Hubbry Logo
Poole PotteryPoole PotteryMain
Open search
Poole Pottery
Community hub
Poole Pottery
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Poole Pottery
Poole Pottery
Poole Pottery
View on Wikipedia
from Wikipedia

Poole Pottery
OwnerDenby Pottery Company
CountryPoole, Dorset, England.
Introduced1873
Previous owners1999–2001 Orb Estates Ltd
2002–2006 Peter Ford
2006 Zemmel & Symonds
2007–2011 Lifestyle Group Ltd
Websitewww.poolepottery.co.uk
Art Deco Poole Pottery designed by Truda Carter, 1920s or 1930s.

Poole Pottery is a British pottery brand owned by Denby Pottery Company, with the products made in Stoke on Trent, Staffordshire.

It was founded as a manufacturer in 1873 on Poole quayside in Dorset where it produced pottery, before moving its factory operations in 1999 to a new site in Sopers Lane until its closure in 2006.[1] They generally specialised in earthenware, although other bodies such as stoneware were periodically produced.[2]

Historical products from Poole Pottery are displayed in museums including the Victoria and Albert Museum in London.[3]

History

[edit]

Poole Pottery was originally "Carter's Industrial Tile Manufactory" and it was this company that provided the financial foundation for the later "Poole Pottery". Carter (Jesse) joined forces in the 1920s with designers Harold Stabler and Phoebe Stabler, and potters John Adams and Truda Adams (Truda Carter) to form "Carter Stabler Adams", who produced Art Deco pottery.

Tiling detail, Bethnal Green tube station, platform frieze.

The Carter company produced much of the ceramic tiling used on London Underground stations built in the 1930s and, of particular note, made the relief tiles, designed by Stabler, showing symbols of London–some of these can still be seen on stations such as Bethnal Green.

"Carter Stabler Adams" eventually became "Poole Pottery", and during and after World War II produced many lines, including Twintone and Traditional. Much of the traditional range was based on the work of the chief designer in the 1920s, Truda Carter; her original designs were interpreted by "paintresses" who added their own individuality to the pieces, all of which were handmade.

Design by Robert Jefferson

Robert Jefferson joined in the 1950s, and alongside such artisans as Leslie Elsden (designer of the "Aegean" Range), Guy Sydenham, thrower and designer of the "Atlantis" range, Tony Morris, developer of the early "Delphis" Studio wares with Jefferson, and paintresses such as Carol Cutler, Diana Davies, Ros Sommerfeld, Ann Godfrey and others, including the three Wills sisters, Laura, Julia and Carolyn, produced two lines which are probably the most famous of all Poole's output: Delphis and Aegean.

Delphis is easily recognised: it is psychedelic, with vibrant colours and designs inspired by artists such as Mondrian, Warhol, Matisse and Pollock. Aegean is more subtle, with the sgraffito technique used to create the "silhouette" patterns that make this range so recognisable.

Twintone

[edit]

Poole Pottery (Carter, Stabler and Adams) produced two-coloured tableware from the 1930s, but had to stop production during World War Two. When they re-launched the range in the late 1940s, they named it Twintone. Twintone was used on three shapes of tableware, many table accessories and a whole host of decorative ware right up to 1981.

Delphis

[edit]
Poole Delphis no.49 pin dish Jean Millership

The Poole Delphis range, launched in 1963, was initially conceived by Guy Sydenham and Robert Jefferson and later developed by Jefferson and Tony Morris. Every piece is pretty much unique, with designs created by the decorators themselves.

Aegean

[edit]

Introduced in 1970, Aegean utilises spray-on glazes in a wide range of techniques (sgraffito, silhouette, mosaic, flow line and carved clay) and patterns (from pure 1970's abstraction to more figurative images of fish, leaves, boats and pastoral scenes). Initially thought of as a replacement for Delphis, it was never as successful.

Living Glaze

[edit]

Poole Pottery giftware is currently created using "Living Glaze". This involves the application of different glazes which react with one another to achieve unique results on each piece.

