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The body decorated with a slightly mottled, deep green glaze. The neck covered with yellow-brown and brown glaze, which has been encouraged to run down over the body at regularly-spaced intervals, giving the body an organic appearance, perhaps suggesting an artichoke. The inside of the neck and the rim are covered in yellow-brown glaze, down which the darker brown glaze  has been run in closely-packed, fine lines. The interior is covered in yellow-brown, and the underside in thinly applied, mottled, green glaze."}],"identifier":[{"accession_number":"C.8-1984","primary":true,"type":"accession number","value":"C.8-1984"},{"priref":"76172","type":"priref","value":"76172"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76172","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76172"}],"inscription":[{"location":"on base","method":"impressed","transcription":[{"value":"LINTHORPE"}],"type":"mark"},{"description":[{"value":"facsimile signature"}],"location":"on base","method":"impressed","transcription":[{"value":"Chr. 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He recruited Henry Tooth as the pottery\u2019s manager, until in 1883 Tooth left to form Bretby Art Pottery, in Derbyshire. Dresser himself was not based at the pottery, but supplied designs and suggestions on form and colour. A Linthorpe prospectus, c.1880, suggests his name was as important to the pottery as his practical input and notes that Dresser\u2019s impressed mark was included on all Linthorpe wares as \u2018a guarantee of their genuineness, and of their being made in strict accordance with the principles of decorative Art\u2019.  Dresser preferred simple shapes that could be thrown on the wheel, aiming to \u2018work the material in a simple and befitting manner\u2019, such that \u2018satisfactory results are bound to accrue\u2019. Originally trained as a botanist, he maintained a strong interest in botanic design, and held professorships in both scientific and art botany. In 1879, with Charles Holme, he established Dresser & Holme, to import Japanese and oriental wares; and in 1880 he became \u2018art manager\u2019 of the Art Furnishers\u2019 Alliance, a body established by a number of leading manufacturers to promote the manufacture and sale of \u2018high class goods of artistic design\u2019."},{"value":"Linthorpe Art Pottery was set up by John Harrison in Middlesborough, in 1879, both to produce innovative art wares and to provide employment for 100 local people. The pottery initially used the same local red clay as a brickworks formerly on the same site, though later imported white clays from Cornwall. It was one of the first 19th Century potteries to use gas fired kilns and to successfully use glazes as decoration in their own right. Linthorpe supplied Liberty\u2019s and other major outlets, but closed when Harrison died in 1889."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-108070","uid":"adlib-term-108070","uuid":"7e278258-23e3-3d5b-a4ff-ab5ecacb4bf3"},"summary_title":"19th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-15214","uid":"adlib-term-15214","uuid":"744af2c4-a2f2-37ad-bbf4-2cd00e91ed9b"},"summary_title":"Victorian"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113217","uid":"adlib-term-113217","uuid":"10522cb1-487d-35dd-b6a9-ce858239425b"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Middlesbrough"}]}]},"materials":[{"note":[{"value":"presumed 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Fig.207 a jug with very similar brown over green glaze c.1880, The Birkenhead Collection. Also other examples of Dresser\u2019s designs for Linthorpe Pottery and information about the pottery.","page":"162-173","type":"reference"},"admin":{"id":"publication-5660","uid":"adlib-publication-5660","uuid":"d1772eb9-3c61-3418-a7cc-2921c8270d5c"},"summary_title":"Christopher Dresser, A Design Revolution"},{"@link":{"type":"reference"},"admin":{"id":"publication-200002892","uid":"adlib-publication-200002892","uuid":"7ae524d9-9209-3efe-9ad7-b309dbc3f74b"},"summary_title":"Linthorpe Pottery: an interim repor"},{"@link":{"type":"reference"},"admin":{"id":"publication-3553","uid":"adlib-publication-3553","uuid":"87fb5945-4f9d-3bae-be37-5919049a8780"},"summary_title":"Christopher Dresser 1834-1904"},{"@link":{"notes":"Ref. 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Probably moulded from a thrown original (see Le Vine)."