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Guy Sydenham

 

 "People have to be led away from wanting what is traditional" [Guy Sydenham]

 

 

Guy Sydenham joined Poole Pottery in 1931, completing a 7 year apprenticeship working alongside James Radley Young, John Adams and Truda Carter.

 

 

Two of Guy's earliest pieces made in the early 1930's at Poole College of Art.

 

 

The War interrupted Guy's career. He returned to the Pottery after military service, initially training apprentices and setting up the production process as the factory modernised after the War. For those unfamiliar with Guy's career, his two volume autobiography ‘A Potter’s Life’ and ‘A Potter’s Life II’  are recommended reading. Copies of the first volume turn up on ebay from time to time. The second volume is still in print.

 

 

   

 

The Island Potteries

 

 

 
Above - plate thrown and decorated by Guy Sydenham showing M.V.Oklahoma on Green Island, 1970.
 
 
From 1950 until 1955 Guy and his wife Joan lived on a mooring in Poole Harbour on MV Oklahoma, a 72 foot converted naval motor torpedo boat (formerly M.T.B.453). In 1955, following an addition to the family (Russell Sydenham) Guy negotiated a lease of Long Island, where Oklahoma was berthed.
 
Long Island had a seam of Dorset blue clay, washed out of a cliff by the waves. With very little money and using driftwood and discarded materials from Poole Pottery, Guy built a studio. A pottery wheel was made from scrap and a trench was cut into a clay bank to make Guy's first kiln, fired by driftwood (this was later replaced by paraffin-fired kiln using parts salvaged from the Poole Pottery scrapyard).  From 1960 until 1987 Guy produced pottery, first on Long Island and then on Green Island, at the same time working full time as head of the 'making department' at Poole Pottery (until his resignation in 1977). The pottery was sold at local craft shops and galleries. Throughout the 1960's Guy also lectured at Poole College of Art.
 
 
 
Above - salt glazing; the effect achieved by the slow introduction of sea water to the kiln when the pots are yellow/white hot.  Salt glazing is believed to have had its origins in 16th Century Germany. The best known early examples are jugs and mugs bearing the face of Cardinal Bellarmine which were produced to hold wine and beer. Guy was commissioned to make reproductions of the German originals by an American collector.
 
 
 
Above - Long Island salt-glazed Bellarmines, 1960's
 
 
Pottery Marks
 
Most of Guy's pottery is clearly marked. The earliest Long Island mark is a pair of mallards' feet, made from a copper nail head filed to shape and impressed in the soft clay. The same mark also appears on later pieces, accompanied by other marks.
 
 
 
Above - characteristic duck's feet. All of the Sydenham family marks and their respective dates are set out in 'A Potter's Life' and 'A Potter's Life II'. The list shown below may be helpful in identifying some of the marks. These do not always appear on the base of the pot, sometimes you have to look for them - for example, the marks on the salt-glazed vessel above can be seen at the base of the handle.
 
  
 
 
LONG ISLAND and GREEN ISLAND
 
 
 
 
 
 
 
 
 








 









PIPES AND BARNACLES
 
Guy describes the early 1960's as a time when‘exciting things were coming off the kilns’. Pieces were spontaneous and innovative, frequently taking their inspiration from the marine environment.  At low tide in Poole Harbour drainage pipes are plentiful. These were mostly the product of salt-glazing on an industrial scale. It had been the wholly fortuitous variety of textures and colours in these salt-glazed pipes which had first inspired Guy to experiment with salt glazing ['Salt Glazing on Green Island', Real Pottery, reproduced in 'A Potter's Life'].
 
 
 
Above - not pottery at all. Poole Harbour flotsam which Guy found sufficiently interesting to keep in his studio. The barnacles are reproduced on the 'pipe vases' below. The shape has much in common with the later Poole Atlantis lamps. 
 
 
 
Above - inspired by salt-glazed drainage pipes - vases with barnacles and assorted other molluscs, Long Island early 1960's. These vases are undoubtedly the forerunners of the so-called 'monkey vases' Guy produced at Poole Pottery in the 1960's and 70's.
 
