Archive Colour
Meeting the Bizarre ‘girls’ is rather
special as their everyday memories give us an intimate glimpse into what
it was like working with Clarice. To them it was of course ‘just a job’
then, but they now appreciate the significance of their work as on a daily
basis they came into contact with Clarice. The outliners discussed with
her how patterns were to be adapted to the new shapes, or how new patterns
were to be executed. However, we easily forget that whilst there are still
around twenty of Clarice’s ‘girls’ living, there were over one hundred
working for her during the thirties, and sadly the vast majority were never
interviewed. There were also the four boy outliners whose contribution
should not be overlooked, John Shaw, Harold Walker, Tom Stringer, and Fred
Salmon.
In the Clarice
Cliff archive there are documents and drawings that give us an insight
into the work of Clarice’s decorators, and amongst these are the original
water-colours of some patterns. These are fragmentary, many volumes of
the pattern books were lost as the building they were stored in had a leaking
roof and they were not saved when it was cleared in the seventies.
When she designed new patterns, Clarice locked
herself away in her studio where she created her designs. Although several
photographs show her actually ‘painting’ ware, in reality the ‘girls’ recall
that she nearly always designed in water-colour and then took the drawings
to the decorators to produce the samples. If both she and Colley liked
the result the design would then go into production.
In the pattern books there are original water-colours
but these are not Clarice’s work, they were done by her decorators. Bizarre
‘girl’ Marjory Higginson recalled that if they were slack Clarice might
ask her or one of the other paintresses to ‘spend an afternoon on the pattern
book’. They added new patterns into it by copying from a finished piece.
These reference drawings were meant to be used by the girls to see how
to repeat orders. In reality the outliners were generally able to produce
even the most complicated patterns from memory, which is why their individual
styles are recognisable. From the evidence of the few surviving pattern
books, they were only updated spasmodically and in some cases just a lead
pencil drawing annotated with colours, was kept. This may partly explain
why some pieces are found with colours very variably applied.
The most delightful water-colours from the
book are the earlier ones, when colour was still used extensively. It would
seem from the way they are executed that they were done by the actual outliner
of the original pattern. Often the drawing just shows a section of how
to apply a pattern to a shape such as the drawing of Fantasque
Pebbles, on a plate. This was outlined in purple, and then the
enamel colours were added, and finally blue banding in the centre. Another
early design is shown in the drawing for Fantasque
Broth. In this case the pattern has been done as a simple reference,
an oblong with the banding as stripes. The decorators would look at this
reference water-colour and then adapt the design on to ware. Occasionally,
with abstract patterns, decorators sometimes painted vases with their hand
inside, the colour sequences were painted upside down! Both Broth and Pebbles
were part of the first Fantasque range issued in October 1928. The date
is earlier than previously thought, and the discovery of it is detailed
in Art of Bizarre.
Finally, from 1929 there is the original water-colour
for Latona Cartoon Flowers.
This is unusual as it was one of the few Latona designs that was outlined.
The stylised flowers in thick enamels, surrounded with amoebic shapes around,
were added to a ware as a motif leaving much of the milky Latona glaze
clear. Note that ‘Latona’ is just visible in lead pencil. It is written
in the same hand as that often found on the painted Latona mark above the
standard Bizarre backstamp. This suggests that the outliner who executed
the actual production pieces did this drawing.
Len Griffin
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In the June
Review we will feature
the water-colours for Fantasque Kew, Forest Glen and Fantasque
Fruit.
Ethel’s Cupboard
Ethel Barrow has become a dear friend in recent
years since I met her at Convention'92. I invited her to demonstrate
hand-painting at the college I was teaching at, and she painted Crocus
with considerable ease ~ having reconstituted the colours to her satisfaction!
On a recent visit to Ethel with my wife Sylvia,
we were reading the Bizarre ‘Girls’ Newsletter which
Len sends them several times a year. In it he was appealing for old photographs
for his next book Art of Bizarre. Ethel recalled she had some and
Sylvia was instructed to look in an upstairs cupboard, where she found
an ancient carrier bag, containing old family photos. Amongst these were
two small booklets of ‘snaps’ taken with a Brownie camera. To our
excitement there was a total of six photos dating from the early
thirties! Ethel had not thought they were of interest so had not showed
them to Len, but instantly recalled the names of her former colleagues
from 68 years earlier.
