Boscean Pottery, St just Cornwall, 1962-2014


In March 2014 Boscean Pottery was forced to close after 52 years of production. During my time as the resident potter there I pieced together a historical account of its existence. This resource has been produced to shed light on the very humble place. Under Scott Marshall, Boscean Pottery quietly existed in a timeless way, as it had done from the 1960’s era.

The original text you will now read was finished in 2013. I had been preparing this text to become a book. I have decided to publish it here online so it won’t be forgotten.

I spent a long while preparing the notes and photographs for this resource. With the help of Scott Marshall’s family members and friends I slowly built up a personal knowledge of its history, and the people who created it. I have also included technical notes, as they are relevant to anyone studying its cultural history.

I have produced this paper with the best knowledge and effort that was available to me. I still feel that it goes nowhere to telling a truly wholesome story.  I was still preparing it to be a book when suddenly we had to close. I regret that the last job of making catalogue images never got finished.

Not a lot is known about this pottery and its culture, yet it existed for over half a century on the back lanes of St Just in Cornwall. It meant so much to a lot of people and this is another reason I have left this document for people to enjoy. I truly believe the pottery work made at Boscean was profound in its sincerity.

I hope to finish the book one day but it feels unlikely it will be completed in the near future.


May 2015

Boscean Pottery 1962-2012

Boscean Pottery in the 1960’s, photographer unknown.

Foreword

In August 2010 I was finishing my two year training at the Leach Pottery in St Ives when luck came my way in the form of the potter Julian Stair. He mentioned Boscean Pottery needed a potter to finish Scott Marshall’s last pots. I agreed to the mission on the spot. I was honoured.

I was put in contact with Beth Marshall and we met to talk over the project. She said she’d been searching high and low for a potter to carry out the work and we couldn’t believe our luck. It was a very exciting and happy time. She agreed that it would be great if I could become the resident potter at Boscean and destiny was done. I left St Ives within the fortnight and moved to the pottery…

After carrying out the necessary building repairs the workshop was brought back into use with a view to building a new kiln.

As I began fulfilling my part of the bargain, I experimented to achieve Scott’s glazes by making some of his shapes and mixing recipes from his notebooks. During those initial months I was very aware of my fortunate situation and worked hard to get the pottery’s motors running again. I felt a deep sense of Scott’s relationship to his work. The overall atmosphere of the workshop inspired me to plan great things for Boscean’s future. Eventually, after a few experimental firings, I finished his last pots as close as possible to his own style.

During my time at Boscean I have made a conscious effort to achieve something of the quality of Boscean’s tradition, which I admire, yet have continued to make my own designs. Boscean Pottery’s story is very much a part of why I work here and it has been my duty to learn about it. The idea of writing about Boscean was in me very soon after I started and I have pieced together a brief edition of notes to give a historical essay that marks Boscean Pottery's 50^th year in St Just.

2012

Introduction

“Factories have practically driven folk-art out of England; it survives only in out of the way corners even in Europe, and the artist-craftsman, since the day of William Morris, has been the chief means of defence against the materialism of industry and its insensibility to beauty.” ⁱ

As a teenager I was drawn to a cooking pot in my Nan’s kitchen, a humble casserole used by my family for over thirty years. It was made of raw clay with a yellowish green glaze inside. The outside was charred and blackened by use in the oven. The work from the potter’s hands was evident on the lugs and in the throwing marks spiraling the vessel’s walls. I could see the potter’s finger prints preserved in the fired clay. The pot had a different energy to anything else I had ever witnessed before. I was intrigued. My grandparents explained that they had bought it from a local potter in St. Just when they lived at Carnyorth in West Cornwall. His name was Scott Marshall. My Nan said she’d only bought the seconds, and that they were the best ones. She had bought it from the potter for next to nothing, another telling fact to add to the mystery of the object.

From studying the pot I instantly imagined a man in some shed-type building, living a secluded and rustic life, centred on the making of handsome pots, probably with a wife and children who cooked and ate from these mystical vessels. The power of that piece instilled a new sensibility within me about the intimate relationship between a man and his work. When shown a few more pieces from the kitchen cupboard I studied their form, weight, smell, fingerprints and gained a clearer sense of the man’s style. His deft work was soft yet robust, sensual yet utilitarian; it belonged to humanity’s essence.

