The bold, bright hand-painted designs and extraordinary shapes of Clarice Cliff ceramics have attracted collectors for decades. Now, there's a convenient handbook with pricing, pattern identification, and a detailed history of Clarice Cliff and her work - a unique find in the small selection of books on the popular pottery.Readers will find over 500 price listings for teaware, plates, pots, vases, novelties and more. Nearly 200 detailed, full-color photos of the most common pattern styles, along with a convenient shape guide, aid in identification. Includes a pattern index with manufacture dates and price ranges in British Pounds and U.S. Dollars, as well as helpful tips on collecting.·
Clarice Cliff was one of the most prominent ceramic designers of the twentieth century. Born in 1899 in the Staffordshire Potteries, she started work as just another factory girl, but by 1928 had launched her own range of pottery, 'Bizarre'. A 'gargantuan feast of colour', it blazed a trail through the homes of inter-war Britain. But if Clarice Cliff's rise from apprentice gilder to art director was remarkable - and all the more so for her being a woman - it was not without its tensions; for years she conducted a secret relationship with her married boss. Fusing art, design and industry and vividly conveying the texture of women's lives between the wars, this is a compelling study of the complex, talented woman whose work is for many the epitome of art deco.
Critical Readings in the Practice of Collecting: Volume 4: Contemporary Voices
Author: Susan Pearce
The Collector’s Voice is a major four-volume project which brings together in accessible form material relevant to the history and practice of collecting in the European tradition from c. 1500 BC to the present day. The series demonstrates how attitudes to objects, the collecting of objects, and the shape of the museum institution have developed over the past 3000 years. Material presented includes translations of a wide range of original documents: letters, official reports, verse, fiction, travellers' accounts, catalogues and labels. Volume 1: Ancient Voices, edited by Susan Pearce and Alexandra Bounia Volume 2: Early Voices, edited by Susan Pearce and Kenneth Arnold Volume 3: Imperial Voices, edited by Susan Pearce and Rosemary Flanders Volume 4: Contemporary Voices, edited by Susan Pearce and Paul Martin
The dazzling ceramics of Clarice Cliff and of the Wilkinson family in the north of England have become one of the great collectables from the 20th century. Ever since the exuberant colours and bold shapes of Clarice Cliff's classic Art Deco pieces first caught the imagination of collectors, auction prices have moved inexorably ever upwards. Now, after many years of research, both in the Wilkinson archives and through the oral testimonies of surviving employees, Greg Slater has produced the first comprehensive and dazzling survey of the work of Clarice Cliff and her largely uncredited colleagues at the Wilkinson Pottery from the 1920s to the 1950s. In a massive work of reference, the origin, name, designer, date and decoration method of all the significant pieces are easily identified. Accessible through three indexes - pattern name, number and backstamp - the book is organized by Pattern and also by Shape (an instant identifier for ceramics without a backstamp).
A lavishly illustrated study of the career of one of the twentieth century's most important ceramic artists reveals Cliff's lifelong passion for flowers and its influence on her remarkably colorful and innovative Art Deco-style ceramics.
There are few pieces of pottery more recognisable than those designed by Clarice Cliff. For many the epitome of Art Deco, characterised by bold colour and lines, geometric shapes, and stylised representations of the countryside, Clarice Cliff's 'bizarre' pottery is collected all over the world. Using a wealth of colour illustrations, Will Farmer traces the story of Clarice Cliff and the pottery that she created. Employed in The Potteries from the age of thirteen, Clarice was talented and resourceful, and in 1927 she was given her own studio at the Newport Pottery where, for the next twelve years, she produced a range of sought-after designs that have become icons of the age.