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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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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. 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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. 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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":"Charlotte Rhead\u2019s designs for H J Wood were marketed under the factory\u2019s old \u2018Bursley Ware\u2019 label, with a special backstamp including her name, though the business had by then re-located from the Bursley works. This design is known to have been produced into the 1950s - a similar jug was advertised in Wood's catalogue, c.1954. 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