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The pot has a flat base with a projecting edge, straight sides, curved shoulders, and a short neck formed by two rings. On one side, near to the handle, there is an ? impressed yellow motif of concentric circles. The curved spout is fluted and has a yellow thorn projecting on one side. The tall handle over the top is ridged and twisted and has two pairs of yellow thorns at the front and back. 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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: Marianne Buus studied at West Surrey College of Art and Design, graduating in 1990. From 1992 to 1993 she worked as a glassblower at the Kosta Boda studios in Sweden and between 1991 and 1994 undertook an apprenticeship with Jan-Erik Ritzman (b.1943). She completed a Masters at the Royal College of Art, London in 1997 and continued to develop her own work alongside teaching posts in England and Denmark. She has worked as a freelance designer for Royal Scandinavia in Denmark and Mglass in Portugal. In 2010 she was awarded a Masters in Entrepreneurship Education and Training from Aarhus University, Denmark, and currently runs a training programme for Nordic artists entitled Entre North. Marianne Buus: \u2018In all my glass work I was concerned with the soft feel and fluidity of the material. All my works were formed freehand when the glass is molten. 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illustrated p. 139","page":"138-9","type":"reference"},"admin":{"id":"publication-4830","uid":"adlib-publication-4830","uuid":"b4766f19-5668-3c2d-a708-6b5519195258"},"summary_title":"The National Art Collections Fund 1999 Review"},{"@link":{"notes":"Publ. pp. 74-5, no. 24. Object description, maker's biography and quote from maker","page":"74-75","type":"reference"},"admin":{"id":"publication-8258","uid":"adlib-publication-8258","uuid":"71d79ea2-2385-305e-9044-fbb0cde9ffe7"},"summary_title":"Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-109889","uid":"adlib-term-109889","uuid":"9d2b434a-b03b-3dfa-8bb5-5d0ced5829c3"},"summary_title":"studio glass"},{"@link":{"type":"reference"},"admin":{"id":"term-117337","uid":"adlib-term-117337","uuid":"4384df20-5604-3ac1-aff2-e396ed3bf20d"},"summary_title":"Contemporary Craft"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89480","uid":"adlib-term-89480","uuid":"f1ea518e-351c-3f42-b2a7-db0f8559fa2c"},"summary_title":"vase"}},"summary_title":"vase","techniques":[{"description":[{"value":"free-blown glass, rolled across a pattern of ground glass arranged on a steel plate, coated in clear glass"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-115763","uid":"adlib-term-115763","uuid":"277b3d83-1d83-3eda-b327-1484ab7ddca4"},"summary_title":"free-blown"}}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-28427","_score":14.460514,"_source":{"admin":{"added":1592996103000,"created":1312637261000,"flag":"Standard Record","id":"object-28427","indexed":1747160082191,"modified":1714464929000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-28427","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427","uuid":"55e9f53b-836e-35dd-926d-e298ec7dc296","version":12},"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-67107","uid":"adlib-term-67107","uuid":"a60d0be2-2105-3b16-a693-a7206db57074"},"summary_title":"furniture"}],"component":[{"name":"Decoration","techniques":[{"description":[{"value":"table, Indian rosewood and Indian satinwood, fluted decoration"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-5127","uid":"adlib-term-5127","uuid":"8268a9a5-a090-3d77-aca9-5ee696f565e2"},"summary_title":"fluting"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"A pair with M.3-2000. Each table is of Indian rosewood and Indian satinwood. Semi-circular with fan-shaped top, and three pierced supports. The top is formed of a semi-circle of satin wood surrounded by a fan-leaf of rosewood made up of 54 segments which are fluted on the upper surface, and are supported underneath by a curved rail set back from the front edge. The straight side of the table has a single rosewood support pierced by nine vertical openings with curved tops and bottoms. The vertical members and the sections over and under the void are separate pieces of timber. The curved side of the table has two supports of the same construction but with three openings each, which project diagonally from either side of the central opening of the support along the back."