Loading...

Monday, 11 April 2016

Neolithic, Bronze-Age & Roman Pottery Making Classes/Workshops




You may have seen me, in Further Tales from Northumberland on ITV, teaching Robson Green to make a Roman pot. You could do far better, (sorry Robson) if you join me on one of my one day pottery workshops coming up soon, email or phone to book:
Prehistoric Pottery -16th April
Learn the basics of Neolithic and Bronze Age pottery, making
your own Prehistoric pottery tool kit then creating and decorating replica Beakers and Bowls.
Roman Samian Ware -7th May
Learn about the pottery that conquered the ancient world, by
making your Roman pottery tools then creating a replica
Samian Ware Bowl.
Roman Head Pot -28th May
Learn about the pottery that conquered the ancient world, by
making your Roman pottery tools then creating a replica
Samian Ware Bowl.
These workshops are designed for adults. No previous experience is necessary, but if you have made pots before or have an interest in archaeology, they will add to your skills and knowledge of the subject. They combine basic pottery making techniques and history, but most of all they are fun.
Workshop £55 including all materials
Contact us for further information:
Email; info@pottedhistory.co.uk
Phone; 01669 622890
Twitter; @pottedhistory
Potted History
Gregory Court
Rothbury
Northumberland
NE65 7PJ

Visit my website at www.pottedhistory.co.uk

Saturday, 2 April 2016

Replicating The Aldbourne Cup


I always enjoy what I do, but lately I've had some amazing commissions, here's the story of one of them: Towards the end of 2015 I was contacted by John Dymond and Alan Heasman, from the Aldbourne Heritage Centre in Wiltshire, asking if I would be able to replicate the Aldbourne Cup for display in their museum. I knew the pot well or at least I thought I did: It was excavated by Cannon Greenwell, in October 1878, from a Bronze Age barrow near the village. Normally my replicas recreate a pot as it looked on the day it was first made, however after some discussion and various meetings of members of the Aldbourne Heritage

I had replicated it on numerous occasions based on drawings and photographs but I decided to make an appointment to visit the British Museum, the cup's current home, and have a close look at it. I'm really glad that I did, because what hadn't been obvious from the images, was the fact that the perforations that formed the decoration, were circular rather than square. Many Bronze-Age beakers, food vessels and the like, are decorated by impressing a shallow toothed comb into the wet clay, forming dotted lines. These combs are almost invariably made by cutting grooves across the edge of a flat piece of bone or antler, this results in a row square or rectangular teeth. The Aldbourne cup on the other hand, had been decorated with a comb composed of round pins, probably three 2mm pins placed in a row and sharpened at the tips to produce 1mm holes spaced 1mm apart. As luck would have it the same burial produced 2 bronze pins pretty much fitting this description, which previous investigators had suggested may have been tattooing tools. A little research yielded images of Polynesian tattooing combs, that informed my reconstruction of a tool suitable for decorating the pot.



Another peculiarity of the decoration was that, while I knew that there were two holes passing through the wall of the pot, as there are with quite a few examples of accessory vessels, in this case some of the impressed decoration actually appeared to go right through the wall of the pot. I believe that this was accidental and occurred where impressions on the outside and inside, exactly coincided with one another.

One reason why such deep decoration might be desirable is if it was intended to be filled with some contrasting coloured material for decorative effect. When looking at the original, it did appear to me that this might be the case ad I thought that in some of the holes I could detect evidence of a lighter material. For this reason I went back to the Heritage Centre members asking the question “to inlay or not to inlay”. Warwick Hood, who had done considerable research, and presented a paper to the Aldbourne Heritage Group on the subject of the cup, kindly pointed out the following reference in Canon Greenwell's 1890 Archaeolgia article, entitled “Recent Researches in Barrows in Yorkshire, Wiltshire, Berkshire, etc.”:

"There is one particular in which it is of much interest, and which has not hitherto, I believe, been observed in pottery from a British barrow. The impressions forming the pattern, and which have been made by a sharp-pointed tool, probably a bronze pricker, have been filled in with some white material like finely powdered chalk applied when in a semi-liquid state. This white material was certainly not the result of the vessel being in contact with chalk, for the surrounding earth was very dark coloured and without any admixture of chalk whatever."

