Lot 631
WILLIAM JOHN MARRINER (1881-1967) FOR FULHAM POTTERY
GROUP OF ALBER WARE 'FMC' AND 'FMA' FLOWER VASES, DESIGNED 1936-7
Auction: Day Two inc FL Griggs : A Cotswold Legacy | Lots 334 to 654 | Thursday 16th October from 10am
Description
dove grey and celadon-glazed earthenware, comprising a FMC1 VASE, impressed and incised FULHAM POTTERY LONDON/ FMA1, 55cm wide; a FMA2 VASE, impressed FMA2, printed THE POTTERY/ FULHAM, 43cm wide; a FMA3 VASE, impressed FMA3, printed THE POTTERY/ FULHAM, 31.5cm wide; a FM4 VASE, impressed FMA4, printed THE POTTERY/ FULHAM, 23.5cm wide; and a FMC4 VASE, impressed FMA4, printed THE POTTERY/ FULHAM, 23cm wide (5)
Footnote
Literature: Peart T. The Fulham Pottery 1932–1965: A return to ‘artistic’ production, DAS Journal 32, pp. 100-125.
In the mid-1930s, Constance Spry’s floristry company gained prominence for its innovative, asymmetrical arrangements using both exotic flowers and local materials. Her designs required wide-mouthed, neutral-coloured vases, prompting her assistant Florence Standfast to create bespoke papier-mâché and ceramic forms for commercial production. These early vases, characterized by matt surfaces and generous proportions, influenced the subsequent development of 'Alber Ware' at Fulham Pottery. Responding to rising demand from Flower Decorations Ltd, the Pottery adapted press-moulding techniques to produce a durable, kiln-stable range. Introduced in 1937, Alber Ware drew on classical and decorative precedents but prioritized manufacturability, stability, and minimal finishing, distinguishing it from Standfast’s original designs. The similarity to Spry’s vases facilitated adoption by amateur flower arrangers, while wider availability and lower cost ensured commercial success. Alber Ware remained in production until 1962, exemplifying how Spry’s aesthetic and practical requirements catalysed an enduring British ceramic line.