Piral

Designer
Maker	Piral
Marks	Stamped “Made in Italy” to base
Description	Terracotta bowl with gloss glaze to interior and exterior. Flat unglazed base with looped handle.
Condition	Good used condition for age
Number
Production Date	1970s
Width	150mm
Depth	50mm
Length (with handle)	210mm
Weight	480gm
Volume	620ml
Acquisition	Salvo Stores
Rameking Reference Number	PIR 001-003

These are terracotta cooking dishes, (2 dishes and 1 gravy pot) made in Italy and marketed as "Terre D'Umbria", most likely by the Piral company.  Piral is one of the oldest Italian pottery makers, beginning in 1870 at the small Italian town of Albisola Superiore, a municipality in the Province of Savona.  It is in the region of Liguria, about 35km south-west of Genoa, near the border with France.  The town is divided into two by the Sansobbi river.  Albisola Marina (the other part) is below and in 1963, the council created the Lugomare degli Artisti, a ceramic promenade there.

Terracotta is much less fragile than other pottery, but some precautions need to be taken before use.  Bring the heat up gradually and terracotta will cook slowly and evenly.  Avoid sudden changes in temperature.  These can be put directly onto a flame because Piral fire their terra cotta at 1800°F (1000°C).  This cures the terracotta clay but does not seal it.  They are microwave safe and can also be put in a dishwasher.  Please use only wooden or silicone utensils to avoid damaging the glaze.  Another of their selling points is that they are made from non-toxic raw materials.  Some other terra cotta pots contain toxic materials such as lead and cadmium.

For many years, Piral were at 153 Via Casarini but ceased trading in October 2010.  Since their recent takeover by Albis Ltd, they have now moved to new premises at Vado Liguri.  New equipment has been purchased and it is expected that they will be back in full production within 3 years.   The Provincial government is assisting with retraining.  Piral also make kitchen accessories, art pottery and other restaurant and homewares as well as their extensive range of terra cotta pots.

Before first-time use, soak the terracotta cooking pot in room temperature water for three hours, then dry thoroughly.  If you only use terra cotta occasionally, then you must repeat this process each time you use them.  After use, let the pot cool completely then wash with warm water and soap.  Dry thoroughly before storage. 

Food and liquids should not be stored in these pots as moisture gradually penetrates the clay, destroying the finish and causing beading when reheating. 

One of the local specialties is Ligurian Fish Stew .

This is the Rameking version of the recipe, please give it a try.

1-1/2 lbs. of fish (any fish will do)

1 Tablespoon, salt

2 Tablespoons of butter
1 Carrot, sliced
1 Onion, chopped
4 Garlic cloves, chopped
1 Cup white wine
3 Large Tomatoes, chopped
3 Cups chopped cabbage
2 Cups chicken broth
1/4 Tablespoon  paprika



Rinse and lightly season fish with salt.

Roughly chop the fish into 1-2 inch chunks and set aside.
In a 6 qt stock pot, heat butter over medium heat.
Add carrot, onion, and garlic. Cook for 5-6 min.
Add the wine and cook another 5-6 min.
Add the tomatoes, cabbage, broth, pepper and 1/2 tsp. salt.

Reduce heat and bring to a simmer.
Cover and cook another 8-9 min.
Add chopped fish and  cook another 4-5 min.
Total preparation time: 40 min.
Serves: 4 to 5

Aegitna

Designer	Saltalmacchia
Maker	Aegitna
Marks	Stamped “Aegitna Villauris Made in France”
Description	Shallow clay bowl with knob handle and small pouring lip on rim.
Condition	Fair condition for age, mottled finish due to condition of clay.  Ochre gloss glaze to interior and exterior of bowl and handle.  Dark brown tip to handle.  Unglazed flat base.
Number
Production Date	Early 1980s
Width	120mm
Depth	45mm
Length (with handle)	180mm
Weight	310gm
Volume	300ml
Acquisition	E-Bay 4-April 2012
Rameking Reference Number	AEG 001-003

France has two major pottery producing areas.  One is on the west coast in Brittany, centred on the town of Quimper and the other is on the eastern border with Italy in the Alpes Maratime.  These are from the east.  AEGITNA was begun in the pottery town of Vallauris in France's Alpes Maritime region in 1920 by the young Placide Joseph Saltalmacchia.  The town, known in Roman times as Cordula is now an extension of Antibes (Roman Antipolis) and is located about 30 miles from Nice.  Historically, Aegitna was a town of the Oxybii located near Antibes mentioned in the Ligurian war, (Complete Histories of Polibius XXXIII), believed to be the early name for Cannes.  From 1948 until 1955 Pablo Picasso lived in Villauris, leading to a renaissance of the pottery industry there.  Some of his works are still seen there by tourists today.  

