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Della Robbia Art Pottery Price Guide

February 12, 2017 6:06 pm by Darryl Views: 1624

Della Robbia Art Pottery Prices

A Della Robbia Birkenhead pottery vase 1894 -1901 — A Della Robbia Birkenhead pottery vase, c1894 -1901
ovoid body decorated with foliage and stylised fish
the neck with two loop handles
incised galleon mark to base with initials ‘D.R.’ and ‘C.ELL’
possibly for Charles Collis, the number ‘253’ and painted ‘G.W.’,33cm high
Sold for £400, October 2016, Sworders Auctioneers

A Della Robbia Pottery Wall Plaque Decorated By
Cassandia Ann Walker, Circa 1900
With incised and hand painted flowers and foliage,
incised monograms and manufacturer’s marks 14 5/8 in. (37 cm.) diam.
Sold for £1,375 ($2,284) November 2009, Christies, London
Image Copyright Christies.

A Della Robbia Pottery Vase by Lizzie Wilkins incised and painted with foliage no 3388 — A Della Robbia Pottery Vase by Lizzie Wilkins
incised and painted with foliage no 3388
incised marks, green painted LW. 13cm
Sold for £200 at Thomas Watson Auctioneers, Dec 2016

Della Robbia, Decorated By Charles Collis Twin-handled Vase
earthenware with sgrafitto design of ivy glazed in colours
9¾ in. (24.8 cm.) high incised mark DR C and painted marks GW
Sold for £600 ($1,174) February 2007, Christies, London
Image Copyright Christies.

Della Robbia vase incised with tulips on a textured ground by Charles Collis — Della Robbia vase incised with tulips on a
textured ground by Charles Collise
Shape number 265, 33.5cm high
Sold for £1,200, September 2016, Peter Wilson Auctioneers

A Della Robbia twin handle baluster vase by George Seddon and Liz Wilkins — A Della Robbia twin handle baluster vase by
George Seddon and Liz Wilkins
Sold for £420 at Adam Partridge Auctioneers, Dec 2016

A Della Robbia Pottery Jug By Ruth Bare
with incised decoration of stylised foliage
dated 1903, incised RB 28. 10.5cm
Sold for £200 at Thomas Watson Auctioneers, Dec 2016

Della Robbia Art Pottery Birkenhead 1894 – 1906

Random Collecting Feature

Shelley Pottery and Shelley China

Shelley Pottery and Shelley China Shelley China was adopted as trademark in 1910 by Percy Shelley, however the potteries heritage goes back nearly 100 years before that when in 1827 John Smith built a group of potteries which came to be known as the ‘Foley Potteries’. Pictured Shelley Pottery Vogue Pattern The factory was let to a partnership which included John King Knight who became the sole owner in 1847 and six years later in 1953 brought in Henry Wileman as a partner. Just three years after this Henry Wileman was left in charge when John King Knight retired. On the death of Henry Wileman, his two sons (James and Charles Wileman) took control of the pottery and later in 1870 James Wileman took full control. In 1872 he recruited Joseph Ball Shelley to work with him in developing the Foley China Works side of the Wileman business, with a particular view to developing export markets – the industrial revolution meant that transport and international trade was much easier than it had been, and Wileman and Shelley were not slow to understand the opportunities thus presented. It is from this period that the pottery really started to grow and prosper and it was the first time that the company had a registered trademark ‘Wileman & Co’. Export markets were to prove of vital importance to the factory during this period and the company even made specific designs for sale in North America and Canada after Percy Shelley visited the Chicago Exhibition of 