Art Deco Ceramics

A time of great design or merely time for a change?

Art Deco ceramics are commonly associated with specific designers such as Clarice Cliffe, Susie Cooper and Charlotte Rhead whose striking designs changed the face of modern pottery. However the term covers a much wider range of pottery styles as well as architecture and fashion. But was it truly a time of great design or merely time for a change? Let us examine the evidence.....

The history of Art Deco

Ravel conical ware by Clarice Cliffe
Photo by Leonard Griffin

Art Deco is said to have begun in France in the 1920s and developed internationally especially in Europe and America until the late 1930's. However it was not until the revival in the 1960s that the term 'Art Deco' was introduced. Until that time it was called 'Arte Moderne' or 'Arte Decoritif'. Since that time many modern potteries have developed patterns based around similar principles.
The advent of Art Deco changed the face of pottery in the UK at the time. The bright colours and geometric shapes of Clarice Cliffe especially, was a long way removed from many of the chinese inspired pottery designs that had gone before. However many shapes and designs were influenced by Mexican and Egyptian styles. A revolution in design was in the making! In the UK the popularity was aided by young new designers and and the advent of advertising and to a degree mechanisation. Designer labels grew as a marketing trend and women designers had phenomenal success. It became a necessity for small potteries to find new designs to beat off the threat of imports from Germany and Czechslovakia and Japan.

Clarice Cliffe

Original Bizarre on Athens Shape
Original Picture by Harvey

Clarice Cliffe, probably the name most associated with Art Deco style, was born in Tunstall, Stoke on Trent in 1899. She joined Royal Staffordshire Pottery aged just 17 and briefly studied art at the Royal College of Art in London. Her skill was such that she rapidly became a top designer of ceramics and was probably the first to design both the shape and decoration of UK commercial tableware. Cliffe produced some of the most exciting designs of the times ware adorned with bright colours such as Original Bizarre.

Crocus pattern
Photograph by  Andy Titcomb

Her success resulted in numerous designs being release in commercial volumes between 1927 and 1939. However it was the more conservative 'Crocus' pattern which was regarded as her signature pattern.
Pieces of Clarice Cliffe are now highly collectable and include such striking designs as the conical ginger sifters. Collecting is made easier by the fact that virtually all Clarice Cliffe pieces are clearly marked with her name using a rubber backstamp or litho.

Susie Cooper

Kestrel pattern
From National Museum Wales

Born in 1902 in Stoke on Trent, she entered the pottery industry at A.E. Gray & Co in 1922 and trained under Gordon Forsyth. Brightly coloured abstract geometrics and cubist patterns were her trademark and she developed some stunning designs such as Kestrel and the cube shape galaxy pattern. By 1929 she had left Gray and started her own pottery painting business and this initiated a long and distinguished design career spanning 60 years. Her designs were highly practical with 'fitness for purpose'being a common theme. A black triangular back-stamp with the words Susie Cooper Productions was used until about 1932. After this time a variety of signatures was used.

Charlotte Read

Tube lined plate by Charlotte Rhead
Photo by Chris Bertram.

Born in 1885 into an artistic family in the potteries town of Burslem, Charlotte Rhead studied art at Fenton School of Art. Working for a local company Wardle and Co she learned the skill of tube lining. It was this skill and the influence of her time at Wood and Sons which set her career apart as a designer. Later in 1926 working for Burgess and Leigh she mainly produced ornamental or luxury pieces using her tube lining skill.

Other Art Deco ware

Shelley Vogue shape cup and saucer, designed by Eric Slater 1930

Harmony Art Ware ginger jar - Eric Slater 1932

The Shelley Family was a highly acclaimed producer of Art bone china in the art deco style. Apart from the elegant 'vogue shape' it produced highly decorative vases such as
'Harmony Artware'. Eric Slater was the designer responsible for many of the hugely successful designs.

The Wedgwood family also produced a range of ware in art Deco style. Using a range of designers such as Keith Murray, Skeaping, Makeig-Jones, and Ravilous they continued to create outstanding designs throughout the 1930's. Makeig-Jones in particular changed the image of Wedgwood ware with her inspirational 'Fairyland Lustre' range of patterns.

The Modern Era

Wedgwood Jasper Conran

Clearly many of the Art Deco designs of early period have inspired post year 2000 patterns. Classic, timeless and elegant, almost all top pottery brands have some element of Art Deco in their range. Wedgwood, Portmeirion, Dudson and Steelite each include high coloured decorative patterns or striking geometric shapes. This is not by accident and I can only conclude that the Art Deco period was truly a time of great design!

