DOCSLIB.ORG

Title Designing 21St Century Standard Ware: the Cultural Heritage Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Title Designing 21St Century Standard Ware: the Cultural Heritage Of Title Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/8755/ Dat e 2 0 1 5 Citation Tyas, Matthew J. (2015) Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies. PhD thesis, University of the Arts London and Falmouth University. Cr e a to rs Tyas, Matthew J. Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Designing 21st Century Standard Ware: The Cultural Heritage of Leach and the Potential Applications of Digital Technologies Matthew James Tyas A thesis submitted in partial fulfilment of the requirements of University of the Arts London for the degree of Doctor of Philosophy November 2014 Falmouth University Abstract Abstract This practice-based research investigates the potential applications of digital manufacturing technologies in the design and production of hand-made tableware at the Leach Pottery. The methodology for the research establishes an approach grounded in my previous experience as a maker that is informed by an open, experimental, emergent, and responsive framework based on Naturalistic Inquiry. A critical contextual review describes the cultural heritage of Leach which, for the purposes of the research, is developed through the Leach Pottery as a significant site, the historical production of the iconic Leach Standard Ware and the contemporary production of Leach Tableware. This is followed by an examination of Potter’s Tools in the Leach production environment, and a review of makers’ digital ceramic practice. The contextual review is followed by an explication of ‘standards’ presented through visual lineages of Standard Ware and Leach Tableware to define ‘standard’ at a design (macro) level, followed by an examination of how ‘standard’ operates at a making (micro level) level. This chapter presents new knowledge in relation to defining the visual field of Leach Pottery tableware production and its standards of design. A chapter focussed on practice presents the outcomes and analysis of my engagement with digital manufacturing technologies which resulted in the development of new tools to support Leach Tableware production and the interrogation of Leach forms, in different mediums, which led to the creation of Digital-Analogue Leach forms. The practice culminated in the design and development of new 21st century Standard Ware: a range of 9 forms, called Echo of Leach, that were developed by myself using digital and analogue methods: the designs were realised by myself, the Leach Studio, and a further four makers. The outcomes of the research were presented in a three month exhibition at the Leach Pottery in 2013. The conclusions of the research draw on the key points raised in the analysis of the practice and relate these to the approaches to making pottery that are highlighted in the cultural heritage of Leach in the contextual review. These are also discussed in relation to ways in which these findings could be taken forward into development of knowledge about Standard Ware, especially in a broader studio pottery context. 1 Acknowledgements Acknowledgements This research was part-funded by European Social Fund (ESF) project #09099NCO5 which aims to improve employment opportunities in the European Union. Without this funding, I could not have undertaken this research. I would like to thank Falmouth University, the Autonomatic Research Group at the University, and the Leach Pottery, for supporting the funded studentship and giving me the opportunity to undertake the research. My Supervisory Team: Dr Katie Bunnell, my Director of Studies and leader of Autonomatic. Professor Jeremy Diggle, Head of the School of Art at RMIT University in Melbourne, Australia. Dr David Hawkins, Associate Dean (Research and Innovation), Falmouth University. Also Jack Doherty, who Supervised the PhD on behalf of the Leach Pottery for the first two years. I would like to thank those who have supported me in an advisory capacity at Falmouth University: Tavs Jorgensen, PhD Student & Research Fellow, Autonomatic, and Drummond Masterton, Head of Subject, Sustainable Product Design. Also, staff at Falmouth University who have supported my technical needs and questions, especially Liz Mehen, Senior Technician, Ceramics, and Mark Lea, Senior Technician. Also Adam Stringer, Design Consultant, and Dr Justin Marshall, Associate Professor of Digital Craft. With thanks to all the staff of the Leach Pottery and especially Julia Twomlow, Director, and Margaret Parma, and the potters Kat Wheeler and Britta Wengeler. Also, the Crafts Study Centre, University for the Creative Arts, especially Jean Vacher the Collections Manager. People who have provided support and inspiration at various stages of the project: Jonathan Keep, Akira Yagi, Aaron Moore, Paul O’Lomasney and William Marshall. And to my parents, Geoff and Jan, who always support and encourage me. 2 Table of Contents Table of Contents Abstract ..........................................................................................................................................1 Acknowledgements ........................................................................................................................2 Table of Contents ...........................................................................................................................3 List of Appendices ..........................................................................................................................5 List of Figures .................................................................................................................................6 Chapter 1: Introduction .............................................................................................................. 22 Section 1.1: Background & Research Rationale ...................................................................... 22 Section 1.2: Aims & Objectives ............................................................................................... 24 Section 1.3: Thesis Structure .................................................................................................. 