1893. Percy Shelley joined the company in 1881 and with James Wileman retiring in 1884, the Shelleys were left in charge. The late 19th Century was a creative time for Wileman & Co, and under the guiding hand of Percy Shelley, Frederick Rhead was recruited in 1896 as Art Director and proceeded to produce some of the most innovative and creative work that was ever to come out of the Foley Works. Frederick Rhead was most famously responsible for the Intarsio and Urbato ranges, but he also contributed much to many of the patterns used for Shelley’s table wares of the same period. In the same year Rowland Morris sold his designs to Percy Shelley – including the eternally popular Dainty White shape – Shelley’s longest running design, popular from its introduction in 1896 right up until the close of the works in 1966. Unfortunately the first decade of the 20th century was a tough time, economically, and the pressures of two recessions and the growth of cheap imports meant that Shelley needed to concentrate on commercially safe products. In 1905 Frederick Rhead left Shelley, and Walter Slater was recruited to replace him. Walter Slater came from a strong and fairly traditional potteries background and proved an ideal replacement to guide Shelley through more difficult times and to leave his own lasting legacy of creative work. Today, Walter Slater designs, especially signed pieces, command strong values and remain popular with collectors. In 1910, the Shelley China mark was officially adopted by Shelley, and steady progress continued through that decade, despite the disruption caused by the war. After the end of WWI, Shelley family involvement in the company expanded to include three of Percy Shelley’s sons, and throughout the 1920s and 30s Shelley achieved steady growth and success, both at home and in export markets. Much of this success was down to methodical hard work and c lever marketing – Shelley, more than some manufacturers of the day, advertised and marketed its product extensively both to trade and to the public, and this had the effect of encouraging retailers to stock Shelley, as they could be confident the public would recognise and buy it, attracted to the stylish but affordable image of Shelley. Notable new ranges in the 1920s & 30s were the nursery wares in the mid-1920s – with designs by Mabel Lucie Attwell and the stylish Harmony ware ranges created by Eric Slater, all of which were to prove very successful and indeed collectable. Even the intervention of the second world war did not cause as many problems for Shelley as for some manufacturers – due to their very strong export profile, they were allowed to continue producing decorative wares for export to bring in much needed foreign exchange. It was not until after the war ended that problems started to become apparent for Shelley. As the 1950s progressed, Shelley’s new designs became less inspired and started to seem dated compared to contemporaries of the time such as Poole and Midwinter. New designs also seemed fewer and farther between. Part of the explanation for this might have been Shelley’s continued focus on their export markets – some of their older designs were still selling well to the North American market despite appearing outdated in the UK. Almost inevitably, in 1966 the end came with the buyout of Shelley by Allied British Potteries, who re-equipped Shelley’s works to produce Royal Albert pottery, marking the end of an era at the Foley China Works. Shelley Harmony Ware information and price guide
Charles Rennie Mackintosh

