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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Walter Keeler studied at Harrow School of Art and Hornsey College of Art. He established his first studio in Buckinghamshire in 1965, moving to his current studio in Wales in 1976. Keeler draws on the rich traditions and histories of functional English pottery forms to create his striking domestic wares. His fifty-year career as a potter has been matched with important work as both teacher and archivist. He was Professor of Ceramics at the University of the West of England (1996\u20132002) and was co-founder and Associate Director of the National and Electronic Video Archive of the Crafts (NEVAC) at the same university. He has also lectured on and demonstrated his craft at museums and festivals all over the world. Keeler first came to prominence with his experimental use of the salt-glaze process \u2013 an example of which is owned by The Fitzwilliam Museum (C.38 & A-1985), purchased from Henry Rothschild in 1985. In the 1990s, following his research at the University of the West of England and a study of eighteenth-century lead-glazed North Staffordshire wares made by Thomas Whieldon (1719\u201395), Keeler began his own experiments with layers of colour applied to earthenware bodies. The thorn-like extrusions on the handle of the present teapot were prompted by spurs on a fragment of clay pipe found on one of his many mudlarking expeditions along the Thames. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Carol McNicoll studied Fine Art at Leeds Polytechnic and Ceramics at the Royal College of Art, London. She established her studio in London in 1973 and although best known for her bold, slip-cast ceramics, she has also worked as a teacher and as a seamstress for Zandra Rhodes (b.1940). She created costumes for the first line-up of Roxy Music and was the design supervisor for the album Here Come the Warm Jets by Brian Eno (b.1948). She has designed ceramic giftware collections for Hawk Pottery, Warehouse Designs, Japan, Next Interiors and a range of glass for Victoria Glass in London. Her original ceramics draw on a wide range of histories, rooted in domestic vessel traditions, inspired by a determination to make the everyday extraordinary. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Born in Germany, Michael Flynn spent some of his early childhood on a farm in Ireland. He initially studied Fine Art and worked as a painter but moved to study Ceramics at Cardiff College of Art (1975\u201378) under Alan Barrett-Danes (1935\u20132004). His highly distinctive figurative ceramics draw inspiration from such diverse sources as Meissen figurines, Expressionist art and the gestural ceramics of Peter Voulkos (1924\u20132002). Flynn uses a variety of ceramic techniques and materials including raku, terracotta and porcelain. He also occasionally works in bronze. His sculptures explore the tense nature of male\/female relationships with suggestions of lust, violence, joy and ecstasy. His work is inspired by stories, myth and legend which he incorporates into his work. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Jennifer Lee studied Ceramics and Tapestry at Edinburgh College of Art followed by a travelling scholarship to the USA where she studied South West Indian prehistoric ceramics. Following an MA in Ceramics at the Royal College of Art, London, she continued to travel widely in Egypt, India and Japan, before establishing her studio in London in 1984. Lee employs processes of hand-building, slowly coiling strips of clay to create vases whose striations of earth tones reflect both the material of making and the deep geological time of landforms. She has exhibited internationally and has a strong following in Japan, a fact recognized in 2009 when Lee was part of the unique installation of three artists, entitled U-Tsu-Wa (Vessels) at the Miyake Issey Foundation in Tokyo, designed by architect Tadao Ando (b.1941), in which her pots were installed over a shimmering pool of gently flowing water. \u2018To make pottery vessels by hand is to participate in a tradition of almost unimaginable depth and complexity. Lee\u2019s pots remind us of this fact. