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Limited Editions

Limited Editions / Saturday 14th March 2020 - Saturday 29th August 2020

Coronavirus/Covid-19 will now affect dates for this exhibit

‘Limited Editions’ will feature designer/makers who produce beautiful batch production homeware and jewellery, with affordable pieces that have been carefully selected to ensure this is no compromise on design or quality.

On display will be handcrafted wooden tea and coffee caddies by Liverpool based furniture maker Hugh Miller, desk tidies and small pieces of furniture by Manchester based product designers Chung Tyson, colourful functional ceramics by Linda Bloomfield, elegant and functional fine bone china pieces by Reiko Kaneko, beautiful woodcut and papercut pictures along with tableware by For Me & For You Designs, nature inspired ceramic coasters and badges by Alison Milner, ceramic photographic wall plaques and tea light holders by David Rhys Jones, illustrative functional ceramics by Helen Beard, limited edition prints and homewares by Folded Forest, a range of affordable homeware by David Mellor, pipework candleabras, candlesticks, ceramic planters and pendant lights by Nick Fraser and geometric jewellery by Polished Grey Jewellery, innovative concrete jewellery by Block Design, prints and homewares by Art Rooms, knitted lambswool creatures by Donna Wilson, laser cut fabric and leather necklaces by Christine Toh, limited edition books and prints by local printmaker Sue Mclaren, laser cut paper lamps, candle covers and delicate hanging decorations by Hannah Nunn and jewellery inspired by art, music, design and architecture by Esa Evans.



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Linda Bloomfield designs and makes tableware based on her thrown porcelain, with dimples and visible throwing lines showing the hand of the maker. She uses a tactile satin matt glaze on the outside and colour on the inside. She makes her own range of glazes and is particularly interested in the translucent colours obtained using oxides rather than commercial stains. She has written several books on glazes and teaches a course on colour in glazes at Forest Row School of Ceramics.

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British designer Nick Fraser, produces a collection of contemporary interior products, characterised by re-imagining the familiar. His playful designs offer well-considered functionality, combined with character and charm.

Using a range of materials and processes, all products are manufactured in the UK, with a large proportion being made by hand in his studio in Frome, Somerset. Nick focuses on quality objects that are individual and made to last.

We naturally form memories of objects and materials in our everyday lives; Nick’s aim is to explore and build on these connections in an unexpected way. By playing with the visual and functional attributes of the norm, a new appreciation can be created.

Over the last 10 years, Nick has sold his products around the world. His refreshing approach has caught the buyers’ eyes at world-class retailers such as Liberty, V&A, Heal’s, Paul Smith and The Design Museum. Other clients include Google, Ted Baker, and Channel 4 productions.

Nick’s work has been featured in many broadsheets and design publications in the UK and around the world. The list includes Living Etc, ID Magazine, The Independent, Dam, Elle Decoration, KBB, Vogue Living, Grand Designs, The Sunday Times, Evening Standard and World of Interiors.

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After studying design at Central Saint Martins, Reiko started out designing a range of products which she had made around the world but it was the joy of working with ceramicists in The Potteries, and tapping into over two centuries of knowledge in fine bone china production that led her to concentrate on ceramics.

Reiko spent her childhood in Japan and still makes frequent visits. Japan has not only been an inspiration for the elegant simplicity to which she strives, but the key to her appreciation of craft and craftsmanship. Reiko has collaborated with makers in different materials both in England and in Japan. In addition to design work, the company specialises in ceramic glazing and experiments in the studio with new reactive glazes.

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I studied architecture at Newcastle University, graduating in 2006 with 1st class honours. After working in Edinburgh for a year, I gained my Masters in Architecture from the University of Sheffield in 2009.

Since starting my business in 2009, I have combined my understanding of architecture with my love wood in the design and manufacture of fine furniture. Each piece is designed and handmade in my studio, using beautiful hardwood timbers.

