This new edition of Eric Yates-Owen and Robert Fournier's classic book on British studio potters' marks contains new and revised entries for many potters, with up-to-date information about the artists' styles, marks and addresses. Entries are arranged alphabetically, with each entry giving biographical data, information on the type of ceramics produced, the location of the pottery and dates indicating when marks have changed, as well as images of the different marks used. Three useful indexes enable the reader to search by mark rather than maker, in various categories such as creatures, monograms and signs. Revised by expert collector James Hazlewood, British Studio Potters' Marks, third edition, is the essential reference guide for collectors of British studio pottery.

This detailed and comprehensive survey charts the entire history of British studio ceramics from the emergence of modern ceramics from the Victorian factories around 1900 to the wide variety of extraordinary work being produced today. All the best-known potters such as Leach, Hamada, Cardew, Rie, and Coper are examined in depth in terms of their different areas of interest and influence. An extensive appendix gives information on 200 leading makers with their identifying marks and cross-references with a list of museums where their work can be seen. Lavishly illustrated throughout with some 250 color photographs, this is a book for the collector needing in-depth information or for those who just want an introduction to this important and beautiful work.

The first publication to focus on individual designers in ceramics over the whole 20th century. Covers all the major female designers with up to date findings. Also some male designers previously almost undocumented.

This is a guide for both beginner collectors and those who have already started on how, where and what to buy in contemporary studio ceramics as a collector. It looks at the best venues, from galleries and auctions to craft fairs and even car boot sales, and explains what to look for, or alternatively, to avoid. It discusses the various types of studio pottery for the uninitiated, as well as looking at the way people can collect items - only buying pieces from a few specific potters, or collecting just teapots from hundreds of places. Collecting Contemporary Ceramics examines the pros and cons of collecting for investment or for pleasure, and how to go about doing both. It also discusses more abstract angles such as: Why do people collect? With interviews from a few noted collectors and makers, this will open up a whole new world to those interested in collecting ceramics but without the knowledge of where to go and what to look for.

The remarkable collection of the UK's most prolific collector of postwar British studio pottery. In the latter half of the twentieth century, "professional Yorkshireman" W. A. Ismay (1910-2001) amassed over 3,600 pieces by more than 500 potters. Surrounded by his family of pots, he lived in a tiny terraced house in Wakefield, Yorkshire, and left his collection and its associated archive to the city of York upon his death. This eclectic group of works contains objects created by many of the most significant potters working in the United Kingdom, including Lucie Rie, Hans Coper, Bernard Leach, and Michael Cardew, as well as lesser-known makers. With new academic research into this little-studied collection and archive, Yorkshire Tea Ceremony explores Ismay's journey as a collector and offers fresh perspectives on a marginalized area of British Modernism. Tracing the collection's journey from private to public ownership illuminates issues surrounding the acquisition and reveals the transformative effect it has had on both curatorial practice and the ambition of regional public institutions. The W.A. Ismay Collection offers a well-documented example of the valuable contribution collectors can make to the British studio ceramics movement. Published to coincide with the twentieth anniversary of the collection's move from private to public ownership, this volume accompanies an exhibition at York Art Gallery's Centre of Ceramic Art (CoCA).

When he went to West Africa in the 1940s, Michael Cardew found himself in a land where the potter's art had been flourishing for centuries without the use of wheels, or kilns, or glazes. This book grew out of his desire to share all that he had learned from the African pioneers of pottery.