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Its front paws are neatly placed between its hind paws, and its tail hangs down behind. It wears a collar with a chain which winds down the hound's right side and between its front paws, then loops up to a ring on the front of the pedestal. The dog\u2019s eyes, nose, collar and chain are pale brownish-ochre; its body is white. The pedestal, roughly a cube, is mid-green, and sits on a wider mid-blue base. The underside is unglazed, with a large central aperture opening into the hollow centre of the figure."}],"identifier":[{"accession_number":"C.18-1995","primary":true,"type":"accession number","value":"C.18-1995"},{"priref":"72705","type":"priref","value":"72705"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/72705","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/72705"}],"inscription":[{"location":"on viewer's right of pedestal","method":"incised","transcription":[{"value":"GILBERT BAYES\/1935"}],"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":1995,"latest":1995,"value":"1995"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1995-10-09"}]}],"creation":[{"date":[{"earliest":1935,"era":["CE"],"latest":1935,"note":[{"value":"Dated on pedestal; see inscription."}],"value":"1935"}],"maker":[{"@link":{"role":[{"value":"pottery"}],"type":"reference"},"admin":{"id":"agent-188654","uid":"adlib-agent-188654","uuid":"1d8e687a-5fd0-3c17-a37e-ed6874b8b479"},"summary_title":"Doulton & Co."},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-8749","uid":"adlib-agent-8749","uuid":"308f90b8-b2f1-35a1-9de8-c785f03594ae"},"summary_title":"Bayes, Gilbert"}],"note":[{"value":"Doulton and Co, founded c.1815, originally made utility ceramics, with some stoneware jugs and ornamental bottles. Henry Doulton introduced decorative stoneware and architectural terracotta at Lambeth in the mid 1860s, encouraging designers, modellers and decorators to use a wide range of techniques and decorative treatments in producing both unique, artist-signed, and limited edition pieces. From 1872 the business expanded into faience and in the 1880s opened a factory at Burslem, Staffordshire, where bone china and other wares were made. In 1901, Edward VII granted the Royal warrant to the factory. Stoneware production at Lambeth reduced after 1914, and ceased in 1956."},{"value":"The sculptor Gilbert William Bayes RA (1872 \u2013 1953) was born in London, into a family of artists. He was associated with Doulton\u2019s Lambeth Pottery for over thirty years, making coloured, salt-glazed stoneware for architectural use, and became President of the Royal Society of Sculptors (1939-44).  His \u2018Pottery through the Ages\u2019 ceramic frieze, originally on the fa\u00e7ade of Doulton\u2019s Albert Embankment headquarters, is now in the Victoria and Albert Museum\u2019s \u2018The Gilbert Bayes Sculpture Gallery\u2019. This large animal figure, found in several different sizes and colours, is thought to have been made as a washing line finial for St Pancras Housing Association estates, for which Bayes also made sculptural panels."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-109008","uid":"adlib-term-109008","uuid":"841b18bd-944d-3c9c-8d39-bdaabbcc28e1"},"summary_title":"20th Century, 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The sides are decorated with the impression of four laurel leaf sprays, filled with shades of olive-green and brown, which appear to float in the sky. The background is thinly painted in blue, over a cream-grey ground covered with a raised leaf pattern. The neck is painted inside and out in mottled blue and olive-green; there is a raised brown band where it joins the body, matching a thin brown ring which forms the foot. The interior is unpainted and lightly glazed at the bottom. The underside is flat and unglazed, except for the rim."}],"identifier":[{"accession_number":"C.7-1980","primary":true,"type":"accession number","value":"C.7-1980"},{"priref":"75913","type":"priref","value":"75913"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75913","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75913"}],"inscription":[{"description":[{"value":"circle, crown and lion mark"}],"location":"underside of base","method":"impressed","transcription":[{"value":"ROYAL DOULTON ENGLAND"}],"type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"672"}],"type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"D"}],"type":"mark"},{"description":[{"value":"perhaps an ornate 3, G, E or M"}],"method":"incised script","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":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1980-03-10"}]}],"creation":[{"date":[{"earliest":1902,"from":{"earliest":1902,"era":["CE"],"latest":1902,"precision":"circa","value":"1902"},"latest":1922,"range":true,"to":{"earliest":1922,"era":["CE"],"latest":1922,"value":"1922"}}],"maker":[{"@link":{"role":[{"value":"pottery"}],"type":"reference"},"admin":{"id":"agent-188654","uid":"adlib-agent-188654","uuid":"1d8e687a-5fd0-3c17-a37e-ed6874b8b479"},"summary_title":"Doulton & Co."}],"note":[{"value":"Doulton and Co, founded c.1815, originally made utility ceramics, with some stoneware jugs and ornamental bottles. Henry Doulton introduced decorative stoneware and architectural terracotta at Lambeth in the mid 1860s; over the next 50 years, he employed some  400 artists, many of them Lambeth School of Art students. Doulton championed individuality, innovation and versatility, and his modellers and decorators used a wide range of techniques and decorative treatments in producing both unique, artist-signed, and limited edition pieces. From 1872 the business expanded into faience and in the 1880s opened a factory at Burslem, Staffordshire, where bone china and other wares were made. In 1901, Edward VII granted the Royal warrant to the factory. Stoneware production at Lambeth reduced after 1914, and ceased in 1956."},{"value":"This is an example of Doulton's 'Autumn Foliage Ware', originally known as 'repouss\u00e9 ware'. Real leaves were pressed into the soft clay and then removed to leave a faithful impression; autumn tints were used for the colouring, often with a mottled background. The technique, mainly used for planters, bulb-bowls and vases but also on other items, was popular and large numbers of Autumn Foliage pieces were produced between 1883 and c.1914, and a few later examples up to the 1950s. The impressed number on this example indicates that it is series ware. Doulton made a wide variety of series ware fern and flower pots from c.1875-1915, limited editions designed by a senior artist and executed by assistants in quantities of a few dozen up to c.1,000. 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The jug is an approximate baluster-shape, with flared neck and foot. The lower part has moulded horizontal ridges to imitate those on a thrown jug and, above, the outlines of fruits and foliage are incised or moulded into the surface. The upper body and the inside are partially covered with a thin, cream-coloured slip, lightly touched with soft green patches, and the incised decoration is outlined and filled under-glaze in blue, green, yellow and orange. The whole, including the underside, is covered in clear, crackled, glaze."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1730","uid":"adlib-exhibition-1730","uuid":"ead985e7-2d90-3e0f-8d4d-99592d80a364"},"summary_title":"The Art of Frank Brangwyn"}],"identifier":[{"accession_number":"C.12-1980","primary":true,"type":"accession number","value":"C.12-1980"},{"priref":"71602","type":"priref","value":"71602"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71602","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/71602"}],"inscription":[{"description":[{"value":"dark green script, with curved line underneath"}],"location":"underside of base","method":"transfer-printed","transcription":[{"value":"Designed by\/F. Brangwy. 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These tablewares were intended for people of moderate means, and were priced accordingly: a teaset for twelve cost \u00a33.15s.0d. They had simple forms which could be made by factory processes, gaining their individuality from lightly incised and hand-painted decoration. \u2018Harvest\u2019 was well received by the critics, but did not sell well \u2013 perhaps because the design was neither traditional nor sufficiently avant-garde. 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