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-27616","uid":"adlib-term-27616","uuid":"61e6a95d-84c8-3893-b6c8-213392262987"},"summary_title":"glazing (coating)"}}],"title":[{"value":"Globe vase"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-75038","_score":16.660662,"_source":{"admin":{"added":1592999652000,"created":1312637261000,"flag":"Standard Record","id":"object-75038","indexed":1747160267600,"modified":1714467794000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-75038","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75038","uuid":"00f1a891-8677-3ad2-84e0-c34c4b89e519","version":6},"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}],"department":{"value":"Applied Arts"},"description":[{"value":"Vase covered inside and out with a with black, freckled glaze. Thrown, white earthenware body, urn shaped - the sides curve upwards from the base in a convex line to the shoulder and then inwards to form a cylindrical, slightly flared, neck. The lower part and the neck are smooth; the area between is horizontally ridged. The underside is concave, and glazed."}],"identifier":[{"accession_number":"C.42-1981","primary":true,"type":"accession number","value":"C.42-1981"},{"priref":"75038","type":"priref","value":"75038"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75038","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75038"}],"inscription":[{"method":"incised, in script capitals","transcription":[{"value":"E.T.R."}],"type":"mark"},{"method":"impressed","transcription":[{"value":"228"}],"type":"mark"},{"method":"impressed","transcription":[{"value":"'P', in tudor rose, with 'ROYAL\/LANCASTRIAN' and 'MADE IN\/ENGLAND' beneath"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"lifecycle":{"acquisition":[{"date":[{"earliest":1981,"latest":1981,"value":"1981"}],"note":[{"value":"Entry date: 1981-09-28"}]}],"creation":[{"date":[{"earliest":1930,"from":{"earliest":1930,"era":["CE"],"latest":1930,"precision":"circa","value":"1930"},"latest":1936,"range":true,"to":{"earliest":1936,"era":["CE"],"latest":1936,"value":"1936"}}],"maker":[{"@link":{"role":[{"value":"factory"}],"type":"reference"},"admin":{"id":"agent-161172","uid":"adlib-agent-161172","uuid":"4fc7dfd5-64ec-38ba-b3eb-5b6f1fae0432"},"summary_title":"Pilkington's Royal Lancastrian Pottery"},{"@link":{"qualifier":"(Edward Thomas)","role":[{"value":"potter"}],"type":"reference"},"admin":{"id":"agent-112041","uid":"adlib-agent-112041","uuid":"2a96e3ab-aebe-3e18-9c60-5bc70b36db8b"},"summary_title":"Radford, Edward Thomas"}],"note":[{"value":"Edward Thomas Radford (b.1860) joined Pilkington\u2019s as an experienced thrower of pots, in 1903, having served his apprenticeship with Wedgwood and worked at Linthorpe, Burmantofts and Doulton potteries. It is said that he could throw a large pot and then make a lid to fit it exactly, using only his eye and hand. Some of his pots were huge, but some were tiny: in Salford Museum there are examples of his pots which are only an inch and a half high. Towards the end of his career he gave demonstrations of throwing in the window of the local china merchants. Radford stayed at Pilkington\u2019s until he retired, in 1936, aged 76, and Pilkington\u2019s ceased pottry production soon afterwards.  According to some sources, the inscribed initials are typically found on his later pots."},{"value":"Pilkington\u2019s Tile and Pottery Company, formed in 1891\/92, was one of the largest producers of decorative tiles. Lancastrian Pottery was introduced in 1904, using simple classical shapes and decorated with innovative coloured glaze effects, such that no two pieces were identical.  Pilkington\u2019s gained a Royal Warrant in 1913, but tile manufacture dominated production after World War I."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109008","uid":"adlib-term-109008","uuid":"841b18bd-944d-3c9c-8d39-bdaabbcc28e1"},"summary_title":"20th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-107749","uid":"adlib-term-107749","uuid":"e089b122-3c61-3b88-a645-624a4a54e267"},"summary_title":"1930s"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-108153","uid":"adlib-term-108153","uuid":"6648a3ef-d234-3a26-b612-58174ef775e9"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Manchester"}]}]},"materials":[{"note":[{"value":"black, 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The vase is tall and slim and stands on a circular projecting foot. The sides curve outwards very slightly and then inwards to the rounded shoulder from which rises a short, narrow neck with an everted rim. The underside is flat and glazed, with a slightly raised, unglazed, foot-rim. 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The unusual shape of this vase, however, suggests it is an individual piece."},{"value":"William Howson Taylor (1876-1935) came from a Staffordshire potting family and set up his pottery c.1898 with his father, Edward, a well known art educator and Principal of the Birmingham Municipal School of Art. Active supporters of the Arts & Crafts movement, the Taylors were friends of William Morris and Edward Burne-Jones and admirers of Ruskin. Wares were known as \u2018Ruskin Pottery\u2019 from c.1903 until 1933 (with the Ruskin family\u2019s agreement only from 1906), and first shown at the 1903 Arts & Crafts Exhibition.  