Closure and re-establishment

[edit]

Leonard Curtis were appointed administrators in 2003, and sold the company as a going concern to Dorset businessman Peter Ford. They also raised funds for creditors by selling historic artefacts from the Pottery's museum.[4]

On 15 December 2006, it was announced that the shop would close, due to non-payment of debts mounting up since new owners took over in August.[5] The company, including the factory, went into administration on 20 December 2006, owing £1 million to over 300 creditors.[1]

Poole Pottery came out of administration on 10 February 2007 and was under the control of Lifestyle Group Ltd, which also owns Royal Stafford Tableware.

The pottery shop opened on Poole Quay, selling Poole Pottery giftware (first and seconds), lighting, tableware and studio ranges. The shop closed down in 2017.[6]

The main Poole Pottery factory is now at the Middleport Pottery (sharing with Burleigh Pottery) in Burslem, Stoke on Trent where production is now carried out following the closure of the Poole factory.

In June 2011, the Denby Pottery Company under the ownership of Hilco bought Poole Pottery.[7]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Poole Pottery

View on Grokipedia
from Grokipedia
Poole Pottery is a renowned British ceramics manufacturer founded in 1873 in , Dorset, by Jesse Carter as a tile works utilizing local clay, which later evolved into a leading producer of decorative and domestic celebrated for its innovative designs across , , and mid-20th-century modernism. Initially focused on architectural s, including commissions for the London Underground, the company transitioned to pottery production during and reached its artistic peak in 1921 with the formation of the Carter, Stabler & Adams partnership, introducing bold, hand-painted floral and geometric patterns. Key artists such as Truda Carter, who joined in 1921 and developed distinctive abstract florals, along with designers like Guy Sydenham and Robert Jefferson, contributed to iconic ranges including the 1930s Contemporary pottery, the 1951 collection, and the experimental 1960s-1970s Studio wares like Delphis and , which featured vibrant glazes and sculptural forms influenced by Scandinavian aesthetics. The pottery's "living glazes," a hallmark technique yielding unique, iridescent finishes in a signature red palette, originated in the early and were reintroduced in 2023 to mark the company's 150th anniversary. Facing economic challenges, Poole Pottery underwent a in 1992 and administration in 2006, after which production shifted to Middleport Pottery in under Burgess and Leigh Ltd, while maintaining handmade craftsmanship in and a heritage studio in opened in 2018. Today, it continues to produce , vases, and decorative pieces, preserving its legacy as a cornerstone of British through individual artist marks that emphasize creative individuality.

Founding and Early Operations

Establishment in 1873

Poole Pottery traces its origins to 1873, when Jesse Carter, a builder's and ironmonger born in 1830 in Abbots Worthy, , as the son of a , with prior experience in , purchased a derelict and works on the East Quay in , Dorset. He had built a successful by the 1860s before relocating to seize the opportunity presented by the failing enterprise of James Walker. He renamed the operation Carter's Industrial Tile Manufactory, establishing the foundational that would evolve into one of Britain's notable ceramic producers. The choice of location in was strategic, capitalizing on the area's abundant deposits of high-quality Dorset clay, renowned for its purity and suitability for , as well as the quayside's direct access to the port for efficient transportation and trade. Initially, the manufactory focused exclusively on producing tiles for architectural applications, including durable tiles known as "Carter's red" and early decorative glazed tiles to meet growing in building projects. This emphasis on functional, high-volume tile production laid the groundwork for the company's expansion, with Carter involving his sons , Owen, and in operations during the 1880s. A pivotal early development occurred in 1895, when Carter & Co. acquired its local rival, the Patent Architectural Pottery at Hamworthy, integrating additional production capabilities for colored bricks and tessellated tiles, which strengthened the firm's position in the architectural ceramics market. This consolidation marked a phase of growth under Jesse Carter's leadership, who continued guiding the business until his death in 1927 at age 96. By the early 20th century, the company began exploring decorative pottery, transitioning from its tile-centric roots in the 1920s.

