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Clarice Cliff

Early life
The Cliff family ancestors had moved from the Eccleshall area in about 1725 Tunstall. Clarice was born when her house was on Meir Street was on a terrace of modest houses, but Tunstall is actually a slightly better part of Stoke on Trent. Cliff's father Harry worked in the local iron foundry in Tunstall, took her mother Ann to supplement the family income during washing, and they had 7 children.
Cliff was sent to another school with their siblings, and this perhaps encouraged her independent approach to her career and her non-standard living of Stoke on Trent standards. It is known that would be after school, Cliff Aunts, hand painters in a local pottery companies were to visit, and she also models from papier-MCH in the school.
The size of the family meant that moved in 1906, the cliffs in a larger house on the adjacent Edward Street, where, as the children leave the school (aged 13), they were able to the family income supplement, so that they never suffered intense hardships that affected many in the pottery because of high unemployment.
Careers
At the age 13, Cliff began working in the ceramics industry. Their first work was a gilder by gold lines at the hardware of traditional design. Once she had that she mastered their jobs changed, learn to draw freehand on another custodian, while studying art and sculpture at the Burslem School of Art in the evenings.
In 1916, Cliff rather unusual decision to move the factory, AJ Wilkinson in Newport, Gross-Gerau, improve their career opportunities. This necessitated a long way to work. This was a unusual beginning of an extraordinary career that most young women were in the Staffordshire Potteries to 'apprentice wages, "and with a specific Task was mastered, said that to maximize their income. However, Cliff was ambitious and acquired skills in modeling figures and vases, gilt holding pattern Books and hand-painted ware: outlined, enamelling (filling in the colors within the outline) and striping (radial bands on plates or vessels). In the early 1920s, their immediate boss Jack Walker took Cliff to the attention of one of the two factory owners, Colley Shorter, manages it with his brother Guy. Colley Shorter was 17 years older than Cliff, and as well as play an important role in promoting their skills and ideas, he was later to become her husband.
The first printed used "Bizarre" backstamp on Clarice Cliff goods from 1928 to early 1936 in various styles.
Cliff was given a second Teaching at AJ Wilkinson in 1924 (When she was already 25 years old) in the first place as a "model farmer", but they also worked with the plant designer, John Butler and Fred Ridgway. They produced conservative Victorian-style ware – Butler was the designer for over 20 years, been through this time. Finally, Cliff's wide range of skills and recognized in In 1927 she had her own studio in the adjacent Newport Pottery, which had bought less in 1920. Here Cliff could decorate some of the old defective "Gloster '(white) ware in their own freehand patterns. For this they used to glaze enamel colors that are brighter than possible range of underglaze colors.
She covered the imperfections in simple Patterns of triangles, in a style that marks them as "bizarre". The earliest examples had just a hand-painted mark, usually painted in a rust-colored, 'Bizarre by Clarice Cliff "sometimes with" Newport Pottery "below. To the surprise of the company Senior Seller Ewart Oakes, when he was loading a car a major retailer It was immediately popular. Clarice was helping a young painter Gladys Scarlett to her with the goods, and soon to be professional "bottom image was made, the Cliff's Facsimile signature taken and announced Handpainted Bizarre by Clarice Cliff, Newport Pottery England.
Early 'Original Bizarre' pattern on an Athens Form Krug
The bottom image was in fact lead to bizarre used as an umbrella brand for its entire range of patterns, so that the factory had to be the first pieces in the simple Triangles refer to as Original Bizarre.
In March 1927, Colley Shorter (the very act independently of his brother Guy) sent Cliff to the Royal College of Art in Kensington, London for two short periods of the study in March and May. These data are incorporated into the Royal College of Art and archives were also Gladys Scarlett (1982), recalls how it was just to paint alone in Newport next to the new 'Bizarre' ware.
