Category Archives: Burslem
Differences between teachers and school inspectors are not new. The Stoke-on-Trent art schools got a pasting from government inspectors at the end of the First World War, but the principal, Stanley Thorogood, was proud of their achievements in difficult circumstances and was fizzing with ideas for the future.
Hanley, one of the six towns of the North Staffordshire Potteries, first opened its art school in 1847. Burslem opened in 1853. Smaller schools in the other towns amalgamated with Hanley and Burslem in 1910. They were part of the national system of art education, providing artisans with basic drawing and modelling skills. Only the most persistent student could follow its syllabus through its 22 levels; most went through only two or three. Originality and creativity were actively discouraged. At the pinnacle of this system was the National Art Training School in South Kensington, later the Royal College of Art (RCA)
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We are all no doubt familiar with the archetypical image of an old couple living out their time together quite contentedly and of course that is where the label ‘Darby and Joan’ originates. Royal Doulton’s great modeller Leslie Harradine will certainly have been familiar with the many paintings and images of this famous pair including […]
An early colourway of Pierette The 1920s and 1930s were the age of the Pierrot. In 1923 Gertrude Lawrence sang Parisian Pierrot in Noël Coward’s revue ‘London Calling’, during the same era JB Priestly wrote a popular book about a Pierrot concert party called The Good Companions with the late Sir John Gielgud as the […]
In 2007 I did a series of murals in The Leopard Hotel, Burslem, Stoke-on-Trent.
One image was based on a story of a woman in the 18th or 19th century who had been murdered in the back rooms of the hotel. Stabbed to death, in one of the small “snug” rooms which the back room was divided into.
In the painting the woman is slumped in an old high backed arm chair, her glass of red wine lying on its side on the floor. At first she just looks like she is asleep, but the pool of wine is slowly mingling with another red liquid. The woman sits in front of a raging fire. But her skin is pale. Almost white. She wears a mob cap and a low cut blue dress. Is she a maid in the hotel, a pottery worker, or a lady of the night plying her…
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Paul Cummins’ ceramic poppies were first seen as part of Tom Piper’s installation ‘Blood Swept Lands and Seas of Red’ at the Tower of London in 2014. This comprised of over 800,000 poppies. Since then, they have toured around the country from Southend on Sea to Orkney and many places in between. For some reason I had not managed to coincide with them at any point so when I heard that The Weeping Window would be nearer home, we decided to visit. The car park is on the site of a demolished factory and nearby there are derelict buildings along the Trent & Mersey Canal.
You can also get your supply of Staffordshire oatcakes at a nearby narrow boat.
Walking along the path to Middleport Pottery where the installation was sited, we passed a wall with ceramic mosaics.
Middleport is still a working pottery, making Burleigh ware and glimpses of…
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The liberating period of the 1920’s to 1930’s often seems incongruous to non-Doulton figure collectors who associate ladies in ballgowns with Doulton figures, but those in the know, recall that there are a small group of nude figures produced in the art deco period that encapsulate that movement perfectly. All the figures contained in this small band of lady figures were the brain child of Leslie Harradine, Doulton’s then principal figure modeler.
As if to prove their own artistic credentials, Doulton introduced over a 10 year period several nude studies that confirmed their artistic prowess.
The first we must all know was Harradine’s The Bather, modeled on this contemporary advert for Cyclax bath salts.
There were six different versions of this popular model, with this colourway proving to be the most popular.
The Bather HN687.
In the succeeding years there was a second version of The Bather introduced, shown here. Although a…
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In July 1750, the Rev. Richard Pococke visited Newcastle-under-Lyme and The Potteries.
Richard who kept a journal of his travels described North Staffordshire as an area where pottery manufacturers used local clay to make unglazed earthenware, bricks, tiles water pipes and plant pots. Some manufacturers mixed white pipeclay from Poole in Dorset with calcinated flintstone from Lincolnshire and other places to make salt-glazed stoneware pottery and ornaments.
All the ware made in the district was baked “in kilns built in the shape of a cone” which Richard said gave the area “a pretty appearance”. He went on to say that there were “great numbers” of these kilns in the Pottery villages to the east of Newcastle-under-Lyme.
In this edited extract from his journal, Richard describes Newcastle-under-Lyme and The Potteries as they were in 1750. He wrote:
“Newcastle is a small, well-built market town situated on the slope of a hill overlooking a lake. It has a handsome church and a market hall. Although Newcastle is the capital of the neighbouring Pottery villages, there are only a few potters working in the town.
“I left Newcastle on July 6th went to see the Pottery villages. I rode two miles to Stoke where stoneware is made. On leaving Stoke, I visited Shelton where red chinaware is produced and then went to Hanley were all kinds of pottery are manufactured. I visited Burslem where the best white and other types of pottery are made. The last place I went to was Tunstall. Although all kinds of pottery are made there, Tunstall is famous for making the best bricks and tiles.”