Tile Production and Early Innovations

Upon its establishment in , Poole Pottery, initially operating as Carter & Co., focused primarily on the production of tiles and architectural ceramics for building applications, leveraging the abundant local deposits of Dorset clay found near . The dark-firing Dorset clays provided a sturdy base material, ideal for durable tiles used in walls, floors, and facades, while basic glazing techniques—such as clear or colored lead glazes applied via dipping or brushing—ensured weather resistance and longevity in architectural settings. These early products catered to the growing demand in the construction industry, with the company expanding operations to include sites at East Quay and Hamworthy to meet production needs. In the late 19th and early 20th centuries, Poole Pottery introduced innovations in tile design, transitioning from plain functional pieces to colored and decorative varieties that incorporated printed motifs and embossed patterns. By the early , the firm began producing color-printed wall tiles, often featuring stylized floral or geometric designs, which marked a shift toward more aesthetic applications in interiors and public spaces. Notable contracts emerged in the 1930s, including the supply of ceramic tiles for stations under the New Works Programme, such as the pale yellow tiling and Harold Stabler's relief panels depicting landmarks at station, which opened in 1946 but utilized pre-war designs. The outbreak of in 1914 profoundly impacted operations, as government restrictions curtailed the production of non-essential tiles and terracotta, redirecting efforts toward utility ware to support the . This period saw the expansion into basic around 1914, including items like vases, bowls, jam pots, and butter dishes, produced using the same Dorset clay body but with simpler shapes and underglaze decorations for practicality. Designers such as James Radley Young contributed new forms, while paintresses applied unique patterns, laying the groundwork for the company's diversification beyond architectural ceramics. In , the business formalized as Carter & Co. Ltd. to fund further expansions amid rising demand for wall tiles, reflecting adaptive strategies during economic and wartime pressures.

Design Periods and Innovations

Twintone Era (1920s–1930s)

The Twintone era marked a pivotal shift for Poole Pottery toward innovative Art Deco tableware under the newly formed Carter, Stabler & Adams partnership in 1921, which expanded the firm's focus beyond tiles into decorative and functional ceramics. During the 1920s and early 1930s, designers like Truda Carter introduced vibrant, hand-painted motifs drawing from nature and geometric forms, setting the stage for more streamlined productions. By the mid-1930s, technical director John Adams pioneered the two-tone glaze technique, blending colored clay bodies with contrasting slips to create subtle pastel effects on vases, bowls, and tableware, embodying the era's elegant simplicity. This two-tone method involved layering semi-matt or vellum glazes over forms, often in complementary shades like peach bloom and seagull gray, to achieve a soft, modern sheen distinct from earlier glossy finishes. Production emphasized affordability and mass appeal, with shapes such as the Streamline series designed by Adams featuring clean lines suited to tastes. Hand-painted decorations, including floral elements, abstract geometrics, and occasional animal motifs like leaping deer, were applied by skilled artisans, enhancing the range's artistic depth while maintaining commercial viability. The range's peak popularity occurred during the , reflecting broader influences from European modernism. Although production halted during , the two-tone ware resumed in the late 1940s under the official Twintone name, continuing until 1981 with evolving colors and patterns. Over its run, the range integrated seamlessly with Poole's architectural tile production, allowing cohesive color schemes in domestic interiors where tableware complemented tiled fireplaces or walls in matching pastel tones. Examples include the Picotee sub-range from 1932, which used sprayed glaze bands in contrasting hues on a base, bridging decorative pottery and architectural elements. Commercially, the Twintone era solidified Poole's reputation as a leader in accessible ceramics, with widespread exports to markets like the and driving international acclaim. The range's blend of innovative glazing and bold yet refined designs captured the era's , making high-quality available to middle-class households and establishing enduring collector interest.

Delphis and Aegean (1960s–1970s)