The photographs were taken around Newport
Pottery and show the ‘girls’ in work clothes, or on holiday: one
featured
nine ‘girls’! Left is Betty Henshall who was an enameller
from 1929 to 1939. Ethel’s sister Lily is next, she worked at Newport from
1930 to 1938 and painted Delecia, Nasturtium and many other
patterns. Standing by her is outliner Eileen Tharme who sometimes did samples
for Clarice, and then Annie Cotton, who is featured in the new book on
her fiancee’s motorbike in 1936. She still lives in Stoke but does not
go to reunions through ill-health. Annie was an enameller from 1930 to
1937 as was Florrie Robinson who is peeking through in the centre. Next
is Phyllis Tharme, a regular at our Conventions and the older sister
of Eileen. Phyllis was one of Clarice’s first paintresses and was
a bander from 1927 to 1939. Edna Becket who worked on Inspiration and
Cafe-au-lait
is next, then Winnie Smith, a bander from 1929 to 1942,
and finally Gertie Love who was an enameller from 1928 to 1939.
Also amongst the photographs was a good one
showing Ethel and her sister having fun with the lorry from Oliver’sFlintMill.
The
lorry was a novelty as previously the flint had been delivered by a horse
drawn cart! We shared the photographs with the ‘girls’ at the last Convention
and they were thrilled to see them. Len tells me that several will be featured
in Art of Bizarre, so Ethel’s snaps will soon become part of Clarice
Cliff history!
Terry Abbotts
Melon Green
The year of 1930 was a very significant one
in Clarice’s career. The Age of Jazz figures, the Stamford
teapot, and a mass of innovative shapes appeared in a jumbled succession,
that even now after researching her story for twenty years, I find hard
to plot. Amongst the many great patterns from 1930, perhaps one of the
best abstracts, and certainly one of my favourites, is Melon. It
appealed to me from the very first time I saw it at a fair in the early
eighties. One of my oft told ‘Clarice stories’ is going a Nottingham antique
fair and seeing a Stamford teapot, milk and sugar in Melon Orange.
I spent half an hour deciding whether to buy it! It was still
there after my deliberations (this would certainly not happen nowadays)
and I forked out the asking price of £68.
Amazingly, if I had not bought the set that
day, I would still not have a Stamford set now regardless of price.
Although I have seen several part or complete Stamford sets in Melon,
none match that one, which still glows in my cabinet. It is preserved
for everyone to enjoy on page 18 of Taking Tea with Clarice Cliff.
In the intervening years, none of the other sets quite had the flair
with which ‘my’ set is painted. I decided it was an ultimate example of
Melon,
but
my opinion was shaken when, visiting a member in the States to do photographs
for Art of Bizarre, on their shelf was a stunning
Melon
Green Conical set! The photograph above is probably the
first time you have seen a set in this colourway? Its impact on you is
what I felt the day I first saw the same set on a dealer’s shelf
in London in the early eighties: it had a red ‘Sold’ sticker on...
In the in-between years I had not forgotten that set ~ seeing it again
was like being re-united with an old friend. But was the set as good as
my memory had made it? Just look at how the sugar bowl is painted, and
I am sure you will agree with my firm, ‘Yes!’
Melon Green remained an elusive
pattern for me. I had a plate briefly, but somehow it did not have the
same feel as the pieces in the set so I sold it. I do not think I ever
had the chance to buy a vase in the design, and I believe there has not
been another tea or coffee set. Seeing it again made me realise how tremendously
clever Clarice was with her use of colours. We are all used to seeing the
standard Melon Orange colourway, which is what makes Melon
Green so shocking. The very acid greens, yellow and blue of the
pattern, literally
clash with the intense orange banding ~ but to
what an amazing effect! The fact that Clarice produced this colourway makes
me believe that perhaps she was even crazier with her colours than we give
her credit for! The fact that it was only produced in small quantities
suggests she knew that
MelonOrange was far more commercial... but
she obviously liked the colouring of MelonGreen enough to issue
it on production ware.