 The abundance of clay and timber in the area has supported a pottery industry for centuries.  The bronze statue of “Man with a Sheep”, Picasso's gift to the town, stands in the main square and marketplace, Place de la Libération, beside the church and castle.   The castle of Vallauris is the former priory of the Abbey of Lerins, built in the 16^th century.  It contains the National Picasso Museum.  An international biennale of contemporary ceramics is also held in the town.

Note the ramekins on display

Pottery has been made in the area for centuries and blossomed during the 19^th Century, particularly Massier and Foucard Jourdan.  Today the main street, avenue Georges is almost entirely pottery shops.  Modern Vallaurus is lead glazed earthenware, often highly coloured.  Domestic tableware and cooking pots feature.  Four members of the Saltalmacchia family have worked in Subreville street in the town between 1877 and 1936.  Placide Joseph Salatalmacchia, born 1903 worked at Aegitna from 1920 until 1977 when he was replaced by his son Joseph.  Joseph continued until 1988 and was replaced by Grand daughters Gaby and  Nicole Honorine who is a self-taught sculptor.  Aegitna’s other pottery is very collectable, particularly their colourful oyster plates.

Eric Juckert

No, I have not run out of ramekins, because Eric didn't make them as far as I know.  It is just that there is so little out there about Eric and it seems that a lot of people want to know about him.  Well, here goes.

Eric Carl Juckert was born in the working class suburb of Richmond, Victoria on the 26^th of October 1918. His father George Louis Otto Carl Juckert, (1884-1957) was then a Telegraph Mechanic and his mother was Ethel May Storey  (1895-1945).  They lived at 177 Coppin St Richmond.  The name “Juckert” is German in origin.  In 1919, the family moved to 34 Fitzgibbon Crescent, Balaclava.  This was a better class of suburb in 1919 and quite expensive today.   

Eric was a prolific studio and commercial ceramic artist who began his extensive career with Una Deerbon (nee Darlot) at her studio at 5 Bray Street South Yarra in Melbourne, Victoria in 1936.  Then between 1937 and 1950 Eric set up his own business at his home at 34 Fitzgibbon Crescent, Balaclava, making a range of pottery that was sold by the Myer and David Jones department stores under the name Jacqueline.  Charles Wilton also worked with Eric at this time.  

Eric’s first advertized sales were at the height of the great depression at the 4^th Floor, Bank Chambers (Centreway Arcade) 255 Collins Street Melbourne on the 8^th of December 1937.  In 1939 at the start of the Second-World-War Eric, along with Charles  joined the RAAF as an Aircraftsman, he was discharged in 1946.  (To be accurate, Charles joined the Army in March 1940 then transferred to the Airforce in 1942.)  Following a number of issues with the then Commonwealth Department of Employment and National Service, the pottery closed in 1950.

  

For a time from early 1947, Eric was the proprietor of the Granthaven Gentlemans Country Home, near Healesville, Victoria.  He advertised Granthaven extensively during this year.  He also exhibited at the prestigious Kozminsky Gallery in Melbourne on the 20^th of November 1947. 

  

In 1949, Eric was back in Melbourne, this time at 337a Balaclava Road Caulfield, not far from his old home in Balaclava.  The Electoral Roll lists him as being a potter.  He advertised pottery lessons from there on 29^th November 1949.  This venture lasted until 1954 when he moved to Sandy Creek Road, Riddell, near Gisborne, north of Melbourne where he is listed on the electoral roll as a Farmer.  The Electoral Roll for Balaclava shows George, now a Toolmaker living with Norman and Isabel Juckert, Ethel is not there.  She died in 1945.