Often referred to as a “Pioneer for the Modern Movement”, Charles Rennie Mackintosh was a talented architect, artist and interior designer.
Louis Wain and His Cats – Life & Pottery

In June 2008, The Canterbury Auction Galleries realised a record price for a Louis Wain ceramic cat figurine. Estimated at a modest £1,500-£2,00 the 20th Century Amphora pottery figure created in a ‘Cubist’ manner designed by Louis Wain went on to sell for a staggering £8,200 hammer price. One of the most prolific and highly successful artists of the 20th Century, Louis Wain is famous for his humorous pictures of cats. Today his paintings and illustrations are highly sought after with people prepared to pay into the thousands to own his original works. His images of cats can also be found on hundreds of postcards, within the pages of illustrated books and of course as extremely rare crazy cat pottery figures. Born in London on 5th August 1860 to a French father and English mother, Wain was the only boy of six children. His youngest sister was sadly committed to a mental asylum at the tender age of just 30 years old – a fate that Louis Wain would also be endured to much later into his life. Born with a cleft ear, on doctor’s orders Wain was not allowed to attend school or by taught until he was at least ten years old. Eventually when Wain did start his schooling he would often truant and instead spend his time wandering the streets of London. He realised his passion for art at quite an early age and so enrolled at the West London School of art in 1877. When Wain completed the course he went onto teach at the same school for two years but at the age of 20 his father died and so Wain was left with the huge responsibility of looking after his mother and sisters. Working as freelance artist, he began by drawing pictures of various country scenery and animals. He was then offered employment with the Illustrated London News where for four years he would draw large country houses, livestock and anything that was associated with agriculture. Wain soon found that he had a great skill for drawing animals, something that obviously came to the forefront when he began to illustrate the adorable cat pictures that we know him for today. One of his sisters had a governess by the name of Emily Richardson and at the age of 23 Wain married her. Sadly the marriage did not last more than three years as Emily contracted cancer and passed away. However, during the time of her illness Wain would teach her pet cat Peter to do silly tricks such as wear human glasses and pretend to be reading a book. This kept Emily amused during her illness and kept Wain busy as he would sketch the cat’s antics. This was the beginning of Wain’s huge talent for drawing anthropomorphic cats (human characteristics to non-human creatures) and in 1886 his first drawing was published in the Christmas issue of the Illustrated London News. This particular drawing showed 150 cats in total sending invitations, playing games and holding a ball and as a result projected him into the public eye, receiving huge recognition and success. Sadly, his wife, Emily died in 1887 so did not see Wain at his most popular however he continued with his illustrations which began to take on another level. Initially Wain’s early illustrations were not like those attributed to his work today as the cats were not depicted in clothes and were still drawn on all fours. Gradually though as Wain began to draw more cats they started to stand upright, have exaggerated facial expressions and worn human clothing. They also of course were always participating in human activities, such as playing cards, fishing or attending the opera. In the following years Wain would produce as many as several hundred drawings a year. His illustrations appeared everywhere from magazines and journals to children’s books and postcards. However, he constantly suffered financial difficulty throughout his life as he continued to support his family. Another failure was that he had little or no business sense and would sell his pictures without retaining the rights. It is believed that at this point he began to work with the idea of creating pottery three-dimensional cats, although most information is theory and very little is known how these ‘cubist’ cats came about. The Canterbury Auction Galleries informed me that they believe Wain took the idea for his pottery cats from the new Cubist movement which had been embraced by painters of the time such as Pablo Picasso. Initially he designed a set of nine small cats and an unknown amount of larger ones and initially used a factory by the name of Max Emmanuel to have them made. They were then shown at an exhibition in 1914, however the pottery cats were not received well in the UK but stores in America was interested and placed an order. Sadly, the ship carrying the cats to the States was hit by a torpedo from a German U-boat and Wain’s entire investment was lost, thus he did not receive any money as the goods had not been delivered. Later a Czechoslovakia pottery company ‘Amphora’ placed the cats back into production but it is also unknown whether Wain himself sold the designs to ‘Amphora’ or whether it was the original pottery Max Emmanuel. However Louis Wain’s name does appear on the later geometric angular cat designs, so he must have been involved somewhere along the line. Today these ceramic examples of Wain’s work are extremely hard to come by that when they do the prices soar. Although it is a record achievement for the one sold at Canterbury Auction Galleries recently, I am pretty sure that the cats will continue to increase in value as they are becoming few and far between. You can also tell from the pottery Wain cats that although replicating the ‘Cubist’ movement they are also a little bizarre and off the wall. Now this could be due to the fact that Wain himself […]
Black Jacks, Bombards And Antique Drinking Vessels