In the 1960s, Poole Pottery introduced the Delphis range as a bold departure toward mid-century modern aesthetics, launching the initial collection in October 1963 with standardized shapes designed for studio pottery production. This line featured abstract, freeform-inspired designs achieved through underglaze decoration and hand-painted patterns, often delineated with a black wax resist technique to create vibrant, geometric motifs in bright colors such as reds, oranges, yellows, and blues. The range encompassed approximately 75 shapes, each uniquely glazed and decorated to evoke a hand-crafted appearance despite commercial standardization, with new glazes inspired by a 1966 visit to potters in Vallauris, France. Among its many patterns, those using the iconic "Blue Delphis" dolphin mark—introduced in 1966 for pieces from the newly opened Craft Section—became particularly renowned and contributed to the line's status as Poole's best-selling series. Delphis pieces, including vases and dishes by artists like Carol Cutler and Jean Millership, were acquired for permanent collections at the Victoria and Albert Museum, underscoring their cultural significance. Complementing Delphis, the Aegean range debuted in 1969 (with some sources noting 1970), focusing primarily on dinnerware and utilizing innovative techniques where artists scratched through layered glazes to reveal underlying patterns. Developed under designer Leslie Elsden, Aegean incorporated spray-on glazes in methods like , , flow line, and to produce more muted, earthy tones with motifs inspired by Mediterranean landscapes, marine elements (such as sailboats and yachts), and abstract forms. The range featured 22 shapes, offering a subtler contrast to Delphis's vibrancy while maintaining hand-decorated individuality. Both ranges were produced through Poole's Craft Section, emphasizing within commercial output, with Delphis continuing until its discontinuation in 1980 amid high demand that often strained resources. Aegean, as a complementary line, had a shorter production span ending around the same time but saw comparatively lower sales, reflecting its more restrained style. These collections captured the era's countercultural spirit and influences through psychedelic colors and experimental forms, achieving commercial success that included significant exports to international markets like the during the 1960s and 1970s.

Living Glaze and Contemporary Styles (1980s–present)

The Living Glaze range, introduced in the late 1970s and gaining prominence through the , employs reactive glazes that interact during firing to produce variegated, unpredictable finishes on giftware such as vases and ornaments. These glazes, applied in multiple layers by hand-spraying, merge in the due to their , which includes fluxes and opacifiers that enhance melt fluidity and create dynamic color flows ranging from bold dappling to textured effects. This technique ensures each piece is unique, reflecting Poole Pottery's shift toward more casual, artistic expressions in the while building on traditional handcrafting methods. In the post-1980s era, Poole Pottery emphasized limited-edition pieces to highlight artisanal craftsmanship, with designers like incorporating advanced reactive glaze expertise to develop vibrant, one-of-a-kind items. By the , this evolved into collectible specials, such as those hand-decorated by in 2024, focusing on rare trials and exclusive motifs. The 2023 150th anniversary celebrations featured the Horizon collection, introducing contemporary red hues and animal-inspired vases to commemorate the brand's heritage with innovative, limited-run designs. became integral, with practices like reusing casting slip, reshaping waste clay into balls, and selling imperfect items as "seconds," resulting in less than 2% of ware being unrecyclable. Contemporary styles blend reproductions of archival patterns with new textured pieces, prioritizing homeware like vases and decorative ornaments for international appeal. Collections such as Maya, Celestial, and showcase layered reactive glazes on stoneware forms, evoking natural flows while adapting classic motifs for modern interiors. As of 2025, these items remain available through the official online store, factory outlets, and global retailers, supporting distribution to worldwide markets.

Notable Artists and Designers

Early Contributors (Truda Carter, Phoebe Stabler)

Truda Carter, born Gertrude Ethel Sharp in 1890, joined Poole Pottery in 1921 as part of the newly formed Carter, Stabler and Adams partnership, where she served as until her retirement in 1950. Related to the Carter family through her marriage to Cyril Carter in the late 1920s, she specialized in hand-painted decorations, creating dynamic designs inspired by European modernism, , and exotic historical sources that established the distinctive "Poole look." Her work from the 1920s through the 1950s featured abstract floral motifs and representational elements influenced by the Group's Post-Impressionist aesthetics, including patterns drawn from Jacobean embroidery, Dutch Gouda pottery, and French textiles. These designs were prominently applied to the Twintone range, blending organic forms with angular abstraction to elevate Poole's output beyond utilitarian ware. Phoebe Stabler, born in 1879 and married to Harold Stabler since 1906, began contributing to Poole Pottery around 1911, focusing on sculpted figures and reliefs during the 1920s and 1930s that integrated pottery with sculpture. Trained at the Royal College of Art, she produced richly glazed ceramic figures such as Lavender Woman, Bath Towel, and Children with Bull, which combined elegant, stylized human forms with vibrant, iridescent finishes to evoke a of movement and whimsy. Her designs, often fired commercially at Poole and later in her own kiln, emphasized sculptural depth and decorative flair, collaborating closely with her husband's architectural pottery initiatives. Cyril Carter, son of early Poole figure Charles Carter, co-founded the Carter, Stabler and Adams partnership in 1921, bringing expertise in pattern engraving and design that supported the pottery's shift toward artistic production. Alongside Truda Carter and the Stablers, he played a key role in training apprentices and developing the , emphasizing high craftsmanship and hand-decorated techniques to foster a collaborative artistic environment. This collective effort under the partnership helped transition Poole from its origins in tile manufacturing to pottery, with pieces earning international recognition at the 1925 International Exhibition of Modern Decorative and Industrial Arts in , where they received a diploma of honour along with gold, silver, and bronze medals.