"Ravel" pattern on Conical coffee pot, sugar and cream – 1930
From 1927 Cliff was actually designed for forms, they, like their Viking Boat credited back flower holders, although their model is for the factory recorded in journal as far as 1923-24. The forms from 1929 took on a "modern" influence, often angular and geometric, and some are what are referred to later Art Deco. Abstract and cubist patterns appeared on these forms as the Ravel in 1929 (seen at the Cliff's Conical good), an abstract leaf and flower pattern was named after the composer. The image shows a conical jug and sugar bowl and cream with four triangular feet, others proved more bizarre form of Cliff's ideas, popular with customers in 1930. Ravel was made between 1929 and be at least as late as 1935th
In 1928 Clarice a simple but clever hand-painted patterns produced by Crocus flowers in orange, blue and purple, each Flower made with confidence upward strokes. Then, green leaves, by the piece upside down, and it has thin lines between the flowers. As from the individual Brush strokes, the Crocus pattern was clearly painted entirely by hand, and the vivid colors in sales immediately attracted large.
Crocus pattern from 1928 to 1963
Originally Clarice had only a young decorator produce Crocus, Ethel Barrow. But as orders flooded until 1930 a separate Decorating "shop" was the top floor of the Building, the 'Bizarre' shop founded housed and Ethel was responsible for the training of young painters in the model to do. Twenty young women painted nothing Crocus 5 1 / 2 days per week, for much of the 1930s. Crocus was unusual in that it was produced, on both dishes, tea and coffee ware and "Loves" novelty items ware made primarily as a gift. The pattern had many colors, including Purple Crocus (1932) Blue Crocus (1935), Sungleam Crocus (1935) Spring Crocus. It was produced even after the war, is the last pieces of Clarice Cliff is made in 1963, although Midwinter (who bought the factory) more Paint to order, until as late such as 1968.
By 1929, Cliff's team of interior designers, a team of around 70 young painters have become, especially women (she called "Bizarre girls), but four boys -. Painted, the hand of the goods under their direction, many of these workers were prosecuted in the 1980s and 1990s and it was higher than 100. Their names and work for Clarice Cliff was recorded in the centenary book.
Applique Lugano 1930
The plant produced a series of small color print Leaflets (quite unusual for this time), which could be obtained by mail or picked up from storage. This advertising device was clearly more successful as a young Girl was employed whose sole job was to put the flyers sent stamped envelopes to the factory. At that time, many women would buy Pottery by 'mail order' by advertising in magazines. The series of leaflets, each of which a number of pieces in a similar style covered or set of colors, including those for Bizarre, Fantasque, Delecia, appliqu, inspiration, Crocus & Gayday and others. The original prospectus for the appliqu Patterns presented only two, Lucerne and Lugano, but Cliff's most productive capacity, new pattern design, by the fact that seen in 1932 appliqu pattern area 14 had: with Avignon, Windmill, Red Tree, idyll, Palermo, Blossom, Caravan, bird of paradise, Etna, Garden, Eden and Monsoon in addition to the original two. The Lugano appliqu pattern is on a 10-inch (250 mm) wall panel has shown, with (inset) of the printed Bizarre mark and a hand-painted range name, as often Seen this product. Appliqu with its intense staining was found in the long run one of the most sought after Cliff enough to be found.
'Red Autumn "pattern in 1930
The Fantasque range 1928-1934, and above all presented abstracts or landscapes of land and trees, and some art deco pattern developed. The first Fantasque landscape patterns House and trees and this was sold well from 1930 to at least 1934th However, it was the later, more complex patterns given fall near the end of 1930 was to prove the flexible and popular. Originally created in red (coral) green and black in 1930, appeared in 1931, many variations colourway. The rarest is the red Color shown on a 13-inch (330 mm) wall panel, but the best-selling version at that time was one with the trees in blue, green and yellow. All these variants have to be particularly collectible.
In 1930, Art Director Cliff Newport Pottery and AJ Wilkinson, the two adjoining factories that produce their goods appointed. Their Work involved spending more time with Colley Shorter, and this gradually developed into an affair, conducted in secrecy. The pair worked closely together creates a Awareness of "Bizarre ware 'to the attention of buyers in the middle of a big catch financial depression, and with a skilled eye and vision Colley Shorter Clarice registered the name and even some of its forms. It was their ability to both design patterns and the forms they were on the emerging rocks of any go to other designers in the Staffordshire Potteries in that time. Her first modeling in the mid '20s, the stylized figures, people, ducks, the floral embossed Davenport ware of 1925. But in 1929 at the same time, when she began the colorful cubist and landscape architecture, was Cliff's modeling a new style. This was European originals influenced by DSNY, Ttard Freres, Josef Hoffmann and others that they had in design magazines, including Viewed "Mobilier e décoration.