}],"identifier":[{"accession_number":"M.2-2000","primary":true,"type":"accession number","value":"M.2-2000"},{"priref":"28427","type":"priref","value":"28427"},{"source":"Fitzwilliam Museum","type":"entry form number","value":"128"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28427"}],"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":"Given by Lloyds TSB Group Plc, 71 Lombard Street, London, EC3P 3BS through the National Art Collections Fund in honour of Sir Nicholas Goodison, Chairman, TSB Group Plc 1989-95, Deputy Chairman, Lloyds TSB Group Plc 1995-2000."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-156309","uid":"adlib-agent-156309","uuid":"0522b5bd-ae26-318c-a301-32b36483ced9"},"summary_title":"Lloyds TSB Group Plc"}],"date":[{"earliest":2000,"latest":2000,"value":"2000-05-08"}],"method":{"value":"given"},"note":[{"value":"Entry date: 2000-05-08"}]}],"creation":[{"date":[{"earliest":1989,"era":["CE"],"latest":1989,"value":"1989"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-156308","uid":"adlib-agent-156308","uuid":"1f2e3b2f-0b1c-349c-a02c-05961c8bc51f"},"summary_title":"Peters, Alan, OBE"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: \nThe Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: The tables were part of a suite of furniture for the Chairman\u2019s Office of the TSB Group at 25 Milk Street, London. Peters described them in his invoice, dated 15 June 1990, as \u20182 fluted fan tables in solid Indian rosewood\u2019.\nThey were modelled on a similar pair commissioned for the Stock Exchange and delivered in 1988. In the original design for the Stock Exchange pair (1984), the table tops were supported by four legs connected to an underframe but Peters revised this during the commissioning process after discussion with Sir Nicholas Goodison, in order to introduce the unified arch theme common to the whole commissioned suite. Documents relating to the commissions survive in the archives of the Stock Exchange\nand Lloyds Banking Group. Peters described this pair of tables as \u2018the best of all the attempts I have made at that design\u2019. The tables were given to The Fitzwilliam Museum by Lloyds TSB at Sir Nicholas\u2019s request in lieu of a leaving gift on his retirement from the banking group in 2000. \nAlan Peters was one of the most skilled furniture-makers of his day. In 1949 he was apprenticed to Edward Barnsley (1900\u20131987), of the leading family of \u2018Arts and Crafts\u2019 designer\/makers. After a course at Shoreditch whilst on teacher training, he studied Interior Design at the Central School of Arts. He established his own workshop in Hindhead, Surrey, in 1962, and moved in 1973 to Kentisbeare near Cullompton in Devon. He was acknowledged as the leader of the craft furniture revival of the 1970s. He employed assistants who were usually young people who had trained at college in design and construction; foremost among these were Keith Newton and Stephen Hopper. He moved to Minehead in 1998, but ill health led to a decline in activity. His work was rooted in the Barnsley tradition of fine craftsmanship, exposed joints, etc. The then Director of the Crafts Council, in the foreword to a touring exhibition of Peters\u2019s furniture in 1985, called him \u2018a paramount translator of the traditions of the past into the idioms of today\u2019.\nThat said, Peters was also much influenced by Japanese and Korean vernacular architecture and crafts. He travelled to Japan in 1975 on a Crafts Council bursary and to Korea and Taiwan in 1980. His furniture, made largely on commission, became known for his precision of manufacture, his use of solid woods, his deep understanding of woods and their qualities, his skilled laminations, his fine detailing and his clarity of design. Peters never claimed that his furniture was \u2018art\u2019 and once said that \u2018if some day someone regards a piece of my furniture as a work of art, that\u2019s fine, that\u2019s a bonus, but it\u2019s not my motive in producing it; that has always been to produce a piece of furniture to which I am happy to put my name.\u2019 His book Cabinetmaking: The Professional Approach (1984) was republished in 2009 and his revision of Ernest Joyce\u2019s The Technique of Furniture Making was published in 2003. He was awarded the OBE in 1990. The Alan Peters Award for Excellence was set up in 2010 to continue his legacy. It is open to furniture-makers under 30."