ART AND INDUSTRY Design for Export BRITISH pottery is in the British news. British Pottery, we are told, is preparing for an export drive to capture world markets. Josiah Wedgwood, D.S.O., M.P., Sir Ernest Johnson (President of the British Pottery Manufacturers' Federation), Sir Cecil Weir (of the Export Council) are some of the eminent gentlemen who are giving this matter of pottery exports their earnest attention. The designer, too, it seems, is paying some little attention Mr. Harry Trethowan (of Heal's) and Mr. Reco Capey (of Yardley's) have been telling the pottery industry some home truths concerning pottery design. The British pottery industry has great tradi tions, but amongst those traditions sound design has never been a consistently obvious quality. Certainly there have been periods, notably the late seventeenth, eighteenth and early nineteenth- centuries, which have seen a high standard of design in almost every division of the craft. A visit to the London Museum or the Victoria and Albert Museum will show this. During such periods, the designer was perhaps the most im portant figure in the industry. But the Victorian legacy of unsound design lingers on. Not even one World War could rid the industry of it and it seems doubtful whether a second World War will have a more beneficial effect, if we are to judge by examples which are to be seen in the majority of London and provincial shops. A few firms, such as Wedgwood, Carter Stabler Adams, W. T. Copeland, Susie Cooper and others, have continued with their long-established policies of good design, and examples of their work have been prominent in exhibitions of contemporary industrial design. But these are comparatively isolated examples. The average pottery manufacturer remains com placently unaware of the importance of design and the designer. Such ignorance means failure for any export drive, for it cannot be over emphasised that there is a far higher level of taste abroad than is usually seen in this country. The English manufacturer is certain to meet with a far more critical consumer-market than he encounters in England. Yet, incredible as it seems, English manufacturers refuse to face up to this obvious fact. Our pottery designers are as competent as any in the world Eric Ravilious, Keith Murray, Michael Cardew, Milner Gray and a few others have shown this. But the industry, needing a hundred artists as competent as these, goes steadily on in the good old nineteenth-century tradition. In this Issue This month art and industry carries a mis cellany of unusual variety, and, in order that the major article shall carry its proper weight of authoritative colour, it is placed third on the list so that the centre four pages can include some superb examples of colour work by world-famous fashion artistsCarl Erickson and Count de Willaumez. But we are rushing on. First, there is a review of the work of Berthold Wolpe, who left Germany at Hitler's behest in 1935. He is already well known in this country as the designer of Monotype Albertus but, in this article, other sides of Wolpe's work are dealt with. Next comes Paul Rotha, author of Documentary FilmMovie Parade and other books, who deals with the recent history of the documentary film. Then comes the major article fashion drawing as A career. This, we humbly submit, is an important piece of work. London's foremost art editorsJames de Holden Stone of Vogue, Alan McPeake of Harpers, Lindley Abbatt of The Queen, St. John Cooper of the Daily Express, here discuss what they want from fashion artists, and provide some highly sensible advice for the youthful aspirant to fashionable fame. This long survey, we think, is likely to prove a most practical aid to many art students. editor: f. a. mercer, associate editor: robert harling Published monthly by The Studio Limited, from 44 Leicester Square, London, W.C.2. Price is. net. 127 Editorial 128 Berthold Wolpe by Nicholas drew 134 British Documentary Film by PAUL rotha 140 Fashion Drawing as a Career 153 American Industrial Design 154 Luttrell Packs 155 Bookshelfreviews 156 Trade and Design correspondence 157 Notes and News vol. 28. no. 167. may 1940 127

Commercial Art / Art and Industry en | 1940 | | page 5