  

Eric traveled to England for a time and is believed to have also traveled to Mexico, although there is scant evidence of this.  On his return to Melbourne, he then set up a studio at Point Road, Grossard point, Ventnor on Phillip Island, south of Melbourne in 1959 where he continued working there until 1992. His commercial works which were mainly made with a white spatter finish are incised 'Juckert' or 'Eric Juckert' to the base.  This spatter finish was used by a number of potters, most notably Premier, Rathjen and Raynham, but Eric was not restricted to this style. 

He was a magnet for other potters and was always available for advice.  People traveled from around the world to work with him.  A selection of his work showing the wide variety of styles he produced can be seen at the local museum in Cowes, Victoria.  They are only open between 10 and 12 am on a Thursday, but you can still sneak a peek through the front window.
  

Detail from Mural showing part of Eric's gallery at Ventnor.

Eric painted a large mural in the foyer of the Cowes Cultural Centre on Phillip Island as part of the Australian Bicentennial celebration in 1988, illustrating the history of Phillip Island.  Eric died on the 4^th of January 2004 at the Warley Hospital, Cowes, Phillip Island.  He is buried in the Cowes Cemetery.  He was a popular local although it appears that he never married and had no children.  The people I spoke to who knew him said that he had a pleasant personality, was friendly but became somewhat reclusive in his later years.  

Detail of Eric's home and kiln from the mural.

A beachfront reserve adjascent his home at Ventnor was named in his honour.  The Bass Shire Council said that “Short of naming a major public building or the like after him, it is hard to imagine a more appropriate recognition of Mr Juckert’s contribution to Phillip Island.”  Don't look for anything there with his name on it because you won't find anything.  Charles Wilton also worked on Phillip Island from the early 1970s until his death in 2001.

Postscript;  In “The Penguin”, the newsletter of the Phillip Island Conservation Society of June 2011, they say that “ Over much of the coastline here, residential areas are well hidden, maintaining a sense of remoteness on the beach. In stark contrast, however, is the deplorable dense block-like housing that has arisen adjacent to Grossard Point, on the land previously owned by the late artist and potter, Eric Juckert. As we walk towards the point, they are a constant reminder of regrettable planning decisions of the past.”

Never say that the Rameking doesn't go the extra mile.

Westminster

Designer
Maker
Marks	Stamped “Westminster Oven to table ware Korea
Description	Heavy clay ramekin, Brown gloss glaze to exterior. Pale grey gloss glaze to interior and lip. Knobbed lid with matching colour and glaze.
Condition	Good condition, no chips, cracks or crazing. Slight flaw in clay to base and side near handle of one.
Number
Production Date	Late 1970s
Width	110mm
Depth	47mm
Length (with handle)	178mm
Weight	475gm Ramekin 165gm Lid
Volume	300ml
Acquisition	Salvo Stores Mt Waverley
Rameking Reference Number	WES 001 to 002

Back in the dark ages, the Rameking began a Batchelor of Arts Degree. Above the toilet roll holder in the Mens toilets, someone had written “Arts Degree, Please Take One.” This is a good example of meaning, or perhaps perceived meaning. At the centre of meaning is form and substance. Form is that which can be described. The shape, size, colour of the ramekin. Stoic philosophy separates the object from its mental representation. (With apologies to Roland Barthes) This is what happens when you give a common object a posh name. These are 1970s onion soup dishes made in Korea and stamped with the name “Westminster”. It is designed to create a certain impression. Connotation and denotation. (look it up, I can't do everything for you.)

Remember the old saying “like a bull in a china shop”? The original saying is referred to in a book by Sir Henry Lucy where he refers to”Bulls in the (Westminster) china shop”. He was talking about the House of Commons in the British Parliament at the Palace of Westminster. This has about as much to do with these ramekins as does Westminster Pottery Ltd Hanley, Staffordshire, England that operated from 1948-1956. They were makers of earthenware, chinaware, whiteware, dinnerware and decorative porcelain. (They produced Cottageware, those pottery cottages that you sometimes see in peoples display cabinets.) The London Gazette 27^th June 1969, shows that Westminster Pottery Ltd company was dissolved. (pp6700-6701)

Westminster as a name for pottery manufacture has been used often, there are several of them in the US still operating. These, I think may be from Westminster China Pty Ltd of 7 Arnold Street Cheltenham, Victoria trading as Westminster China Australia. The premises are now empty and up for sale, having last been a food distribution company. In a display of great modesty, Westminster advertized their products as being “The most exquisite china in the world.” They operated in various guises from 1955 until 2003.

