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'Arts and Crafts' era Cymric vases among 20th century Design Sale lots

'Art has a place in my kitchen': Nigel Slater on his favourite ceramics | Ceramics

Pottery has always played a crucial role in Nigel Slater’s cooking, both for the way it elevates a meal and also for the calm sense of fragility it brings to a room. Here, he reveals some of his favourite pieces – and the rising pottery stars to look out for

Design sale to feature historic stained glass, ceramics stoneware and fine furniture

Artdaily - The First Art Newspaper on the Net

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Spring auction of contemporary ceramics including the single owner collection of Dr. Ann-Carole Chamier

a href= http://maaklondon.com target= _blank Maak /a announced the presentation of the latest auction of contemporary ceramics. The auction includ

Things To Do This August Bank Holiday Weekend In London: 27-29 August 2022

Carnival, of course, but what else?

The exquisite pottery of Richard Batterham

Richard Batterham died last September at the age of 85. He had worked in his pottery in the village of Durweston near Blandford Forum in Dorset for 60 years continuously. It was, in its own way, an heroic life. Batterham took an astonishingly pure, austere approach to his work. Quite simply, he undertook every part

V&A · Richard Batterham – An Introduction

A renowned studio potter, Richard Batterham's instantly recognisable family of forms and distinct making practice set him apart from other potters of his time.

Phil Rogers obituary

Last modified on Thu 25 Feb 2021 04.06 EST Phil Rogers, who has died aged 69, was one of Britain’s leading potters and advocates for his craft. From his rural studio near the village of Rhayader in Powys, Wales, Rogers created work that drew on an eclectic range of global styles, from medieval German salt-glazed wares to 15th-century Korean porcelain. His jugs, platters, bottles, teapots, bowls and cups were decorated with abstract brushwork, impressed marks, designs painted in wax-resist, or simply by a swipe of the fingers through a still-wet glaze, combining robust forms with a sense of spontaneity. These pots embodied his lifelong belief in the value of potters using natural materials, sourced from their own environs. Rogers mixed a palette of soft greys, greens, browns and black glazes from wood ash, burning trees that had fallen or needed to be felled; he also used stone dust from nearby quarries and a red clay dug in his local woods.