 
 
Above - Poole Pottery pipe vase by Guy Sydenham, 1960's.  
 
 
 
 
Above - salt pig with barnacles, Long Island, early 1960's
 
 
 
salt-glazed pig
 
 
 
 
Pipe vase with more stylised barnacles.The monogram with 2 ducks' feet is the first Long Island mark, 1960-68.
 
 
 
Above - Salt-glazed pipe vase with molluscs and a cobalt glaze, Green Island. The Sydenhams upped anchor in 1968 and moved two miles east to Green Island. The mark at the foot of the pot (see above) is an outline of the island.  Green Island also had a seam of  the Dorset blue clay.
 
 
 
Above - Wakeham barnacles in high-fired terracotta
 
 
 
Above - salt-glazed pipes within a pipe. Green Island mark and mallards' feet.
 
 
 
Salt-glazed pipe vase, Quay Pottery (1977 - 1987). The Quay Pottery was a partnership between Guy and his son Russell (who was by then in his early twenties) following Guy's resignation from Poole Pottery.
 
 
 
Salt-glazed pipe vase, Quay Pottery (1977 - 1987).
 
 
WOOD SCULPTURES
 
 
 
 
Above - driftwood from Guy's studio.
 
 
 
 

 


Above - ceramic semi-erotic 'wood sculptures'.
 
 
ROKKO ART
 
Guy and Joan left Green Island in 1988 and bought a cottage near Wakeham on Portland. 'Rokko' describes the rough textured volcanic pots made by Guy in his Mermaid Studio from about 2000, inspired by the rockpools, wave-eroded stones and ledges of the Portland limestone.



 
Above - Rokko 'crabby pot' textured with molten blue glass.

 
 
 
 
 
Above - salt glaze kiln


 
 
MERMAIDS SIRENS NYMPHS and a GODDESS
 
Above - GS exhibition hand-out
 
 
 
Wakeham satyr in terracotta.
 
 
 
 
 
Terracotta mermaids, Portland.
 
 
 
Above - salt glazed mermaid, Green Island.
 
 
 
 
Above - Portland Sea Dancer.
 
 
 
Above - salt glazed mermaid, Green Island.






 
Above - Portland mermaids


 
Above - terracotta sirens, Portland. 

 
 
 
 
 
 
Above - salt glazed mermaid, Green Island.
 
 
 
 
Above - embryonic rock sculpture in two parts in the style of Henry Moore - Portland.
 
 
 
Above - Sea Princess, Portland.


 
Above - Portland mermaid verso

 
 
 
Selina wall plaque, Portland 
 
 
 
 Above - 'flippered glamour-girl' in terracotta (Portland)
 
 
 
Above - the spirits of drowned sailors 
 
 
 
 Above - see Guy's description alongside

 
 
BEARS BEADS and BALLERINAS - JOAN SYDENHAM
 
 
 
 
 
Above - model bears by Joan Sydenham
 
 
 
Carved and glazed beads, Joan Sydenham, 1960's

 
 
Joan Sydenham - ballet dancers and ice skater, 1999. 
 
 
KITCHEN AND UTILITY WARE
 
Cups, mugs, saucers, bowls, teapots and coffee pots were popular with craft shops. While less spectacular than some of Guy's more adventurous pieces they were the mainstay of production.
 
 
Above - beaker, Long Island early 1960's
 
 
 
Above - a selection of kitchen and utility ware, produced on Long Island and Green Island.
 
 
 
 
Above - perfect vases in miniature. No clay was wasted.
 
 
 
Salt-glazed coffee pot, Quay Pottery, 1977-87. The 'key' symbol on the base (and alongside the Green Island mark below the handle) is a play on words.
 
 
 
 
 
 
Above - salt-glazed 'mallard' tea pots. While out walking on the beach with Joan in the 1960's Guy saw a wing bone projecting from a the carcas of a duck. From that unlikely source of inspiration Guy went back to the studio and designed a handle for teapots.  
 