I would love to hear your comments?

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2012 The Year of the Small Business?

After the doom and gloom of 2011, a year when banks, the public sector, big business and especially retailers have suffered, perhaps 2012 is the year for the small man. The year when the public begins to recognise that what they have locally really is worth keeping. And that should include the local butcher, the local tradesman and the local potter.

Yes the local potter!

I was fortunate to meet a number of innovative potters at the 2011 Ceramic Festival in Stoke on Trent, England. Despite the current climate they continue to create innovative designs and concepts.

One such company with years of experience in modelling and design of unique ceramic wares is Sculpta Ceramics. The expertise of individual potters like this should not be underestimated. Designing unique wares for children, and local heritage are all part of the range of products from local man Nathan.

Another local artist Alison Morgan is the creator of Cityscape Ceramics, a unique range of ceramic art. Each piece is inspired by an iconic skyline and features well known and loved landmarks.

During my visit to the festival I even managed to buy a ceramic bottle kiln jar to add to my collection.

So next time you want that special present or gift don't overlook your local potter. They may not be on the high st but many will be only too pleased to show you their wares!

More information on pottery and ceramics can be found at my website http://www.pottersfriend.co.uk Go now to sign up for my free newsletter.

Making pottery-simply art or sophisticated science?

As I was watching an experienced potter throw beautiful shapes recently it made me reflect 'how incredibly simple it seems in the hands of a true expert'! Starting from a lump of clay, shaping it into an interesting form, drying, finishing, glazing, and firing can take up to 2 weeks. A labour of love to create that special unique piece! But those who have tried to make pottery know that these are mere headings for skill, artistic flair,experience and a good deal of knowledge and science.

Incredibly, in the pottery industry where 'lean manufacturing' is all the rage they attempt to produce finished ware in a matter of hours! They breakdown every operation down to its most basic level (steps). Each step in the process is identified and the skill, tools, material, manpower and time required. By defining the process in this way it is possible to identify the number of steps and value of each step in an operation. Lean manufacturing philosophy requires the removal of waste in all its forms. Waste doesn't mean just waste material, but wasted human movement, wasted product movement, overprocessing, excess stock, not right first time, or wasted waiting time.

Often the target is to improve efficiency and the first step is to remove as many non value added steps as possible. An example of this might be to remove the clay ware from the sponge/fettling stage immediately to the biscuit kiln instead of to an intermediate storage area. Often by looking at operations in this way new or more robust ways of processing are identified and introduced.

"So what" I hear the true potter say-this means nothing to me. And he is right in some ways! It is often by trial and error that his artistic flair can flourish. A missed out glaze ingredient creates that wonderful new glaze colour or the kiln underfires showing unusual but unique glaze effects!

However he is also wrong in some ways. He has already adopted some of the lean principles without knowing it! Often the potters studio is laid out so all his tools, materials equipment are close at hand (thereby reducing waste movement). He recycles the clay and glaze (reduces waste materials) and tries to make a number of items at a time not just one (reduces waste time).

I believe that both the studio potter and industrial potter can learn from each other. The studio potter can learn to reduce waste allowing him the time to be more creative and the industrial potter can learn to be more creative in design allowing him to sell more product.

Surely making pottery is both a simple art and a sophisticated science! What do you think? I'd welcome your comments.

Pottery Clinic

Glaze blister at high magnification

Post your questions about any pottery or ceramic matter.

All questions are welcome regardless of how simplistic they may appear !

My commitment is to respond in a timely fashion and to provide the best advice that I am able to based on my own perspective and the information provided.

I look forward to answering your questions

Learning to pottery blog

Today I learned to blog-is that the right term? Although not a technophobe I do believe most times 'its good to talk' as a rather outdated TV commercial once said. That said I am hoping that by embracing the latest social technology I can make contact with all those like myself who enjoy or have a passion for pottery and its making. Who knows it might be the start of a wider circle of friends?

My love for pottery has lasted over 30 years ever since I was introduced to the making of pottery 30 years ago. The decline in large scale pottery making over that time in the UK has been immense but it has left us still with a very rich heritage and many smaller but specialised potteries making everything from door knobs to large garden ceramics. Clearly there is still a lot of talent in the UK both in terms of design and making! If you are one of those or just starting up in pottery I'd be interested in your thoughts on the future of UK pottery plc!

More information on ceramics can be found at my website www.pottersfriend.co.uk