Updated information for pattern 4825 Spanish Tree

Some new information for the Spanish Tree (green band version) has come to light. On the page for this design is the note that the pattern book records that there is an “A” version “As above but no shade on green leaves”. 

 

Finally, an example has surfaced although the design is a bit more unusual than just the lack of shading on the green leaves. It is a small charger, (just under 10” diameter) decorated with three trees and ground plants radiating from the centre of the charger. This is the first time I have seen this layout for Spanish Tree chargers. Also note that there is no brown shading on the leaves as would be found on the standard version. So, although it is clearly a special design variation of Spanish Tree, it probably meets the pattern book criteria for pattern number 4825A.

Spanish Tree variation 4825A

 

 

Rare unnumbered patterns from period 1 (1932-1934)

The six designs presented in this post have the AGR9 backstamp suggesting they were made in the first two years of Charlotte being at Crown Ducal. None of them have pattern numbers or are recorded in the surviving pattern books. Though it should be noted that the pattern books start with number 2900 leaving the possibility that they may have been documented at some time and the information has since been lost.

They were probably trial designs that did not progress to upscaled production. Each pattern is very rare, being represented by a single or at most two known examples. A possible exception being the lidded jampot where the relatively simple tube-lining looks clumsily done and therefore this may have been more of a training piece than a design proposal.

An unnumbered design from the period but not included here is the nurseryware pattern "Who's afraid of the big bad wolf". It is quite hard to find but the design is not as rare as the other patterns listed here. It remained in production until at least 1938/9 and it is a mystery why it was not given a pattern number amongst the cluster of other nurseryware patterns, 3130-3135.

0000-P1-A

Only one example seen. A finely tube-lined pattern of flowers and leaves. It has an unusual mottle glaze of two tones of green on ivory and the signature style is that by the tube-liner who used the # mark. Her name is unknown but her mark can be found on the earliest productions and she was probably Charlottes most experienced tube-liner until Fanny Morrey arrived some months later. 

 

0000-P1-B

Two examples seen, (one uncoloured) on bowls of shape 174. Both have the signature by the tube-liner who used the # mark. The one with coloured enamels has an unusual green mottle on ivory glaze. The uncoloured one has a mottle glaze similar to pattern 3272 (Rhodian).

The layout and style of leaves, flowers and stems is reminiscent of her first design for Burgess & Leigh, Burleigh Ware pattern 3973. There are also similarities to her Pomona pattern for Bursley Ltd This is a good example of Charlotte recycling her favourite motifs.

Burleigh Ware pattern 3973

0000-P1-C

Only one example seen. It has a Lottie Rhead style signature so may have been tube-lined by Charlotte’s own hand. This leaf style is not typically found in Charlotte's other designs but this stylised form of beech leaves, (or possibly hazel or mountain ash) is very common in editions of a craft design magazine of the period, (L'Artisan Pratique) which she would surely have had access to.

 

0000-P1-D

Only one example seen. A vase of an unnumbered shape. 25.5 cm high. The shape has been seen in smaller sizes with Rhead tube-lined designs.

It has a Lottie Rhead style signature so may have been tube-lined by Charlotte’s own hand. The tube-lining is extremely finely executed which supports the premise.

The design is interesting as it is clearly a prototype for pattern number 4534 which is in the pattern book but has not yet been seen. The central panel is similar to the drawing in the pattern book but the upper and lower borders are different. These borders are more akin to those found on pattern 3272 (Rhodian).

It has mix of known Charlotte motifs and includes the core design of what will become Bursley Ware pattern TL2.

 

0000-P1-E

Only one example seen. Apart from the backstamp it has no other base markings. It has the glazes and colours of patterns 2799, 2800 (Aztec), possibly 3273 and 3274 (Stitch) and a tube-lined stitched edge, but is not a convincing variation of any of these.It may be a practice piece rather than a trial design.

 

0000-P1-F

Only one example seen. A jug of unknown and unmarked shape. Being 18cms high it is probably a modified form of a shape 149 vase. Glazed with the “Green Padua" glaze used for the Persino and Primula patterns.

 

 

0000-P1-G

Two examples are known both on the bowl shape 174 and both with the signature style of Dora Jones. They are glazed with the “Green Padua" glaze used for the Persino and Primula patterns.