When asked to talk about a piece of pottery for my interview at university I took the humble casserole to show them an example of a real pot. When working in St. Ives at the Leach Pottery it was used almost daily at lunch. It now resides back where it was first made, at Boscean Pottery. I still take that piece down and hold it; the glaze alone remains a mystery.

Boscean Pottery

Boscean Pottery is situated on the edge of St Just in West Penwith, Cornwall, overlooking farmland and the Atlantic Ocean across Cape Cornwall and Kenidjack Valley. On a clear day the Scilly Isles rest on the horizon directly out to sea.

The founding of Boscean Pottery and origins of the work

Boscean Pottery was founded in 1962 by Richard Jenkins and Scott Marshall.

The pair had met at the Leach Pottery in St Ives where Scott Marshall was working as the last apprentice of Bernard Leach. Scott was the nephew of the well-known potter William Marshall, who had been Bernard’s first apprentice.

Richard Jenkins had studied at Goldsmith’s art college where he met his wife Megan. During the 1950’s, Richard spent two years at the Leach Pottery studying the Leach tradition alongside potters such as Kenneth Quick and William Marshall, and more importantly, Scott Marshall. During this time Megan Jenkins worked at the Leach Pottery shop in St Ives town centre.

Richard and Megan formed a strong friendship with Scott Marshall and his partner, and later wife, Sue Marshall, who was also working at the Leach Pottery.

Richard Jenkins potting circa 1963.

 Photo by Axel Poignant.

Richard and Scott inspecting the kiln at top temperature. 

Photo by Axel Poignant.

During the 1950's, the influence of Janet Leach, Bernard's last wife, created a different atmosphere at the Leach Pottery. A sense of frustration within the team motivated Richard to set up a pottery elsewhere. Scott had finished his seven year apprenticeship. He was an experienced potter by 1959, and, together with their partners, they broke away from St Ives to start their own pottery.

It was Richard's plan to acquire a site for the pottery, and his inheritance that would pay for setting up the business.

The granite buildings and grounds at Boscean were specifically chosen by Richard because of their remote rural surroundings and their potential to be made to suit the nature of pottery work. The buildings were affordable as they were in a state of disrepair and had previously been used for agricultural purposes. Boscean suited the romantic notion of the ‘countryside pottery’. It was a perfect place to start afresh. And so, in 1961, Boscean Pottery was bought for £450 by Richard and Megan Jenkins.

The start of the business

During the summer of 1961 Scott and Richard went about making necessary repairs to the buildings and took part-time jobs washing dishes at Land's End hotel to keep going.

By late 1961 the foundations for the kiln and kiln shed were started and the pottery was beginning to take shape. The foundations were dug out in a climbing slope and, after removing large lumps of granite, were lined with fire-brick. 

Foundations for the kiln being dugout with local help from neighbouring farmers.

 Ivan Rowe( in the pit) and his father Jim Rowe (looking on), photographer unknown.

They collected materials for the kiln from wherever they could and luckily came into a large amount of fire-bricks from Penzance gasworks, as it was closing down. These bricks made up the majority of the kiln's construction whilst the kiln furniture, such as shelves and props, had to be bought from suppliers. Saggars were made by hand from coarse fire clay.

The 1960's

There was a buzz in the pottery scene in the 1960’s. A new generation of young people, inspired by the British Studio Pottery Movement were striving to live and work as craftsmen and women. Often living close to the edge of making ends meet financially, many people returned to the innate human desire to make things by hand at home.

The potters

Richard and Scott’s notebooks reveal their approach as potters. Richard's approach was very methodical and displays a hunger for information on recipés, technology and business. Scott's strengths lay in his practical ability, ethos and work experience.

Richard’s business-minded approach and technical training in Stoke-on-Trent and Goldsmith's College was well complimented by Scott’s raw potting ability from his experience at the Leach Pottery. The pair saw no limit to how the pottery could operate.

The sheer scale of production in the initial period of the 1960’s was huge for such a small team. They set about producing thousands of kitchen and ovenware pieces and so had to build a suitably large kiln.

In its heyday the pots were packed into tea chests and wrapped in hay before being sent by British Rail to London. Department stores such as Heales and Libertys sold their pots and they also supplied the Craft Pottery Association shop in Marshall Street. The small shop at Boscean sold the seconds (imperfect pots) from these large production orders.

Original Pottery catalogue.