In England from quite early times leather vessels were used very generally. The black jack was a kind of leather pitcher or jug always lined with pitch on metal, of massive and sturdy build, corpulent and capacious. It quite dwarfed all rival pots, mugs, or pitchers of leather. Pictured right: A Charles II Silver-Mounted Leather Blackjack Jug Unmarked, Circa 1682. The silver rim with hatched lappets, the front with oval silver plaque pinned on below the spout which is inscribed The Gift of George Barteram to Abigail 1682 11 in. (28 cm.) high. Sold for £2,750 at Christies, London, March 2009. Image Copyright Christies. In the fifteenth century they were called ” jacks ” ; New College, Oxford, in 1414 pur-chased ” four leather jacks two holding a gallon each and two a pottle each, the four costing four shillings and eightpence.” The vessels were not known as black jacks till the sixteenth century, being occasionally described before then as ” Jacke of leather to drinke in.” The word jack was used for various articles—there were ” kitchen jacks” to turn the roasting spits, and leather coats were ” jacks of defence.” This defensive coat was known in England for several centuries as “the jack,” and when adopted by the French archers was called ” jaque d’Anglois ” ; the prefix ” black ” was no doubt added to the drinking jack to distinguish it from this leather jerkin, which would generally be made of buff leather and as a rule of lighter colour ; the vessels were not known as “black jacks” jacks till the sixteenth century, the full title was used in 1567 when Corpus Christi College, Cambridge, purchased a black jack for one shilling. Pictured left: A William And Mary Leather And Silver-Mounted Black Jack, Circa 1690 Of tapering form 7½ in. (18.5 cm.) high. Sold for £1,375 ($1,907) at Christies, London, January 2009. Image Copyright Christies. The black jack was a feature of the cellars, butteries, and dining halls of our ancient hospitals, colleges and grammar schools till modern times. The chief reason for its survival in such places is that the jack was essentially a vessel for the refec-tory or the baronial hail; it held a high place while the ancient mode of living prevailed, and every man of substance took his meals in his hall with his family and servants. When more luxurious fashions came in and the lord took his meals privately in parlour or dining room, the leathern pot re-mained in the servants’ hall with the excep-tion of those that were silver mounted. These latter were small as a rule and more richly treated; they were edged with silver and often lined with that metal or with pewter in the seventeenth and eighteenth centuries, and were highly prized. There exist to-day (mostly in private collections) quite a number of these silver mounted jacks; they were more numerous than the plain ones. They no doubt owe their preserva-tion to the fact of their greater value and the ornamental treat-ment and extra beauty of work-manship bestowed upon them. Jacks were not rimmed or lined with silver from a fastidious dislike to drinking from leather, for jugs and cups of various materials, earthenware, wood, coconut vessels and even china were habitually so mounted. Pictured right: Doulton Lambeth Black Jack Leather Silver Rim Beer Pitcher Motto Jug 1880s. Sold For Us $425.00 Approximately £271.05 on ebay, April 2012. The black jack did not require a lid and was seldom made with one, but occasionally lidded ones are mentioned in old inventories. At the Guildhall Museum there is an interesting jack which has a curious lid of leather, but it is obviously an addition that was made at a remote period in the jack’s history. The lid not only covers the top but reaches nearly an inch down the sides ; it was a hinge of iron which has a long strap over the lid itself in which is a thumb-piece to enable the person holding the ack to raise the lid with the same hand. Sometimes a wooden lid was used attached to the handle by a leather strap by means of which it could be fastened down to a buckle on the spout. It is probable that ]acks with lids were used when it was necessary to fetch drink from a distance, not every village having an alehouse. Besides the wooden cups, which were so numerous in past times, cups of horn, pots of pewter and other metals, would all compete with leathern mugs, and help to render them unnecessary. By the middle of the seventeenth century many of these were in general use and the necessity for leather pots of small size would not be great ; records of them are scarce. Pictured left: Doulton Lambeth Blackjack jug “The Landlords Caution”. Made from stoneware that’s impressed with leather when still wet and then fired. It gives a very convincing leather effect that’s complete with stitching detail and grain. 7 1/2″ tall and 7″ spout to handle. The jug has the words from the poem “The Landlords Caution” “THE MALTSTER HAS SENT HIS CLERK – AND YOU MUST PAY THE SCORE – FOR IF I TRUST MY BEER – WHAT SHALL I DO FOR MORE” written about it in an unordered way. I believe the idea is that as long as the landlord hasn’t drunk too much of his own product he should be able to work out the order (as a former Landlord I can relate!). This particular jug was stamped as made for Sidney W Allen of 39 White Rock, Hastings. It also has a Doulton Lambeth stamp as well as Doulton and Slaters patent stamp. Sold for £65 on ebay, April 2012. The warden of Win-chester College in 1897 remembered that when he was a boy at school the black jacks were in daily use, the beer being brought into Hall in them and transferred to pew-ter mugs. Thomas Tusser, the author of” Five Hundred […]
Black Beauties – Black Dolls