Modern Designers (Robert Jefferson, Tony Morris)

Robert Jefferson, born in 1929 and passing away in 1998, served as Poole Pottery's lead resident designer from 1958 through the 1970s, shaping the company's modernist output during a pivotal era of abstraction and experimentation. Appointed on January 1, 1958, Jefferson brought expertise from his prior role as a ceramics lecturer at Stoke-on-Trent College of Art, where he emphasized innovative forms and surface treatments. He spearheaded the Delphis range, launched in 1963, introducing freeform, organic shapes inspired by fluid natural motifs such as dolphins, achieved through hand-throwing and slip-casting techniques that allowed for biomorphic silhouettes. Jefferson's designs incorporated wax-resist methods to create intricate abstract patterns, often layered with vibrant, experimental glazes that evoked the bold aesthetics of contemporary abstract art, resulting in an extensive archive of pattern cards documenting his prolific output. Tony Morris joined Poole Pottery in 1962 immediately after graduating from Newport School of Art, selected for the role based on the strength of his illustrative portfolio despite lacking prior ceramics experience. As a key collaborator under Jefferson, Morris contributed to the Delphis range by guiding a team of paintresses in applying dynamic, hand-painted motifs that amplified the collection's psychedelic vibrancy, aligning with pop culture through saturated bold colors and spontaneous line work. He extended his involvement to the Aegean range in the , specializing in techniques—scratching through layered slips to reveal contrasting underlayers—which produced silhouetted forms in deeper, more dramatic palettes. Morris's later experiments with textured glazes pushed boundaries in surface effects, fostering a bridge between studio craftsmanship and production scalability during Poole's modernist phase. Other significant figures in Poole's 1970s design evolution included Leslie Elsden and Guy Sydenham, whose expertise complemented the studio's push toward innovative ranges. Elsden, at the peak of a 50-year career with the pottery, masterminded the Aegean collection launched in 1970 as a successor to Delphis, developing 22 standardized shapes adorned with silhouettes and a muted, earthy that emphasized depth and texture for both decorative and functional wares. Sydenham, a master thrower who had apprenticed at Poole since 1931, collaborated closely with Jefferson on freeform vessels and trained successive generations of throwers in the and beyond, ensuring precision in hand-thrown forms that supported experimental designs; his influence extended to the range from 1972 to 1977, where he refined salt-glazed techniques for organic, barnacle-like textures. Their mentorship strengthened Poole's internal apprentice programs, cultivating skills in advanced throwing and decoration that sustained the pottery's reputation for technical excellence. In more recent years, designer , who worked with Poole from the 1990s until 2003, returned to create pieces in , continuing the tradition of innovative hand-decorated ceramics. The legacies of these designers endure through institutional recognition and cultural impact, particularly Jefferson's contributions, which are represented in major museum collections such as the , holding multiple Delphis pieces that highlight his role in the 1960s British ceramics revival. This period's emphasis on abstract, colorful experimentation under Jefferson, Morris, Elsden, and Sydenham revitalized Poole's output, influencing broader trends in studio by blending artistic freedom with commercial viability and inspiring subsequent generations of ceramicists.

