Exhibition of work by some of the UK s leading potters of the 20th-century goes on display at Court Barn
Nora Braden, about 1930 Stoneware, Kilmington Pottery, Dark glaze (21cm). The Leach Pottery became a training ground for many potters. Leach thought Nora Braden one of his most gifted pupils. Her pots are special as she was intensely self critical destroying many of them.
CHIPPING CAMPDEN
.- The renaissance of the British love of ceramics can arguably be traced back to 2003, when Grayson Perry won the Turner Prize with a selection of his Grecian urn-like pots from his show, Guerrilla Tactics the first time it was awarded to a ceramic artist.
Works from the collection of Allen & Beryl Freer to be offered at auction
The Delighted Eye II, Works from the Collection of Allen & Beryl Freer opens the door to a life full of inspiration, love and culture, it will inevitably bring true joy to any art lover.
LONDON
.-Chiswick Auctions in West London announced The Delighted Eye Part II sale on February 25, 2021. It follows a year after Christies part I auction, The Delighted Eye: Works from the Collection of Allen and Beryl Freer, which was a white glove sale, attracting widespread interest for these highly sought-after works. The part II sale is therefore set to draw interest from all corners of the globe on February 25, 2021.
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.