These ramekins were made in Korea. The print for the stamp on the base is similar to those made by Haeng Nam for Jepcor. Korea made lots of earthenware and stoneware for European and American companies. These are simply marked as “Westminster” . Like many others made around the late 1970s, these are heavier and designed as soup bowls. They are well made heavy stoneware and covered with a brown gloss glaze. One indication of quality is that the handles do not have a hole in them. This means that the handles were better made and designed to cool at the same rate as the bowl without cracking.

Peter Fergusson

Designer	Peter Fergusson
Maker	Peter Fergusson
Marks	Stamped “Peter Fergusson Hand Made Australia”
Description	Earthenware bowl, Off-white high gloss glaze to interior and top of exterior rim and underside of handle. Circular base also has glaze
Condition	Good, some age related crazing to glaze on interior of bowl.
Number
Production Date	Early 1950s (1953-1954)
Width	90mm
Depth	30mm
Length (with handle)	125mm
Weight	105gm
Volume	115ml
Acquisition	Mt Waverley Antique Market 19 March 2012
Rameking Reference Number	PPF 001-005

I cannot find much about Peter. What I have found is that Peter Paul Fergusson was an artist and potter from New South Wales in Australia. In 1958 he was living in the Sydney suburb of Hornsby with wife Judith, also a potter and son Christpopher James. Their home is long gone at 27 Hunter Street and is now a large shopping centre. In 1968, Judith was living and working as a potter at 1a Clarke Road Waitara, just next door to Hornsby. Peter was born in Paris on 3rd September 1903 but is said to have been English and come to Australia before the second world war because Peter served in the Australian forces during the war.   He enlisted in May 1941 and was discharged in March 1944 with the rank of Captain, having served in an armored unit.

He was believed to be self taught and began making pottery in Sydney in 1946, firstly Ford says that he started in 1946 in Turramurra, now a well to do northern suburb of Sydney. Interestingly his son Christopher became an accountant and later returned to Turramurra. Ford says that Peter moved to Horsby in 1950. This is where these ramekins were made. It appears that Peter stopped making around 1956 and went on to painting. 

The only other piece of his work listed is a pin dish held by the Powerhouse Museum in Sydney. In 1953 and 1954, Peter advertised for staff to work at his pottery as glazers and dippers. Sydney in those days was home to numerous small potteries that operated for a short time then rocketed to obscurity. Newspaper articles in 1953 show his square shaped tea cups and saucers, check out the Essexware ramekins on my site and this may be where Gordon and Rudy got their idea from. 

 No other information on him is available, so if anyone knows more, please let me know.

Villeroy & Boch

Designer
Maker	Villeroy and Boch
Marks	Impressed “A” “VilleroyeBoch Made in Luxembourg”
Description	Plain slipware bowl with flared lip flat unglazed base with notched edge. Plain harlequin gloss glaze to exterior with plain white gloss glazed interior. Stem handle attaced to lower third of bowl, angled upwards.
Condition	Very Good
Number	No number but capital “A” impressed on base
Production Date	1960s
Width	92mm
Depth	43mm
Length (with handle)	146mm
Weight	140gm
Volume	180ml
Acquisition	1 at Taupo in NZ, 3 at Oakleigh Charity shop
Rameking Reference Number	VAB 001-004

In a way, Luxembourg is a bit like one of the characters from the “Lord of the Rings” trilogy that never made it to the films. For those who may not have read the books, there is a character in them named Tom Bombadil. Tom is ancient and existed before the time of the rings who have no power over him. He exists in his own land while the affairs of men and history swirl around him. I think a lot of people may see the Duchy of Luxembourg in that light. It has existed long before most of its neighbours and for the most part has been able to avoid the vicissitudes of much of European history.