I divide my time between producing my own designs for sale and exhibition, and creating bespoke commissions for private clients. My architectural training is intrinsic to both areas of work. Being responsive to a brief is vital for commissioned pieces, and having a rigorous approach to detailing and execution is essential to my speculative designs.

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For Me & For You Designs was established in 2013 by husband and wife team, Jacqueline and Stewart Morton-Collings. Working round their young family, they produce beautiful woodcut and papercut pictures that create magical shadows when illuminated. They also produce a range of complimentary products including wooden brooches, name plaques and tableware.

Using their own photographs as inspiration, they’ve created an ever-expanding range of artwork including local landscapes, animals, flowers, trees and people. Bespoke pieces are made using a customer’s own image which can be engraved with a unique message or initials and dates, perfect for a special occasion.

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David Rhys Jones trained at Central Saint Martins and has exhibited widely, including The V&A Museum, the Royal Academy of Arts and the Courtauld Institute. He was joint winner of the Jerwood Prize in 2010, and his work is held in many private and public collections, including the Tate (Artist’s Book Collection).

Based at Blackbird Studio in Lewes, East Sussex; David has a work space in a very old building (parts of it are late medieval) – layers of history are a recurring theme in his work as well as an interest in architecture.

The techniques that David uses to apply images to forms were developed whilst studying for his MA at Central Saint Martins. The images are printed using ceramic pigments and fired onto the ceramic surface at 800 degrees centigrade, making them light fast and permanent. This process is an updated version of transfer printing that goes back several hundred years – if you think of a blue willow pattern plate, the blue is just as vibrant as when first fired in the kiln. The same principal also applies to David’s work – it will look no different in a few hundred years time and who knows, may one day be discovered as archaeology!

Informed by journeys or site-specific locations; they are recorded using photography and drawings. The image becomes an object, a hybrid of sculpture and photography. The artworks record the experience of the location and also create a narrative of the walk.

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Helen Beard’s distinctive pieces begin with drawings of quirky individuals and curious places, which she uses to illustrate her hand-thrown pots. By grouping the pots together, she likes to tell a story, creating whimsical scenes that capture the insignificant yet precious moments that make up our daily lives.

For Helen’s ‘bespoke’ collection every pot is individually thrown in Limoges porcelain on a potter’s wheel before being hand-painted. The pots are decorated using a technique that Helen developed to create an effect similar to watercolour and ink. Her freehand line drawing is transferred onto the pot using a form of relief print. Colour is painted over the drawing using different washes of ceramic stain, and finally the pots are dip-glazed and smoothed down ready for the final stage of firing. Each is unique – a work of art, but also a functional piece of domestic ware.

The ‘Dailyware’ pots are slip-cast in a Staffordshire porcelain from moulds of Helen’s wheel thrown forms. They are then bisque-fired, glazed and glaze-fired before being decorated with special lithographically printed ceramic decals of my artwork. A third and final firing melts the artwork into the glaze, so that it is tough enough for dishwashers, microwaves and everyday use.


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Born in Sheffield in 1930, David Mellor trained originally as a silversmith. His Sheffield background gave him a particular affinity with metalwork. This developed onwards from his early years of making one-off pieces of specially commissioned silver, including table silver for British embassies, to the present relatively large scale operation. David Mellor’s well known ranges of stainless steel and silver cutlery are now manufactured in his own purpose-built factory in Derbyshire.

David Mellor’s concern with design in its broadest sense led to many important government commissions in the 1960s. He redesigned the national traffic light system. Mellor’s design is still in use. He developed a controversial new square post box, and designed minimalist stainless steel cutlery produced in huge quantities for government canteens and NHS hospitals. In 1969 David Mellor opened the first of his shops, in Sloane Square in London. The David Mellor shops were soon internationally recognised and helped to establish new attitudes to retailing, from the point of view both of display and merchandise.

His approach to design has always been to some extent that of a craftsman, in his close involvement in materials and techniques and his insistence on the highest standards of environment and working conditions. All David Mellor buildings have been of special architectural merit.

