By the early 1960s, St Ives was heaving with would-be artists,
drawn to the southwestern tip of Cornwall to follow in the
footsteps of Alfred Wallis, Ben Nicholson and Christopher Wood.
Among them were Benny Sirota, who had arrived in St Ives with a
plan to run boat trips from the harbour, and Leslie Illsley, a
passionate sculptor and abstract artist, who were drinking buddies
at the famous Sloop Inn.
Both men shared a belief in the shortcomings of St Ives
pottery.
For Sirota and Illsley, neither of whom had received any formal
training in pottery manufacture, Bernard Leach and his many
followers lacked individualism. Their dream was to produce
innovative mould-cast wares of their own and by 1963 the two men
and sleeping partner Jan Thompson (a Swedish architect who
sometimes helped out on Saturdays), invested £1000 each to acquire
the stock and goodwill of the Wheel Dream, the Powell and Wells
Studio Pottery.
They chose the name Troika (meaning a Russian sleigh drawn by
three horses) for its sharp, angular sound that hinted at the
sharp, angular forms they had in mind for production.
Despite some rather unconventional production ideas - slurry
from the local tin mines, household emulsion paint and melted
broken glass were among the materials employed - extraordinary
objects began to emerge from the Troika kilns: tin-glazed wares
with debts to Constantin Brancusi and Paul Klee, Cycladic masks
with Aztec-style decoration and the heavily textured monolithic
wares that were to become a trademark.
They were still thriving in 1968 when Troika ware was first sold
by Heals and Liberty in London and again in 1970 when they left the
Wheel Dream for larger premises in Fradgan Place, Newlyn, with a
staff of 15.
It was not until the mid 1970s that changing public taste,
declining tourism, tensions between Sirota and Illsley and economic
strife saw the first cracks appear in the enterprise. Troika was
finally wound up in December 1983.
The singular ceramics produced at the Troika factory in the
1960s and 70s rank among the most distinctive wares of the period.
Only a decade after the closure of the studio the first signs of a
secondary market were emerging.
A book, Troika Pottery, St Ives by Carol
Cashmore (now out of print and hard to find at much less than £100)
was published in 1994, while in the same year decorative arts
specialist Harry Lyons of the New Century Gallery held an important
exhibition devoted to the factory on Kensington Church Street. It
was this retrospective - where some of the more iconic 1960s
designs sold for substantial sums - that provided the point of
reference for pricing in the following years.
The price structure for Troika changed several times in the
following decade. Auctions at Christie's South Kensington and in
Cornwall at David Lay of Penzance brought Troika to a wider
audience that exploded when the internet became a perfect platform
for trading in collectable ceramics. The Digital Museum of
Cornish Ceramics remains a great source of information on the
individual Troika artists, their work and their signatures.
Betting on a rising market, it was the computer-literate 30- and
40-somethings - so elusive in many of the more traditional
collecting areas - who sent prices skyward for Troika. This,
alongside Baxter Whitefriars glass and Terry Frost abstract
paintings, is the stuff of retro loft apartments and minimalist
living.
Above: a Troika anvil vase. This example with domino and
mask designs carries the monogram of paintress Louise
Jinks.
The high watermark of the Troika market was probably 2004 when a
raft of forms - anvil vases, coffin vases, double-based lamps and
mask vases - all hit record highs.
Interest in the Cycladic-Aztec mask vases, the defining
productions of the Newlyn era that had been trading at around
£500-700, began to hot up in 2003. Prices of around £800-1200
became the norm, before one of these 10in (25cm) high double-sided
masks appeared on eBay and sold for over £2000.
Prices for mask vases were hoisted yet higher at a sale of
Troika in 2004 at Burstow & Hewett in East Sussex when a
private collector bid £2700 for another example - click
here for full story.
At the same time, dealer Paul Longthorne of the Market House
Gallery in Marazion was negotiating the £3500 private sale of one
of the white-glazed sculptural wares that featured in Troika's
first exhibition at Heals of London in 1968, while a similar sum
was paid on eBay for a Love plaque being sold by Benny
Sirota himself.
It gives some idea of the acceleration in the prices of Troika
ceramics during this period that the publishers of George Perrott's
Troika Ceramics of Cornwall (2003) chose to print a
supplement price list only 12 months later as it was already out of
date.
Surely it could not continue? Today, that 2003 price list does
not look so out of date. The market has proved very sensitive to
the increasing supply which record prices invariably bring and
'values' are now erratic. Prices begin at around £50. At the entry
level are simple cylinder vases painted with a band of circles or
the cube vase, one of the earliest shapes in the textured range
produced in three sizes from 3in (7.5cm) to 6in (15cm) square.
Double eggcups were produced at Troika on the instigation of
Heals from the end of 1965. They proved a very successful line
selling in their thousands at £1.05 each and are among the most
commonly encountered forms today at up to £100 each.
Some pieces such as the masks have fallen to pre-2000 levels
(even a particularly well coloured example should not command more
than £800) but substantial sums are still possible. At Gorringes of
Lewes in September 2011, a Gingerbread Man vase, a classic
St Ives chimney vase decorated with a stylised figure to one side
and a mask to the other, made £1500.
Troika Pottery St. Ives by Carol
Cashmore. ISBN-10: 0952281201
Troika Ceramics of Cornwall by George
Perrott. ISBN-10: 0953063739
Troika 63-83 by Lawrence Illsley and Ben Harris,
ISBN-13: 978-0957487307. For a copy contact
info@troikapedia.co.uk
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