The Aldbourne IV barrow had in fact contained two Aldbourne Cups and in this case Greenwell is referring to the second. Nevertheless the evidence suggested that this had been the case with both the cups and the decision was made, that in the case of the cup in original state, white chalk paste would be applied. This was done by crushing chalk to a paste with a little water, rubbing it into the decoration of the fired pot, polishing off the excess and sealing it into place with a layer of beeswax. I knew it would dramatically change the appearance of the pot, but I probably wasn't prepared for just how stunning it would look. I learned so much more but watch out for a paper later.




Although the Aldbourne Heritage Centre has been open during it's development, I was delighted to be invited to attend the official opening, along with Phil Harding of Time Team fame and Neil Wilkin, Curator, British and European Bronze Age Collection at the British Museum, where the replicas were officially handed over to the Centre.




Visit my website at www.pottedhistory.co.uk

Sunday, 14 February 2016

Roman Samian Ware or Terra Sigillata Pottery Workshop

Just had a great weekend running a Roman Samian Ware or Terra Sigillata workshop here in my Rothbury studio, and if you like the sound of it, you might like to join me on my next one. Email me if you're interested info@pottedhistory.co.uk.
A great group of participants have made their own set of Samian Ware punches based on designs from original archaeological finds. Punches were used by Roman potters; impressed into the inner surfaces of moulds in order to transfer their patterns onto decorated pots and bowls. That's exactly what the people at my workshop did, using their own punches along with some of my own to build up their own design. While some of the participants had a go on my momentum wheel, I'd made a blank mould for each of them, to ensure that everyone went home with a finished mould.
Now the next part of the process is to fire the moulds, but as it wasn't possible to get the moulds fired, as this can only be done after several days of drying, the participants used some of my own moulds for actually making their pot. As the mould spins quickly on the wheel, clay is firmly pressed into it to pick up all the decoration, then it is set aside to dry overnight. After a few hours the pot has dried to leather-hard and shrunk back from the mould, sufficiently to allow it to be removed. 

It now goes back onto the wheel, but this time upside down, a ring of clay is applied, shaped and smoothed to form a foot-ring. 
After drying again, the pot is dipped into the specially prepared colloidal slip, which dries to the beautiful satin sheen that makes Samian Ware so special. In addition to making some great replicas the participants learned about the history of Arretine and Samian ware, about the ceramic chemistry that makes this pottery so special, about the amazingly advanced kiln designs that made it so durable that it emerges from the ground looking brand new after two thousand years, about the slip trailing technique that decorated closed forms not suitable for mould making and hopefully much more.
Most importantly everyone had fun!

Visit my website at www.pottedhistory.co.uk

Saturday, 19 September 2015

It's been a busy time just recently, to start with I've moved premises, I'm still in Rothbury, Northumberland, and only a few hundred metres away from my old workshop, but with much more space. In addition I now have an assistant, my daughter Sarah Lord, who will not only be expanding the range of replica pottery that we can offer but be bringing her expertise as a costume maker to the business.  Sarah holds a degree in performance costume design from Edinburgh College of Art (ECA) and worked for several years as a costume maker with Scottish Opera. She also has a Post Graduate Certificate of Education (PGCE), and has worked as a Key Stage 3 & 4 (KS 3 & 4) Design Technology Teacher, so is perfectly equipped to deliver school workshops.


Sarah has also been working on our range of retail goods for museum shops, in particular small Neolithic and Bronze Age pots for the Stonehenge Gift Shop.


In the meantime I've been all over the country from Caithness to Wiltshire, from Glasgow to Lincoln delivering workshops and demonstrating, as well as running workshops right here in Rothbury.



I've also been entering the world of Academia by uploading my CBA paper "Mud and Fire" to Academia.edu and having had the honour of being asked by Dr Neil Wilkin to co-present a paper at the European Association of Archaeologists conference in Glasgow.

And last but by no means least, I've been inundated with requests for replicas which I'm now working on, sorry if you've been waiting for yours, it will be with you soon.

 Visit my website at www.pottedhistory.co.uk

Saturday, 18 July 2015

Bronze Age Pottery Workshop

POTTED HISTORY – GRAHAM TAYLOR

Contact me if you'd be interested in attending one of my Two Day Neolithic or Bronze Age Pottery Workshops at Potted History - Rothbury, Northumberland



This workshop will equip participants to; prospect for natural clay and prepare it for pot making; make their own prehistoric tool kit; make and decorate replicas of prehistoric pots and fire them in an authentic manner. 

No previous pottery or archaeological experience is needed.All materials and equipment will be provided, although wearing old clothes and/or bringing along an apron would probably be a good idea. All pots and tools that you make during the workshop are yours to keep. Information sheets will be provided to help you continue potting once you return home.