Black dolls are special, they enhance and enrich any collection of dolls. They provide a focal point, and the eye is always drawn to the black beauties amongst a group of insipid ‘white-skinned’ dolls Pictured right: Lee Middleton First Generation Doll Whether pale chocolate, dark ebony or coffee coloured, black dolls bring contrast to a collection; certainly, a group of black dolls is a stunning sight, and many collectors specialise in them. With older dolls, especially, black versions are often more expensive than their white siblings because manufacturers tended to produce black dolls in smaller quantities than their white counterparts. In the case of some of Britain’s classic dolls, such as Tiny Tears, the black varieties were only sold abroad, while although many modern play dolls come with a leaflet advertising a black version, they are not always easy to obtain. For example, when my daughter wanted a black version of a Hornby/Tyco ballerina doll in the early1990s, Toys ‘R’ Us had to order it specially for her, even though it was depicted on the box as part of the range. Even today, though millions of people in Britain are ‘ethnic’, the vast majority of dolls in an average toyshop are white. Pictured right: Composition Topsy Doll When I was a child, no collection of dolls was regarded as complete unless crowned by a black doll; mine was a 1950s Roddy thumbs-up walker with a soft, black, mohair wig, amber eyes and ‘gold’ earrings. Hard plastic, she stood 12 inches high, and as she walked her head moved from side to side. Recently, I managed to find a replacement, she cost me almost £40, although an equivalent Caucasian version would have been at least £10 less. I have also added a Roddy ‘Topsy’ baby doll, which features three tufts of hair, as well as a larger Roddy bent-legged baby – both of these, too, cost more than the white versions. Many black dolls earn the Topsy name, taken from the popular novel, ‘Uncle Tom’s Cabin’ by Harriet Beecher Stowe. This book, first issued in 1851, did much to popularise black dolls, mainly due to the cheeky little character named Topsy. Years later, baby dolls with three tufts of hair sprouting from their heads became known as Topsy dolls, and were made by various manufacturers, becoming especially popular during the 1930s and again in the 1950s. Pictured right: Daisy Kingdom Daisy Doll Although some black dolls have Negro features, more often they are just a basic white doll painted black or chocolate brown to save the cost of making a special mould and given a black wig and brown or amber eyes. Dolls such as the Zapf black Baby Born make no attempt to depict the correct characteristics, while at the other end of the scale, creations by doll artist Philip Heath, are amazingly-detailed depictions of African children. A German catalogue dating from 1860 reveals that a fifth of the jointed wooden dolls made at the time were black. During the nineteenth century, dolls were often made from black wax or painted papier-mache, but when bisque became popular, manufacturers had problems with the black ones. Eventually they developed a technique to fix the colour during a second firing; before that, the colour tended to chip or flake from the bisque revealing pale patches. By the beginning of the twentieth century, black dolls were produced by manufacturers such as Kammer and Reinhart, Kestner, Heubach Koppelsdorf, Armand Marseille, Simon and Halbig, and others. Many were beautiful, with even colouring as techniques improved. French black dolls, by makers such as Bru and Jumeau, were luxury creations often painted in several different shades of black and brown to create a very realistic skin tone. Production of black dolls increased during the 1920s and 30s, coinciding with the popularity of the baby doll; dolls such as Armand Marseille’s ‘My Dream Baby’ and Grace Putnam’s ‘Bye-Lo Baby’ were created as black versions, though they still had Caucasian features. Black versions of bisque dolls can cost much more than their white counterparts, especially those displaying even colouring. Pictured left: Pedigree HP Boy Doll When composition dolls began to take over from bisque in the 1930s, it was noticeable how the black colouration varied considerably, with some showing a rich hue while others were blotchy and inclined to flake. Amongst the composition dolls were several Topsy types, including a 9 inch cutie with side-glance eyes, a floral romper suit and three woolly pigtails tied with scarlet ribbons, produced by the Gem Toy Co., of America. Several other companies produced dolls with the three-pigtailed style, while the British Cecil Coleman firm issued a crawling ‘Topsy’ in the 1930s. Effanbee, of America, produced their composition Patsy dolls in black as well as white, and these were copied by manufacturers such as Bouton Woolf, who produced ‘Phyllis’, a 12 inch girl. Phyllis was unevenly sprayed and had a strange waxy glaze prone to crazing. I have one of these in my collection, and in spite of her faults she is one of my favourite dolls. Pictured right: Pedigree Kizzie Doll Black dolls were also made from celluloid, until this material was phased out in the 1950s as a fire hazard. Many of these dolls were extremely pretty, and, produced by companies such as PetitColin of France and the German turtle mark Rheinische Schildkrot, were often dressed in ethnic costumes to be sold as souvenirs. Norah Wellings, a British dollmaker working in the 1930s – 50s, was famed for her character-type cloth dolls, and one of her most popular creations was the ‘South Sea Islander’, made from dark brown velvet, and wearing a grass skirt and a smile. The male counterpart sported a bright pair of trousers and a rather toothy grin. Black fabric dolls were also produced by Dean’s, Alpha Farnell, Chad Valley and Merrythought, but the majority are more difficult to find today than their white counterparts. During the late 1940s and early 1950s, not long after the war, […]
Swarovski Limited Edition Disney Princesses