His original studio-workshop in Sheffield was designed in the 1960s by Patric Guest of Mayorcas & Guest and is now a listed building. In the 1970s David Mellor embarked on the restoration of a historic building, Broom Hall, in central Sheffield. The successful integration of the cutlery workshops received an Architectural Heritage Year Award.

The Round Building, David Mellor’s cutlery factory in the Peak District National Park, was completed in 1990. Mellor collaborated with the architect Sir Michael Hopkins in evolving a design which is highly functional in a rural area of outstanding natural beauty. The Round Building has won numerous architectural awards.

The David Mellor Design Museum at Hathersage, opened in 2006 in another building purpose designed by Michael Hopkins. The David Mellor Design Museum covers the whole broad spectrum of David Mellor’s work from tea spoons to traffic lights over the past half century.

David Mellor retired in 2005 and his designer son Corin Mellor is now Creative Director of the company. Sadly, David Mellor died on the 7th May 2009.


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Chung Tyson Workshop are a multi disciplinary design studio based in Manchester.They are architect-makers with a passion for design through making having over 20 years experience in the fields of architecture, design and education.

Their projects range from product design and set construction for television to small-scale buildings. Inspired by the pioneering spirit of mid century modern design, they re-appropriate materials typically found in building projects into everyday objects.

TIDY is designed with their special drawing implements in mind collected over the years and stored away in drawers, now proudly displayed and put to use.

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Since graduating from the Royal College of Art  with an MA in Furniture Design my work has  developed and diversified  and I now describe myself as a designer of ‘2D for 3D’.

The relationship of nature to the built environment is a key theme in my practice.

Whilst working in many different materials, my preference is for the sustainable and natural, for example: clay, wood, paper, glass and enamel. However, when health and safety considerations dictate, I also work with processed materials such as plastic- laminates and vinyls.

Learning about new materials and extending processes through collaboration with other makers and with manufacturers is a key part of my practise.

Clear communication is important  and  I integrate both in-depth research and teaching workshops into my projects.

My aesthetic is clean and clear – reducing, simplifying and uncovering underlying patterns. I like to inject gentle humour, visual poetry, narrative and a sense of place into my work.

My overall aim is to humanise the built environment and help people to feel a connection with the places that they live and work in a subtle and very natural way.

Clients have included Habitat, Royal Doulton, Rathfinny Wine Estate, Macmillan Cancer Care, Yorkshire Sculpture Park,  West London Mental Health Trust and London Parks.

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Folded Forest is a creative partnership founded in 2016 by Ruth Viqueira and Sarah Peel. Together we design and make a range of limited edition prints and homewares, all screenprinted by hand in our small studio in Harden, West Yorkshire.

We find inspiration in the natural world around us: the woodlands, moorlands and nearby beaches of our home. Our work offers an imagined glimpse into these environments and the lives of the creatures inhabiting them; hidden activity burrowing beneath our feet or a fleeting moment disappearing just over the horizon…

Designs begin as hand made paper-cuts, which we arrange into patterns or detailed scenes. Layers are added with pen, ink and tracing paper, then exposed onto fabric stretched screens ready for printing by hand. Screenprinting allows us to carefully choose and layer colours and to print onto all sorts of interesting surfaces, from beautiful handmade papers, to linen fabric to sturdy birch ply wood.

Our prints are available in various sizes, printed by hand onto high quality archival papers and birch panels. Our textile range includes large & small pouches, tea towels and fabric containers, all screenprinted by hand. Our aim is to design and make products that people feel a connection to; products made with care from high quality materials that will be treasured and enjoyed for years to come.

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I have always had a thing for jewellery – Mum said I didn’t go anywhere without my beads as a toddler. I’ve always been a maker -the physical act of making and creating gives me such joy. Even as a child I had a huge collection of shiny beads in tiny pots which I made earrings and necklaces.