Later they were exhibited widely, from Louisiana to Milan to Christ Church, New Zealand, and received many prizes including the Grand Prix at the International Exhibition in Brussels, in 1910.   .   A staff of around 20 included William Forrester, trained at Ruskin as a thrower, and from 1898-1912, Emily Boswell (decorator). Taylor favoured local clays and became known for his experimental lustre, flamb\u00e9 and souffl\u00e9 glazes, all of which were leadless.    His fascination with the effects of glazes on simple oriental-shaped pots is apparent in this example. 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It includes shapes inspired by Egyptian and Persian pottery, echoing 1920s interest in archaeological discoveries. The shapes, made from a special white body, were hand-painted in green, brown and distinctive electric blue matt glazes; sometimes lustre was also used.  Chameleon Ware was awarded a gold medal at the Philadelphia Exhibition in 1926. The three digit number probably refers to the colours used. 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The edge of the rim and the underside clear glazed."}],"identifier":[{"accession_number":"C.64-2023","primary":true,"type":"accession number","value":"C.64-2023"},{"priref":"227173","type":"priref","value":"227173"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/227173","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/227173"}],"inscription":[{"description":[{"value":"in recrangular border"}],"location":"underside of base","method":"transfer printed in green","transcription":[{"value":"BURSLEY\/ WARE \/ \t[crown] \/ ENGLAND"}],"type":"factory mark"},{"description":[{"value":"very faint"}],"location":"underside of base","method":"impressed","transcription":[{"value":"WS \/ 76  [ remainder indecipherable]"}],"type":"mark"},{"location":"underside of base","method":"written in black pen","transcription":[{"value":"P.28"}],"type":"mark"},{"location":"underside of base","method":"two small blue paper dots","transcription":[{"value":"\u00a369 \/ BW"}],"type":"labels"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Bequeathed by Ian and Rita Smythe, 2023"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-207352","uid":"adlib-agent-207352","uuid":"4292f87c-db99-3802-814a-e72ca4c303af"},"summary_title":"Smythe, Ian and Rita"}],"date":[{"earliest":2023,"latest":2023,"value":"2023"}],"method":{"value":"bequeathed"},"note":[{"value":"old (long loan) number: AAL.89-2018"}]}],"creation":[{"date":[{"earliest":1920,"from":{"earliest":1920,"era":["CE"],"latest":1920,"value":"1920"},"latest":1940,"range":true,"to":{"earliest":1940,"era":["CE"],"latest":1940,"precision":"circa","value":"1940"}}],"maker":[{"@link":{"role":[{"value":"factory"}],"type":"reference"},"admin":{"id":"agent-156388","uid":"adlib-agent-156388","uuid":"07c4a599-98d8-32d1-b89e-9e02d2658c1d"},"summary_title":"Wood, H. 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She returned to H J Wood in 1942, remaining there until she died."},{"value":"Charlotte Rhead\u2019s designs for H J Wood were marketed under the \u2018Bursley Ware\u2019 label. \u2018Poppy Seed\u2019 is recorded as pattern no. 28."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109795","uid":"adlib-term-109795","uuid":"8a394dfa-6091-3a16-97c3-fb85612c23b6"},"summary_title":"20th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-108171","uid":"adlib-term-108171","uuid":"c943fe08-bd72-32ab-823c-e1eeb56717b3"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Staffordshire"}],"summary_title":"Staffordshire","type":"region"}]],"summary_title":"Burslem"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"2"},{"dimension":"Width","units":"cm","value":"21.8"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}}],"note":[{"type":"history note","value":"Lent by Rita Smythe, 2018"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf.. 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The whole pot is coated in a pale sea-green glaze, thinly applied to display pronounced throwing rings. The outside is covered with a tube-lined design of over-lapping, tube-lined lotus leaves. Alternate leaves are in-filled with a thin coating of lustrous olive glaze, which has also been applied to the outside of the neck and foot-rims. At the top, the space between the leaf tips and rim is painted sky blue.  The underside is recessed and glazed."