The following timetable is a framework and may be varied according to the interests 
and or ability of the group.




Day 1: 
10-00  We will start off by Looking at the Pots:Using replicas and some original potsherds we will look at making methods, clay bodies, raw materials, tools used, firing methods, potential uses, methods of deposition, preservation vs. decomposition, etc. We will look at the types and sources of raw materials and their storage. How to find and prepare you materials.

11-00: Tools of the Trade: All participants will make their own Bronze-Age Pottery Tool-kit including; combs, scrapers, cord, modelling tools etc., using materials such as: Birch bark, Bone, Antler, Slate, Shell, Wood, Flint etc. The tools will be based on marks found on the pots and archaeological finds.

12-00: Introduction to Basic Making Methods: including; thumb pot, coil etc

13-00: . Lunch (not included but Rothbury offers numerous options, from bakers & deli sandwiches to hotel lunches)



14-00: Making & Decorating: Beakers, food vessels, etc. With lots information, hints, tips, help where needed and encouragement, all participants will have the opportunity to make at least two pots.

16-00 Finish

Day 2:
10-00: Making & Decorating; A chance to make larger pots or hone skills learned on day one.




12-00: Open Firing:  The pots will be fired in an open or “bonfire” firing, this is a slow process and will involve quite a lot of sitting around the fire. Firing is a slow process which cannot be rushed, so there will be the opportunity to make more pots, discuss the work that we have done during the workshop and stare distantly into the hot coals of the fire. I would suggest a “bring and cook” barbecue lunch may well add to the “Hunter-Gatherer” atmosphere and could help with a theory of mine thatmost Bronze-Age pots would have been made around the domestic hearth.

16-00 Finish
Bronze-Age Firing is an outdoor activity therefore it would not be possible in heavy rain or high wind, in these circumstances, the workshop will continue with an additional indoor making session and full instructions for firing will be given.Price: £90 per person If you require any further information on the course please do not hesitate to contact me: 

www.pottedhistory.co.uk 
info@pottedhistory.co.uk
07989871504

Accommodation and travel are not included but list of local accommodation providers
can be found here http://www.theheartofnorthumberland.co.uk/accomhotel.html. Do 
be aware that not all of these are in Rothbury village so do check before you book.
Rothbury is situated on the edge of the Northumberland National Park and you may 
want to bring along your walking boots and stay in the area for a few days, to take in 
the magnificent landscape and visit some of the many historic and Prehistoric sites in
the area. The area is accessible by public transport, but having your own wheels will 
allow you to get to many of the less accessible beauty spots. You may like to take 
advantage of the local bus company http://www.spiritbuses.co.uk/which offers some 
great routes around the area. If you feel like putting your boots on and getting out 
into the hills, maybe visiting an ancient hill fort, rock carving site or stone circle, then 
Patrick Norriss http://footstepsnorthumberland.co.uk/may be just the man to guide 
you.

People attending this workshop may also find the following of interest:
Roman Wheel Made Pottery
Roman Mould Made Pottery
Making Roman Samian Ware
Building Roman Kilns
Build Your Own Roman Potter’s Wheel

Visit my website at www.pottedhistory.co.uk

Wednesday, 20 May 2015

Neolithic Carinated Bowl: complex simplicity

At first glance a Neolithic carinated bowl, the earliest type of pottery in Britain, looks like a very simple pot. Certainly they were hand formed often from very coarse natural clay, to function as humble cooking pots. In fact when making an average sized bowl, up to about 20cm in diameter, its form flows almost naturally from the process itself. The curve of the bowl nestles nicely in the hand, the concave form of the upper body conforms to the curve of the thumb, while the fingers stretch down inside to push out the carnation.  All well and good, but when one comes to make a bowl as big as the one I made for Stonehenge, it's a different matter.  For a start there's the weight; at over thirty centimetres in diameter it requires nearly five kilos of coarse clay in its construction. This makes it virtually impossible to hold the soft vessel in one hand.  If I start building on a base (flat stone, grass mat whatever is handy) this gives it a flat base, which can only be expanded out once the clay has stiffened.  Alternatively working into the base of an old broken pot does allow one to make a round bottomed piece but only to a predetermined form and, as clay shrinks on drying it will easily release from its "mould" but will also be considerably smaller than the former.  Once the pot becomes firm enough to support itself it can be picked up and worked on but this brings with it its own problems, the stiffened clay becomes brittle, the least deformation of the rim and the pot will crack, a flaw which, in the firing, could result in total failure.  One possible solution to this is to add organic fibrous material which will act as reinforcement in the unfired pot and one of the most suitable sources of this is animal dung. Finally, once the pot has reached a leather hard stage, the entire inner and outer surfaces need to me slip coated by rubbing with a wet hand and finally burnished all over, again without putting undue stress on the rim.