After a BA Hons degree in Fine Art at Cardiff and a spell at College of Charleston in the US, I studied silver smithing at night school while enjoying a career in Graphic Design.

I’m passionate about making and feel very lucky to call it ‘work’. I design and make all my jewellery from my sunny studio in the beautiful Wiltshire countryside.

I enjoy working with simple shapes and forms and love the endless possibilities of links and linear elements. I find inspiration in the everyday: from the soft-edged shapes of nature-worn organic forms such as seaside pebbles to the hard, graphic lines of industrial architecture and even road markings. My work is simple, contemporary and ultimately wearable. I love making jewellery and I make what I like to wear – I really hope you like it too!

Hannah Ratnett

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Block Design began in 2000, shortly after I graduated. I was keen to combine a passion for design with my engineering background, to create a range of functional, beautiful lifestyle products.

The first Block product was a vase, since then we have added desk accessories, jewellery and more homeware to the collection.

20 years on I’m proud to lead a team of seven creatives, each integral to design and production. Each day the studio is a collaborative hub of creativity, colour and innovation.

Every one of our products begins life in the studio, situated above our workshop. We work hard to ensure we deliver the highest quality design and finish.

Colour is integral to our collection. Palettes are carefully selected, considering current trends and also celebrating classic movements in design.

Using no more than two components, each product offers a simple functional solution for desk and home. We love bold, geometric lines and shapes.

-Tara Ashe, Lead designer

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I founded The Art Rooms in 2007. Although I’d been creative from an early age, I didn’t pursue a career in Art until later in life.

Instead, I went into the caring profession and trained as a nursery nurse. I moved to London after leaving college from Liverpool where I grew up and became a nanny, then moved into a career in Social Services working with children & families. I then moved to Abu Dhabi for a while.

After returning to the UK, my life brought me to Bradford and eventually a return to Social Services where I spent 21 years.

During the time when my children were growing up I developed my creative skills through a variety of part time courses, moving gradually into vocational studies. I studied Interior Decoration, followed by an HNC Graphic Design, gaining distinctions in both and then graduated with a first class honours degree in Graphic Media Communication in 2003. I studied at Bradford College of Art Design & Textiles, where David Hockney also studied. I loved being an Art student.

I specialised in Graphic Design as it suited my style of work. As part of my studies, I developed a love and appreciation of printmaking and letterpress. I love the unique appearance and tactile quality of letterpress. I also developed a style of work using blocks of colour, which later evolved into the creation of my signature Landscape collection.

I created my first Landscape in 2006, following a weekend in Robin Hoods Bay.

They combine simple silhouetted images with blocks of vibrant colour.

The Landscapes have become incredibly popular over the past few years and they have taken me on an amazing journey. They have helped me to realise a dream and combine what I love to do whilst discovering the beautiful countryside and nature.

Who knows where my travels will take me next?

-Jacky Al-Samarraie

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Donna Wilson has been designing, manufacturing and distributing her curious creatures, luxurious lambswool cushions, knitwear and ever-expanding collection of home accessories since 2003.

In the beginning…

Donna Wilson’s story starts in rural Aberdeenshire, where she spent her childhood on her parents’ farm.
We used to have an old hen house that became a cabin of craft… a place to hide from adults and have adventures. I would create sculptures from branches and twigs, make mud pies and serve them in old pots and pans.

A love of nature

Through these early experiments, she developed a love for the natural landscape, wildlife, and of course, making things – mostly from textiles using handcrafted techniques like felting, sewing, knitting, and wrapping. When she was old enough, Donna packed her bags and set off for London where she honed her home-taught talents at the Royal College of Art. It was there that she knitted her very first creatures and began selling them to local shops in the city.

Fifteen years and several hundred thousand spools of yarn later…

Donna’s cabin of craft has been relocated from the hen house in Aberdeenshire to a busy studio in East London that’s filled to the rafters with her curious creations. Along the way, her creatures have been joined by a whole host of other products including contemporary furniture, homewares, textiles, clothing, and even confectionery collections that you’ll find in over 30 countries around the world, loved by thousands for their charming warmth and familiarity.

