Alan Wallwork

NaomiM wrote:To add, the celadon glaze inclusions makes it more likely it’s by Wallwork imo

Many thanks, Naomi -- any idea on a date?

Marnhull 1965-84 most likely. Can definitely see a W there, and this was the mark used when his assistants had input into the work. At one time at Marnhull he had 14 people working for him. Not quite so highly prized by Wallwork collectors as those with the personal AW mark
.
http://www.alanwallwork.info/gallery/index.php?sfpg=MDMgTWFybmh1bGwvKiowZmMwZjljMTQzYWQ2M2NiZTcxODViYjNmZWI1NWRiODAzMTg2N2IzOGI3ZmU0ODg3MmU4ZjExN2Q0YThiYWRl&info=1

Here's a lamp from Alan which stands about 33cm tall. The base has the W mark.

there's a touch of Troika about that one

NaomiM wrote:Or a touch of Rooke

Louis Hudson incorporated those white-ish curved parts into his work. Did Louis have any connections to Alan or Bernard?

NaomiM wrote:I believe Hudson, Wallwork and Rooke shared studios in the early years. Certainly there was a bit of cross pollination (or borrowing of clay and molds) in the Rooke/Wallwork years

There doesn't seem to be much info' about Louis on the www - at least I can't find any. I did wonder if he also went to Goldsmiths.

Hudson worked as an assistant to Alan in Greenwich when Alan sub-let part of his premises to Bernard Rooke too. Another part was rented by Alan to the Fourniers and that is where Robert nick the idea of making the forms that he is most appreciated for.

Alan and Bernard discussed ideas together and so there was many similarities in their work from that period. Alan thought Sheila Fournier was far more talented than her husband, which I think is true.

When Hudson moved to the West Country Alan says that he helped him out with equipment etc. and somewhere on this Forum I recall Alan moaning that Hudson still owes him some money!

So do we not need a Wallwork/Hudson/Rooke/Fournier book?

studio-pots wrote:Hudson worked as an assistant to Alan in Greenwich when Alan sub-let part of his premises to Bernard Rooke too. Another part was rented by Alan to the Fourniers and that is where Robert nick the idea of making the forms that he is most appreciated for.

Alan and Bernard discussed ideas together and so there was many similarities in their work from that period. Alan thought Sheila Fournier was far more talented than her husband, which I think is true.

When Hudson moved to the West Country Alan says that he helped him out with equipment etc. and somewhere on this Forum I recall Alan moaning that Hudson still owes him some money!

Many thanks for the input, SP

From memory, which isn't great, I read that Louis Hudson began potting around 1971. Maybe that date is when he got his own studio. What years would you say he was assisting and renting a space from Alan Wallwork at Greenwich?

Louis Hudson didn't rent a space at Greenwich but work for Alan there and so it would have been around 1964/5, from what Alan has told me. Although Alan moved to Marnhull in 1965 he wasn't able to get rid of the lease at Greenwich until several years later and I know that he continued to rent out the building to various potters after 1965 but am not aware from Hudson was one of them.

It an interesting point that Alan Wallwork was a highly successful businessman. For near 25 years he ran what was virtually a production pottery with up to 14 assistants at peak times. Both in London and Dorset, with major contracts for tiles, and a long standing upmarket contract with Heals.

Here's a 23cm tall vase with the W mark.

Hi

I cross checked on the below and it certainly matches up but I know it's worth double checking here.

Thanks

http://www.alanwallwork.info/gallery/index.php?sfpg=QWxhbiBXYWxsd29yayBUaWxlcy8qKjdhMjdjMzZkZWVhN2ZiNWFiZmFlYTlkNWY1MzMxZjI0ZWI2OWYwNzNiOGZkZDFjYWMxODczOGI0NDVkYWQ3Y2Y&info=1

Forgan probably made the board

bump

Looks a lot more like Derek Davis.
A red Wallwork glaze? One never says never. But never seen one EVER!

I had a number of vases of similar shape, the same stoneware body and the pink/red glaze that I got from Alan when he was clearing out his Whitty Down Farm studio before moving to France.

From what Alan told me, they were primarily test pieces for trying out different glazes but the ones that I took from him were marked. However, I do think that there were unmarked pieces that I didn't buy from him and so he would have then sold on the stalls that he had on Greenwich Market.

Wonder if the Chinese found anything like that on the back of the moon? Those craters!
Nice. What size is it? Is it yours?

a very nice example, those are the really good bankers imo

Yes, just going up, up, up.