The first Swarovski Limited Edition Disney Princess was Cinderella and was released in 2015. Each year since Swaroski have released a limited edition annual edition Disney Princess. The series has proved very popular with the early editions rising in value on the secondary market. Cinderella was followed in 2016 by Elsa from Frozen, in 2017 Belle from Beauty and the Beast, in 2018 by Rapunzel from Tangled and in 2019 by Snow White. The combination of Swarovski design, Disney icons and colour has made a stunning series of crystal models. 2015 Cinderella 2016 Elsa 2017 Belle 2018 Rapunzel 2019 Snow White Swarovski Disney Limited Edition Princess 2015 Cinderella Cinderella is a tribute to Disney’s new Cinderella movie released in 2015 and the model showcases Swarovski’s expert craftsmanship and depicts Cinderella dancing in a sparkling blue and clear crystal outfit. The model originally retailed for £349 and is now being seen on auction sites at over £2,000. Swarovski Disney Limited Edition Princess 2016 Elsa Swarovski Disney Limited Edition Princess 2017 Belle Swarovski Disney Limited Edition Princess 2018 Rapunzel Swarovski Disney Limited Edition Princess 2019 Snow White
John Wyndham Novels and First Editions

John Wyndham (full name John Wyndham Parkes Lucas Beynon Harris) was a British science fiction author who wrote several classic novels, including The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos. His works are highly collectible, especially in first edition form. Here we take a look at the value of John Wyndham first edition books published under his own name during his lifetime. John Wyndham was a British author who wrote science fiction novels and short stories. He is best known for his novel The Day of the Triffids, which was adapted into a film in 1962. Wyndham was born in 1903 in England. He began writing science fiction in the 1920s, but did not achieve commercial success until the publication of The Day of the Triffids in 1951. The Day of the Triffids, in particular, is considered a science fiction classic. It tells the story of a massive attack by alien plants that leaves humanity struggling to survive. The Day of the Triffids was first published in 1951, and a first edition can sell for upwards of £5,000 / $7,000. As with all first edition books the dust jacket condition is everything and prices vary greatly. John B. Harris and John Beynon However, Wyndham had actually been writing stories and short stories since 1925 under several aliases and pseudonyns. In 1927 he published a detective novel, The Curse of the Burdens, as by John B. Harris, and by 1931 he was selling short stories and serial fiction to American science fiction magazines. His debut short story, “Worlds to Barter”, appeared under the pen name John B. Harris in 1931. Subsequent stories were credited to ‘John Beynon Harris until mid-1935, when he began to use the pen name John Beynon. Three novels as by Beynon were published in 1935/36, two of them works of science fiction, the other a detective story. He also used the pen name Wyndham Parkes for one short story in the British Fantasy Magazine in 1939, as John Beynon had already been credited for another story in the same issue. The Kraken Wakes John Wyndham’s second novel was The Kraken Wakes which was first published in 1953, originally published by Michael Joseph in the United Kingdom in 1953, and first published in the United States in the same year by Ballantine Books under the title Out of the Deeps as a mass market paperback. . The novel is about an alien invasion of Earth by creatures known as the “Kraken”. The Kraken are giant sea creatures that are able to telepathically control humans. They use their powers to create a world-wide flood, which forces humanity to evacuate to the moon. The novel was well-received by critics and is considered to be one of the classic science fiction novels of the 20th century. It has been reprinted several times and has been translated into multiple languages. The Kraken Wakes is considered to be one of Wyndham’s most accomplished works. The Midwich Cuckoos John Wyndham’s The Midwich Cuckoos is a classic of British science fiction. First published in 1957, it tells the story of a group of children who are born with strange powers after a mysterious event in the village of Midwich. The book has inspired many writers and has been adapted for movies and TV series many times. A first edition in near fine condition with near fine dust jacket estimate £2000 / $3,000. Did you know? Wyndham began work on a sequel novel, Midwich Main, which he abandoned after only a few chapters. The Chrysalids, Trouble with Lichen and Chocky Price Variations In writing this feature as with many that include price guides it is always apparent that their is massive variation in prices even for similar books and objects. The prices given here are for near fine copies, so copies in excellent order. First editions of The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos will always be popular and sort after. Bibliography of books published in his lifetime under the name John Wyndham The Day of the Triffids (1951) The Kraken Wakes (1953) The Chrysalids (1955) The Midwich Cuckoos (1957) Trouble with Lichen (1960) Chocky (1968) Related BBC interview and feature with John Wyndham
A Look at Nailsea Glass

Nailsea glass was originally an inexpensive means of introducing radiant colour into farmhouse and cottage. This was because the basic glass was pale green bottle-glass or, from about 1815, crown glass. Such glass was not subject to the excise tax of sixpence per pound levied on flint-glass. Colourful curios in many shades of blue, green, amber and red, which might be flecked, mottled or striped, were made not only at Nailsea in Somerset but by the glassmen of Sunderland, Newcastle, Stourbridge, Wrockwardine Wood in Shropshire, Alloa in Scotland and elsewhere.
A Look at Lenox China