}],"identifier":[{"accession_number":"C.13-1998","primary":true,"type":"accession number","value":"C.13-1998"},{"priref":"28616","type":"priref","value":"28616"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28616","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28616"}],"inscription":[{"location":"underside of base","method":"impressed","transcription":[{"value":"148"}],"type":"mark"},{"description":[{"value":"letters in script, with a crown over"}],"location":"underside of base","method":"printed in blue","transcription":[{"value":"Crown Ducal\/England"}],"type":"mark"},{"description":[{"value":"CRheAd (sic)"}],"location":"underside of base","method":"inscribed in black script","transcription":[{"value":"148.  \/ CRheAd"}],"type":"signature"},{"description":[{"value":"a reverse 'C' enclosing a dot, below the facsimile signature"}],"location":"underside of base","method":"inscribed in black","transcription":[{"value":".)"}],"type":"mark"},{"description":[{"value":"very small, could be '87'"}],"location":"underside of base, over glaze","method":"inscribed in black","transcription":[{"value":"47"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-188843","uid":"adlib-agent-188843","uuid":"7f132481-060b-3b75-af6e-6c0074a99abd"},"summary_title":"Cheffins, Grain & Comins"}],"date":[{"earliest":1998,"latest":1998,"value":"1998"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1998-06-08"}]}],"creation":[{"date":[{"earliest":1932,"from":{"earliest":1932,"era":["CE"],"latest":1932,"precision":"circa","value":"1932"},"latest":1938,"note":[{"value":"(dated by factory mark)"}],"range":true,"to":{"earliest":1938,"era":["CE"],"latest":1938,"value":"1938"}}],"maker":[{"@link":{"type":"reference"},"admin":{"id":"agent-156383","uid":"adlib-agent-156383","uuid":"ed7726a5-1705-3adf-804e-e275f07a1205"},"summary_title":"A. G. Richardson and Co"},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-156384","uid":"adlib-agent-156384","uuid":"325bee4d-188f-375f-afea-2f67246decf8"},"summary_title":"Rhead, Charlotte"},{"@link":{"role":[{"value":"decorator \/ tube-liner"}],"type":"reference"},"admin":{"id":"agent-190479","uid":"adlib-agent-190479","uuid":"2f32834a-377e-3bf5-bc16-a71cd8dff6ec"},"summary_title":"Dickinson, Rose"}],"note":[{"value":"A.G.Richardson was based at the Gordon Pottery, Tunstall, from 1915. Tube-lining and  decorating continued there when a second workshop, for \u2018freehand work\u2019 was opened at Britannia Pottery, Cobridge, in 1934. \u2018Crown Ducal\u2019 was the trade name for Richardson\u2019s fancy or novelty ware; otherwise, the main products were breakfast, coffee, dinner and dessert sets. Richardson revived Charlotte Rhead\u2019s designs during the 1950s, though these later editions are rarely marked."},{"value":"Charlotte Rhead (1885-1947), also known as \u2018Lottie\u2019, came from a family of potters who over several generations built a reputation for tube-lined and p\u00e2te-sur-p\u00e2te decoration. Charlotte trained at Fenton School of Art and from 1901 worked at a succession of potteries as a decorator. From 1912-1926 she worked for her father, Frederick, who was art director at Wood & Sons, and at their subsidiaries Bursley Ltd and the Ellgreave Pottery Co; some of this work appeared under her own back-stamp as \u2018Lottie Rhead ware\u2019. By 1926, she had joined Burgess & Leigh, and from 1932-c.1942 designed art-ware and other products for A.G.Richardson & Co. In 1942 she returned to a Wood & Sons subsidiary, H.J.Wood, remaining there until her death. Although best known for her popular tube-lined designs, Charlotte Read also introduced new shapes and innovative glazes, including \u2018broken\u2019 (mottled) glazes and a thick matt white \u2018snow glaze\u2019 which attracted interest in the trade press."},{"value":"This design, pattern number 2691, \u2018Turin\u2019, is used on tea and coffee ware and plates, as well as bowls and vases, and was common from 1932. It is found with slight colour variations. It was produced on tracing paper and \u2018pounced\u2019 onto the leather-hard pot to guide the tube-liner. Rose Dickinson (Mrs Cumberbatch), whose mark appears under Charlotte Rhead\u2019s facsimile signature on the underside, was responsible for the tube-lining on this vase."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-107318","uid":"adlib-term-107318","uuid":"d27559f3-e90c-35cd-b7e4-46eaeb9ac521"},"summary_title":"20th Century"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113547","uid":"adlib-term-113547","uuid":"842362d2-b32b-3590-8ed9-69487370fba7"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Cobridge"},{"@link":{"type":"reference"},"admin":{"id":"term-110045","uid":"adlib-term-110045","uuid":"8c30fae3-59fc-33dd-9f97-ccc44e63ae46"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Tunstall"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32652","uid":"adlib-term-32652","uuid":"82d8ae3b-f165-395c-ba93-dfa1c282b7be"},"summary_title":"glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"14.2"},{"dimension":"Width","units":"cm","value":"19.5"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-15202","uid":"adlib-media-15202","uuid":"59e3c6e9-9cf3-3478-9c0f-e38e7cd17b65"},"processed":{"large":{"format":"jpeg","location":"aa\/aa6\/C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1616255672441,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa6\/mid_C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":362},{"dimension":"width","units":"pixels","value":500}]},"modified":1616255672441,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa6\/C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":550},{"dimension":"width","units":"pixels","value":760}]},"modified":1616255672441,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa6\/preview_C_13_1998.