Because of its location, the Duchy of Luxembourg has been unable to completely avoid the tide of history, despite existing for around a thousand years. Banking, finance and insurance are now the main industries. The only thing that I can say with certainty is that on the day I was there a few years ago now, the country was closed. It was a Sunday and because Luxemburgers are mostly Roman Catholic, the old ways still endure. One of the old ways that sadly no longer endures is the Villaroy and Boch factory. They ceased production there in 2010 and now produce everything in Germany. There is still a factory outlet shop and education centre there.

Faiencerie Septfontaines
Visitor’s Centre
330, rue de Rollingergrund
L-1018 Luxembourg
Telephone: (352) 46821359
Fax: (352) 461553
Web Site: www.villeroy-boch.com/en/

In 1746 Jean Francois Boch, (1695-1754) the owner of an ironworks decided to branch out and began a tableware pottery , lead glazed earthenware, “Jean Francois Boch et Freres” with his three sons in Audun Le Tiche, Lorraine, France, near the German border. Nicholas Villeroy (1759-1843) founded an earthenware pottery in Vaudrevange, known today as Wallerfangen near Frauenberg ain Saarland Germany round 1785. Nicholas produced his wares under the direction of English potter John Leigh. Jean Francois Boch Jnr (1735-1817) learned transfer printing and other ceramic techniques in England. Jean Francois employed six of the local villagers as well and was later elected mayor.

Nicolas-Henri and Augustin Jacobi together with Joseph Fabry began a faience and majolica factory at Sarrguemines in 1790. Revolutionary troops destroyed it in 1794 but Pierre -Joseph Boch (1737-1818) rebuilt using borrowed money. Nicolas and Augustin sold their interest to Francois Paul Utzschneider. Paul had worked for Josiah Wedewood and was an excellent potter and capable businessman. He introduced English techniques to the works, hence the imitation jasper ware.

In 1798, Charles Regnier started the Longy Faience Factory in an old convent. In 1815 he sells to Jean-Antoine de Northomb and his wife Christine Boch, daughter of Pierre Joseph Boch. Pierre Joseph was married to Antoinette Northom, a Luxemburger.

In 1836 Baron Alexandre de Geiger, Paul's son in law took over management and a new company was formed between the Baron, Paul, Auguste Jaunez and Villeroy and Boch. This company is known as Utzschneider et Cie (and company). Jean francois leaves in 1841 to spend more time at the other works in Belgium and Luxembourg.

For years the two potteries competed in the same markets until the 14^th of April 1836 when Eugene, son of Pierre Joseph Boch merged with Villeroy. Villeroy got 60%, Boch 40%. Even though both companies were doing well, the merger created a larger company that could compete with British Imports. Together their production quickly grew, in range quality and material.

They started a stoneware factory in Mettlach, Germany on the banks of the Saarschleiffe, the horseshoe bend of the Saar river, specializing in decorating beer steins. One process called chromolith produced in the late-19th and early-20th century involved inlaying colorful mosaic designs into the body of the steins. These are treasured by collectors today. They also later made ceramic sanitary ware. A marriage between Eugene Boch and Sophie Octavie Villeroy (1823-1899) on the 3^rd of May 1842 helped seal the business union. Mettlach is located near the borders of France Luxembourg and Germany. Eugen later became Mayor of Mettlach.

Even though production was mainly from Vaudrevanges and Mettlach. They bought a porcelain factory at Tornai, that was kept until 1971. Unglazed stonewares began in 1842 emulating Wedgewood's Jasper ware with white figures on coloured background. They also bought Schramberg in 1883 and Steingutfabrik Torgau in 1926, Steingutfabrik und Kunsttopfrei Franz Ant. Mehlem, Bonn, Mosaikfabrik Deutsch-Lissa near Bresslau in 1920. These companies in Germany were managed from Dresden.

Read more: http://www.answers.com/topic/villeroy-boch#ixzz1pFUdN8K5

The name Mettlach is derived from Latin for "mid-lakes," Nicholas Villeroy and Eugene Boch, Grandson of Jean Francois joined forces and set up their stoneware factory in an abandoned Benedictine Abbey that had a tower completed in the year 1000. It was modeled after a cathedral built for Charlemagne in 786, and a representation of this edifice was later used on the company logo. After receiving a licence from the Empress of Austria in 1766, the Boch's began another factory in 1767 at Septfontaines, (seven fountaines) in the Duchy of Luxembourg where they continued production until 2010. Luxembourg was then part of the Austrian Netherlands.

