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    <summary_title>Studio Ceramics</summary_title>
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    <summary_title>Ceramic Sculpture</summary_title>
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        <summary_title>stain</summary_title>
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    <name>Decoration</name>
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        <dimension>Diameter</dimension>
        <units>cm</units>
        <value>11</value>
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      <dimensions>
        <dimension>Height</dimension>
        <units>cm</units>
        <value>49.5</value>
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      <dimensions>
        <dimension>Width</dimension>
        <units>cm</units>
        <value>22</value>
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    <name>Left-hand Piece</name>
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      <dimensions>
        <dimension>Diameter</dimension>
        <units>cm</units>
        <value>7.5</value>
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      <dimensions>
        <dimension>Height</dimension>
        <units>cm</units>
        <value>50.8</value>
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      <dimensions>
        <dimension>Width</dimension>
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        <value>16.5</value>
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    <name>Right-hand Piece</name>
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    <name>Surface</name>
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        <summary_title>polishing</summary_title>
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  <department>
    <value>Applied Arts</value>
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  <description>
    <value>pair of ceramic flared containers, one taller than the other, burnished and stained with coloured inks and painted in neon green and silver grey</value>
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    <summary_title>Marking the Line: Ceramics and Architecture</summary_title>
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  <identifier>
    <accession_number>C.32A &amp; B-2013</accession_number>
    <primary>1</primary>
    <type>accession number</type>
    <value>C.32A &amp; B-2013</value>
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    <priref>197759</priref>
    <type>priref</type>
    <value>197759</value>
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    <uri>https://data.fitzmuseum.cam.ac.uk/id/object/197759</uri>
    <value>https://data.fitzmuseum.cam.ac.uk/id/object/197759</value>
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      <id>agent-149638</id>
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    <summary_title>The Fitzwilliam Museum</summary_title>
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  <legal>
    <credit_line>Given by Nicholas and Judith Goodison through The Art Fund</credit_line>
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  <lifecycle>
    <acquisition>
      <agents>
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          <type>reference</type>
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        <admin>
          <id>agent-156032</id>
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          <uuid>3aded83c-6f5c-39b8-a50c-07f712e01b2c</uuid>
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        <summary_title>Goodison, Nicholas and Judith</summary_title>
      </agents>
      <date>
        <earliest>2013</earliest>
        <latest>2013</latest>
        <value>2013-11-25</value>
      </date>
      <method>
        <value>given</value>
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    </acquisition>
    <creation>
      <date>
        <earliest>2012</earliest>
        <era>CE</era>
        <latest>2012</latest>
        <value>2012</value>
      </date>
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            <value>potter</value>
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          <id>agent-190777</id>
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          <uuid>dd1e9755-ddd7-3afa-94a3-aaaff9eec2cc</uuid>
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        <summary_title>Rena, Nicholas</summary_title>
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        <value>Nicholas Rena (b.1963) studied architecture at Cambridge from 1982-88 before completing an MA in Ceramics and Glass at The Royal College of Art in London in 1995. His oversize vessel forms reflect his architectural background and a preoccupation with space, and are sometimes presented in groups (see C.32A &amp; B-2013). The clay body is often colour stained, sometimes with brightly coloured interiors, and is sanded and burnished to a marble-like smooth surface. Rena was nominated for the Jerwood Applied Art Prize in Ceramics in 2001. He has exhibited internationally and his work can be seen in many public collections.</value>
      </note>
      <note>
        <value>Text from object entry in A. Game (2016) &#x2018;Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum&#x2019;. London: Philip Wilson Publishers: Nicholas Rena was first introduced to the world of ceramics at school through his art teacher, Gordon Baldwin (b.1932). He went on to study Architecture at Cambridge but, following a brief period of practice, returned to ceramics, completing an MA at the Royal College of Art, London in 1995. He subsequently established a studio in London, where he still lives and works, developing a series of monumental vessels that draw on archetypal domestic and ritual pottery forms &#x2013; the jug, the bowl &#x2013; but re-scaled as compelling works of sculpture. His ability to activate different spatial environments with these forms was recognized by an invitation to participate in a show in 2013 at the Sir John Soane Museum in London entitled Marking the Line: Ceramics and Architecture in which this work was shown. Nicholas Rena: &#x2018;For those of us making a certain type of ceramic vessel, one of the central metaphors in such work, which is perhaps too obvious to state, is that these vessels are empty. It is a powerful metaphor &#x2013; to produce a body of work about containment which is intended to remain resolutely empty.&#x2019;</value>
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        <summary_title>21st Century, Early</summary_title>
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        <summary_title>Elizabeth II</summary_title>
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          <summary_title>England</summary_title>
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        <summary_title>Chiswick</summary_title>
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      <summary_title>earthenware</summary_title>
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    <type>history note</type>
    <value>Joanna Bird, selling exhibition, 'Soane Comes Home', held at Maggs Bros Ltd, 50 Berkeley Square, London, W1J 5BA from 14-20 October 2013; purchased by Nicholas and Judith Goodison</value>
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      <notes>Publ. p. 73</notes>
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    <summary_title>Marking the line: Ceramics and Architecture. Christie Brown, Carina Ciscato, Nicholas Rena and Clare Twomey in response to Sir John Soane</summary_title>
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      <notes>Ref.</notes>
      <page>24-5</page>
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      <notes>Publ. pp. 244-5, no. 99, object description,  illustration,  maker's biography, and quote</notes>
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    <summary_title>Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum</summary_title>
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  <title>
    <value>Persephone (Rites of Spring II)</value>
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    <base>object</base>
    <type>OBJECT</type>
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