 

 

 

 

Pattern page added for Tudor Rose 4479

I have added a new pattern page for the Tudor Rose design 4479. It is very similar to 4491 and quite rare especially examples true to the design in the pattern book. Most items seen are hybrids between 4479 and 4491.

4479 to left - 4491 to right

One way to place 4479 in the production history is to imagine that it was conceived as a lustre version of 4040, (or 4300 or 4318). But soon afterward pattern 4491 was created with an additional frieze border and green enamel. Once 4491 was deemed the more commercial pattern 4479 was discontinued. It is all speculation!

Roland Heath - Designer 1908 - 1995

I am very pleased to add a second biography to the blog. Roland Heath was a designer at Crown Ducal in the 1920's who was involved in designing and producing the Radiance Lustre series of designs for the company in 1927. Roland's granddaughter, Suzanne has written this biography and kindly offered it to be published on the blog so that others with in interest in ceramic history can know more about one of Crown Ducal's designers.

Roland Heath

Roland was born in 1908 to William & Sarah Heath at 2, Lindley Street, Stoke.  He was the youngest of 5 children, all of which were very musical.  In 1918 they moved to 41, Rushton Road, Cobridge.

Roland was a talented artist, with a flair for design, and there is a record of him first working as a ‘messenger’ at Burslem College of Art in 1921, only 13 years old.  In 1923 he won a Senior Art scholarship from the Borough of Stoke-on -Trent, and he spent 3 years studying at there under Gordon Forsyth.  From 1924 – 1928 college records show Roland as a ‘senior designer’, presumably as he also worked for Gray’s Pottery while he was a student.  Also at the college at the same time was Susie Cooper (a distant cousin from his mother’s side), who is on the register from 1919 – 1925 as a ‘pottery designer’, and Clarice Cliff, who can be seen in the records as working there in 1924 as a ‘pottery decorator’. 

Some of Forsyth’s students copied or used his techniques including the lustre glazes. Forsyth developed the Gloria Lustre for Gray’s in the early 1920s while Roland Heath was his student. An example of this can be seen at the V&A, with Roland Heath credited as the painter, Forsyth as the designer, c. 1925:   

https://collections.vam.ac.uk/item/O1261257/gloria-lustre-bowl-forsyth-gordon  

Roland Heath left Gray’s and went to work for Crown Ducal in around 1927. At Crown Ducal he developed the Radiance Lustre Glaze (a version of Gray’s Gloria). He is believed to have created 40+ patterns, but nobody knows how many as most of them aren't marked. We still have a couple of identical vases, which I seem to remember my mother telling me were ‘practice‘ vases.  These have his RHEATH mark which can be seen on other pieces of this period:

 

Practice vase

Base of practice vase

In 1927 Roland supplemented his income by selling many of his designs for Christmas cards, sold through the British and Dominion School of Drawing in London. Some panels were bought by the Association of Home Crafts Studio Ltd (we have letters and receipts for some of these).

In 1929 he obtained a position as an artist with S Hancock & Sons of Burton Place, Hanley.  At the end of 1930, Roland left his job in Hanley and went to work for a design studio in Wembley, lodging with his sister Dorothy.  In 1933 he took a position with Cinema Signs.  I have these in a file of his: 

Roland's printed designs from 1930's

Roland's printed designs from 1930's

In 1934 he married Peggy Hunt (see photo) and moved to Harrow. They had 2 children, Gillian & Robert.

Peggy and Roland

Here is a photo of grandpa holding my mother Gillian.

Gillian & Roland

I don’t have any information about where he worked or what he did from then on. The only ceramics we have of Roland’s are a hand-painted coffee set, and the vases above.  This coffee set has a more curly mark (see photos). I’m afraid I don’t have dates for these.  Unfortunately, when he got older and his mind was not so clear, we were very saddened that he had given away a lot of his pieces which we would have treasured!

Coffee set

 

Coffee set basemarks

Granpa was a lovely, gentle man.  I have many happy memories of visiting him when I was young,  He was a very creative man, who loved amateur dramatics, singing and playing the piano. My mother said she grew up in a house where there were always people coming over, singing and playing music into the night.  He would always be so pleased to see us and wanted to hear us play the piano for him.

Sadly, my mother died in September, so I am unable to find out any more history than what I have here.  I do have a folder of some of his old artwork though (no dates).