![]() ![]() The end result is a remarkably friendly, and generally happy, population with all family members nearby. ![]() My maternal grandmother, a post-impressionist painter of Russian/Polish ancestry, used to invite us as small children to stay by the sea in the summer holidays. She and my American grandfather lived as tenants in the end of an elegant Folkestone regency house, with circuitous terraced gardens leading down to a shingle beach. Her collection of ceramics was chosen with a painterly eye. She particularly liked the Wedgwood “Ivy” print, which decorated her dinner service, and had a number of individual pieces from the Ravilious era. She also had a small collection of early 19th. ![]() century “cartouche ware” which followed the motifs of Sir William Hamilton’s treasures from Pompeii. These, including the Portland Vase, were the subject of a craze for all things mythological and Roman, which was taken up with enthusiasm by Josiah Wedgwood and resulted in his “Jasper Ware”, the ubiquitous blue and white stoneware cameo (or cartouche) pottery which can be found in every car boot sale. What cannot now be found quite so readily are examples of the millions of pieces of cheap cartouche earthenware with all their imperfections and thumbprints that quickly found their way to the spoil heaps of Stoke. It was this cheaper pottery that my grandmother collected, and which I collect to this day, whose exquisite shapes are the basis of the Brixton Pottery forms. The technical perfection of these early eighteenth century thrown and turned wares was always a source of wonder to me. #Railroad brush lets create pottery full. ![]()
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