The "Château de Septfontaines" dates from the 18^th century and was the residence of the Boch brothers. The castle is situated in a park in the heart of the city of Luxembourg on the outstanding site of the Villeroy & Boch porcelain manufacturing plant, only a few minutes away from the city centre.

In 1795, the Chateau is taken over during the French Revolution. Pierre Joseph Boch and his family escaped. On their return, the Chateau needed extensive renovation. It is now the site of the Villeroy and Boch museum, although between 1914 and 1870, it was not in family hands.

Mettlach is most famous for its steins, and they made some of the most highly desired of these beer containers. But Mettlach also made a wide variety of other objects including vases, ewers, tazzas, tobacco jars, beakers, punch bowls, pokals (large ceremonial drinking vessels with lids), teapots, covered dishes, jardinieres, baskets, clock cases and ink stands.

Eugen (pronounced oygn) Boch, whose hobbies included archaeology, had the revolutionary idea of creating an industrially manufactured floor tiles based on Roman floor mosaics that were both attractive and offered good value for money. These became known as the “Mettlach tiles” and fragments of these tiles that accompanied the maiden voyage of the luxury ship “Titanic” were later rescued from the depths of the ocean. 

In 1892 Eugene was the first of the family were raised to the Prussian nobilility.  From then they were known as von Boch Galhau.  However it was the products sent to the World Exhibition, held in Antwerp in 1885, that gave us the works of art we know today. Production reduced considerably around 1912, due to recession in Europe. More problems followed the Treaty of Versailles in 1918 when the re-division of Europe meant that their factories were now in several different countries. Then in 1921 a disastrous fire destroyed all the moulds, manufacturing secrets and documentation of the Mettlach factory. Stein production restarted in the 1970's.

The golden age of production at Mettlach was at the turn of the twentieth century. During this time, using guarded secret techniques, the etched, glazed, cameo and phanolith (pâte-sur-pâte) wares were at the pinnacle of their production. Pâte-sur-pâte is an elaborate and expensive method of decorating porcelain in which a translucent cameo-like image is built up by the application of many thin coats of porcelaneous slip. Johann Baptist Stahl (1860-1932), celebrated for his cameo and phanolith stoneware models, was active at Mettlach during the period 1895 to 1920.

While the company is no longer run by a family member with the present Group Chairman of Villeroy & Boch being Frank Goering, there are however various family members presently working in the company. Since 1990 the company has been listed on the German stock market, ticker symbol VIB3, but the voting capital is still in the hands of the family descendants. The company's Luxembourg factory was closed down in 2010. Acquisitions in Eastern Europe have expanded their product range and market reach.  

Harry & May Davis

Designer	Harry and May Davis
Maker	Harry and May Davis
Marks	Stamped “P” inside “C” to base
Description	Small wheel thrown clay bowl with pale brown glaze to interior of bowl. Flat circular base and slight indent to rim. Flat knife blade handle rising upwards and fixed to upper third of bowl
Condition	Very Good
Number
Production Date	1946-1968
Width	77mm
Depth	40mm
Length (with handle)	115mm
Weight	140gm
Volume	120ml
Acquisition	Antiques Bazaar Prahran Victoria
Rameking Reference Number	HMD 001-00

The Rameking has just returned from a Royal progress / Grand Tour of the North Island of New Zealand. In the language of the locals, “Choice Bro.” Don't laugh, but Harry first learned throwing pottery from Mr Bean. Enough of the levity. You can find heaps about the Davis' on the Internet, particularly at;

( http://www.philoliver.com/pottery/harryintro.htm )

Every so often, someone comes along that is head and shoulders above just about everyone else in their chosen profession or craft. Such a person was Harry Clemens Davis (1907-1986). Not to be confused with the more famous and exceptionally collectable Harry Davis from Royal Worcester, Harry was blessed with seemingly boundless energy, a ferocious intellect and prodigious talent, Harry flew through life like a shooting star, amazing just about everyone who saw him work. These ramekins do not really do justice to him as an example of his work. Made after his return from Africa from clay better suited to brickmaking, they are beautifully hand crafted and are a precursor to the one by Peter Stichbury who later worked with Michael Cardew in Africa that is on display at Te Papa Museum in Wellington. They only have one, the Rameking has this set of four.