Business History and Legacy

Expansion, Challenges, and Closure (1940s–2006)

During , Poole Pottery shifted to producing undecorated utility ware under strict British government restrictions that limited non-essential manufacturing, operating with only a skeleton staff to meet wartime demands. This adaptation ensured survival but halted decorative production for domestic markets, with limited exports of plain items to overseas buyers. Following the war, the company rebuilt its East Quay facility in between 1946 and 1949, installing modern kilns and streamlined production lines to boost output of and decorative pieces. Under Cyril Carter's management, this expansion capitalized on the 1952 lifting of utility restrictions, fostering renewed creativity and contributing to growing exports to America and amid post-war demand for British ceramics. The 1960s brought acquisition by Pilkington's Tiles Group in 1963, which integrated Poole into a larger industrial structure but introduced commercial pressures that diluted its artisanal focus. By the 1970s, broader economic downturns in the UK ceramics sector—marked by rising costs, competition from cheaper imports, and shifting consumer tastes—severely affected sales and profitability. A management buy-out in 1992 aimed to revitalize the business, but challenges persisted, leading to the demolition of the original quayside factory and a 1999 relocation to Sopers Lane in Broadstone for greater operational efficiency and cost savings. Intensifying financial strains culminated in administration on December 20, 2006, with the company owing approximately £1 million to over 300 creditors, including unpaid taxes and supplier debts. The workforce, which had reached about 280 employees during the centenary celebrations, was slashed to a minimal skeleton crew in the final months, resulting in the loss of around 80 jobs upon closure and ending over 130 years of local production. This shutdown reflected broader industry woes, including high energy costs and global competition, despite brief nods to innovative lines like Delphis that had sustained interest in earlier decades.

Revival under Denby (2007–present)

Following its closure in 2006, Poole Pottery was acquired out of administration by Lifestyle Group Ltd in February 2007 for an undisclosed sum, marking the beginning of its revival. The new owners focused on resuming limited production of heritage lines, such as classic hand-painted earthenware, initially in Staffordshire facilities to leverage existing infrastructure while selling remaining stock through a reopened shop on Poole Quay. This shift emphasized preserving the brand's iconic designs amid financial recovery. In June 2011, the , under Hilco ownership, purchased Poole Pottery from Lifestyle Group, integrating it into its portfolio alongside brands like Burleigh. Production was relocated to Middleport Pottery in , a shared with Burleigh and restored by the Prince's Regeneration Trust, to achieve greater cost efficiency through shared resources and modernized operations. This move allowed for scaled-up handmade manufacturing while maintaining traditional techniques. Key developments in the following years included the closure of the Poole Quay shop in October 2017, after 144 years, due to unresolved lease negotiations with the landlord, resulting in 33 job losses but no interruption to production. To celebrate the brand's 150th anniversary in 2023, Poole introduced limited-edition collections like the Horizon range, featuring unique handcrafted vases and animal figures in vibrant reactive glazes. As of 2025, Poole operates as an active within the Denby Group, continuing to produce sustainable ceramics with a focus on durability and minimal environmental impact. Current operations center on handmade production in at Middleport Pottery, where pieces undergo multiple firings over about four weeks, using local clay and underglaze methods for longevity. The brand emphasizes corporate gifting through , gift-boxed items and has expanded online sales via its platform, complementing factory outlets. Integration within the Denby portfolio, including shared facilities with Burleigh, supports efficient supply chains and cross-brand offerings. Sustainability efforts include a local supply to reduce carbon emissions, comprehensive recycling (with less than 2% of ware unrecyclable), energy-efficient factory renovations, and compliance with REACH regulations for hazardous substances. Post-2020, Poole faced challenges common to the ceramics sector, including disruptions from that affected raw material availability and global logistics, though production persisted without major halts. No significant ownership changes have occurred as of , underscoring stable operations under Denby. Continuing the Living Glaze tradition from earlier decades, recent lines incorporate re-engineered reactive glazes for contemporary vibrancy.

