS,
WALL
HANGING
£60.00
Vineyard
Poole
Pottery
£200.00
Vintage
/
Retro
-­‐
POOLE
POTTERY
-­‐
Blue
/
Grey
Tea
Set
£44.99
Vintage
1970s
Poole
Pottery
'Aegean'
Flame
Effect
Vase
by
Diana
Davis,
23cm
MINT
£50.00
Vintage
1973
Poole
Studio
Pottery
~
Large
Carved
Ionian
Vase
£750.00
Vintage
70's
Large
Poole
Pottery
Delphis
Vase,
Shape
15
by
Debbie
Long.
VGC.
£65.00
Vintage
70s
Poole
Pottery
Delphis
Charger,
Angela
Wyburgh.
36cm
diameter.
VGC
£145.00
Vintage
Alfred
Read
Freeform
PRB
Circa
1950
Vase
plus
Alfred
Read
Posy
Bowl
£80.00
Vintage
C1950's
Poole
Pottery
Contemporary
Design
Freeform
Pot
/
Planter
£73.51
Vintage
Guy
Sydenham
Poole
Studio
Art
Pottery
Vase
£88.80
Vintage
Guy
Sydenham
Poole
Studio
Art
Pottery
Vase
£88.80
Vintage
Heavy~50's
Delphis
Poole
Style
Pottery~Glazed
Planter
Pot~Signed
£109.36
Vintage
Heavy~50's
Delphis
Poole
Style
Pottery~Glazed
Planter
Pot~Signed
£109.36
Vintage
Majorette
Poole
Pottery
Delivery
Truck
.Diecast
/France.
ECH
1/100
VGC
£42.00
Vintage
Poole
Blue
Squirrel
Rare,
Great
Gift
for
Christmas
F3228
£75.00
Vintage
Poole
Delphis
Dish
or
Charger
(shape
57)
-­‐
Excellent
Condition
£46.10
Vintage
Poole
Delphis
Plate
/
Charger
Shape
4
Signed
£41.00
Vintage
POOLE
GEMSTONE
Set
Of
2
Vases
-­‐
EI
N13
Charity
item
£53.87
VINTAGE
POOLE
HALF
MOON
PEACOCK
MANTLE
CLOCK
EXCELLENT
CONDITION
£49.50
Vintage
POOLE
HEDGEHOG
Plant
Pot
/
Pot
/
Ornament
-­‐
FG
W03
Charity
item
£86.00
Vintage
Poole
Pottery
Art
Deco
1920
-­‐1930
'Persian
Deer
Vase,
Artist
Signed
NR
£126.07
Vintage
Poole
Pottery
Art
Deco
Lidded
Butter
or
Cheese
Dish
£50.92
VINTAGE
POOLE
POTTERY
ART
DECO
STYLE
BIRD
DESIGN
BROOCH
£182.00
VINTAGE
POOLE
POTTERY
ART
DECO
STYLE
FLORAL
BIRD
DESIGN
BROOCH
£183.00
VINTAGE
POOLE
POTTERY
ART
DECO
STYLE
FLORAL
BIRD
DESIGN
BROOCH
£232.00
Vintage
Poole
Pottery
Delphis
60's
70's
Spear
Dish
Charger
Carol
Cutler
Retro
£49.99
Vintage
Poole
Pottery
Dinner
Set
-­‐
Two
Tone
Brazil
and
Sweetcorn
Range
£112.00
Vintage
Poole
Pottery
Freeform
Vase
-­‐
Shape
352
£205.00
VINTAGE
POOLE
POTTERY
FREEFORM
VASE
DIANE
HOLLOWAY
CIRCA
1952-­‐1958
£59.00
Vintage
poole
pottery
hand
painted
lamp
base
£58.00
Vintage
poole
pottery
hand
painted
lamp
base
£58.00
VINTAGE
Poole
Pottery
Stoneware
Hare
or
Rabbit
circa
1940's
£135.00
Vintage
POOLE
POTTERY
tea
set
6
place
setting
blue
/
grey
22
pieces
£48.99
Vintage
Poole
Pottery
Teddy
Bear
Money
Box
£51.00
VINTAGE
POOLE
POTTERY
VASE
£211.90
Vintage
Poole
Pottery
Yacht
Two
Tone
C65
Magnolia
&
Shagreen
C1937
Ref
814/1
£150.00
VINTAGE
POOLE
STONEWARE
MERLIN
BIRD
OF
PREY
FIGURE
BARBARA
LINLEY
ADAMS
SIGNED
£84.99
VINTAGE
POOLE
STONEWARE
MERLIN
BIRD
OF
PREY
FIGURE
BARBARA
LINLEY
ADAMS
SIGNED
£84.99
Vintage
POOLE,
Earthenware
Vase,
Pre
1934,
£43.01
VINTAGE
RETRO
60'S
POOLE
POTTERY
HELIOS
LAMP
BASE
&
SHADE
£41.00
Vintage
Retro
Poole
Pottery
Delphis
60's
70's
10.5"
Plate
Charger
Pamela
Bevans
£55.00
Vintage
Retro
Poole
Pottery
Delphis
60's
70's
10.5"
Plate
Charger
£46.00
Vintage
Retro
Poole
Pottery
Delphis
60's
70's
Spear
Plate
Charger
Carol
Cutler
£51.00
VINTAGE
SIGNED
BEATRICE
BOLTON
FOR
POOLE
POTTERY
ATLANTIS
VASE
1970-­‐74
£44.00
VINTAGE
TRADITIONAL
POOLE
POTTERY
COLLECTION
-­‐
9
PIECES
£69.00
Well
Documented
Poole
Pottery
Tony
Morris
Studio
Charger
Mid
Century
Modern
£780.00
WILL
ALAN
YOUNG
POTTERY
£53.00
WILLIAM
DE
MORGAN
PAINTED
POOLE
POTTERY
TILE
£51.01
Wonderful
Poole
Large
Dish
-­‐
Aegean
-­‐
25.5cm
-­‐
VG
condition
£43.18
Poole
Pottery
Plates
Limited
Edition
of
25
by
Guy
Sydenham
VGC
£444.88