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":181},{"dimension":"width","units":"pixels","value":250}]},"modified":1616255672441,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89480","uid":"adlib-term-89480","uuid":"f1ea518e-351c-3f42-b2a7-db0f8559fa2c"},"summary_title":"vase"}}],"note":[{"type":"history note","value":"Cheffins, Grain & Comins, Cambridge, 13th May 1998, Pottery, Porcelain & Glass, lot 37"}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28611","uid":"adlib-object-28611","uuid":"455804a2-5849-3a61-b274-c3b159451513"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-89400","uid":"adlib-term-89400","uuid":"194f8c99-93e1-30de-9465-9209222dafaa"},"summary_title":"jug"}},"summary_title":"jug"},{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28620","uid":"adlib-object-28620","uuid":"81773a05-0c3f-3d7f-abd8-7a74e4c7a044"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-89400","uid":"adlib-term-89400","uuid":"194f8c99-93e1-30de-9465-9209222dafaa"},"summary_title":"jug"}},"summary_title":"jug"},{"@link":{"cascade":true,"role":[{"value":"same designer"}],"type":"reference"},"admin":{"id":"object-28624","uid":"adlib-object-28624","uuid":"ca1ced12-17a9-3d0c-abda-ea9d2bc1541a"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107667","uid":"adlib-term-107667","uuid":"1b81c806-cfb7-3291-9803-525db5f75e09"},"summary_title":"bowl"}},"summary_title":"bowl"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf. Plates 50, 117, vases, plate and flower jug in similar design, with slight variations of greens and blues, identified as \u2018Turin\u2019 pattern; also listing from Richardson pattern book (no 2691) and example of mark.","page":"50, 78,98","type":"reference"},"admin":{"id":"publication-400001945","uid":"adlib-publication-400001945","uuid":"d5434396-512d-3d72-8203-cddd10b3a77f"},"summary_title":"Collecting Rhead Pottery : Charlotte, Frederick, Frederick Hurten"},{"@link":{"notes":"Cf. Same design but another colourway, listed as \u2018Palermo\u2019 (with the same pattern no, 2691): \u2018probably inspired by a K\u2019ang Xi design, used on tea and coffee ware as well as decorative items, common from 1932 onwards'; also description of her tube-lining process. See p.67 for decorators\u2019 marks.","page":"pp. 50, 67, 69, 71, 91, 102","type":"reference"},"admin":{"id":"publication-2305","uid":"adlib-publication-2305","uuid":"8f3476a8-bdb3-3851-b9fd-148a1df67d36"},"summary_title":"Charlotte Rhead: Potter and Designer"},{"@link":{"notes":"Cf. 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Glazed and coated all over in a mottled pale-brown. The interior is decorated with 'Florentine' pattern, a curvelinear, geometric, tube-lined design, some parts of which are lustred in solid areas of muted red-brown or shades of green, allowing the mottled ground to show through. The design comprises: a central green disk surrounded by a red-brown 'ladder frame'; a zone of curved three-sided motifs, alternately pale-brown, red-brown and green; two red-brown concentric bands, with a green band between; and a row of green leaves pointing downwards from the rim. The exterior has a light coating of green over the mottled pale-brown. The underside is recessed and glazed."}],"identifier":[{"accession_number":"C.15-1998","primary":true,"type":"accession number","value":"C.15-1998"},{"priref":"28624","type":"priref","value":"28624"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28624","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/28624"}],"inscription":[{"description":[{"value":"'BURLEIGH WARE ESTD 1851' above a beehive flanked by floral sprays, with other words below. 'B & L LTD' in banner."}],"location":"underside of base","method":"transfer-printed in dark blue","transcription":[{"value":"BURLEIGH\/WARE\/ESTD 1851 \/ B & L LTD \/ MADE IN \/ ENGLAND"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-188843","uid":"adlib-agent-188843","uuid":"7f132481-060b-3b75-af6e-6c0074a99abd"},"summary_title":"Cheffins, Grain & Comins"}],"date":[{"earliest":1998,"latest":1998,"value":"1998-06-08"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1998-06-08"}]}],"creation":[{"date":[{"earliest":1932,"era":["CE"],"latest":1932,"note":[{"value":"factory mark in use 1930s (Cameron)"}],"precision":"circa","value":"1932"}],"maker":[{"@link":{"role":[{"value":"potter"}],"type":"reference"},"admin":{"id":"agent-156389","uid":"adlib-agent-156389","uuid":"74919567-d81b-3154-956f-19e97a183659"},"summary_title":"Burgess & Leigh Ltd."