APTWARE - A visit to a unique studio

APTWARE 

Illusive hand-made French faience pottery named after the town of Apt where it originated.

As we are visiting Provence at the moment,  I managed to persuade Mr R-I and my daughters, to accompany me to Apt on a search for Aptware.  This marbleized faience pottery,  so popular in the US, is very difficult to come by.  I have, over the years,  frequently searched Ebay and other sites in vain.  This pottery originated in mid-18th Century in the town of Apt and the secret to creating the marbleized melange of colours is closely guarded.  

We were so fortunate in being invited to meet an old gentleman who after thirty years,  still makes this beautiful pottery on a daily basis.  Together with his son and wife,  they produce the most beautiful tableware and having a peep into the Atelier was such a treat.  We were shown the various techniques involved in creating these unique pieces.  However,  the exact process involved in creating this marbleized effect,  was not disclosed.  How wonderfully quaint  that after all these years such a unique and beautiful art form is still honoured and handed down and carried out in this little studio. 

One of my grand-daughters accompanied us and was delighted to meet two of the cats that lounge around the tables in the studio!

Carefully placing a newly formed piece on the shelf to harden off for a couple of weeks, before the final glaze.

Rolling the clay (already containing the marbleized colour) between the two guides, ensuring it remains even on all sides.

This photo shows the clay before final glazing on the right and the final product colour on the left.

The kiln is surprisingly small

A plate which has been allowed to harden off on the mould for a week,  before being moved for further hardening on a nearby shelf.  This clay will end up being the blue version of the Aptware which we were told is the most popular colour.

This part of the process involves pushing the clay into the surrounding groove of the mould.  This provides the cream contrast band.

Monsieur Rigo carrying the rolled out clay to his work station,  where he will lay it over the mould, on top of the contrast band already inserted.

The next process involves 'washing' off the clay with clean water.  It was astonishing to see the colours showing through after this process.

Next,  the outer edges of the rolled clay are folded back in line with the contrast band.

The folded edges are then smoothed off using a sponge and water.

The plate shown above,  is the finished product.

Another completed platter, before the final glazing.

Monsieur's son slicing off the unwanted edges, once the plate has hardened off after two weeks.

The contrast again of the unprocessed clay with the final product... in this case,  a very pale milky green which was beautiful.

Below are more photos of  completed pieces. 

They call the colour above, 'original'.  These colours were used in all of the original Aptware and the additional colours happened later.

OUR VISIT TO KIFTSGATE

KIFTSGATE -  A garden to experience

For some reason,  I found it quite difficult to photograph Kiftsgate.  This is a garden for the senses and one 'feels'  it rather than observes meticulous lines and clipped topiaries.   Three generations of women gardeners, have made Kiftsgate what it is today.  The garden is still privately owned by Anne and Johnny Chambers and they work very hard in the garden, and share it with thousands of visitors each year, giving them the delight that it gave us.  As we waited for the gate to open at precisely 12.00noon, Johnny Chambers drove up in his car to open it.  

These beautiful Irises against the stone wall greeted us as drove up to the manor house and parked.

The  house and garden are positioned on the top of a rather steep hill with magnificent views towards the Vale of Evesham.  Kiftsgate Court was built in 1887-91 by Sydney Graves Hamilton.  The Georgian front with high portico was physically moved, using a light railway, from his ancestor's home in Mickleton to this site.  It is hugely impressive, even though an 'unfortunate' Victorian back was built behind it!

In the early 1920's, Anne Chambers' grandparents bought Kiftsgate.   Her grandmother,  Heather Muir, began creating the garden.  She and Lawrence Johnston who created Hidcote, enjoyed a close friendship over the years and no doubt inspired each other enormously.

Looking through the Scotch Firs towards the Vale of Evesham

Anne Chambers' mother, Diana Binny, had this pool built in the Lower Garden in the 1960's.

The Wide Border, rather pre-Summer.  I couldn't help wishing we had visited a couple of weeks later!  "The grass path which runs down the middle, is far from straight and we encourage plants to fall over the edge of the borders much to the annoyance of the mower!"

The owner's mother, Diana Binny bought the well head fountain seen above at the Chelsea Flower Show and had the small pond and fountain installed into the White Sunk Garden in 1972/3.  This garden was originally designed as a white garden by the owner's grandmother.  Other colours have since been added.

The White Sunk Garden

The other side of the White Sunk Garden

Looking through the tapestry hedge, now dominated by Copper Beech, through the Rose Border towards the arch of clipped Whitebeam.

After passing through the Whitebeam archway,  we came across this little fernery.  I love the Aliums peeping over the gate.

The New Water Garden was added by the current owners.  Simon Allison produced twenty-four stainless steel stems topped with 'golden' leaves moulded from a philodendron.  Their gentle swaying and reflection in the dark water is captivating.

Stepping down towards the semi-circular pool

The views are magnificent

The Tearoom at Kiftsgate enjoys an excellent reputation.  We had a salmon salad, followed by  Victorian sponge cake and coffee.  The tearoom is run by Jenny Glover who has spent a lifetime in catering.