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Jim Malone trained as a teacher in North Wales and taught in secondary schools for three years before studying Ceramics at Camberwell in 1972. On graduation, he spent a year working with Ray Finch (1914\u20132012) at Winchcombe Pottery and then established his first studio in North Wales, before moving to Cumbria where he still lives and works. Malone\u2019s influences are South East Asian, thirteenth-century Chinese and sixteenthcentury Korean wares, and he works mainly in stoneware with incised or brushed decoration. His work can be best understood within the influential tradition of twentieth-century British studio ceramics spearheaded by Bernard Leach (1887\u20131979) and his Japanese contemporaries such as Shoji Hamada (1894\u20131978). Malone has been a highly respected maker within this tradition, and his works are held in many public collections. He exhibits regularly at solo and group exhibitions, and Manchester Metropolitan University has published a slide set with commentary and a video by Alex McErlain entitled Jim Malone: Artist-Potter. Jim Malone: \u2018Shoji Hamada said there were two kinds of pot. The first he compared to hothouse plants, the second to a tree growing on the mountainside. 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The man leans back, and has his left arm behind his back; the woman leans forward towards him with her left arm bent up, and the other outstretched, and the boar-headed man leans right forward so that his back is almost flat."}],"identifier":[{"accession_number":"C.4-2004","primary":true,"type":"accession number","value":"C.4-2004"},{"priref":"98861","type":"priref","value":"98861"},{"date":[{"earliest":2004,"latest":2004,"value":"2004"}],"source":"The Fitzwilliam Museum","type":"Entry form","value":"603"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/98861","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/98861"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Gift of Nicholas and Judith Goodison through the National Art Collections Fund"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156032","uid":"adlib-agent-156032","uuid":"3aded83c-6f5c-39b8-a50c-07f712e01b2c"},"summary_title":"Goodison, Nicholas and Judith"}],"date":[{"earliest":2004,"latest":2004,"value":"2004-04-26"}],"method":{"value":"given"},"note":[{"value":"the donors do not wish their titles to be used in the credit line (Sir and Lady)"}]}],"creation":[{"date":[{"earliest":2003,"era":["CE"],"latest":2003,"value":"2003"}],"maker":[{"@link":{"role":[{"value":"potter"}],"type":"reference"},"admin":{"id":"agent-156351","uid":"adlib-agent-156351","uuid":"f739b7c3-f638-30cb-ba65-00a3a1a44bea"},"summary_title":"Flynn, Michael"}],"note":[{"value":"Text from object entry in A. 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On the back of the throne there is a rectangle with relief symbols: a fork and glass, a circle with a curved direction arrow, a triangle enclosing an 'a' with PS reversed below, a man throwing rubbish into a basket, and a circle with CFC in reverse crossed diagonally. The man with a basket is also impressed on the curve of the rock, and on the viewer's left side of the back. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Philip Eglin studied Ceramics at Staffordshire Polytechnic and the Royal College of Art, London. Whilst at the Royal College of Art, he worked as studio assistant to the sculptor Eduardo Paolozzi (1924\u20132005) developing a broad knowledge of mould-making and casting processes that continue to inform his working method. In 1986, he established his studio in Stoke-on-Trent, once at the heart of the thriving British ceramics industry, where he combined teaching at North Staffordshire Polytechnic with the development of a highly acclaimed body of contemporary works in clay. This work led to a major Arts Foundation award in 1993 and the Jerwood Prize for Applied Arts: Ceramics in 1996. Eglin\u2019s work draws on both the study of historical objects, from early Renaissance European paintings, to Northern Gothic woodcarvings and Chinese export porcelain as well as his interest in the versatile, mimetic qualities of clay. His figure groups, large vessels and jug forms show reverence for traditional forms but they are wholly contemporary objects. Surfaces are marked, impressed, printed and painted with imagery from sources as varied as Victorian erotic photography, logos from commercial advertising brands and contemporary drawings and images of footballers. His work is collected and exhibited internationally and in 2001 he had a solo show at the Victoria and Albert Museum when a group of ceramic figures, to which this work relates, were shown alongside a selection of the Museum\u2019s Northern Gothic woodcarvings. Eglin\u2019s interest in this particular field had been catalysed by the publication of Paul Williamson\u2019s authoritative study on the subject, Gothic Sculpture 1140\u20131300 (Yale University Press, 1998). 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