In 1965 Richard’s untimely and tragic death changed the events of the pottery dramatically. Scott was forced to carry on producing the work without his partner. At this time the order books were full and the families had to carry on stoically without him.

After 1965 the second building at Boscean was converted into living space so that Scott and Sue Marshall could run the pottery whilst bringing up their children from home.

Many visitors over the years have come to know Boscean as Scott Marshall’s pottery, and quite understandingly so, but without his initial partnership with Richard, whose vision forged Boscean Pottery as an established business, the site simply would not exist.

Ethos

”Simplicity may be thought of as characteristic of cheap things, but it must be remembered that it is a quality that harmonizes well with beauty” ⁱⁱ

The ethos of Boscean Pottery was based on the ethics Richard and Scott studied at the Leach Pottery. They had a strong belief in making handmade, functional pottery affordable, humble and beautiful. There is an absolute sincerity in the work Scott and Richard devised. Their ethos holds true to the Buddhist idea that utility is the first principle of beauty. The work was designed to be non-individualistic so, theoretically, it could be produced by the many, for the many, under the right circumstances. That said, every potter has his or her innate individuality which inevitably shows through in his or her work. Thus, the platonic non-individualistic designs served as benchmarks to be achieved by the best efforts between the master and apprentice potter. The pots were open for discussion and subject to the human condition.

Working together, in the founding days, Richard and Scott set out to fulfill the ‘Leachian’ principle of producing ‘standard-ware’ with a great sense of enthusiasm.

Rather than taking one possible route out of St Ives as individualist Anglo-Oriental potters to make artistic and relatively expensive work, their strong sense of the essence of Leach’s message prevailed in their humble ‘country pottery’ style utilitarian products.

Production

Scott Marshall throwing jars circa 1963, photo by Axel Poignant.

Pots were thrown on Leach kick wheels and a hand built Korean-type momentum wheel. There was little use for electricity, bar the lighting. Pine ware-boards were filled with freshly thrown pots and put on the racks to dry. In cold and damp weather, heat was supplied by oil heaters placed under the racks. The workshop would have had the smell of stone, fire, dust, smoke and damp clay. All the while the potters worked with a powerful sense of the farmland and headland that surrounded them.

The architectural plans for the kiln were made from the Leach Pottery’s climbing kiln and the original kiln had three chambers. Over a thousand pots would fill the first two chambers, with the third being reserved for the lower temperature biscuit firing. The biscuit firing, or 'bisque', bakes and preserves pottery so it can be stored for glazing.

A fourth kiln chamber was added in the 1970’s by a visiting Canadian potter, Marigold Austin, a relative expert in sprung-arch kiln building. The fourth chamber was designed to be larger than the existing chambers and was added to produce more biscuit ware.

Firing

A fire was started in the preliminary fire box at the entrance of the kiln and the kiln’s first chamber brought up to red hot with a wood stoked fire. When red heat was achieved in the first chamber, the fire box was abandoned and blocked over. For the remainder of the firing, forced-air oil burners were positioned in opposing sides of the chambers and were moved to successive chambers when the former had reached top temperature. The first chamber would take 12 hours to fire to 1280° Centigrade by which time the second chamber had reached red heat. Then the oil burners were repositioned into the second chamber and the chamber brought to maturity (1280°C). Successively, the third chamber was finished in the same way. The fourth chamber 'Bisque' firing was matured at a lower temperature and once it reached 1000° Centigrade the firing was complete. The kiln would then be left to cool for at least another day before the first chamber would be cool enough to open. In total it would have taken around 24 hours to fire and so was fired in team shifts.

Scott checking the kiln atmosphere, photo by Axel Poignant.

The fact that the kiln was so labour intensive later caused a disastrous firing for Scott when he was working the kiln alone and found it impossible to finish. This led to the demolition of the kiln and a new era at the pottery, more suited to small scale batch production. From the 1980’s onwards Scott fired his work in an electric kiln. This fundamentally changed the firing process, and thus the appearance of the finished clay, and glazes became slightly different.

Scott later regretted taking down the kiln because of the number of visitors asking to view it. Large kilns such as the one built at Boscean can imbue a shrine like presence that carry the essence of the magical process of firing.