Rameking Rule. Don't just collect the man, collect from the man who learned from the master. Old proverb, Nothing is taught, everything is learned. What follows is just a brief outline of the life and work of a couple to whom no brief outline can do justice. I would love to put much more in about them but I will leave it up to you to chase up more.

During the 1920s and 1930s, the standard and quality of production of English pottery was at its height. Into this world came young Harry Clemens Davis, firstly at Poole Pottery, in Dorset originally “Carters Industrial Tile Manufactory”. Poole just outside Bournemouth is relatively near to Harry's birthplace of Glamorgan in Wales. Harry was the son of Harry James Davis, a typewriter salesman and his wife Annie Marie Davis.  Jesse Carter, the founder of Poole, Harold and Phoebie Stabler, together with John and Truda Adams began producing the well known popular and highly collectible art deco art pottery there in 1921. The thirties were the heyday of Poole. Into this environment came enthusiastic young Harry Davis. He learned much from Poole, particularly the Stablers who had long experience in most facets of pottery and its decoration. He also worked at the Broadstone Potters, a short lived company (1928-1934) who produced a range called “Joyous”. Harry was a decorator and all round general hand..

After learning quickly, Harry moved on to work with Bernard Leach in 1933 at the Leach Pottery in the Cornish town of St Ives, that still operates today. (Both the pottery and the town). Bernard is considered to be the doyen of studio art pottery, although it is unlikely that he was at the pottery during Harry's time there as Bernard was touring Europe at the time and Harry was running the pottery. It was at the Leach Pottery that Harry met May Scott, a student. They married in 1938 on his returning to England after moving to the Achimota School, where in 1937 Harry had taken a position as Head of the Art School. Founded in 1924 it was formerly Prince of Wales College and still operates in Accra, Ghana.

Harry remained there, separated from May until 1942 when Michael Cardew replaced him as Head of the Art Department. May had moved to Peru and Harry went there briefly until philosophical differences with the group May was with led to their return to Cornwall. It was during Michael's tenure in Africa that Peter Stichbury went to Africa to learn local techniques. When the war finished, Harry and May bought an ancient mill in the Cornish town of Praze an Beeble near Crowan, Cornwall, hence their stamp of the letter “P” inside the letter “C” for Crowan Pottery. Praze is the largest village in the parish.

For the next twenty years they ran the Crowan Pottery succesfully until Harry decided to move to New Zealand. Having survived World War II, Harry was fearful of a nuclear war and wanted to get as far away from it as possible. NZ was that place. Harry, May and their children arrived with fifteen tons of Luggage following by boat. He picked Nelson as the place to be because of its pottery industry and availability of raw materials needed to make pottery. He became a naturalized New Zealander shortly afterwards. They started a new pottery that they called “Crewenna”. St Crewenna's is the Parish Church in Crowan, Cornwall. Just as an aside, Cornwall is full of places names after saints that no-one else has ever heard of. Harry rigged up the waterwheel to generate the electricity needed to operate the pottery. He could turn his hand to just about anything.

Their daughter Nina graduated from Canterbury university and joined them at the pottery in Nelson. Having inherited her fathers inquiring mind, she went to England to work with Ray Finch (1914-2012) at Winchcombe Pottery in Gloucestershire. She also went to South America to work with her parents. After her marriage in 1978, she and new husband moved back to New Zealand where they opened the Nina Davis Pottery at Hira near Nelson.

After a few years, Harry's itchy feet got the better of him and it was off to South America again. This time in 1972 to Izcuchaca in Peru. It was an aid project to set up an industry for the indigenous people in the high Andes. Harry traveled extensively on fund raising lecture tours in Australia and the United States. The project finished in 1979 and both Harry and May returned to Nelson in poor health. Harry died in 1986 and May died in 1995.