},{"value":"The tables were designed in 1988 and made in 1989 as part of a suite of furniture for the Chairman's Office and Dining Room of the TSB at 25 Milk Street, London."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109890","uid":"adlib-term-109890","uuid":"825251c2-9904-34be-b6ab-c855347f2247"},"summary_title":"20th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-116327","uid":"adlib-term-116327","uuid":"fa14f54f-9382-3493-936a-4d588eeb9c4c"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Cullompton"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110025","uid":"adlib-term-110025","uuid":"fce46643-22bb-322c-8638-02825129233a"},"summary_title":"Indian satinwood"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39986","uid":"adlib-term-39986","uuid":"5e623980-7c87-3f20-8836-1f0b2ab6a115"},"summary_title":"East Indian rosewood"}}],"measurements":{"dimensions":[{"dimension":"Depth","units":"cm","value":"50.7"},{"dimension":"Height","units":"cm","value":"83.5"},{"dimension":"Width","units":"cm","value":"122"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}}],"note":[{"type":"history note","value":"The Chairman's Office and Dining Room of the TSB, 25 Milk Street, London; moved to the Deputy Chairman's Office, Lloyds TSB Group Plc, 71 Lombard Street, London"}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-28428","uid":"adlib-object-28428","uuid":"6b81a272-5901-3b7e-a565-22b36fbd4a94"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}},"summary_title":"side table"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-238737","uid":"adlib-object-238737","uuid":"60664469-f34d-3468-b2cd-ec89765ec74e"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-71409","uid":"adlib-term-71409","uuid":"f0091670-8068-3254-a8e1-028ef3b403bf"},"summary_title":"armchair"}},"summary_title":"armchair"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 293","page":"293","type":"reference"},"admin":{"id":"publication-400002285","uid":"adlib-publication-400002285","uuid":"15952748-560a-3e66-85e4-c632827a33b7"},"summary_title":"The Goodison Gift of Contemporary British Crafts to The Fitzwilliam Museum, University of Cambridge"},{"@link":{"type":"reference"},"admin":{"id":"publication-200000755","uid":"adlib-publication-200000755","uuid":"d4e42ea5-8e47-3797-9f54-c0dec909700a"},"summary_title":"Crafts Magazine (1996)"},{"@link":{"notes":"Publ. p. 138,  LLoyds TSB Gift, Fitzwilliam Museum, Cambridge, no. 4896, one table illustrated","page":"138","type":"reference"},"admin":{"id":"publication-5149","uid":"adlib-publication-5149","uuid":"2e5cd5fc-9bce-38bc-874e-972c5db7328c"},"summary_title":"2000 Review, The Annual Report of the National Art Collections Fund"},{"@link":{"notes":"Publ. pp. 82-5, no. 28 (with M.3-2000), illustrated pp. 83-5. Object description and maker's biography.","page":"82-85","type":"reference"},"admin":{"id":"publication-8258","uid":"adlib-publication-8258","uuid":"71d79ea2-2385-305e-9044-fbb0cde9ffe7"},"summary_title":"Contemporary British Crafts: The Goodison Gift to The Fitzwilliam Museum"},{"@link":{"notes":"Ref. p. 114, one of the pair of fan-shaped tables illustrated","page":"114","type":"reference"},"admin":{"id":"publication-200002397","uid":"adlib-publication-200002397","uuid":"8090cd87-acf9-3017-90c2-459b15ddc2fe"},"summary_title":"Register, Obituaries. Alan Peters"},{"@link":{"type":"reference"},"admin":{"id":"publication-200002396","uid":"adlib-publication-200002396","uuid":"e587d30f-bf14-3c37-b43f-e7f2335c130a"},"summary_title":"Obituaries. Alan Peters, Master craftsman whose love of nature was reflected in furniture of simplicity and elegance"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-74053","uid":"adlib-term-74053","uuid":"8070a143-6567-3d75-b6f4-642c22430675"},"summary_title":"side table"}},"summary_title":"side table","title":[{"value":"One of a Pair of Side Tables"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-28830","_score":14.460514,"_source":{"admin":{"added":1592999438000,"created":1312637261000,"flag":"Standard Record","id":"object-28830","indexed":1747160082567,"modified":1714464931000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-28830","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28830","uuid":"d9c39532-22a3-35b7-bccf-97e2d5299cc1","version":9},"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-42595","uid":"adlib-term-42595","uuid":"5421e824-3629-3b82-a7d8-13d0d2c51a96"},"summary_title":"woodwork"}],"component":[{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"18.5"}]},"name":"Widest