24 Section 1.4: Initial Definitions of Terms .................................................................................. 26 Section 1.5: Researcher’s Previous Experience & Relationship to Standard Ware ................ 26 Chapter 2: Methodology & Methods .......................................................................................... 30 Section 2.1: Naturalistic Inquiry .............................................................................................. 34 Section 2.2: Practice & Naturalistic Inquiry ............................................................................ 37 Section 2.3: Outline of Methods ............................................................................................. 38 Section 2.4: Summary of Chapter ........................................................................................... 39 Chapter 3: The Critical & Contextual Review .............................................................................. 40 Section 3.1: The Cultural Heritage of Leach ............................................................................ 40 Section 3.2: Potter’s Tools & The Leach Pottery ..................................................................... 78 Section 3.3: Digital Ceramic Practice & its Potential .............................................................. 85 Section 3.4: Summary of Chapter ......................................................................................... 102 Chapter 4: Leach Pottery Standard Ware & Tableware: Lineages of Forms & Standards ........ 104 Section 4.1: Leach Standard Ware & Tableware Lineage of Forms: A Macro/Design Study 104 Section 4.2: Leach Standard Ware: A Micro/Making Study .................................................. 131 Section 4.3: Conclusions for Chapter .................................................................................... 138 Chapter 5: Practice .................................................................................................................... 140 Section 5.1: Situating My Practice in the Digital: Milled Decoration & Beakers .................. 141 Section 5.2: Tool Making ....................................................................................................... 144 Section 5.3: Digital-Analogue Leach: Early Echoes ............................................................... 155 Section 5.4: Designing 21st Century Standard Ware: Designing New Tableware with Digital Technology ............................................................................................................................ 170 Section 5.5: Echo of Leach: Makers’ Work & Exhibition ....................................................... 177 3 Table of Contents Section 5.6: Conclusions for Chapter .................................................................................... 200 Chapter 6: Conclusions ............................................................................................................. 202 Section 6.1: Overall Conclusions
Load more

Recommended publications
  • Related Voices Hamada: Three Generations
    Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire.
    [Show full text]
  • The Leach Pottery: 100 Years on from St Ives
    The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach.
    [Show full text]
  • Bernard Leach and British Columbian Pottery: an Historical Ethnography of a Taste Culture
    BERNARD LEACH AND BRITISH COLUMBIAN POTTERY: AN HISTORICAL ETHNOGRAPHY OF A TASTE CULTURE by Nora E. Vaillant B. A. Swarthmore College, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in The Faculty of Graduate Studies (Department of Anthropology and Sociology) We accept this thesis as conforming to the required standard The University of British Columbia October 2002 © Nora E. Vaillant, 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of J^j'thiA^^ The University of British Columbia Vancouver, Canada Date DE-6 (2/88) ABSTRACT This thesis presents an historical ethnography of the art world and the taste culture that collected the west coast or Leach influenced style of pottery in British Columbia. This handmade functional style of pottery traces its beginnings to Vancouver in the 1950s and 1960s, and its emergence is embedded in the cultural history of the city during that era. The development of this pottery style is examined in relation to the social network of its founding artisans and its major collectors. The Vancouver potters Glenn Lewis, Mick Henry and John Reeve apprenticed with master potter Bernard Leach in England during the late fifties and early sixties.
    [Show full text]
  • Jack Doherty
    STEP-BY-STEP Masterclass finished my ceramics training in Belfast in 1971 and with have worked as a potter for almost 50 years. Someone recently mentioned to me that it is unusual these days Ifor someone to spend their working life in the same job. While making pots has always been at the core of my life, ceramics has given me many opportunities beyond the studio. To learn new things, to travel and teach, and to be involved in projects that have created new opportunities Jack for makers to promote and sell their work. I was Chair of the Craft Potters Association (CPA) for a total of 12 years and was involved with the first CPA fair in Cheltenham and one of the small team who helped establish Earth and Fire at Rufford. I was a founder member and Chair of the Ceramic Art London organising Doherty committee. At that time, I felt very conscious of the need for a fresh platform to celebrate the expanding range of contemporary ceramics. A highlight of that period was my year as guest editor of Ceramic Review. In November 2019, I will be leading the first International Soda-firing Ceramics Festival at Fuping in Shaanxi, China. My work life (I refuse to call it a career) has for years been on a geographical downward slide. It started at the top of the map of the British Isles, I was born on the north coast of Northern Ireland, but have gradually slipped south via Kilkenny, Armagh and Herefordshire to Cornwall. I went to St Ives as the first lead potter and creative director at the refurbished Leach Pottery.
