Carter & Company and Early
Carter Stabler & Adams
small acorns huge collections sometimes grow. At Poole Pottery itself,
the first two decades of the 20th Century saw only very modest
production of thrown pots, with the manufactory much more focused on the
production of tiles and architectural pottery.
early 1920's marked a period
of change and experimentation at Poole. The production of domestic
pottery began to increase in scale and importance, and by the end of the decade
it was at full pelt.
The pots below demonstrate some of the developments made in these early
a vase to
Carter and Co. to Carter, Stabler and Adams
left to right, unglazed
stoneware vase, 17.5 cm tall, stamped Carter Co Poole on an
unturned base, and an unidentified decorators mark CH, 1914 to 1921; candlestick, shape number 643,
18 cm tall, JF pattern painted by Ethel Barrett between 1922 and
1924, stamped Poole England; Green reduced lustre
vase, 11cm tall,
incised Carter and Co mark, 1900-1908; unglazed
stoneware vase, 12 cm tall, Signed Carter Co Poole on an
unturned base no other marks, 1914 to 1921; and front, bowl shape number
223, 4 cm tall, CV pattern, painted by Ethel Barrett between 1922 and
1928 stamped Carter Stabler Adams, Poole England.
oldest pot above, at the back of the group, is from a range of Lustre
wares developed by Owen Carter, James Radley Young and Alfred
Eason between 1900 and 1908.
two vases to the left and right are an examples of the unglazed
ware's made from 1914 and through the years of WW1 by James Radley
Young. These "Egyptian" pots are thought to have been inspired by the
local (not Egyptian) archeological
finds displayed in local museums at the time. The body is made from a course
grey-brown, high fired, semi-vitrified clay used also for tile making.
They're decorated with brown oxides. They have no turned base ring and the
surfaces are covered by the potter's fingernail marks, thumb prints and little bits of
loose clay that have attached themselves. These pots all date form
a time before John and Truda Adams, and Harold and Phoebe Stabler joined
the pottery in 1921
two white glazed pots date from the early 1920's, and although more sophisticated in appearance,
they have a similar
emphasis on the "hand-made". The candlestick has a lovely naivety, the
the top rim is slightly wobbly
and the decoration is missing one purple dot on the far right and the
little bowl has a slightly squashed base. A bowl, identical to the one seen
here, appears in a photo from October 1921of a display of Poole Pottery at Regent House in London, reproduced on page 37 of the Hayward and Atterbury Poole Pottery book. 1921 was
also the year that John and Truda Adams, and Harold and Phoebe Stabler
joined the company and these pots were their early productions.
candlestick and bowl are made from a red earthenware
clay which had been used for some time in the tile works, but was first used
for throwing in 1922 and was then used almost exclusively until 1934. Later this red earthenware would be
dipped in a white clay slip (as can be seen with the small bowl) and then
covered with a transparent tin glaze before been painted, but between 1922 and 1924 a grey slip was
used and the candlestick is an example of this, as are the stripy pots
a vase to
to right, shape number 341?, 11 cm tall, EK pattern painted by
Gertie Warren between 1922 and 1924; shape number 345, 11 cm tall,
JU pattern painted by Ruth
Pavely between 1922 and 1924; shape number 534, 10 cm tall, LC pattern painted by
Ethel Barrett between 1922 and 1924; and jug, no
shape number, 12.5 cm tall, indistinct painters mark 1922 to 1924:
The Portuguese stripe
patterns above all date between 1922 and 1924. They were designed by James Radley Young a decade or so
earlier, typically in blue and white, but were adapted in the 1920's
by Truda Adams. A bowl, identical to the one seen
here, appears in a photo from October 1921of a display of Poole Pottery at Regent House in London, reproduced on page 37 of the Hayward and Atterbury Poole Pottery book.
a vase to
row from left to right, shape number D210, 12 cm tall vase, AH pattern
painted by Anne Hatchard, 1921-22; shape number 202, 16 cm tall twin
handled vase, PN pattern painted by Gertie Warren, 1922-24; and shape
number D333, 14 cm tall spill vase, CG pattern unknown painters mark,
1921-22. Front from left to right, shape number 443, 7 cm tall vase, EJ
pattern painted by Ruth Pavely,1922-24; shape number 839, 12 cm tall
preserve jar, YV pattern painted by Truda Rivers, 1922-24; shape number
185, 9 cm tall vase, HG pattern unknown painters mark,
number D353, 10 cm tall vase, EP pattern unknown painters mark, 1921-22;
shape number 324, 8 cm tall jug, EU pattern painted by Vera Bridle,
1923-24; and shape number 219, 7 cm tall bowl, CB
painters mark, 1922-24
vases above are more colourful than you might expect given the predominance of
As noted above, these pots all predate 1924. Some have a grey
semi-stoneware body and these date between 1921 and 1922, others are
made from red earthenware date between 1922 and 1924. Similarly to
the Portuguese Stripe patterns above the geometric patterns here are
early examples attributed to Truda Adams and are modified only very
slightly from the designs of James Radley Young a decade earlier.
More, later, examples of Truda Adams Geometric boarder designs can be
seen in Gallery 2.
a vase to
shape number 979, 22.5 cm tall vase, painted by Hilda Trim, 1926-1932.
Right shape number 300, 16 cm tall jug, YX pattern, unclear decorators
again, these pots are later and much less rustic interpretations by Truda
Adams of the unglazed pots originally designed by James Radley Young.
The decoration in brown and terracotta slips is much more precise than the earlier
pots. They have clear glazed interiors, that has resisted crazing and
a body what was (I think) fired at a higher temperature and is as a result relatively
imperious to water, this is surprisingly usable and durable pottery.
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