Point"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"5.6"}]},"name":"Base"},{"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-127510","uid":"adlib-term-127510","uuid":"99db0a58-f977-33f9-887f-b3253f841cd6"},"summary_title":"notching"}}]},{"name":"Exterior","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28160","uid":"adlib-term-28160","uuid":"769e1175-6185-3a26-a4e1-1558d56bc47e"},"summary_title":"liming"}}]},{"name":"Interior","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120083","uid":"adlib-term-120083","uuid":"744cf6df-d9ec-36e4-b585-daee7191fcc7"},"summary_title":"blackening"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Limewood, carved, notched and limed white on the exterior and blackened on the interior. The vessel has a four-sided, roughly diamond-shaped base. The plan widens and elongates into a pointed shuttle shape as the sides rise upwards to the widest point. They continue to rise and contract into a narrow shuttle-shaped mouth, which is hollowed out to a depth of 5 cm.  The sides are carved with twenty-six wavy horizontal ripples, and there are five notches at intervals on both side edges opposite to each other. The exterior is limed white overall, and the interior of the mouth is blackened."}],"identifier":[{"accession_number":"M.3-1999","primary":true,"type":"accession number","value":"M.3-1999"},{"priref":"28830","type":"priref","value":"28830"},{"source":"Fitzwilliam Museum","type":"entry form number","value":"115"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28830","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28830"}],"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 Sir Nicholas and Lady 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":1999,"latest":1999,"value":"1999-10-11"}],"method":{"value":"given"},"note":[{"value":"since acquisition the National Art Collections Fund has become The Art Fund; since acquisition the donors have asked to be cited as Nicholas and Judith Goodison"}]}],"creation":[{"date":[{"earliest":1999,"era":["CE"],"latest":1999,"value":"1999"}],"maker":[{"@link":{"role":[{"value":"woodworker"}],"type":"reference"},"admin":{"id":"agent-156413","uid":"adlib-agent-156413","uuid":"a5515e8a-4d61-37a5-ba08-3cff3d4593d2"},"summary_title":"Martin, Malcolm"},{"@link":{"role":[{"value":"woodworker"}],"type":"reference"},"admin":{"id":"agent-156414","uid":"adlib-agent-156414","uuid":"2be283f1-e9af-3858-8494-aa285817fa47"},"summary_title":"Dowling, Gaynor"}],"note":[{"value":"Text from object entry in A. Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Gaynor Dowling studied Textiles at Cumbria College of Art and Malcolm Martin studied Sculpture at Bath Academy and the Royal College of Art, London. They have been working collaboratively since 1997 creating vessels and sculptures carved from wood. The surfaces of their collaborative pieces are carved using a range of gouges, and other hand tools, to explore the expressive potential of low-relief carving by hand. In recent years, they have worked on larger scale outdoor commissions for, amongst others, Queen Elizabeth College, London. Malcolm Martin and Gaynor Dowling: \u2018Our forms hover somewhere between imagined vessels and the memories of bodies. 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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 \u2013 the jug, the bowl \u2013 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: \u2018For 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. 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Game (2016) \u2018Contemporary British Crafts: The Goodison Gift to the Fitzwilliam Museum\u2019. London: Philip Wilson Publishers: Adam Paxon studied at Middlesex University where a student placement with a prop maker first drew him to the qualities of plastic and its potential as a sculptural medium. He established his first studio in Glasgow in 1996 coming to early prominence through a richly inventive and skilfully fabricated series of plastic pins and brooches, which used hidden springs to animate forms when worn. His dexterous manipulation of plastic\u2019s protean qualities in pursuit of sensual contemporary forms of jewellery has prompted an exceptional body of work leading to many international exhibitions and awards including the Herbert Hofmann Prize in 2002 and the Jerwood Prize for Applied Arts: Jewellery in 2007. He relocated his studio to rural Cumbria in 2006. 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