| The history of the Poole Pottery can be traced back | | | | as well as variations on more traditional shapes.Alfred |
| to 1873, when Jesse Carter purchased the East Quay | | | | Read and Guy Sydenham were the driving force |
| Pottery in Poole from James Walker, after that | | | | behind this range of shapes, and many of the early |
| gentleman's pottery business went bankrupt. Jesse | | | | freeform patterns were also Alfred Read designs, |
| Carter's background was as a successful builders | | | | with both Read and Sydenham being responsible for |
| merchant in Surrey, but he believed that the | | | | throwing the new shapes. Also especially notable |
| architectural ceramics business offered a profitable | | | | were the creative talents of Ruth Pavely and Ann |
| future and determined to put all his efforts into this. | | | | Read. Responsible for designing and applying many of |
| Moving to the area with his family, two of whom | | | | the hand painted patterns that were applied to Read |
| were to play a major role in the future of the | | | | and Sydenhams' shapes, Ruth Pavely was Head of |
| pottery, he began to work. By the 1880s, Carter & | | | | Painting at the Poole Pottery for many years, and |
| Company had become very well established locally, | | | | her mark can be seen on some of the finest Poole |
| overshadowing some longer established local | | | | Pottery pieces of the 1950s, as can Ann Read's. |
| companies and beginning to encroach on the territory | | | | Although John Adams had retired, many of his |
| of some of the well known Staffordshire potteries.At | | | | tableware shapes were also still in use and gained a |
| this time, the output of the Poole Pottery was | | | | new lease of life with the application of free form |
| revolved around decorative tiling and other | | | | patterns.Freeform proved to be just what the |
| architectural pottery, such as fire surrounds. Carter & | | | | doctor ordered for the Poole Pottery, and was very |
| Co's wide range of decorative tiles were being widely | | | | successful throughout the 1950s. Today, fans of |
| used in shops, pubs and hotels, as well as for | | | | 1950s design are keen to collect Poole Freeform |
| advertising and mosaic flooring.During this time two of | | | | shapes and the better examples of these pieces |
| Jesse Carter's sons, Charles and Owen had begun | | | | command strong values.As the 1950s came to a |
| working for the family business, and when Jesse | | | | close, Poole Pottery was as ever aware that |
| Carter retired in 1901, control of the business fell the | | | | changing times and fashions necessitated fresh |
| them. Over the next twenty years, the output of | | | | creative ideas and looked to one of their newest |
| the company changed to include a growing variety of | | | | designers, Robert Jefferson, to lead this work. |
| decorative wares, and the end result of this was the | | | | Jefferson was experienced in the pottery industry, |
| formation of Carter, Stabler & Adams as a | | | | and as well as new design influences, he led the |
| wholly-owned subsidiary of Carter & Company in | | | | implementation of more modern manufacturing |
| 1921. Harold and Phoebe Stabler and John and Truda | | | | techniques, essential if Poole were to remain popular |
| Adams brought between them a wealth of creative | | | | and profitable.In the early 1960s a new range of |
| experience in design, modelling and decoration and | | | | studio ware was released - the Delphis range. This |
| the mission of the CSA company was to produce | | | | featured bold, colourful designs on new shapes |
| decorative and table wares from the East Quay | | | | created by Robert Jefferson and Tony Morris. The |
| works in Poole.Over the next forty years, the Carter, | | | | Delphis range proved popular and once more in |
| Stabler & Adams company proved very successful, | | | | keeping with the spirit of the times and remained in |
| producing a very wide variety of decorative and | | | | production, with many variations, until the mid-1970s. |
| domestic wares. One of the most easily recognisable | | | | Delphis was then superseded by another bold and |
| and successful CSA styles is that of the red | | | | striking range, the Aegean ware range. Leslie Elsden |
| earthenware body with a white slip ground and a | | | | was one of the main creative forces behind this |
| clear glaze. This style was used until the mid-thirties, | | | | range, providing a fitting culmination to his 50 year |
| when C.S.A. moved to using white clay bodies, | | | | career at the Poole Pottery. Much of the Aegean |
| probably because they were more suitable for | | | | range was decorated using either the silhouette or |
| tableware than the red earthenware bodies were. | | | | sgraffito techniques, and the extensive use of |
| The decorative pieces were all hand painted with | | | | browns, oranges and yellows gave the Aegean |
| patterns that were largely the work of Truda | | | | pieces a very distinctive character. While some |
| Adams. These colourful and stylish patterns played a | | | | shapes were shared with the Delphis and other |
| key part in the success of CSA and have endured | | | | ranges, both Delphis and Aegean ware have very |
| superbly, still looking fresh and attractive today. | | | | distinctive and easily recognisable characters.Poole |
| CSA's output during the 20s and 30s also included a | | | | Pottery continues to produce fine pottery from its |
| range of skilfully modelled pieces, often by Harold | | | | factory in Poole today, but its survival in the 21st |
| Stabler or John Adams. Today these models have | | | | century has not been easy. In 2003 the Poole |
| become highly collectable and hard to find in perfect | | | | Pottery was declared bankrupt, eventually to be |
| condition.As with all of the British pottery industry, | | | | saved by a group of private investors. An |
| the Poole Pottery's output was severely affected by | | | | unfortunate consequence of the bankruptcy was the |
| the second world war. Whilst output was restricted | | | | sale of the entire contents of the Poole Pottery's |
| by government legislation to plain utility wares until | | | | museum - while the Borough of Poole was able to |
| the late 1940s, new ranges were being planned and | | | | buy some of the contents of the museum at the |
| the retirement or death of several key figures such | | | | resulting auction at Christies, much of it has now |
| as Harold Stabler and John Adams meant that it was | | | | been dispersed to private collectors and dealers from |
| time for an influx of fresh talent to Carter, Stabler & | | | | all over the world, depriving future generations of the |
| Adams.The ranges of white earthenware that had | | | | chance to see what was probably the world's most |
| been so successful in the past had also become | | | | enviable collection of Poole Pottery.Today, Poole |
| almost unmanageably complex, and these were now | | | | Pottery seem to be finding a new direction, with |
| rationalised, to become known as Traditional ware, | | | | some innovative new ranges, including the first ever |
| with three levels of decoration - elaborate, medium | | | | truely red tableware (red glazes have historically not |
| and simple. Just as in their time, the Truda Adams | | | | been safe to eat from). Time will tell if they can |
| designs had captured the fashions and styles of their | | | | regain their place in the top echelon of British pottery |
| time, something new was needed to reflect the new | | | | companies.Perfect Pieces ( specialises in British |
| styles of the 1950s. Several new ranges were | | | | pottery from the last 100 years, and has a wide |
| introduced, but by far the most striking and | | | | selection of pottery for sale as well as a large |
| successful were the Free Form range of patterns | | | | database of past stock, searchable by visitors.Visit |
| and shapes. Poole Pottery freeform was distinguished | | | | the Perfect Pieces website for more information or |
| by a very modern new range of shapes, mixing | | | | to contact us. |
| angles and curves to create completely new shapes, | | | | |