Walter Scott Lenox was born in 1859 in the “Staffordshire of America”: Trenton, N.J. which became the USA’s leading ceramics center and boasted some 200 potteries in the 19th century. Lenox worked as a decorator and designer for several Trenton potteries beginning in 1875 and six years later he advanced to design director for Ott & Brewer, then Willets Manufacturing. Both firms eventually failed and Lenox took his skills and expertise and established The Lenox Ceramic Art Company in 1889. From the outset it was organized as an art studio, rather than a factory, and offered one-of-a-kind artwares in lustrous ivory china, rather than a full line of ceramics. Pictured a Lenox China handpainted Belleek ware from Lenox. The exquisitely painted and modeled vases, pitchers, and tea sets, produced at first by just 18 employees, were met with an enthusiastic reception and carried in the most exclusive shops. By 1897 examples of Lenox’s work were included in the collection of the Smithsonian Institution. With the advent of modern dining Lenox began producing their own fine china dinnerware. The plates received much acclaim and proved so successful that Lenox turned his attention increasingly to complete sets of dinnerware and in 1906 changed his firm’s name to Lenox Incorporated to reflect the new direction from the Ceramic Art Company. The tradition of customized place settings continues today. Pictured Lenox China featuring the Eternal™ pattern which was designed in 1965 and still ranks among the most popular designs. From 910 the company began to produce standardized patterns in addition to the custom-made pieces for the thriving US market. These were initially hand decorated transfer prints and then full-color lithographic decals. The Lenox name had quickly become synonymous with elegant tableware, chosen for the “best” homes — including the White House. President and Mrs. Wilson commissioned an official state service of 1,700 pieces in 1918, making Lenox the first American china to grace a president’s table. Pictured Lenox China The Wilson Service – the pattern developed by Lenox’s chief designer, Frank Holmes, was as restrained and dignified as the Wilsons themselves. It remains the only American porcelain in continuous use at the White House for more than 80 years, with new services created for four subsequent presidents: Franklin D. Roosevelt (1934), Truman (1951), Reagan (1981), and Clinton (2000). Walter Scott Lenox died in 1920, having realized his dream and founded a company dedicated to the “perfection of American porcelain.” The company continued to grow and continued to offer custom-designed services as well as an arr ay of accessories, including lamps, figurines, vases, pitchers, even a honey jar shaped like a beehive. Lenox products were widely recognized for excellence in design, in large part due to Frank Graham Holmes, chief designer from 1905 to 1954. He garnered numerous awards, such as the Craftsmanship Medal of the American Institute of Architects (1927) and the silver medal of the American Designers Institute (1943). His work was among the 34 Lenox pieces chosen for display in 1928 by the elite National Museum of Ceramics in Sévres, France — the first and only American porcelain ever extended this honor. Pictured A Lenox China plate designed by artist Catherine McClung. Lenox continued to improvise and modernise bringing many popular ranges and designs and in 1989 it celebrated its centennial — a landmark reached by no other American porcelain company. In recent years Lenox has continued as a leader in such trends as transitional china and mix-and-match placesettings while continuing to employ centuries-old craft techniques, including piercing, jeweling, and etching. It has also used some of the world’s leading designers to create ranges and designs including Catherine McClung, Parvaneh Holloway and Sandra Kuck (one of the world’s most collected artists). Pictured A Lenox China Disney piece featuring Mickey and Minnie. Lenox brands have included Dansk, Gorham and Brooks Bentley and ranges have included tableware, home decor, jewelry, giftware, collectors plates and collectibles featuring Disney, and animated characters such as from Dr. Seuss, Peanuts, Warner Bros and the Wizard of Oz. For more details and a full history on Lenox China visit the Lenox Classics Web Site
Hannah Barlow and Doulton Lambeth