Clays and Glazes

In the 1960’s the clay was bought and delivered in dry powder form and mixed at the pottery by hand and foot. Batches of about a quarter of a tonne were made each month. Water was added to the powdered clay and was mixed like dough and wedged by foot on the floor. This is a very hard job, especially in winter. The clay body was composed of quality Devonshire ball clays, Cornish china clay, St Agnes fireclay, flint and St Erth sand. Their recipe produced a basic ‘buff’ stoneware clay, also suitable for ovenware, based on the Leach Pottery’s standard recipe. Later, Scott would order his clay recipés premixed by Medcol Pottery Supplies in Bodmin.

Early glazes for the kitchenware were basic and functional, mostly composed of feldspars, lime, clay, silica, iron oxide and wood ash. These glaze types were fundamental to the Anglo-Oriental tradition being put to practical use in the sixties and seventies.

The pots from the very first firing reveal a glaze recipe that spelled disaster for a large percentage of the yield. The simple 50/50 clay and ash glaze they chose drooled and ran from the pots, sticking them to the kiln shelves and to each other. This caused considerable damage to the kiln furniture and wares.

Scott’s glazes became more personal and distinctive after the big kiln was taken down. By the 1980's Scott was an extremely experienced potter and knew his raw materials intimately. He formulated his glazes based on wood ash, a very changeable raw material, subject to the minerals present in the tree’s growth cycle. From the 1980's Scott's approach of firing his work in an electric kiln was a relatively unusual path for a stoneware potter. The oxidised atmosphere of the electric kiln has rarely been utilised for wood ash glazed work.

Glazes made from wood ashes are rarely perfectly repeated, which is one of the beautiful and harrowing situations given to the potter and his public. Scott’s well known glazes were the Deep ‘Chuns’ (rivuletting blue sometimes purple), amber/caramel glazes and black ‘Tenmoku’ type glazes. Some returning customers were dismayed that their pots had been glazed with immeasurable amounts of glaze dregs that had produced a miraculously beautiful finish that could never be repeated.

The workshop

Originally the workshop was in the first cottage building at Boscean. The second cottage served as the showroom that sold the seconds from the large production orders the pair were being asked to fulfill.

Later, Scott would build the new workshop and showroom that make up Boscean Pottery today and the old buildings were made into his family home. Originally planned to span the whole length of the garden, the building project was cut short after the discovery of a mine excavations, into which a digger slumped when digging the foundations. Thus the pottery is as it is.

The Pots

“The material provided by nature is nearly always best. Nothing is more precious than the unspoiled character of raw material. One aspect of the beauty of crafts lies in the beauty of the materials. Only in place of words, truth is conveyed through material, shape, colour, and pattern.” ⁱⁱⁱ

Needless to say, the work produced throughout Boscean’s existence defines its presence. The strong functional designs have been devised from a healthy composition of traditional European and Oriental ceramic trends. The harmony of the pots made at Boscean exude the principles of unpretentious sincerity towards the fundamental traditions of pottery work.

Wax relief decorated serving dishes.

 Photograph by Axel Poignant.

The well-loved classic pieces from Boscean belong to an expansive repertoire of useful vessels. Pots that have stood the test of time throughout the pottery's history are the casseroles, stew pots and storage pots, teapots and coffee pots, cream jugs, soup bowls and mugs, platters and serving dishes, medieval inspired jugs, vases and oriental style tea bowls.

Original Boscean Pottery small and medium casserole pots.

 Photos by Axel Poignant.

Glazes, as mentioned earlier, range from classic ‘Tenmoku’ blacks to off-white creamy oatmeal glazes. It’s fair to say that most of the glaze colours were defined by variant amounts of iron and wood ash in the recipe which gives Boscean Pottery’s variable glaze palette its natural tones. The ‘Celadon’ glazes vary from yellow to grey green and blue green and are usually crackled. The high iron glazes range from muddy brown, rich amber to jet black. The ‘Chun’ glazes are the most revered amongst Scott’s later work. They ranged from a strong rivuletting blue ‘hares fur’ to a dark amber with blue and purple rivulets within the glaze layer. These effects are caused by reflections of light thrown out by the phosphorus crystals which make up part of the glass element in the glaze recipe. Phosphorus is introduced to the glaze recipe as part of the composition of wood ashes.

