This stunning collection of unique vases showcase the incredible creative skill of 1882 Ltd.'s master potters. These oversized vessels are the product of 'Cabbage Days' - an industry term for time that potters spend in free, unguided creativity and production, without responding to a client or brief. A collaborative, in-house project project, the vases are hand thrown and built in our factory in Stoke, and then hand painted in glorious, unpredictable reactive glazes that surprise and delight both the potter and the customer.

You can never have too many flowers. The question is how big can the vase be? Big Vase starts life as a solid block of plaster that is hand carved by hammer and chisel into the shape of the vase. A three-part hollow mould is created from the carved plaster form allowing multiple vases to be slip-cast in fine bone china or black earthenware for Black Vase 1 & 2.

Cast Bowl is conceived as a quiet landscape in ceramic. Glazed in the palest of hues, the play of light and shadow generates endless small shifts of tone across its contours. The piece draws on a particular set of architectural preoccupations – with proportion, line, volume and the precise way in which mass engages with an underlying surface – combining apparent simplicity with rigorous geometry.

Art has proved cathartic salve for Robbie Williams, one of the world’s most decorated music artists for more than two decades. Publicly open about his challenges with mental health in the light of fame and its ensuant pressures, art and humour have become useful tools for the star to navigate what he regularly calls the ‘crowded mind’. When intrusive thoughts and heavy emotions begin to overwhelm, Williams turns to drawing candid caricatures to help create a dialogue between the often-tangled chaos of heart, body and mind.

Ceramics is traditionally regarded as delicate, yet with Crockery Chairs, designer Max Lamb and 1882 Ltd. challenge this assumption, treating material pressure points as opportunities for innovation rather than constraints.

The process begins with Lamb hand-sculpting each form in plaster, which then serves as the master model for 1882 Ltd.’s potters to reproduce through traditional slip-casting. This meticulous, time-intensive method demands weeks of controlled drying, expert handling, and carefully calibrated firing, each stage determining the final form and colour, and leaving little room for error.

Slab built by Amy J Hughes, Flower was then turned into a slip cast mould.  The six-hole vase is slip cast earthenware and then coloured slip painted by our master potters. The piece, which is mammoth in scale, is then fired  leaving the exterior in a matt muted palette.  One side is a stunning purple finished with black while the reverse is a sunshine yellow.  Limited in edition to 25 pieces this is an exceptional piece not only in design, scale but also for the joy it brings to the beholder.

Acclaimed conceptual artist Bruce McLean debuted a vast new body of work titled Garden Ware which was on exhibition at the Victoria and Albert Museum for the London Design Festival 2017. The collection of platters includes one-off earthenware creations by Bruce.

Acclaimed conceptual artist Bruce McLean debuted a vast new body of work titled Garden Ware which was on exhibition at the Victoria and Albert Museum for the London Design Festival 2017. The collection includes one-off earthenware creations by Bruce, including vases, bowls, platters as well as tableware.

For Design Miami 2025, Frances Palmer and 1882 Ltd. will debut the Macbeth collection- 3 black vases cast from Palmer’s hand built and thrown master forms. Known for her irreverently shaped ceramics, which give a nod to classic styles and then throw them a curve, Palmer’s pieces are elegantly designed with details that express the hand of the artist.

Forming part of the Icon Collection the Penny Vases stands true to the ethos of the collection, large in scale, complex to make and limited in number – each vase is exceptional and unique. Working with a hand thrower in Stoke-on-Trent we have pushed the bounds of the thrown pot.

Bethan Laura Wood and 1882 Ltd. are excited to present Pickle Tower, an avant-garde sculpture that channels the boldness and vitality of her Disco Gourds collection. Each component is brought to life through the heritage craft of slip lining, an art form rooted in centuries of tradition and requiring decades of discipline to master.

The concept for this collaboration with Snarkitecture was to reveal aspects of the technical process used to create fine bone china. Positive reflects the simple geometry of a cylindrical vase and plays on the fragility and solidity of fine bone china.

Conceptual artist Bruce McLean has previously created a body of work on the humble potato with a series of artworks and sculptures. Following on from the Tangerine created in 2017 for an exhibition within the Victoria and Albert Museum, Bruce has peeled two potatoes which 1882 Ltd. has in turn made into a limited edition of 100 fine bone china potato sculptures.

Embracing a punk aesthetic, Prick is a celebration of rebellion and creativity. Leah Jensen pushes boundaries with every spike and curve. Left unglazed, Prick maintains the crispness of detail and showcases a stunning depth of colour.

Stack begins a partnership between Paul Smith + 1882 Ltd. and forms part of an on-going relationship.

1882 Ltd. collaborates with German ceramicist, Johannes Nagel, to create the Stegreif Vases collection. Translated to ad-lib, the collection focuses on the impromptu and spontaneous character of the pieces, including their repetition.

Bruce McLean invented the ‘Tangerine Test,’ to assure himself that the quality of jug or painting was excellent. Simply put, if the object looked good with a tangerine, then it passed the test and was ready to display.

Lilyfoot (they) is Heath’s first limited-edition exhibition piece with 1882 Ltd. Lilyfoot stands at 3ft high and 1.5ft wide, comprising of a mythical creature hand crafted from stoneware, protected under a stalk that is punctuated with 3 decorative stoneware leaves embedded with glowing orbs (there is also a glowing bubble at the end of Lilyfoot’s trumpet).

In addition, a giant fragile spoon has been hand moulded then cast and painted, inspired by one found by Heath from an African shop at the Ridley Road Market in east London and a favourite Italo Calvino short story entitled ‘The Distance of the Moon’ which made Heath imagine the spoon scooping up a loose pearl that Lilyfoot had dropped from the surface of the moon.

The result is not merely a sculptural lamp and a decorative spoon, but two unique creations born from one of the most inventive minds of her generation.

Industry meets the studio maker head-on in this collaborative project between ceramicist Amy Jayne Hughes, the V&A and 1882 Ltd. Aiming to restore the humble vase to its former status as the Ultimate Accessory, the collection elevates the functional object to a design motif and a symbol of the ancient world… Amy Jayne Hughes was the V&A Ceramics Resident from April – September 2015.

Drawing – and the process of mark making as a method of recording memories – has always played a pivotal role within fashion designer and couturier Giles Deacon’s practice. Acting as an emotional conduit for displaying an idea, a thought – indeed a collective vision of worlds, dreams and consciousness – Deacon has interpreted the relationship between drawing, line and form with the techniques of figurine making, a tradition forged in the 18th century in Stoke-on-Trent, home to 1882 Ltd.

Deacon has delved deeply into the precision required to convey the finer details of character and personality when transforming multiple drawings and research into an object modelled in clay, while also how to embody each piece with a narrative piece conveyed through drawing and painting decorative motifs drawn from the natural world, historical references with a twist of paranormal, and a palette inspired by the Lake District.