References

  1. https://www.poolepottery.co.uk/pages/about
  2. https://artuk.org/discover/artists/poole-pottery-active-since-1871
  3. https://www.antiquestradegazette.com/guides/collecting-guides/poole-pottery/
  4. https://studiopoole.co.uk/pages/a-potted-history
  5. https://dorsetlife.co.uk/2016/08/carters-tile-manufactory/
  6. https://www.pooleimages.co.uk/carters-tiles
  7. https://archive-catalogue.dorsetcouncil.gov.uk/records/D-PPY
  8. http://www.antiques-info.co.uk/new/pdf/Mar06/5.pdf
  9. https://www.tileheaven.uk/cats/carter.htm
  10. https://poolepotterypastandpresent.wordpress.com/timeline-1900-1930/
  11. https://www.londonremembers.com/subjects/carter-and-company-poole-pottery
  12. https://www.thepotteries.org/features/carter.htm
  13. https://www.homesandantiques.com/antiques/pride-of-place-poole-pottery
  14. https://www.pooleimages.co.uk/traditional
  15. https://www.twintone.co.uk/pages/about.html
  16. https://www.pooleimages.co.uk/carter-stabler-and-adams
  17. https://c20ceramics.net/2017/08/28/poole-delphis-and-aegean/
  18. https://www.pooleimages.co.uk/delphis
  19. https://collections.vam.ac.uk/item/O151030/delphis-dish-cutler-carol/
  20. https://collections.vam.ac.uk/item/O151029/delphis-vase-millership-jean/
  21. https://antique-marks.com/poole-pottery.html
  22. https://www.poolepottery.co.uk/pages/alive-with-colour
  23. https://digitalfire.com/glossary/reactive%2Bglazes
  24. https://poolepotterypastandpresent.wordpress.com/timeline-1980-closure/
  25. https://www.potteriesauctions.com/news/who-is-anita-harris-plus-upcoming-anita-harris-pottery-at-auction
  26. https://www.poolepottery.co.uk/collections/special-editions-trials
  27. https://www.poolepottery.co.uk/collections/horizon
  28. https://issuu.com/burgessandleigh/docs/poole-trade-brochure-2023_small
  29. https://www.poolepottery.co.uk/pages/environmental-policy
  30. https://cdn.shopify.com/s/files/1/1363/1249/files/ENV-EMS-POL-0001-05_Environmental_Policy.pdf?v=1686554937
  31. https://www.poolepottery.co.uk/collections/all-collections
  32. https://www.poolepottery.co.uk/
  33. https://pitchbook.com/profiles/company/110544-94
  34. https://news.dorsetcouncil.gov.uk/dorset-history-centre-blog/2022/03/04/the-mystery-of-truda-carter/
  35. http://www.interpretingceramics.com/issue015/articles/06.htm
  36. https://artuk.org/discover/artists/stabler-phoebe-18791955
  37. https://ceramics-aberystwyth.com/potter/phoebe-stabler/
  38. https://victorianweb.org/sculpture/stabler/index.html
  39. https://www.ngv.vic.gov.au/explore/collection/artist/31453/
  40. https://www.pooleimages.co.uk/the-poole-studio-1962
  41. https://www.worthpoint.com/dictionary/p/ceramics/uk-english/poole-pottery-carter-stabler-adams
  42. https://www.pooleimages.co.uk/guy-sydenham
  43. https://www.haresfur.co.uk/en-GB/introducing-poole-atlantis/blog_10082
  44. https://www.ngv.vic.gov.au/explore/collection/work/144288/
  45. https://www.pooleimages.co.uk/the-1950s
  46. https://dorsetlife.co.uk/2011/08/continuing-the-tradition/
  47. https://learnantiques.com.au/poole-pottery-a-microcosm-of-englands-history/
  48. http://news.bbc.co.uk/2/hi/uk_news/england/dorset/6354479.stm
  49. https://www.the-independent.com/news/business/news/denby-bolsters-empire-with-poole-pottery-buy-2299591.html
  50. https://www.bbc.com/news/uk-england-dorset-40553927
  51. https://www.poolepottery.co.uk/pages/faqs
  52. https://www.bbc.com/news/uk-england-dorset-41589752
  53. https://issuu.com/burgessandleigh/docs/poole-trade-brochure-2025_issu
  54. https://tablewareinternational.com/denby-appoints-sector-specialist-into-new-hospitality-and-corporate-gifting-role/
  55. https://ceramics.org/wp-content/uploads/2020/06/CGM_JuneJuly-2020_Feature.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.