},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-156384","uid":"adlib-agent-156384","uuid":"325bee4d-188f-375f-afea-2f67246decf8"},"summary_title":"Rhead, Charlotte"}],"note":[{"value":"Charlotte Rhead (1885-1947), also known as \u2018Lottie\u2019, came from a family of potters who over several generations built a reputation for tube-lined and p\u00e2te-sur-p\u00e2te decoration. Charlotte trained at Fenton School of Art and from 1901 worked at a succession of potteries as a decorator. From 1912-1926 she worked for her father, Frederick, who was art director at Wood & Sons, and at their subsidiaries Bursley Ltd and the Ellgreave Pottery Co; some of this work appeared under her own back-stamp as \u2018Lottie Rhead ware\u2019. By 1926, she had joined Burgess & Leigh, and from 1932-c.1942 designed art-ware and other products for A.G.Richardson & Co. In 1942 she returned to a Wood & Sons subsidiary, H.J.Wood, remaining there until her death. Although best known for her popular tube-lined designs, Charlotte Read also introduced new shapes and innovative glazes, including \u2018broken\u2019 (mottled) glazes and a thick matt white \u2018snow glaze\u2019 which attracted interest in the trade press."},{"value":"Established as Hulme and Booth in 1851, Burgess & Leigh produced blue and white domestic and ornamental wares for the home and export market. A design Studio was introduced on moving to the Middleton Pottery, in 1889, and in the 1920s\/30s the company became known for hand-painted art deco ware. In 1926,  Burgess & Leigh announced in Pottery Gazette the recruitment of \u2018the accomplished lady artist Charlotte Rhead who has produced for us a number of original decorations, all pure Handcraft , combining grace and dignity\u2019.  \u2018Florentine\u2019 was one of her last designs for the business, which by then employed 500 people."},{"value":"\u2018Florentine\u2019, pattern number 4752, was advertised as a new pattern, \u2018Burleigh Florentine ware\u2019 available in an extensive range of vases and bowls\u2019, in 1932. The design would have been produced on tracing paper and \u2018pounced\u2019 onto the pot to guide the tube-liner."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120066","uid":"adlib-term-120066","uuid":"7d68b404-6003-3715-bdce-af5ba4e8f5a3"},"summary_title":"20th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-107749","uid":"adlib-term-107749","uuid":"e089b122-3c61-3b88-a645-624a4a54e267"},"summary_title":"1930s"},{"@link":{"type":"reference"},"admin":{"id":"term-107684","uid":"adlib-term-107684","uuid":"d54f530a-3bb0-3a32-a207-4cf77fb9ccf8"},"summary_title":"George 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For Charlotte Rhead and Burgess & Leigh, see chapter 4.","page":"39-59, 85-8","type":"reference"},"admin":{"id":"publication-2305","uid":"adlib-publication-2305","uuid":"8f3476a8-bdb3-3851-b9fd-148a1df67d36"},"summary_title":"Charlotte Rhead: Potter and Designer"},{"@link":{"notes":"Cf. Plate 47, this pattern on a plate and vases, with variations of brown and green colourways; the plate has an additional design in the centre circle. Notes this as \u2018the commonest of CR designs for Burgess & Leigh.\u2019","page":"59,87","type":"reference"},"admin":{"id":"publication-400001945","uid":"adlib-publication-400001945","uuid":"d5434396-512d-3d72-8203-cddd10b3a77f"},"summary_title":"Collecting Rhead Pottery : Charlotte, Frederick, Frederick Hurten"},{"@link":{"notes":"Cf. Various Charlotte Rhead Burleigh Art Ware designs; Crown ducal pots, and a pattern book entry   See also pp. 104-8 for Burgess & Leigh, 192-194 for Rhead\u2019s work with Richardson\u2019s.","page":"106-8, 192-4","type":"reference"},"admin":{"id":"publication-7618","uid":"adlib-publication-7618","uuid":"8cf49e58-5dc1-360a-a994-1d23bd3efdc2"},"summary_title":"Art Deco Ceramics in Britain,"},{"@link":{"notes":"Ref. for Charlotte Rhead, and Frederick Hurton Rhead (her brother).","page":"169","type":"reference"},"admin":{"id":"publication-7619","uid":"adlib-publication-7619","uuid":"2ca16b03-530c-37af-a5fe-37e5afcf2b4f"},"summary_title":"Art Deco and Modernist Ceramics"},{"@link":{"notes":"Cf. Fig. 54, a vase in \u2018Florentine\u2019 design. Ref. re Charlotte Rhead and other female potters\/designers.","page":"pp. 108-12","type":"reference"},"admin":{"id":"publication-2306","uid":"adlib-publication-2306","uuid":"bd2c43e7-3e06-352f-9d45-078ae24994b7"},"summary_title":"Potters and Paintresses: Women Designers in the Pottery Industry 1870-1955"},{"@link":{"notes":"Ref. For Charlotte Rhead","page":"59-61","type":"reference"},"admin":{"id":"publication-200000759","uid":"adlib-publication-200000759","uuid":"1c7c6683-4fad-3bae-bca3-3385e2b43b78"},"summary_title":"Tube-line Variations"},{"@link":{"notes":"Ref. Charlotte Rhead and other members of the Rhead family of potters.","page":"241-2","type":"reference"},"admin":{"id":"publication-3367","uid":"adlib-publication-3367","uuid":"d690c068-f9ae-39f7-b781-c471ea3065c7"},"summary_title":"Encyclopaedia of British Art Pottery 1870-1920"},{"@link":{"notes":"Ref. 