Between 1929 and 1935 exhibited a mass of Cliff form extends, including conical, Bon Jour / Biarritz, Stamford, Eton, Narcissus, and Trieste. In each of these were It tea and coffee service forms, but the first two were so popular that cookie jars, sugar issued sieves, bowls and vases, to increase the area. Bon Jour was founded 20 forms during 1933, with about 10 more than in 1934 included. There were also many other innovative shaped vases, bowls and "fancy" as the liner vase, flower vase and the tube (now rare) Lido Lady Ashtray and Age of Jazz musicians and dancers.
1930 Pattern: melon on a vase shape 14, and Circle Tree Eton on a form coffee pot
Through the depths of the Depression Cliff wares on to volume at what were high prices for the time to sell. Bizarre and Fantasque Ware was sold throughout North America, Australia, New Zealand, South Africa, but not on the European mainland. In Britain many top London stores sold it, including Harrods. Some of the other London Stock have long since closed, but the list is impressive: "Maple & Co., Lawley's, Bon Marche, John Lewis, Peter Robinson, Selfridges, John Barker & Co., Warring and Gillow and Gorringe's. However, to confirm the resulting order books the period, Bizarre Ware was never in Woolworths have sold as many incorrectly stated.
More outrageous pattern, brightly colored, such as melon and tree appeared in the Circle 1930. Cliff developed many ways of marketing these in-store painting demonstrations in which Cliff chose only the most beautiful women painters and their famous Shorter and they had the idea to actually pay important 1930s celebrities to endorse the product. This was both in journal articles and through appearances at major stores made. The celebrities included "actress Adrienne Allen, Marion Lorne, Marie Tempest, the BBC presenter Christopher Stone, musical comedy star Bobby Howes'. Even Sir Malcolm Campbell, who had just broken the world speed record on land to a PhD at the First Avenue Hotel, London 1930th
Cliff's worldwide impact It was made clear in a story of the "Pasadena Evening Post" in California. She illustrated with a five-meter-high "horse" all of Bizarre ware, which had been made to promote the product in the UK. It was in this article that made Cliff, become what is its most famous quote: after a little Enjoy my work does not make me less of an artist and people who appreciate the truly beautiful and original creations in the ceramic is not innocent by fear Slapstick
Between 1932 and 1934 was Cliff Art Director for a large project with almost 30 artists of the day (inspired by the Prince of Wales), good design on the dishes to promote. The Artists in the industry, "earthenware samples were prepared under their direction, and the artists were among others known names such as Duncan Grant, Paul Nash, Barbara Hepworth, Vanessa Bell, and Dame Laura Knight. The project "Modern Art for the Table 'was launched at Harrods in London in October 1934 to life, was but a mixed response from both the public and the press, though at the same time Cliff's own patterns and designs were sold in large quantities all over the world.
Clarice Cliff 'Honolulu' pattern on traditional 'Athens' shape Jug. Ca. 1932
Cliff's designs are highly stylized and interpreted in strong Colors, such as the 1933 Honolulu pattern. The trees are in red (coral), orange and yellow paint. Cliff colourway produced A variation of this by simply changing the trees Shades of blue and pink, and that was named after a local Rudyard Staffordshire beauty spot.
Clarice Cliff's fame and success in the 1930s are difficult to appreciate fully now, but back then there was no such thing as a "career women". The publicity she received in the national press was unprecedented. Research by a PhD student in the contemporary press 1928-1936 '360 article found on Cliff and her work have been in the trade press, women's magazines, national and published in local newspapers. This was put in context when he points out that in the same period had Susie Cooper, another Staffordshire potter and designer, "Less than 20 reviews, All Bar One in the trade press.
Clarice Cliff (right) with visitors to Newport in 1933 Pottey
Despite all the publicity received, Cliff was actually very camera shy and were in most cases the pictures of their pottery, which dominated the women's magazine of the day. A picture showing Cliff informally was taken when a South African visiting dealer of their products, by Werner Brothers, the factory on a buying trip. Cliff is with the 3-year-old daughter and wife of the dealer seen. After visiting Cliff's daughter sent a gift of a miniature child's tea set in their patterns painted Honolulu.