Scott Marshall’s distinctive pottery style resonates his Leach Pottery training and early career at Boscean with Richard, and later revealed his love of Spanish folk pottery. Scott made slipware for a time, after learning the techniques from Gloucestershire potter David Garland, but then returned to producing stoneware for the rest of his career. Scott’s pottery style suited earthenware very well and his earthen pieces are beautiful, mainly because of their deft work and simplicity, the two powerful ingredients of traditional European earthenware.

          Scott Marshall cane handle teapot and Scott in the Showroom. 

Every design used at the pottery was, and still is, rooted in tradition, or has come to fruition as a direct result of an actual person inspiring the work. To give but a few examples; the side handled teapots are inspired by Scott’s time working with the Japanese potter Atsuya Hamada at the Leach Pottery: the lugged bowls are a direct response to Scott’s appreciation of Spanish earthenware. The tankard mug is an emulation of the mugs originally made at the Leach Pottery: the 'Yunomi' is, of course, inspired by the Master potter Shoji Hamada.

The profound point is that the power sourced in the essence of inspirational pottery work was being channeled at Boscean and being realised in a personal yet humble way. To say that 99% of the work ever produced at Boscean was unsigned further reveals the unselfconscious nature of producing the work.

A small amount of pottery is stamped with Scott's initials but were only signed because the European Standards Agency informed him that he must. As this pressure faded so did the use of his seal.

The magic of Boscean Pottery

It could be said that the composition of a Boscean pot follows an intimately understood principle. The finished quality of the work is defined by the natural process of hand making with raw materials.

The combination of the materials and making process allied with the skill, sensibility and intentions of the maker, result in a final product being achieved.

To focus on one example, at Boscean the quality of leaving the exposed texture and tone of the fired clay does not stem from a conscious aesthetic decision. It finds its place as a part of the necessary processes used to glaze and fire the original pots from their raw state, with no preliminary biscuit firing. A glaze could only be applied inside a vessel at the raw stage; the pots needed to be stacked upon each other in the kiln, and so the rim had to be free of glaze also. This procedure did not detract from the fundamental utility of the pot nor, necessarily, the aesthetic of it, so the process was accepted. Finally, the pots are exposed to a kiln atmosphere which completes their finished quality. This may include the beauty of a toasting effect on the exposed clay, or the burnt red ‘salting’ reaction occurring on surfaces close to the volatilising alkalis present in the glazes as they are fired. These are but a few non-premeditated qualities that define pottery made at Boscean.

To further project my idea take, for example, certain elements that may affect the process of making a cooking pot made by one of the potters at Boscean; was it made from a fresh batch of clay or glaze or from more mature or recycled material? Had the clay or glaze picked up any impurity such as iron dust or stone in preparation? Secondly, was it a pot made in the morning or the afternoon, after coffee or with a hangover? Was it made at the start of a batch or more freely towards the end? Had it been finished deftly and with care or a little hastily to move the work along? Where was it placed within the kiln chamber, in a hotspot, next to the flames, too close to another pot? Had the clay and glaze reacted to an oxidisation or reduction firing atmosphere, too early, too late, a mixture perhaps? These are the defining factors that a pot goes through before it is put into a showroom or a tea chest to be sent away. When we study the qualities present in a finished article of pottery we are merely looking at the outcome of process.

A further sense of beauty can only be truly discovered in a pot's use.

Apprentices

Many other people have worked at Boscean Pottery, as apprentices or otherwise, not to mention the potters' wives Megan Jenkins and Sue Marshall, who had worked at the Leach Pottery as well. To name a few: Keith Wales was the first apprentice who worked alongside Richard and Scott from 1963. Chris Cottell joined Scott and Keith in late 1965. Scott’s son Seth Marshall worked with his father at the pottery during the 1990’s.

Chris Cottell writes about his experience:

I started my apprenticeship at Boscean Pottery in December 1965.

Learning to make Boscean Pottery shapes followed a strict discipline; one shape had to be mastered before moving on to the next.

Scott Marshall was completely dedicated to his craft. He was passionate about his work and would talk for hours about it to anyone who would listen. Quietly spoken, he was an extraordinary craftsman and would create subtle shapes that had such depth and feeling. They were very difficult if not impossible to copy. He was a very good boss and tutor and had both authority and patience.

The other person to make up the trio at Boscean was Keith Wales. Keith was also an apprentice and had been with Scott for about three years before I arrived. A good thrower, he used to help me and provide useful tips and ideas. I remember once he was off ill for a week and when he came back made all his pots in one week, (about half the usual time). A supreme effort, he always worked very hard. We became good friends and were both mad about motor bikes!