The importance of craftsmanship

It’s fair to say Donna’s studio wouldn’t be where it is today without its network of talented craftspeople who help to bring her products to life. Keeping UK manufacturing and crafts alive has long been an important part of Donna’s work and she is proud to say that each Donna Wilson product is, wherever possible, made in the UK by people who take great pride and care in their work.


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Born in France, Christine Toh has been living and working in Liverpool since 1992. She has always been interested in the creative process but it is only when she discovered print making shortly after moving to the UK that she slowly moved on to become a practising a multidisciplinary and textile artist. Christine has a BA (First Class Hons) in Fashion and Textile Design from John Moores University, 2008.

She works with textile and paper and is interested in the layering effect of printing techniques and plays with colours. Her work tries to capture the fragility within the elements surrounding us and the traces and marks left behind with the passage of time. The journey into her love for textile, threads and colours started by observing her mum now 88 years old who has been practising traditional embroidery all along her life, with patience, assiduity and rigor.

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I’ve been making my lamps for fifteen years now. What a time it’s been. My work has taken me on many adventures and I’ve met many amazing people. It has led me to open a shop, start a blog and write a book. The best thing of all though is that it allows my love of making things and my motivation to create more beauty in the world to be at the heart of everything I do.  It allows getting out in the woods with my camera or marveling at a wild flower to become part of every day.

I’m from Leeds originally but I found great inspiration in the countryside when I studied ‘Crafts’ at Carmarthen college in West Wales. I lived in Laugharne for many years, raising my two small children, sketching and drawing in the fields and woodland and gathering my ideas. When my children became of school age we moved back up North settling in Hebden Bridge.

I joined Northlight Studio, then situated at the top of an old textile mill with wide views across the valley and I found the support and inspiration to introduce my work to the wider world. I made a range of paper cut greetings cards which made it to Libertys, Harrods, Paperchase and many beautiful craft galleries across the country. Whilst holding my paper cuts up to the light to enjoy the silhouettes, the idea of making lamps seemed the next exciting step.

The Arts Council supported the idea with a Research and Development grant and months were spent cutting, sticking, thinking and sketching until the first Hannah Nunn lamp was born! I launched my collection at the British Craft Trade Fair in 2003 and my lamps were taken up by many lovely craft galleries, some of which still stock my work all these years later.


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“My passion for great design and love of beautiful things has evolved over the years I spent studying art as well as in renovating houses and endlessly scrolling through the internet for a fashion bargain.

I began making jewellery for myself, because I couldn’t find the pieces that expressed a sense of humour in the way that I wanted. I wanted to wear strong, witty design every day at an affordable price.

I’ve got a colourful wardrobe and I’m no stranger to sequins, but even if I lived life in neutrals, I would still say the sparkle of jewellery around the face adds the finishing touch to every look; daytime AND evening.

That’s why smart people buy jewellery – it’s a reward for yourself and a wearable, enjoyable treat for someone special.” – Esa Evans

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Since leaving full time teaching in 2011 I have been an apprentice, learning the craft of letterpress printing. There are many of us, world wide, engaged in the revival of this discipline loved for its history and tradition and valued for the time, care and effort the method involves.
I have created a body of work including several books: Megastructures, Brutalist Buildings in Britain, Hawksmoor and his London Churches and The De La Warr Pavilion. These have been illustrated with linocut prints also drawing on a traditional relief printing technique. The use of simple black and white  reflects my love and appreciation  for monochrome and its ability to evoke drama and the ‘dark side’.
The work was mostly carried out at Juniper Press, until recently based in the Bluecoat.  The presses I used were  Victorian Albion presses dating from 1864  and 1875 which were on loan from Liverpool Museums.
I have now established Verso Press and I am continuing my apprenticeship
as a ‘journeyman compositor’.

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