In the mid-30's strong and tastes changed modeled ware came into fashion. My Garden has spent the series from 1934 the way, with small flowers modeled as a handle and is based on more curves. They were completely in bright colors painted – the body of the product was covered in thin washes color – "green" was green, 'Sunrise' yellow and so on. The offering consisted of vases, Bowls, jugs, a biscuit barrel, and proved very popular as gift ware. It was produced in more muted colors, right up to the start of the war in 1939.
An original 1935 work sheet shows the size and diversity modeled the 'My Garden' ware
Other forms of models included the 1937 'velvet' based on traditional basketry of Native Americans, in a similar style to it with small blocks of color. More popular was the highly contoured Harvest ware, jugs and bowls of cereal and fruit modeled. After the war, this area has been heavily marketed in North America (very patriotic) than England. This model later ware attracts relatively low prices at auction.
In 1940, after the death of Ann Shorter, Colley wife, he married her and Cliff moved to his home in Chetwynd House in Clayton, Staffordshire. This art and crafts at home had been designed in 1899 and was one of the earliest commissions of British architects Parker and Unwin, Barry Parker Raymond Unwin, who was later instrumental involved in the project were Welwyn.
During the Second World War, only blank white ceramic (utility software) was under war conditions regulations permitted, the Cliff with the management of pottery supports, but was unable to continue design work. Instead, they focused their creative talents to the garden and the massive 4-hectare (16,000 m2) garden in Chetwynd House became their shared passion with Shorter.
After the war, although Cliff was occasionally nostalgic for the "Bizarre" Years, as experienced in personal letters to friends, she seemed to be realistic and accept the software for commercial tastes were conservative. Clarice seemed to enjoy play a lesser role in the factory, knowing that they can not recapture those crazy days of the thirties. Much of the production of edible-mail went to Australia, New Zealand or North America, where the meaning was for formal goods in traditional English designs like the Tonquin rather striking patterns and shapes, Cliff's Reputation had purchased, she was never to return to creative work. The postwar ware has little value at auction.
AJWilkinson and their Newport Pottery continues goods for sale in Cliff's name until the death of Colley Shorter in 1963, Cliff led to the factory in 1964 to sell Midwinter and moved a little to a hermit. But from December 1971 to January 1972 was the first exhibition of Clarice Cliff pottery place in Brighton, East Sussex. Cliff reluctantly an opinion for the catalog, although they refused an invitation to go to the opening. The exhibition was of enthusiastic collectors, including Martin Battersby, an early supporter of the 20's and 30's design, the first author to publish major works to the call period, and a follower of Cliff's ceramics. Then, on 23 Cliff died suddenly on October Chetwynd House. The exhibition and private, the first book in 1976, "Clarice Cliff published 'by Peter Wentworth-Sheilds and Kay Johnson (L'Odeon Publisher) marked the beginning of a great Revival of interest in Cliff's work, which will further explore the Art Deco Ceramic collectors ever since.
Cliff's original painters again by the CCCC founder Leonard Griffin, who is pictured with them in 1986, combines
In 1982 the Original Clarice Cliff Collectors Club was founded and supported her and her Work in the world. The club's founder had been in the Staffordshire Evening Sentinel for all who worked with Cliff to contact him and appealed pleased when he found 28 former workers. Nevertheless, the "Bizarre girls called in their mid-70s and early 80s were Cliff's former painters in the interest in hand-painted ceramic, it delights had 50 years earlier. They attended the annual meeting of the Society and were in many television and radio programs on Cliff, and a Mass of books that are published involved. Many of her recollections were recorded in the CCCC posts by 1982 to 2004. The club also conferences and exhibitions in the UK, North America, Australia and New Zealand instead.
Members of the original CCCC at Cliff's "Bizarre shop in Newport, Burslem in 1992
The Stoke meeting on Trent visited the old paint from Bizarre goods through the channel in Newport, Burslem from 1987 to 1997, left, ironically, the only buildings on the site. Unfortunately, it by Wedgwood in 1997, demolished and sold the land for housing.
A chain of mergers had led to the name of the owner Wedgwood Clarice Cliff, and from 1992 to 2002 she produced a series of reproductions of the popular 1930 play. These were manufactured to a high quality and were produced in small numbers for sale to collectors, are not (or perhaps could not afford) the most striking original pieces could.
