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Dating clarice cliff patterns

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Clarice Cliff 20 January — 23 October [1] was an English ceramic artist active from to She began as an apprentice potter. By reason of her talent and ability, she became a ceramic artist, becoming the head of the "Dating clarice cliff patterns" artistic department. Cliff was born in TunstallStoke-on-TrentEngland.

When Clarice was born their home was on Meir Street on a terrace of modest houses. Cliff was sent to a different school from her siblings, and this perhaps prompted her more independent approach to her career, and her non-standard life style by Stoke-on-Trent standards.

At the age of 13, Cliff started working in the pottery industry. Her first work was as a gilderadding gold lines on ware of traditional design. Once she had mastered this she changed jobs to learn freehand painting at another potbank, [6] at the same time studying art and sculpture at the Burslem School of Art in the evenings. In ,Cliff made the rather unusual decision to move to the factory of A. Wilkinson at Newport, Burslemto improve her career opportunities.

This was an unusual start to an unusual career; most young women in the Staffordshire Potteries were on 'apprentice wages', and having mastered a particular task, stayed with that to maximise their income.

However, Cliff was ambitious and acquired skills in modelling figurines Dating clarice cliff patterns vases, gilding, keeping pattern books and hand painting ware: In the early s the decorating manager Jack Walker brought Cliff to the attention of one of the two factory owners, Arthur Colley Austin Shorter, [3] who managed it with his brother Guy.

Colley Shorter was 17 years older than Cliff, and as well as playing a major role in nurturing her skills and ideas, he was married but was later to be her husband. Cliff was Dating clarice cliff patterns special attention by her lover and she journeyed to the Royal College of Art and to Paris. Cliff was given a second apprenticeship at A.

Wilkinson's in when she was already 25 years old primarily as a 'modeller' but she also worked with the factory designers John Butler and Fred Ridgway. They produced conservative, Victorian style ware — Butler had been the designer for over 20 years by this time. For these she used on-glaze enamel colours, which enabled a brighter palette than underglaze colours. She covered the imperfections in simple patterns of triangles, in a style that she called 'Bizarre'. The earliest examples had just a hand-painted mark, usually in a rust coloured paint, 'Bizarre by Clarice Dating clarice cliff patterns, sometimes with 'Newport Pottery' underneath.

To the surprise of the company's senior salesman Ewart Oakes, when he took a car load to a major stockist, it was immediately popular. Clarice was joined by young painter Gladys Scarlett, who helped her with the ware, and soon a more professional 'backstamp' was made, which carried Cliff's facsimile signature, and proclaimed Hand painted Bizarre by Clarice Cliff, Newport Pottery England.

This backstamp was in fact to lead to Bizarre Dating clarice cliff patterns used as an umbrella name for her entire pattern range, so that the factory then had to refer to the first pieces in the simple triangles as Original Bizarre.

These dates are recorded in the Royal College of Art archive and were also remembered by Gladys Scarlett in [8] as she was briefly left alone at Newport to paint the new 'Bizarre' ware. From Cliff was actually credited for shapes she designed, such as her Viking Boat flower holder, though her modelling for the factory is recorded in trade journal as far back as — The shapes from onwards took on a more 'Moderne' influence, often angular and geometric, and some are what was to be later termed Art Deco.

The image shows a Conical coffee pot, and sugar bowl and cream with four triangular feet, another of Cliff's rather Bizarre shape ideas which proved popular with s customers. Ravel was to be produced between and at least as late as In Clarice produced a simple, hand painted pattern of Crocus flowers in orange, blue and purple, each flower being constructed with confident upward strokes.

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