GRACE LILIAN MOODY - 'GLM' - WILTSHIRE, UK.

In the Encyclopedia of British Pottery and Porcelain Marks there is an entry for ‘Grace L. MOODY, Miss.’

Godden notes that she had worked in industry and had held various teaching positions before setting up in Winterslow, Wiltshire c. 1960 and c 1963 was moving her studio to Bridestow in Devon.

I've not been able to anything else on the net about her work except for a very helpful mark on Pinterest by Naomi Mott. It showed the mark GLM and had GRACE L MOODY / WINTERSLOW. That photo gave me the mystery name behind GLM.

Perhaps someone might know a bit more about her work before Winterslow and afterwards in Bridestowe?

Since first posting this piece, a remarkable archive associated with Grace L. Moody has come to light. It includes sketchbooks, ceramic designs, technical notes, working schedules and printed stationery headed “Grace L. Moody, Des., R.C.A., Ceramic Artist & Designer”, giving her address as Jubilee Cottage, Winterslow, near Salisbury, Wiltshire. Another surviving design is boldly inscribed “Grace Lilian Moody 1953” with repeated references to the RCA.
The archive shows a professionally trained designer of considerable range. Some sheets appear to be commercial ceramic designs suitable for hand decoration by paintresses, and possibly for adaptation to transfer printing; others are much freer studies of birds, beasts, fish, flowers and vessel forms. Her working notes refer to throwing, slip-casting, pressing, glazing, firing enamels and planning an exhibition, giving a vivid glimpse of an active pottery studio.
Her surviving studio pottery now makes much more sense in this context. Moody’s strength was a bold, economical style: limited palette, superbly deft brushwork, strong colour and an ability to fill a surface without overworking it. The large fish on my platter can now be identified as a highly stylised John Dory, its characteristic flank spot picked out brilliantly in turquoise.
Stylistically, some of Moody’s design sheets remind me of the hand-painted work developed at Poole Pottery by designers such as Truda Carter, Ruth Pavely and Alfred Burgess Read, and also of the rhythmic decorative language found in some Dutch Gouda pottery. These are comparisons rather than suggested connections.
I am now more cautious about claims linking Moody to particular factories. Godden states that she “designed for the industry and held various teaching posts”, but the manufacturers for whom she worked have not yet been securely identified.
What is becoming clear is that Grace Moody was not simply a talented ceramic paintress. She was a trained designer who could paint superbly, and her surviving studio work deserves much more attention.
L : 35 cm - 14 “
W : 29.5 cm - 11”