The first set of Wedgwood ware of Reproduction 1992
The first pieces produced ginger jar in the house and bridge, a large vase shape 14 in Solitude, a form of Stamford teapot milk and sugar in Pink Roof Cottage, a conical bowl in tennis and a blackboard included in Lightning. From 1996 to 2002 units were for CCCC members and these were also sold in large Wedgwood Room. The hand painted pieces presented their production in 2002 but ware with printed (not hand painted) patterns were large quantities of Wedgwood during and after this time made. These reproductions are not to be confused with forgeries (of which a number are found), the Wedgwood closest ones are clearly marked as' Wedgwood Clarice Cliff 'marked. An original Cliff painter Alice Andrews, then in her 80s, was set to appear at launch of the product in stores throughout the UK.
In the mid-90s, Cliff's position as a significant artist of her time was confirmed when it was included in the major international reference works, the massive Dictionary of Art, Macmillan Publishers, and General Knstlerlexikon by KG Saur Verlag.
The work of the CCCC with the centenary exhibition 'Clarice Cliff the Art of Bizarre " at the Wedgwood Museum, Barlaston Stoke on Trent culminated. Today, with 26 years experience of the club on the Internet (see below). It should not be with an organization that has the same name by 2001 uses the registry to be confused in 1997. The CCCC was then a consultant for the BBC Radio 4 drama The Bizarre Girl ", followed by Lizzie Slater written as "an uplifting drama described exploring the dramatic increase of Clarice Cliff by the workshop to the company Art Director ~ was illustrating how a Workers Staffordshire girl brought modern art to the people. "The drama was broadcast in December 2000.
In 2002 Peter Wentworth-Sheilds and Kay Johnson, Author of the original 'Clarice Cliff' book of 1976 to the UK to attend an event at Christie's South Kensington CCCC talk. They talked about the early days of collecting, when their first purchase was, 'a summer house Athens pitcher for 7 shillings and 6 pence, 35 pence. "Peter had actually Cliff talked on the phone, but she had refused to be interviewed. It was found that they work both for Stanley Kubrick when they wrote their book, Kay was Kubrick personal assistant and had Peter as a stage capable of a room in A Clockwork Orange with a frieze he designed based on original landscapes by Cliff has decorate.
The market for collecting Clarice Cliff pottery is complex, it is still possible to see examples of Crocus, Cliff longest produced patterns (1928-1964) for less than 30-50. But rare combinations of shape and pattern very high prices at auctions draw. The world record price for a piece of Clarice Cliff is from Christie's, South Kensington, London, a 18-inch (460 mm) "charger" (blackboard) in May Avenue pattern held for sold 39 500 in 2004. Shortly after this the same Auction house sells an 8-inch (200 mm) Vase in sunspots for 20,000.
In 2008, Cliff's pottery prove both sought after and appreciated. Despite the financial depression collectors pay high prices for special pieces. In the UK, Bonhams, London sold a Triple Bonjour "Vase in Blue Firs for 6000.
A rare form of Red Autumn Vase 369 for 4900 in Fielding Auctioneers, Stourbridge in the West Midlands, sold and Woolley and Wallis Salisbury auction house sold a 3-inch (76 mm) high miniature vase in Caf (used as the seller of the sample in the 1930s) for a staggering 3000th
On 2 August 2009 Will Farmer of the BBC Antiques Roadshow and members of the original Clarice Cliff Collectors Club piece presented three plaques commemorating Clarice Cliff's life and work in the Potteries.
This were at their place of birth, Meir Street, Tunstall, her second home on Edwards Street, Tunstall and the site of Newport Pottery in Burslem through the channel where you Bizarre ware has been established. These were filmed by BBC television for viewing on a special Antiques Roadshow in December 2009.
In September 2009, the Victoria and Albert Museum in London opened "New Ceramic Galleries and Cliff's work was chosen was recorded," There will be two rooms, collections of the 20th century. One shows ceramics in a factory as a whole and objects by designers such as Susie Cooper and Clarice Cliff 'in it.