Firing small pots in an open fire is a relatively simple matter provided a strict set of rules are adhered to, a large pot on the other hand is quite a different matter. That pot needs to be absolutely dry before it comes anywhere near to a flame. In a Neolithic hut it would undoubtedly have spent several days on the outer edges of the hearth, occasionally being turned to present a new face to the warmth of the fire.  Only once the potter was certain that all moisture had left the clay would the firing process begin: The pot would be moved a little closer to the fire, inverted, and with its rim supported on three stones a few embers from the fire would have been pushed underneath its dome, their rising smoke and heat filling the vessel. Replenishing and increasing this small glowing fire over the next couple of hours the potter would have carefully and steadily raised the temperature until, at around about 400 degrees C the organic matter in the clay would have begun to burn, turning the outer surface of the pot dark brown or black.  This would also be an indication that it was ready to move to the next stage of firing, surrounding the pot with embers and eventually immersing the pot into the fire, bringing up its temperature until at seven or eight hundred degrees, in the darkness of the hut interior it could be seen to glow deep red. The firing complete, the fire would have been allowed to burn down and go out and the pot would have been cooled while protecting it from sudden cold draughts that might cause it to crack.



Simple as that!







Sent from Samsung MobileVisit my website at www.pottedhistory.co.uk

Monday, 5 January 2015

Childlike Exuberance

One of the best things about running historical pottery workshops in schools, is seeing the uninhibited exuberance of the children's work. Unlike many adults, they are not afraid to express themselves in paint or clay and as a result the pots and sculptures they produce have a vitality, often lacking in the more carefully considered work of their seniors. When I return the fired pots to the schools, the children are amazed and delighted to see how the fire has changed and preserved their artwork. 

For more information about my pottery workshops for schools and museums see my earlier post HERE.

Egyptian Canopic Jars by Blackhill School Children
Egyptian Canopic Jars by Blackhill School Children 
Egyptian Shabti Figures by Blyth School Children
Roman Head Pots by Keilder School Children


Mediaeval Green Men by Bedlington School Children



Visit my website at www.pottedhistory.co.uk

Tuesday, 3 June 2014

Having made the replicas used by Dr Michael Scott in his brilliant BBC2 TV series; "Who Were the Greeks", see my blog entry "TV Props, Greek Bronzes Made From Clay" , I was delighted when Dr Scott contacted me and commissioned some replicas to use in his teaching at Warwick University. Now I will say at this point, when Michael contacted me I had anticipated that I'd be making some fairly high status pieces but I wasn't quite prepared for the reference material that he eventually sent me. On a trip to the British Museum he'd taken some photographs of some of the most magnificent Greek pots that he could find: the Douris Cooler, the Berlin Krater, the Phrynos Kylix and the Sharpedon Kylix:



I've replicated Greek red and black figure pottery before but these pieces were the creme de la creme, they were high status when they were first created and they're still high status today. why? Well for the complexity of their manufacture, the refinement of their form and by no means least, the skill of the painter who decorated them. The pots shown here are my, or should I say our replicas not the originals. I made the pots, but my wife Lynda Taylor, a professional artist, decorated them, they required the best! 

The precision with which the pots are made, the perfect alignment of the stem of the kylix and the crispness of the foot, shoulder and rim of the krater, tell me not only that they were made by a highly skilled potter, but that the potters' wheel on which they were thrown was very stable indeed. This was no rough stone disk pivoted on a point of rock, it was a precise piece of machinery with smooth running bearings. The same is true of all of these pots and while the potters making cups and bowls for everyday use may well have made use of primitive wheels these craftsmen had access to the very best tools. They have used that technology to push the making process to new heights, creating forms that say "Look what I can do".

More to come later, watch this space.









Visit my website at www.pottedhistory.co.uk

Greek Pottery Workshops at Wolfson College Oxford

Here are some photographs from my recent Greek Pottery Technology workshop at Wolfson College Oxford, in which participants not only learned about the ceramic science behind the creation of Black and Red Figure wares, but also had the opportunity to try their hand at a Greek style momentum wheel and created their own Rhyton.