    [Show full text]
  • TRADE UNIONISM and SECTARIANISM A1'k)NG DERRY SHIRT WORKERS 1920-1968 with Special Reference to the National Union of Tailors and Garment Workers
    TRADE UNIONISM AND SECTARIANISM A1'K)NG DERRY SHIRT WORKERS 1920-1968 With Special Reference to the National Union of Tailors and Garment Workers A thesis submitted for the degree of Doctor of Philosophy in the Faculty of Science, University of London. by Andrew Robert Finlay Department of Anthropology University College London 1989 BIRL LONDIN. UNIV. -1•- ABSTRACT The problem at the heart of this study is: to what extent and in what ways was the development of trade unionism in the Derry shirt industry influenced by sectarianism? This problem and my approach to it were elaborated in contradistinction to existing theories of trade unionism in Northern Ireland. According to the main theory, developed most cogently within traditional Irish marxism, trade unionism was thwarted by sectarianism. I suggest that this theory has more to do with the reductionist and evolutionist assumptions of its authors than with social reality and argue that the relationship between trade unionism and sectarianism Is better understood with an approach in which it is recognised that both of these institutions are constituted through the actions of concrete individuals who are themselves consituted by society, and in which priority is given to the meanings which individuals ascribe to their actions and predicaments. My- study is based on interviews with a sample of retired union officials and activists. My respondants were keenly aware of the Catholic-Protestant dichotomy, but, contrary to what traditional Irish marxists would lead one to expect, they did not regard sectarianism as a significant problem until the 1950s, My analysis of union growth and structure 1920-1952 largely confirmed this view: union densities compared favourably with clothing workers in Britain, and the main factors underlying fluctuations in membership were more or less the same as elsewhere in Britain.
    [Show full text]
  • Of Gallery Marianne Heller
    GALLERY 1978 – 2013 35th ANNIVERSARY OF GALLERY MARIANNE HELLER t is always enthusiastic individuals who make a difference. Walter H. Lokau Marianne Heller is just such an enthusiastic individual who Isets things in motion. As a gallery owner, she has dedicated herself to publicising contemporary international ceramics, and she The tale of someone who has been doing this for 35 years. One thing has remained in all this time: her untiring enthusiasm for contemporary ceramics and her set out to bring the world uncompromising desire to make quality ceramics accessible to the public that are otherwise rare in this part of the world. That is what of ceramics to Germany … has remained, but quite a lot of other things have changed in three and a half decades… chael Casson, David Frith, John Maltby, Svend Bayer and oth- The 1970s – the time of self-fulfilment. A passion for peasant ers debuted here with their pots – the whole business grew in pottery had taken hold of Marianne Heller. Were there no contem- no time. Once a year from 1982, the Festhalle in Sandhausen porary ceramics? She looked around. Inevitably a pottery course became the venue for the English Potters' Seminar: a public followed. But she soon left making ceramics herself well alone. By workshop after the English model, and previously unknown in chance, she got her hands on Bernard Leach's A Potter's Book. It was this kind in Germany, intending to teach techniques and at the a revelation! Leach's doctrine of the wheel-thrown vessel, which was same time to develop taste and judgement.
    [Show full text]
  • The Ceramics of KK Broni, a Ghanaian Protégé of Michael
    Review of Arts and Humanities June 2020, Vol. 9, No. 1, pp. 13-24 ISSN: 2334-2927 (Print), 2334-2935 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/rah.v9n1a3 URL: https://doi.org/10.15640/rah.v9n1a3 Bridging Worlds in Clay: The Ceramics of K. K. Broni, A Ghanaian protégé of Michael Cardew And Peter Voulkos Kofi Adjei1 Keaton Wynn2 kąrî'kạchä seid’ou1 Abstract Kingsley Kofi Broni was a renowned ceramist with extensive exposure and experience in studio art practice. He was one of the most experienced and influential figures in ceramic studio art in Africa. Broni was trained by the famous Michael Cardew at Abuja, Nigeria, Peter Voulkos in the United States, and David Leach, the son of Bernard Leach, in England. Broni had the experience of meeting Bernard Leach while in England and attended exhibitions of Modern ceramists such as Hans Coper. His extensive education, talent, and hard work, coupled with his diverse cultural exposure, make him one of Africa‘s most accomplished ceramists of the postcolonial era. He is credited with numerous national and international awards. He taught for 28 years in the premiere College of Art in Ghana, at the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi. Broni has had an extensive exhibition record and has a large body of work in his private collection. This study seeks to unearth and document the contribution of the artist Kingsley Kofi Broni and position him within the broader development of ceramic studio art in Ghana, revealing the significance of his work within the history of Modern ceramics internationally.