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The jug is covered with applied reliefs: three large, narrative medallions to the sides, surrounded by wreaths of hops and saffron and with coins, castles and an \u2018S\u2019 emblem in between. The central medallion is inscribed \u2018ESSEX\u2019, the one on its left \u2018LIVE AND LOVE\u2019. Seven heraldic shields and two coins are mounted on projections around the shoulders; five castles and churches are applied around the neck. The handle is decorated with oysters and shields, and the neck rim with wheat. \u2018THE ESSEX JUG\u2019 is incised around the collar of the base. Each side of the handle is deeply incised. The underside is recessed and glazed."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2272","uid":"adlib-exhibition-2272","uuid":"9eab8be7-107a-3fc6-bc61-56ce5a3dcbe8"},"summary_title":"Variations of Ceramic Themes, Big is Beautiful?"}],"identifier":[{"accession_number":"C.99-1928","primary":true,"type":"accession number","value":"C.99-1928"},{"priref":"76503","type":"priref","value":"76503"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76503","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/76503"}],"inscription":[{"location":"underside of base","method":"Rectangular paper label, inscribed in black ink","transcription":[{"value":"No. 783 \/ The Essex Jug \/ Made for me by Bingham at Castle Hedingham about 1896"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Dr. J.W.L. 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The central medallion shows \u2018Essex\u2019 displaying herself to \u2018curiosity\u2019 and \u2018agriculture\u2019. The side medallion to the right of this shows Boadicea\u2019s victory over the Roman Legion, and the medallion on the left a procession linked to the Dunmow Flitch trials. This ancient tradition, mentioned in Chaucer\u2019s \u2018Wife of Bath\u2019s Tale\u2019, awards a flitch of bacon to married couples who can prove they have 'not wisht themselves unmarried again' for more than twelve months. Great Dunmow, home of the trials, is 17 miles from Castle Hedingham. The smaller reliefs represent well known Essex buildings, the arms of various towns and Essex families, and Roman coins."},{"value":"Edward Bingham (1829- 1914) was the son of a Lambeth potter who mainly produced  functional wares. The business moved first to Gestingthorpe, Essex, and then in 1837 to Castle Hedingham. From c.1864 Edward Bingham produced ornamental ware, drawing on mediaeval and Tudor styles and notable for its size and exuberant relief decoration, which often includes modeled animals, birds or faces.  He used the local terracotta and, later, clay from Devon.  Until the mid 1870s, most Hedingham ware was unglazed, and Bingham supplemented income through various other work, variously as a shoe-maker, teacher, sub-postmaster and ironmonger. The pottery was most successful between c.1875-85, with up to 13 kilns operating, but afterwards trade flagged and in 1901 the business was sold, though it continued to operate as \u2018The Essex Art Pottery\u2019 until 1905. Bingham continued to make pots there, and then for a few months in a temporary workshop, before emigrating to join his family in North America in 1906."},{"value":"This jug was made for Dr Glaisher, who also bought several other pieces including another jug like it from the potter himself, c.1896. He later bought a modeled crocodile figure (Fitzwilliam collection, C.98-1928) and some twenty other pieces on two visits to the closed pottery, and one to a London showroom, in July 1907. 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The colours are rich, but sparingly applied so that the cream earthenware body shows through. On the inside is a similar garland, but with fewer grapes, on a thin coating of the mottled blue-green which covers the whole surface. The vase sits on a short, flared foot. 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The centre is mainly deep blue and brown, the upper surfaces mainly blues with brown specks, and the underside more thinly glazed with the brown dominant."