 






Visit my website at www.pottedhistory.co.uk

Thursday, 6 February 2014

Pots for Stonehenge and Wiltshire

I take delight in every project that I undertake but being asked by English Heritage, to make all the replica pottery fro the new Stonehenge Visitor Centre and by the Wiltshire Heritage Museum in Devizes, to make replicas for the Gold from the time of Stonehenge have been a particular highlights of the past year. In each case making the pots not as they look now, after several millennia in the ground, but as they would have looked when new. The first part of the project was to produce a selection of large Neolithic Grooved Ware vessels, to be used in the prototype Neolithic Houses which English Heritage built at Old Sarum, as a precursor to building a group at Stonehenge. These pots were based on originals excavated at Durrington Walls. 


Grooved Ware pots based on finds from Durrington Walls
Next came a film role, at least for my hands. I was filmed making a replica grooved ware pot, from crushing and preparing the raw clay and grog, through building and decorating the vessel, to firing it on an open hearth and finally removing the finished pot from the fire. This video will be showing on a loop in the visitor centre, alongside one of Phil Harding making a flint axe and Neil Burridge casting bronze.


Grooved Ware pot glowing in an open fire
At this point I was invited to join archaeologist and curator Sarah Lunt at Fort Cumberland and at Salisbury Museum, to look at the originals pots that I would be replicating for the Stonehenge Museum display, and the education rooms. It is a huge privelage to have had the opportunity to see and handle such iconic pots as: The Wilsford collared urn, grape cup and Stonehenge cup, excavated by William Cunnington during his excavation campaign 1802 – 1810, along with beakers, carinalted bowls and the small grooved ware pot from Durrington Walls.

Back in my studio I began replicating these masterpieces of Neolithic and Bronze-Age ceramic art, for both Stonehenge and the Devizes Museum, here are some of the results.



Wilsford Collared Urn and Grape Cup along with "The Ceramic Object"
The beautiful collared urn here from the Wilsford G7 burial is one of the finest examples from the whole of the UK, here's the original . I'm not the first to attempt to replicate it, Josiah Wedgwood had a go, although in terracotta and over industrialised for my liking. The refinement of this pot and the care with which the decoration has been applied make it a real challenge to replicate. To a lesser degree the same is true of the grape cup with over 150 individually applied pellets and between each pair, a hole bored through to the interior, at only 6cm tall, that's a lot of detail packed into a very small pot. The third item here is the "Ceramic Object", found in the fill of Aubrey Hole number 29 and so called because no one knows exactly what it is.  

My replicas on display at Wiltshire Heritage Museum, Devizes
The pots below are in the education rooms at Stonehenge

Early Neolithic Carinated Bowl, Grooved Ware Pot, Wilsford Beaker and Ceramic Object
My final job is to make the pots for the Neolithic houses so watch this space.


Visit my website at www.pottedhistory.co.uk

Friday, 26 July 2013

Replica Egyptian Canopic Jars

A set of canopic jars with their storage chest made recently for Maidstone Museum's educational handling collection.




Visit my website at www.pottedhistory.co.uk

Sunday, 7 July 2013

TV Props, Greek Bronzes Made From Clay


Usually the replicas that I make are recognisably ceramic, and if asked, I’d always say that I’ll replicate anything as long as it’s old and made from pottery, but when it comes to TV props things aren’t always what they seem. Recently I was contacted by Tern Television who were making a documentary for BBC2 entitled “Who Were The Greeks?”.  The two part mini series, presented by Dr Michael Scott of Warwick University, the program set out to highlight some little known aspects of life in ancient Greece and the ways that these still affect out lives today.  To do this, a number of specific artefacts were needed as illustrations, objects that were unavailable to the crew as they were in national collections.  So I set to making; Oil lamps to illuminate Greek silver mines; Ostraka showing the beginnings of democracy and a pot to carry sacred fire.  However the two most complex items that were needed weren’t ceramic at all, but bronze, but with the assistance of my wife Lynda Taylor, an artist, we were able to give them a bronze finish that did the job.  So here they are:




A treaty tablet documenting an alliance, of 100 hundred years duration, between Eleans and the Heraians of Arcadia. The original in now in the British Museum.



This Spartan Running Girl, 520-500 BC, sometimes called the Thigh Flasher,
found at PrizrenSerbia; possibly made in Sparta.



And last but not least, the pot, lamp and ostrakon.


Visit my website at www.pottedhistory.co.uk