    [Show full text]
  • Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement
    Leach Pottery Announce Collaborative Project to Restore Documentary Film Compendium on Bernard Leach and the Mingei Movement The Leach Pottery and Marty Gross Film Productions, Canada, announce their collaboration in the restoration and re-release of historically important films from the 1930’s to the 1970’s which profile key figures in the history of The Leach Pottery and the Japanese Mingei Movement. The Great Britain Sasakawa Foundation have provided a generous £5000 donation in support of this unique project, and following this initial funding further funding has been pledged or received from The Museum of Ceramic Art New York, Ceramica Stiftung Basel, Warren and Nancy MacKenzie, scholar Dr. Paul Griffith and art collector Dr. John Driscoll. Film subjects include Bernard Leach, Shoji Hamada, Soetsu Yanagi, Janet Leach, William Marshall and others. Bernard Leach, founder of The Leach Pottery, was an important figure in the history of contemporary ceramics and a key member of the group that founded the Mingei Movement. His writings on Japan and its ceramic traditions are central documents in the history of the Modern craft movement. Over the neXt three years, the project will restore and digitize important and never before seen footage which documents the studies of Bernard Leach and his colleagues in Japan as they developed ideas that became central to the Mingei movement. The resulting compendium will consist of DVDs and a booklet containing the following films and new documentation: ▪ Trip to Japan, filmed by Bernard Leach, 1934-35 ▪ Mashiko Village Pottery, Japan 1937 ▪ Bernard Leach visit to San Francisco, 1950 ▪ The Art of the Potter (1971), by David Outerbridge and Sidney Reichman ▪ Excerpts from 10 hours of unseen film footage from The Art of the Potter ▪ An exclusive Video Interview by Marty Gross with Mihoko Okamura, D.T.
    [Show full text]
  • A Potters Book Free Ebook
    FREEA POTTERS BOOK EBOOK Bernard Leach | 372 pages | 23 Feb 2012 | FABER & FABER | 9780571283675 | English | London, United Kingdom A Potter's Book Harry Potter is a series of seven fantasy novels written by British author J. K. Rowling. The novels chronicle the lives of a young wizard, Harry Potter, and his friends Hermione Granger and Ron Weasley, all of whom are students at Hogwarts School of Witchcraft and Wizardry. A Potter's Book by Bernard Leach with introductions by Soyetsu Yanagi and Michael Cardew. This is the first treatise by a potter on the workshop traditions which have been handed down by Koreans and Japanese from the greatest period of Chinese ceramics in the Sung dynasty. This now famous book was the first treatise to be written by a potter on the workshop traditions handed down by Koreans and Japanese from the greatest period of Chinese ceramics in the Sung dynasty. It deals with four types of pottery: Japanese raku, English slipware, stoneware and oriental porcelain. Potters Book by Leach Bernard A Potter Book by Bernard Leach. Topics IIIT Collection digitallibraryindia; JaiGyan Language English. Book Source: Digital Library of India Item In A Potter's Workbook, renowned studio potter and teacher Clary Illian presents a textbook for the hand and the mind. Her aim is to provide a way to see, to make, and to think about the forms of wheel-thrown vessels; her information and inspiration explain both the mechanics of throwing and finishing pots made simply on the wheel and the principles of truth and beauty arising from that traditional method.
