Gordon Forsyth, who I wrote about yesterday, was well-known to Dora Billington, who taught at the Central School of Arts and Crafts for thirty-five years and who is also famous for her sympathies with factory pottery; but she had an ambivalent attitude towards her home town of Stoke-on-Trent and I don’t believe she ever worked there after leaving Hanley art school in 1912. Nevertheless, after the second world war she made a term in The Potteries a compulsory part of the course at the Central.
The history of studio potters offering their talents to industry is not happy. Michael Cardew, who we think of as one of the most anti-industry potters, was inspired by a temporary interest in Marxism to work in one of the Stoke-on-Trent potteries, but they considered his work too “Art and Crafty”. Lucie Rie had a better relationship with Wedgwood, but her prototypes were not put into production. David Queensberry started on the Central course in the early ‘fifties but found that no-one there knew anything about designing for industry and transferred to Robert Baker’s course at the RCA.
Gordon Baldwin told me about his experience as one of Billington’s students. “We all had a sort of down on what had gone on in Stoke-on-Trent,” he said. “We were breaking free of Leach, we were breaking free of Stoke-on-Trent, doing all manner of things.” But he enjoyed his term at Burslem art school, visiting potteries, finding out about industrial techniques, sitting in in with paintresses, learning rosebud painting and how to put on transfers, all of which he used in a different way.