Poole Pottery/ Freeform, 1950's

An example of Freeform vases by Poole Pottery, designed 1950's

Left: Promotional plate used as signage in stores for Freeform, Right: Freeform vases

Left: pattern Trail vases, Right: Totem pattern shallow bowl by Diane Holloway

Left: Artists at work in the Poole Factory, Dorset, England in the 1950's
Right: The Freeform collection of Poole expert John Clark

Left: Unusually shaped Freeform bowl, Right: Platter, owned by myself

Left: Freeform vase owned by myself, Right: Another design in the same silhouette 

Left: lamp bases designed in Freeform range, Right: platter

Left: Tiles designed by Poole in the same period to promote Dorset, Right: Freeform vase

Left: Some quite unusual colors for Freeform in vases, Right: Freeform bowl

Often the most sought out and the most pricey to collect is the Freeform range from Poole Pottery, based in Dorset, England. Designed by Alfred Read and Guy Sydenham, Poole Pottery launched the Freeform range in 1956-57. Consisting of nine slip-cast 'freeform' shapes decorated in eight new patterns and some hand-thrown shapes, with ten additional new hand-painted patterns all designed by Ruth Pavely and Ann Read.

Influenced quite heavily by Scandinavian studio Pottery of the period such as Gustavsberg and their work with one of my heroes Stig Lindberg, Scandinavian design was well ahead of the pack in the 1940s and it was in the mid 1950s that UK and USA began to catch up using shapes colours and glazes being produced by the leading Scandinavian factories.

I love the patterns that are used on the silhouettes of these vases and bowls, The soft but structured designs that were largely produced in dusty pastels, It's amazing that they are all so intricately painted by hand. 

I am lucky to own 2 pieces that I have acquired over the years but these guys are not easy to find and if you do, you have to be prepared to pay premium prices. 

Please note: Some of these images have been kindly supplied by John Clark, who generously reached out to me to share his knowledge of this period of Poole Pottery. I am afraid in my first post I did not get all the information right, This general post of Freeform also cover the Contemporary period that John pointed out is in fact often mistaken as Freeform but actually encompasses 2 periods of Poole.


For interested collectors of Poole, There is also good information in a catalogue from the 1997 “Poole in the 1950s” exhibition that John Clark co-hosted with Richard Dennis at his gallery in London. The catalogue is still in print and can be purchased through the Richard Dennis Publications website, as can the best book on the pottery “Poole Pottery” by Hayward and Atterbury which has information on all periods.
http://www.richarddennispublications.com/shop/category-46-book-list

Molten Magic/ West German Lava Pottery

Atwater Pottery

Left: Kreutz Keramik, Right: Nicolas Trembley's collection, Check out article on capitalnewyork.com

Left: Atwater Pottery, Right: Collaboration with Heath Ceramics

Left: Es Kermaik, Right: Collection Mousse Magazine

Yellow glazed examples

Photography: Le Grenier.com

Left: Nicolas Trembley's collection, Check out article on capitalnewyork.com, Right: Triangle bowl 

Photography: designsdelight.com

Left: Detail of glaze, Right: Examples by Jopeko Keramik

Left: Example, Right: Nicolas Trembley's collection, Check out article on capitalnewyork.com

Left: Common markings on bottom of vase, Right: Collection

Left: Jopeko Keramik, Right: Collection of German Lava Ceramics

Photography: fantascticsupermaket.com

I remember when I first started to collect ceramics I was drawn to The West German Pottery of the 1970’s, It seemed to be readily available and cheap in Thrift stores but as time has worn on, West German studio pottery has become extremely collectible with its distinctive patterns, textures and shapes. It was produced from the 1950s to 1970s when innovation and production was at its height. Garish coloring, bizarre patterning, contrasting forms is what gives Lava glazed pottery it’s distinct look, love it or hate it. Lately I have been seeing a resurgence of it or similar pottery, Particularly in San Francisco where I am currently.

Largely anonymously designed, Lava pottery was produced by many companies such as Scheurich Lora, Bay, Ceramano, Karlsruche, Hutschenreuther, Rosenthal, Jopeko, Roth, Spara, Ü-Keramik, They are often hard to totally I.D with many not clearly labeled.

With a contemporary twist and influenced by German Pottery, two notable names in California pottery: Heath Ceramics and potter Adam Silverman from Atwater Pottery have come together to design a collection, If you check out Atwater also you can see further examples of Adams work.

A great catalog/book by Mark Hill, titled Fat Lava is a great resource; you can find it at http://markhillpublishing.co.uk

Other sites worth checking out are www.retrofatlava.com and www.fat-lava.com.

I personally love its texture, passion and brashness to think outside the box. I love fine china also but the Lava series is at polar opposites and I feel opposites should always be embraced. 

Inspiring Icons/ David Gil

Left: A portrait of Davis Gil in his studio, Right: Fish Plaque

Many plaques designed by David, I am lucky to own at least one of these great designs each

Left: Spark White vase, Right: The very collectable Lugged bowl 

Left: Bull Bank, Model 1601, Photography: www.modcats.com, Right: Trigger mug in Teal

Left: One of the many Bennnington Potters stamps, Right: Two plate designs by David Gil,
Photography: Monki Vintage, click for link, A great source for David's work to purchase. 

Left: Exhibition of works by David Gil, Right: Trivet

Left: Another Lugged bowl, Right: Mr Salt and Mrs Pepper

Animal motif plates designed by David Gil

More plate designs by David Gil

Left: Trivet, Right: Snack bowl

I have to admit, prior to moving to the States several years ago, I did not know much about Bennington Pottery. Since styling in New York though it became apparent to me that the pieces I kept picking up in the Prop Houses was Bennington Pottery pieces from Vermont. With a palette largely of rich autumnal colors and deep teals, Bennington Pottery has always struck me with having a earthy, handmade quality with distinctive silhouettes that define the brand. With research I came to learn, Bennington Pottery's main player was a potter named David Gil. 

Bennington Potters was founded more than a half century ago by the young potter named David Gil. A graduate of Alfred University, which was renowned even then for its ceramics program, Gil relocated from New York City to Vermont beginning his life work there in 1948. Starting out in small barn with the business originally named Cooperative Design, In 1961 David Gil moved the business into a larger premises in Vermont where it still lives today and he re named it simply Bennington Potters. 

During his career, David distinguished himself as a designer with an ability to fuse contemporary forms with historic references, Although he valued handcraft and high aesthetic standards, he also embraced mechanization, Although largely an artist some forms were directly aimed at the commercial market. In 1953, Gil introduced the now very familiar "Trigger" mug with its double-loop handle and it became an instant best seller. He showed a sense of humor early on in his market wares, according to Franklin, "creating whimsical decorative work including Mr. Salt and Mrs. Pepper.

David and Bennington focused heavily on cooperative designs and while the company was steered by David Gil’s vision, Yusuke Aida, A Japanese potter designed many of the classic Bennington silhouettes in conjunction with David Gil from the period of 1961-1964. You can see this collaboration and Japanese influence in the designs that still look strikingly modern over 48 years later.

I still love and collect Bennington, many years later, Sadly David died in 2002 but he leaves a company still producing and greatly admired in Vermont and across the country.