In those days there was a high demand for handmade pots, so we were always kept busy. The production cycle was about one month on average. This included two weeks making and finishing, decorating and glazing, packing and firing the kiln (one week), unpacking, picking and packing orders and dispatch, making clay and glazes and finally a big clean up.

The oil fired climbing kiln was similar in design to the one at the Leach Pottery, but with a large fourth bisque chamber. The kiln used to take about 24 hours to fire and would start early in the morning with a preheat session using wood. When the fire-mouth was hot enough, we would switch over and use the forced-air oil burners to fire up to cone 10 (1300° C), mostly in a ‘reducing’ (oxygen starved) atmosphere. Because the nature of the kiln’s temperature had a variation of 100 degrees or so, we had glazes to suit specific areas within the kiln.

There was a large showroom which sold mostly seconds and visitors were always welcome. Tours of the workshop were mostly discouraged.

Generally, the three of us got on well and the atmosphere in the workshop was usually quite relaxed. Scott had a great sense of humour and was a good story teller. His fishing yarns used to be priceless, which would have us in stitches!

When I moved to St Just, my outlook on life changed for ever. The wildness of the surrounding countryside, my work at the pottery and my new-found friends all had an impact. I feel very fortunate to have had this wonderful experience.”

Chris Cottell

August 2012

Local Customers

The first pot to ever be sold at Boscean was a large jug bought by the local doctor, Dr. Brewer. Dr. Brewer later established the well-known annual charitable Arts and Crafts Exhibition in Cape Cornwall School for Cancer Research U.K.

Scott Marshall was a well-respected and much loved potter who supplied the local area with useful, affordable pottery that was full of natural beauty. Examples of his work can be seen everywhere in the area, from the local cafés and pubs, homes and sometimes in the antique shops. Scott kept a healthy relationship within the local area and was rewarded with their custom.

Scott was happy just to sell his work from the pottery and by the later stages of his long career he knew the pitfalls of large production and galleries. He would exclaim, “I’m not a factory. I like to meet the people I’m selling to”.

Boscean Pottery is proud to be part of the community and has been well received by St. Just. It is not just a place of business but a place to be part of and join in with the culture of handmade things. It is the highest honour of the craftsman to supply his local customers. A healthy relationship with discerning locals is a major part of the craft pottery ethos. It helps to fuel and define the work in its personal locality.

Original Boscean mugs.

Boscean Pottery today

Scott Marshall died in 2008 leaving Boscean Pottery and buildings in the care of his wife Beth Marshall, who kept the showroom alive with local artworks. Without her vision and commitment to keep the gallery open for visitors I would have never had this great opportunity. Boscean Pottery is continuing in a new era of production.

Boscean shopfront 2011

Since 2010 a new electric kiln was fitted in the workshop and a new gas kiln has been installed. I have been inspired to test Cornish raw materials and made pottery for local cafés and Chinese tea houses as well as for the Pottery showroom.

I have taken part in six exhibitions in Cornwall and London and completed a major commission for the Eden Project café and shop at St. Austell. A comprehensive pottery range was designed and produced for the Eden Project in 2012 by Michel Francois and me.

In September 2012 we celebrated Boscean Pottery's 50^th year and had a celebratory exhibition in the Pottery showroom. This book was written to celebrate Boscean Pottery's fifty year history.

Following the exhibition I was asked to make pottery in collaboration with the artist Kurt Jackson and also create a breakfast pottery range for the Gurnard's Head and Old Coastguard hotels.

My deepest thanks to Beth & Scott Marshall, Sue Marshall, Richard and Meg Jenkins, Chris Cottell, David and Philippa James, and everybody who has ever worked, visited or supported the pottery in any way, shape or form.

“Paying homage to the essence nurtures the harmonious”

Kurt Jackson decorating bottle vase at Boscean 2013. 

Photo by author

i Bernard Leach, 1945, A potter’s book, second edition, Faber and Faber Limited., London, Great Britain.

ii Bernard Leach, 1945, A potter’s book, second edition, Faber and Faber Limited,. London, Great Britain.

iii Sōetsu Yanagi, 1972, The unknown craftsman, revised edition, Kodansha International Ltd., Bunkyo-ku, Tokyo.