}],"identifier":[{"accession_number":"C.42-2006","primary":true,"type":"accession number","value":"C.42-2006"},{"priref":"134027","type":"priref","value":"134027"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/134027","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/134027"}],"inscription":[{"description":[{"value":"ENGLAND is smaller and above RUSKIN"}],"location":"underside of base close to the footring","method":"impressed separately","transcription":[{"value":"RUSKIN   ENGLAND"}],"type":"factory mark"},{"location":"on base, below and to the left of ENGLAND","method":"impressed","transcription":[{"value":"1927"}],"type":"date mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Bequeathed by S.V. 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By the 1950s it was run by Colley Shorter with Clarice Cliff, by then his wife, as Artistic Director. In 1964, after Colley Shorter\u2019s death, the Shorter & Son business merged with Crown Devon, and moved to Whieldon Road. The other two businesses were acquired by Midwinter."},{"value":"This design, no.682, was produced in small and large sizes. It was one of a series of vases (nos. 681-90), all of futuristic shape, inspired by the 1951 Festival of Britain Exhibition on London\u2019s South Bank. Introduced in the early 1950s with matt white glaze, the series later appeared in a variety of coloured matt glazes and in a high gloss black version with yellow and white highlights. The mark indicates that this piece was intended for the Australian market, where registration would be important to counter Japanese copies. 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Slightly domed oval cover with an inward curve at the head end, an upright fin slightly moulded to fit the thumb as handle, and an underside rim which fits into the dish. The lower exterior of the dish has five wavy lines, representing waves. The top of the rim and cover are moulded with scales, and the right end of the rim with the fish's mouth, eye and gill. The whole piece is covered in a matt, apricot glaze, with pale green glaze lightly applied over on fins and tail. The pupil of the eye is painted black. There are three spur marks on the base, and three on the underside of the cover. The underside of the dish is recessed and glazed."}],"identifier":[{"accession_number":"C.28 & A-1996","primary":true,"type":"accession number","value":"C.28 & A-1996"},{"priref":"74082","type":"priref","value":"74082"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74082","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/74082"}],"inscription":[{"description":[{"value":"near the foot-rim, on either side"}],"location":"on base","method":"impressed","transcription":[{"value":"SHORTER \/ ENGLAND"}],"type":"mark"},{"location":"on base","method":"greyish-black backstamp","transcription":[{"value":"SHORTER & SON LTD.\/STOKE-ON-TRENT,\/ENGLAND."}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1996,"latest":1996,"value":"1996"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1996-11-25"}]}],"creation":[{"date":[{"earliest":1935,"era":["CE"],"latest":1935,"note":[{"value":"c. 1935"}],"precision":"circa","value":"1935"}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-161174","uid":"adlib-agent-161174","uuid":"bfb2ba0c-2ce7-3be3-9889-33cf511fcd14"},"summary_title":"Shorter & Son Ltd."},{"@link":{"qualifier":"probably","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-28046","uid":"adlib-agent-28046","uuid":"e3cea5cf-bf62-3d62-abaf-05e08891f3d7"},"summary_title":"Cliff, Clarice"}],"note":[{"value":"Another \u2018fish set\u2019 was produced by A J Wilkinson in the 1920s\/30s. Marked as designed by Clarice Cliff, items in this series have a cream ground and are decorated with a relief, polychrome fish."},{"value":"Clarice Cliff (1899-1972) joined the pottery industry at 13, as a paintress. She joined A J Wilkinson in 1916 as a lithographer, rising to become a modeller and shape designer. After local evening classes, she studied at the Royal College of Art. In 1929, A J Wilkinson introduced her colourful Art Deco \u2018Bizarre\u2019 series, which established her as a well-known designer. In 1940 she married Arthur Colley Shorter, the managing director, and through him became a major shareholder in the family group, founded in the 1870s, which comprised Wilkinson, Newport Pottery and Shorter & Son. Her younger sister Dolly Cliff also worked at Wilkinson\u2019s, supervising a team of specialist decorators, and some of her designs were later issued under Clarice\u2019s name."},{"value":"\u2018Fish ware\u2019, one of Shorter & Son\u2019s most popular designs, was first introduced in the late 1920s or early 1930s. A version similar to the Fitzwilliam items, and attributed to Clarice Cliff, is illustrated in \u2018The Quiver\u2019, December 1936, described as \u2018in a delicious matt cream glaze in pottery [with] only softly subdued turquoise fins as colour accent'. 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