John Pearson, our quaint genius

Home > John Pearson Fact Sheet

An article in the Studio magazine in 1897 records that, before the founding of the Guild of Handicraft in 1888, Charles Ashbee, in his peregrinations in the East End, came upon Pearson who had one time been employed in De Morgan's tile works. He was 'broken down in health and out of regular employment' but had learnt to imitate De Morgan's tiles in copper (having examined repousse metalwork of the Middle Ages in the British Museum).

Certainly, there are clear stylistic similarities between De Morgan and Pearson designs, with similar themes of galleons and fantastic beasts.

The De Morgan tile works in Chelsea operated from 1872 to 1881, so presumably Pearson was out of regular employment in the early 1880s.

It seems that Pearson learnt his metalworking skills in the 1880s. It is unclear exactly how he received his training.

It has been suggested he received training through the Home Arts and Industries Association, but I am not aware of evidence to support this.

There is some evidence that he learnt metalwork with the assistance of the social reformers, Henrietta and Samuel Barnett who were active in Whitechapel at this time. A John Pearson charger dated 23 December 1912 appeared for sale at Bonhams in July 2007 (the charger carries two John Pearson stamps (see marks)). An inscription on the back records that this was a gift made by John Pearson for Dame Henrietta and Samuel Barnett whom they 'discovered' 30 years ago working as a Pickford's van boy and whose 'art power' they had trained.

The Bartletts were responsible for founding Toynbee Hall in 1884, the idea of which, in essence, was that the middle classes would live in a settlement among the poor where they would become involved in social and educational work, including evening classes. A 'top-hatty philanthropy' as Ashbee put it.

Ashbee was closely involved with Toynbee Hall before setting up the Guild. Indeed it has been said that some, perhaps all, of the founding members of the Guild were drawn from Ashbee's class at Toynbee Hall. (Certainly, the early years of the School and Guild of Handicraft are inextricably linked with Toynbee Hall. It was at Toynbee Hall, on 23 June 1888, that the School and Guild was formally opened.)

John Pearson was one of the founding members of the Guild of Handicraft, together with Charles Ashbee. Metalworkers were well represented - another metalworker, John Williams, was also a founding member. There is a picture of Pearson, with other members of the Guild of Handicraft, in 1892 - a bearded, slightly sullen figure, at the back of a group photograph.

Pearson's relationship at the Guild appears strained after a short period. In 1890, according to the minutes of the Guild of Handicraft, Pearson had been found out supplying pieces to Morris and others and had been employing two men to help him in metalwork outside the Guild.

Also, it appears that Pearson was keen to promote his own craftsmanship and 'brand'. The Guild did not normally identify which particular craftsman had made its pieces, but Pearson did not respect this. There are examples of signed Pearson pieces dating from around this time, for example a box with pomegranate decoration which is signed and dated '1891'.

In 1892, John Pearson resigned from the Guild. Pearson then made his way to Newlyn, Cornwall. Little is known of his time there or, indeed, how long he stayed there. It is possible he returned to London in a short time (a matter of months or perhaps a year or two). Certainly he registered the JP lozenge mark for silver in 1894. Possibly he remained in Cornwall until about 1898.

He had certainly returned to London by 1901.

Pearson is recorded in the 1901 census as living at 20 Hanway Street St Pancras as a widower.

The latest dated piece I have seen is 1905. It is difficult to know for certain when he stopped production. The inscription on the Barnett charger referred to earlier records that Pearson still makes things for them out of gratitude. This shows that Pearson appears still to be producing pieces as late as 1912 (compare the ceramic pot on this site which may have the date 1913).

Many of the later pieces seem to have the JP straight initials, rather than the JP florid initials or full signature which may indicate that this is generally a later mark used in the London workshop (see marks)