When considering the talented designers of the Doulton Lambeth factory, there is one woman whose impressive works cannot go unmentioned. Hannah Barlow was not only one of the most innovative and skilled designers of this famed factory but also a pioneer in her own right due to the fact that she was the ever first female artist to be employed by the South London based Doulton Lambeth Studio. Pictured right: A pair of Hannah Barlow stoneware deer and stag vases impressed marks — 38cm. high. Sold for £2,820 at Christies, London, August 2000. Born into a family of nine children in 1851, Hannah lived in Bishop’s Stortford with her Bank Manager father, Benjamin and his wife. At an early age Hannah already had a talent for drawing and would take walks in the surrounding countryside to sketch the plant and animal life that resided there. This interest in nature was something which would stay with Hannah throughout her life and became the subject matter that was so prolific in all of her future works. Realising her talent for art, in 1868 Hannah enrolled in the Lambeth School of Art to progress this skill. It was a few years later in 1871, that, along with other fellow students, Hannah began to work for the local Doulton Lambeth pottery which had recently diversified from producing industrial ceramics to more elaborate art pottery and decorative wares. Great artists such as George Tinworth, Frank Butler and Hannah Barlow would skilfully decorate the salt-glazed brown stoneware vessels that Doulton were now creating and were allowed to choose the type of decoration themselves and what shape of vessel to apply this design to. Although Hannah was to be the first female designer employed by Doulton she was not the only talented artist in her family to join the British factory. Both her brother Arthur and sister Florence also possessed an artistic flare and attended the Lambeth School of Art, before joining their sister, and furthering their careers by working alongside her for the Doulton pottery. The two sisters, Hannah and Florence, both shared a love of nature, so it was agreed early on in their working careers, that Hannah would concentrate on designs inspired by animals whilst her sister indulged her passion for flowers and produce floral designs. Pictured left: Hannah Barlow for Doulton Lambeth – A Pair of Salt-glazed Vases, circa 1895 each vase incised with three bulls and two horses grazing within a rugged country landscape 28.5cm high, with impressed Doulton Lambeth mark and incised artist’s monogram. Sold for £1,062 at Bonhams, London, April 2014. Both were extremely talented artists and their work was very realistic. Each would initially sketch a design then using the technique of Sgraffito (incising) they would apply the design into the wet clay of a vessel before it was fired. Every piece that was produced by the artists at the Doulton studio was hand-decorated, thus ensuring that each item was unique in design, technique and decoration. Hannah excelled at creating illustrations of animals with some of her favourite subjects being British farm animals such as sheep, horses and pigs. Many examples of her work have sold for respectable prices at salerooms all over the world; her works of art are highly sought after by collectors. Recently a shallow bowl dating to 1883 sold at Bonhams Saleroom for £2,300. Artistically incised with pigs and hens this piece is synonymous with Hannah Barlow and as such, commands a price that is expected for this female designer’s work. Another example, also sold at Bonhams. were an outstanding pair of early vases dating to 1873. These twin handled vessels were incised with six Trojan Style horses which showed them cantering and galloping across fields. An unusual example, this vase sold for a staggering hammer price of £4,800. Pictured right: Hannah Barlow for Doulton Lambeth – An Early Salt-Glaze Jug with Horse, 1874 incised with a horse portrait and stylised leaf decoration 25.5cm high, with impressed Doulton Lambeth mark and incised artist monogram Sold for £325 at Bonhams, London, April 2014. Aside from the more common domestic farm animals, Hannah was inspired by many different living creatures. Her work was often embellished with countryside inhabitants such as rabbits and foxes, but she also liked to draw and incise more exotic animal motifs such as lions and kangaroos. This Australian inhabitant first appeared in 1878 on a tea service and proved popular so Hannah continued to apply this motif to all sorts of other various shaped vessels. It is said that Hannah was possibly inspired to sketch and decorate pieces with kangaroos because of the preparations for the Sydney International Exhibition which took place in 1879. Wherever Hannah gained her inspiration, her skill became evident when she would expertly sketch a scene that almost came alive when applied to the various vases, dishes and jardinières that she worked on. Hannah’s talent for drawing, combined with her skilled eye for design ensured that each piece created was not only a stunning ceramic work of art but also a living window into the animal kingdom. Her work was worthy of a place on the wall in an art gallery. Pictured left: Hannah Barlow (Fl.1871-1913) & Florence Barlow (Fl.1873-1909) Pair Of Vases, Circa 1890 stoneware, hand decorated, incised with rabbits, and pâte-sur-pâte painted birds, impressed Doulton Lambeth, incised artist’s monograms, numbers 443 & 742, assistants marks 7¾ in. (19.7 cm.) high. Sold for £4,375 at Christies, London, September 2009. Hannah was prolific in her work during the forty years that she was employed by the British Doulton Studio, and was responsible for creating some of the most innovative and finest designs in stoneware. An accomplished artist, not only is she remembered as one of the most celebrated designers of the 19th Century but also as a pioneering female ceramicist whose work will hopefully continue to command the prices that are so deserving. Fact File Doulton & Co was founded in 1815. In 1871 Henry Doulton set up the Lambeth Studio in South London Hannah Barlow indulged her passion for animals by […]

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