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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Gilbert"}],"note":[{"value":"Doulton and Co, founded c.1815, originally made utility ceramics, with some stoneware jugs and ornamental bottles.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 exterior is covered in small beads, applied in regular, horizontal bands, the beads becoming smaller at the neck and base. The base and mouth are painted brown, and the whole covered in blue salt-glaze, giving a deep blue ground and deep blue points to the larger beads. The inside of the neck is blue. The underside is flat and unglazed, with a turned foot rim."}],"exhibitions":[{"@link":{"catalogue":"no. 911","type":"reference"},"admin":{"id":"exhibition-1072","uid":"adlib-exhibition-1072","uuid":"5f0c5c3b-ca10-352c-8c84-8027304959ff"},"summary_title":"Victorian and Edwardian Decorative Art - The Handley-Read Collection"}],"identifier":[{"accession_number":"C.45-1972","primary":true,"type":"accession number","value":"C.45-1972"},{"priref":"75154","type":"priref","value":"75154"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75154","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/75154"}],"inscription":[{"description":[{"value":"Doulton rosette used c.1880-1891"}],"location":"underside of base","method":"impressed","transcription":[{"value":"DOULTON\/LAMBETH"}],"type":"mark"},{"location":"underside of base","method":"impressed","transcription":[{"value":"1880"}],"type":"date"},{"description":[{"value":"lower case e"}],"location":"underside of base","method":"impressed","transcription":[{"value":"e"}],"type":"mark"},{"description":[{"value":"slanted line with three shorter lines, equidistant to each other, crossing it"}],"location":"underside of base","method":"incised","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":"Bought with the Perceval Fund and grant-in-aid from the Victoria and Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160896","uid":"adlib-agent-160896","uuid":"aa4bcbab-38fb-3dab-91d8-364175df2ec3"},"summary_title":"Handley-Read Estate"}],"date":[{"earliest":1972,"latest":1972,"value":"1972-10-19"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1972-10-19"}]}],"creation":[{"date":[{"earliest":1880,"era":["CE"],"latest":1880,"value":"1880"}],"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":{"qualifier":"perhaps","role":[{"value":"decorator"}],"type":"reference"},"admin":{"id":"agent-160918","uid":"adlib-agent-160918","uuid":"76f36dc3-9788-3142-b0fe-3e1e0c2b2946"},"summary_title":"Evans, Bertha"},{"@link":{"qualifier":"perhaps","role":[{"value":"decorator's assistant"}],"type":"reference"},"admin":{"id":"agent-160931","uid":"adlib-agent-160931","uuid":"6c02c032-3c66-3bd8-81f1-e2e9c44e4d4b"},"summary_title":"Dennis, Florence"}],"note":[{"value":"Bertha Evans and Florence Dennis are listed, respectively, as senior and junior assistants at Doultons in the early 1880s, Bertha continuing until 1887 and Florence, who also worked on fa\u00efence, until 1891. Many of Doulton's artists were women, and in 1881\/2 they presented an illuminated manuscript to Henry Doulton 'to take this opportunity of expressing our obligations to you for the origination of an occupation at once interesting and elevating to so large a number of our sex'. (see Dennis, part I)."},{"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 vase design was made by several Doulton decorators, with different glaze colours including brown and olive-green. A similar vase was exhibited in Philadelphia in 1876 and another at the Paris International Exhibition in 1878, and. 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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. 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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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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":"The impressed factory number indicates that this is an example of Doulton\u2019s \u2018series ware\u2019, executed by assistants to a senior artist\u2019s design in an edition of a few dozen to c.1,000. 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The rim and edges of the handle have narrow gilt lines and there is a longitudinal stroke down the back of the handle. The circular saucer and plate each have shallow sloping sides and a flat centre, resting on a slight footring. 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Decorative stoneware and architectural terracotta were introduced at Lambeth in the mid 1860s and the Burslem factory was opened in the 1880s, specialising in earthenware and bone china, including dinner services and other household items. In 1901, Edward VII granted the Royal warrant to the factory. Royal Doulton ware was widely available in both Australia and New Zealand, and was exhibited at the New Zealand International Exhibition in Christchurch, 1906-07."},{"value":"This trio (cup, saucer and plate) is an example of early twentieth-century Royal Doulton Series Ware, produced to depict different characters or scenes and decorated with a printed outline filled with hand-painted colours. Maori Art Ware in bone china was introduced when New Zealand attained Dominion status in 1907, and an earthenware version, with the option of a white or yellow or orange ground was introduced for the New Zealand and South Seas International Exhibition at Dunedin in 1925-26.  The most striking feature of Maori Art Wares was the border decoration in black and red which was derived from k\u014dwhaiwhai, the decorated rafters of Maori meeting houses, traditionally painted in white and red clays and black charcoal in a shark liver oil medium. Plates sometimes also feature New Zealand imagery, such as a sheep farmer and flock or a Maori woman and child, and the same border design is found on plates and jugs with a picture of a British soldier, 1915-c.1920. The bone china tea ware pattern of borders only illustrated by this cup, saucer, and plate was discontinued in 1940. From about 1905 to 1923 Doulton's Lambeth pottery also produced   'Maori ware', or 'Kia Ora ware' in salt-glazed stoneware and majolica-glazed stoneware decorated with relief masks and other Maori motifs."},{"value":"Two suggestions have been made for the origin of the border design. It could have been based on illustrations of k\u014dwhaiwhai patterns in A. 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