    [Show full text]
  • 2011 Gallery Catalogue
    A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES Long Room Gallery Winchcombe 12th to 26th November 2011 JOHN EDGELER & ROGER LITTLE PRESENT A SELLING EXHIBITION OF EARLY TWENTIETH CENTURY SLIPWARES FROM THE WINCHCOMBE AND ST IVES POTTERIES 12th to 26th November 2011, 9.30am to 5.00pm Monday to Saturday (from midday on first day) Long Room Gallery, Queen Anne House, High Street, Winchcombe, Gloucestershire, GL54 5LJ Telephone: 01242 602319 Website: www.cotswoldsliving.co.uk Show terms and conditions Condition: Due to their low fired nature, slipwares are prone to chipping and flaking, and all the pots for sale were originally wood fired in traditional bottle or round kilns, with all the faults and delightful imperfections entailed. We have endeavoured to be as accurate as possible in our descriptions, and comment is made on condition where this is materially more than the normal wear and tear of 80 to 100 years. For the avoidance of any doubt, purchasers are recommended to inspect pots in person. Payment: Payment must be made in full on purchase, and pots will normally be available for collection at the close of the show, in this case on Saturday 26th November 2010. Settlement may be made in cash or by cheque, lthough a clearance period of five working days is required in the latter case. Overseas buyers are recommended to use PayPal as a medium, for the avoidance of credit card charges. Postal delivery: we are unable to provide insured delivery for overseas purchasers, although there are a number of shipping firms that buyers may choose to commission.
    [Show full text]
  • 20Th, 21St & 22Nd August 2021
    20th, 21st & 22nd August 2021 Windsor Racecourse, Berkshire, SL4 5JJ Opening Times: Fri & Sat 10:00am - 5:30pm / Sun 10:00am - 5:00pm www.artinclay.co.uk Follow us Proud organisers of Art In Clay t: 01782 271 200 f: 01782 280 008 Email: [email protected] Artists top left to bottom right: Ian Harris, Wendy Lawrence, Web: www.valentineclays.co.uk Peter Beard, Richard Robinson, Rose Dickinson WELCOME TO ART IN CLAY WINDSOR 2021 Our 27th Art in Clay has not only witnessed We are asking all of our visitors this year to CONTENTS its first online show, in 2020, but has help us by judging the People’s Choice now a brand new location at Windsor Award and voting for your favourite Racecourse. (located by main entrance) all you need Welcome ................................. 3 to do is use the onsite QR code that will Talks & Demonstrations ........... 4 Whilst we were sad to leave Hatfield enable you to cast your online vote during House, we feel thrilled to be part of this Friday & Saturday of the show. We then Clay Creation Zone ................ 6 wonderful venue and are grateful to all would like to invite all visitors to join us of Windsor Racecourses support over the on Saturday evening from 5.45pm (Mick Exhibitors .................................. 8 previous months. Casson Food Zone) for our Exhibitor Award Presentation when we will announce the Event Info & Site Map ............. 36 Visitors will get to witness high-end art to winners of the Potters Choice, Mick Casson practical and functional ceramic pieces & Student Awards. We just ask our visitors one last request that are a perfect addition to your home which is to enter our competition or ideal as a collector’s item.
    [Show full text]
  • ST IVES Development and Postgraduate Studies
    > 95mm > > 97mm > > BACK COVER: 100mm > > FRONT COVER: 100mm > 4 page DL brochure At the Leach Pottery our education work ranges from We are open to visitors all year round schools’ workshops and family sessions to professional Last admissions to museum 30 minutes before closing ST IVES development and postgraduate studies. Opening times Children & Families March - October Tate St Ives St Ives Ceramics During school holidays we hold regular Clay Days, Open every day Fore St 10.00 - 17.00, Sundays 11.00 - 16.00 for parents and children to share a hands-on making Barbara Hepworth Museum experience. During term time our Saturday morning November - February Royal Square club, Clay Station, allows children aged 6 to 12 to start to Treverbyn Rd Bus Station Open Monday - Saturday 10.00 - 17.00 Alexandra Rd Railway Station develop a more in depth understanding of working with Open Bank Holidays clay. We also work with schools and youth groups of St.Just B3306 Trenwith Car Park Christmas Closures: and Land’s End all kinds to deliver practical and educational workshops A3074 24, 25 & 26 December Higher Stennack throughout the year. Admission LEACH POTTERY Adults B3311 £5.50 adults Trelyon Ave Whether you are a professional, student or a keen amateur Hayle, Penzance and Redruth Lelant potter, an intensive week working in the environment of £4.50 concessions, inc. over 60s the professional studio within the historic Leach Pottery Children FREE when accompanied By Road is a unique experience. This is an opportunity to brush-up by an adult The Leach Pottery is located at Higher Stennack (B3306), on the upper outskirts of on particular techniques, explore new approaches, or just If you are a UK taxpayer you can Gift Aid St Ives, Cornwall.
    [Show full text]