Currently indexing
Vase
Classification(s):
Pottery
Date: c.1951 - 1976
Dimensions:
270 × 99 mm (27 × 9.9 cm)
Medium: Stoneware
Object number: P1347A
See Also
DescriptionStoneware vase with elongated neck by George Rainer. The vase is glazed on only the neck, the clay has been left exposed on its 4 sides. A circular design made up of thin white lines has been applied to each side. The potters stamp, with two letter ‘R’s (one facing forwards, one backwards) is impressed at the bottom of the vase.
The paper label to the body reads “P1347A £6 George Rainer” and a second, smaller paper label to the body reads “GR III No 1”. There are 2 other vessels by George Rainer, in the same style within the collection.
The paper label to the body reads “P1347A £6 George Rainer” and a second, smaller paper label to the body reads “GR III No 1”. There are 2 other vessels by George Rainer, in the same style within the collection.
ProvenanceThis object was originally acquired for the Inner London Education Authority’s (ILEA) ‘Circulating Design Scheme’ collection.
The collection was instigated by the London Country Council (later the Greater London Council) and the Council of Industrial Design (COID). The collection’s original purpose was concerned with the teaching and dissemination of modern, ‘good design’.
The collection was established in 1951/52 as the ‘Experiment in Design Appreciation’, later renamed the ‘Circulating Design Scheme’.
The Circulating Design Scheme lent boxed showcases to London schools. The showcases contained handling objects, material samples and interpretation on a specific subject.
COID withdrew its involvement in the Scheme in 1957. After which time, it was managed exclusively by the London County Council from 1957-1963.
After the administrative restructuring of London authorities, the Scheme was jointly managed by the Greater London Council and the Inner London Education Authority (ILEA) from 1963 – 1976.
The Scheme was operational until 1976 when the collections were withdrawn from circulation. ILEA was abolished in the late 1980s and the collection was donated to Camberwell College of Arts in 1989/90.
ILEA was responsible for secondary and tertiary education in the inner London boroughs, this included Camberwell.
The collection was instigated by the London Country Council (later the Greater London Council) and the Council of Industrial Design (COID). The collection’s original purpose was concerned with the teaching and dissemination of modern, ‘good design’.
The collection was established in 1951/52 as the ‘Experiment in Design Appreciation’, later renamed the ‘Circulating Design Scheme’.
The Circulating Design Scheme lent boxed showcases to London schools. The showcases contained handling objects, material samples and interpretation on a specific subject.
COID withdrew its involvement in the Scheme in 1957. After which time, it was managed exclusively by the London County Council from 1957-1963.
After the administrative restructuring of London authorities, the Scheme was jointly managed by the Greater London Council and the Inner London Education Authority (ILEA) from 1963 – 1976.
The Scheme was operational until 1976 when the collections were withdrawn from circulation. ILEA was abolished in the late 1980s and the collection was donated to Camberwell College of Arts in 1989/90.
ILEA was responsible for secondary and tertiary education in the inner London boroughs, this included Camberwell.
NotesGeorge Rainer was born in Macau and schooled in Hong Kong. He moved to England in 1948 where he worked in a stained glass factory. Rainer later enrolled at Camberwell School of Arts and was taught by Dick Kendall. Kendal was the brother-in-law of renowned potter Bernard Leach. Rainer’s reputation in ceramics lead him to becoming Head of Ceramics at the West of England College of Art in Bristol. Rainer was responsible for securing visiting-teachers including potters Lucie Rie and Hans Coper. Rainer had a solo show at Primavera Gallery in 1972 and was Chairman of the Craftsman’s Potters Association. He earned a fellowship which allowed him to travel to Japan and study under master potter Shoji Hamada.