See also
Susie Cooper
Charlotte Rhead
Keith Murray, ceramic artist
References
^ Peter Wentworth-Sheilds, Kay Johnson: Clarice Cliff, L'Odeon release 1976/1981
^ The decoration Staffordshire factories were in many stores at this time almost entirely on the women seventh Year "apprenticeship", the hand painters were called occupied. They produced high quality services at a price that trainee she was job security. The term is still correct in Staffordshire, although the art of hand painting on software is now rare in Trade
^ Peter Wentworth-Sheilds, Kay Johnson: Clarice Cliff, L'Odeon Publisher 1976/1981
^ A term for a Staffordshire pottery factory, probably because it is a "bank" was the tone for the production of the "pots"
^ Leonard Griffin, Louis and Susan Meisel: Clarice Cliff the Bizarre Affair Thames & Hudson, London / New York Abrams 1988/1995
^ Leonard Griffin: an interview with Gladys Scarlett in 'The Clarice Cliff Collectors Club Review magazine
^ Leonard Griffin: The Fantastic Flowers of Clarice Cliff Pavilion / Chrysalis 1998/2001
^ Greg Slater, Jonathan Brough: Comprehensive Clarice Cliff: Thames and Hudson 2005
^ Leonard Griffin: Clarice Cliff Bizarre Art of the Pavilion / Chrysalis 1999/2002
^ Leonard Griffin: The Complete Book of appliqu 1989/1994 privately owned by the original Clarice Cliff Collectors Club published
^ Leonard Griffin: Clarice Cliff the Art of Bizarre (chapter "Dramatic Art Deco ') Pavilion / Chrysalis 1999 / 2002
^ For Bon Jour area of illustration see p.53: Leonard Griffin, Louis and Susan Meisel: Clarice Cliff the Bizarre Affair Thames & Hudson, London / New York Abrams 1988 / 1995
^ Knight Lynn: p.167 Clarice Cliff biography Bloomsbury Press 2005
^ Lynn Knight: Clarice Cliff biography Bloomsbury Press 2005
^ Pasadena Evening Post History 1931
^ Leonard Griffin: Clarice Cliff the Art of Bizarre (Bizarre Chapter meets Bloomsbury) Pavilion / Chrysalis 1999 / 2002
^ Dr. Philip Woodward: writing: "The Bizarre Art of Clarice Cliff "(Pavilion / Chrysalis 1999 / 2001
^ Leonard Griffin: Taking Tea with Clarice Cliff (Pavilion / Chrysalis 1996 / 2002
^ Leonard Griffin Clarice Cliff: The Fantastic Flowers of Clarice Cliff Pavilion / Chrysalis 1998/2001
^ Doreen Mann (nee Jenkins) in writing Fantastic Flowers of Clarice Cliff Pavilion / Chrysalis 1998
^ Greg Slater, Jonathan Brough: p. 266 Comprehensive Clarice Cliff: Thames and Hudson 2005
^ Battersby, Martin: The decorative thirties Studio Vista Publication 1969/1976
^ The "Review" magazine of the Clarice Cliff Collectors Club: 1997
^ The original CCCC Review Magazine 1992-1999
^ General Knstlerlexikon: KG Saur Verlag 1998, Germany. Dictionary of Art: Macmillan, London 1996
^ The original CCCC "Newsletter" in October 2000
^ Original CCCCC "Review" magazine – Summer 2002
^ Sevi Guatelli, Leonard Griffin: p. 264 (for a similar example) The Best of Clarice Cliff's Top 50 Publishers 2008
^ Sevi Guatelli, Leonard Griffin: P. 183 The Best of Clarice Cliff's Top 50 Publishers 2008
^ Miscellaneous: Auction reports www.claricecliff.com in 2008.
^ Stoke-on-Trent Sentinel – 3 August 2009 and reports of www.claricecliff.com.
^ Victoria and Albert Museum, press release by Meera Hindocha, 17 September 2009
External Links
The original Clarice Cliff Collectors Club established in 1982. Registered in 1982 under the company name Registration Act. No. 2803197
The Clarice Cliff Collectors Club. Registered in 1997 (and launched under this Name in 2001) in England and Wales number 3212959 as a nonprofit organization owned by its members
Stoke-on-Trent Museums See Clarice Cliff designs, and The World's Finest Collection of ceramics at the Staffordshire Potteries Museum & Art Gallery.
Categories: 1899 births | 1972 deaths | English artists | Artists The Modern | English potters | Art Deco Designer | People from Tunstall, Staffordshire About the Author

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