 
 
POOLE POTTERY
 
 
 

Guy summarised his time at Poole in a private letter:-

 

" My brief after the War was to revive the old traditional majolica and Delft floral ware. I had to train a new team of throwers and when this was up and running I managed to persuade the directors to let me have a studio separate from the factory and we began...to move into more creative and individual pieces of studio pottery. The 1950's and 1960's...was a very creative and fulfilling decade; then, unfortunately, commercial pressures to standardise and economise caused a dilution of standards and quality, when freshness and spontaneity became dulled by repetition - the result was inevitable. I left"

 

 

 

The adoption of the standard shapes of the Delphis Collection  launched in 1963 did not preclude the production of one-off Studio ‘works of art’ and experimental pieces. Above - Poole Pottery publicity photograph adapted as a post-card.

 

 

Sometimes called the QE2 vase, this piece takes its inspiration from the cruise ships of the 1950's and 1960's. In fact, it probably pre-dates the launching of the QE2 by several years. It is described by Guy Sydenham as ‘one of the best pieces I have ever made’.

 

 

          

 

 The vase is made of floor tile clay from Carter’s Tileworks at Hamworthy. The Plimsol Line is fashioned from white clay and the main body was given a wax resist so that the sprayed-on snow white glaze ‘crawled’ as the wax burned off, giving the effect of barnacles. The impressed ‘TV screen’ mark and manuscript 'GS' initials suggest that the vase was made between 1962 and 1964. 

 

 

 

 Above - Atlantis era vase with applied fish scale decoration

 

 

 

Above - white clay vase (13.5 inches) modelled as a stylised seed-pod

MONKEYS
 
 
 
Guy made a number of vases with applied monkey faces. These were more refined descendants of the barnacle encrusted pipes which Guy made on Long Island and the example above was made more or less at the same time.
 
 
           
       
Above - 2 more monkey vases from the same era. These examples were photographed prior to firing.  
 
 
 
Above left - Tony Morris arrived at Poole from Wales in 1963. No one had any money - Tony was paid little more than a subsistence wage. However, staff were happy to help eachother out. Tony's duffle coat was missing its buttons and Guy made these replacements. Like much of Guy's work they combine functionality (note the smaller lapel button) with art. The buttons survive but the duffle coat does not.  Centre - in the same theme, a slightly larger Guy Sydenham button with the face of a gorilla. Right - button modelled as a flatfish.
 
 
 
Above - a slightly later vase from the Atlantis era (early to mid-1970's).
 
 
 
 
Guy gave each monkey its own face and personality
 
 
 
Above - retrospective, Portland 1999. 
 
 
 
POT PEOPLE 
 
 
 
Above - promotional leaflet for the Atlantis range, late 1960's. The vase on the bottom left is one of about a dozen vases made in the 1970's suggesting different nationalities.
 
 
 
Guy referred to the vase shown above as his 'Green Chinaman'.
 
 
 
 
The Green Chinaman on a bench with orange and white vases inspired by African head masks (and an elephant).  The white vase (here photographed in the early 1970's) appears again below (photographed in 2011).
 
 
 
Above - three African head vases photographed before firing.
 
 
 
The vase on the left is the same vase photographed outside the Studio (above). The two vases were united for this photograph but otherwise live separate lives.
 
 
       
 
Photographed on the terrace outside the Studio c1972 (before firing). The left hand vase was probably glazed white. A very similar vase can just be made out in the background of a studio photo at page 129 of 'A Potter's Life'.
 
 
 
                                                                                                                           Woolley and Wallis Salisbury
 Above - African head vases  
 
ATLANTIS
 
Throughout the late 1960's and early 1970's Guy produced some stunning individual pieces.
 
 


 


 




 
The vase above (and in the group below) was made to commemorate the opening of the Craft Section in 1966. The vase was thrown by Guy Sydenham and decorated by Tony Morris. It was sold by Christie's as part of the Museum and Archive sale in 2004.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Above - one-off Atlantis helmet lamp shape A12 modelled by Guy Sydenham as a self-portrait.