It is easy to write factual articles about
Clarice’s prolific output, but examining why we like a design or
shape, understanding what makes something so ‘good’ that we are prepared
to part with hundreds or sometimes thousands of pounds to own it,
takes us back to asking how Clarice achieved what she did. Uniquely, she
experimented
endlessly. With colour, her answer was not just alternative colourways,
but myriad ones. Perhaps the ultimate example is Autumn, where over
twelve versions are known. Melon is not far behind: as well as the
‘standard’ orange colourway, we have the vibrant MelonRed
which contrasts completely with the subtle Pastel Melon.
There is even a colourway in just two shades, Melon Blue
features only orange and blue, as shown on page 10 of Bizarre Affair.
That Clarice went to such extremes to produce so many variations on what
was in any case a great pattern, shows how adventurous she was. She searched
for new responses by using the entire ‘vocabulary of colour’, and not just
the safe combinations!
Melon Green is outlined in brown
as was the orange colourway, and it also has the strange ‘contour line’
effect between the stylised fruit in purple, but there the similarity stops.
The limited palette used for the central design is actually not severe,
until
it reacts with the orange banding. The overall effect is of a cacophony
of colour, which demands attention. It is difficult in 1999 to understand
how this must have been perceived by consumers in the thirties, and even
today the clashing colours are shocking. This is why I feel that Clarice
really was ‘having a little fun’ with this colourway. Perhaps the 31 year
old Clarice who evolved this combination of colours, decided to go just
a little too far on this occasion? Or, perhaps she just saw a pleasing
cocktail of colour, and thought no more about it? We will never know...
Rarity ~ Value: A Melon OrangeStamford
teapot, milk and sugar with worn blue made £1400 in November 1997,
so a good quality trio will now cost at least £2200 to £2500.
However, within the last two years complete MelonTankard coffee-sets
have been bought for around £2000, so they are an alternative. In
1996 in Taking Tea I gave a broad valuation for Conical sets
of £600 to £4000. The top value was for a set in an Appliqué
pattern or a strong Deco one, but since then all sets have increased
in value. Good, rare ones such as the Melon
Green are now worth more. This is re-assuring to collectors who
have a teaset but disheartening to those seeking one. For a collector on
a budget, a cup and saucer, or coffee can and saucer, teamed with a plate,
will achieve much of the impact of a full teaset ~ for a lot less!
Len Griffin
January Celebrations
The
Potteries Museum ~ January 20th: The day of Clarice’s birth was
chosen by the museum (formerly Hanley Museum) to open their small exhibition
Clarice
and her Contemporaries. Curator Miranda Goodby was featured in the
Sentinel
drinking from a Tennis Conical cup and said, ‘There will
be many events to mark the Centenary of Clarice Cliff including a large
exhibition at Wedgwood, but we wanted to make sure we marked the birthday
itself.’ Whilst the exhibition majored on Clarice’s work, it aimed to show
that it was the skills of the many paintresses from the Burslem School
of Art and local schools that had fuelled not just the decorating shop
at Newport but many other factories. One display, dedicated to pieces painted
by these young decorators, included a box which Clarice Cliff paintress
Phyllis Woodhead bought from Newport Pottery and then decorated at her
evening class at Burslem, as a Christmas present for her father in 1929.
Museum staff were surprised at the turn-out as it was a press call
not an opening. The room was crowded as Miranda Goodby welcomed everyone
and then Len Griffin introduced the ‘girls’ who attended. The senior one
there was Annie Beresford who is now 87 years old! She was just the third
girl to work with Clarice from 1927. Annie was on fine form and bantered
with Len to the amusement of the crowd. This included students delighted
to find themselves surrounded by the ‘living history’ the ‘girls’ represent.
Annie
cut the Orange Roof Cottage cake and the ‘girls’ were then treated
to tea. Soon they were lost in talk of ‘the old days’. May Booth produced
photographs of their reunions, and Annie had original pictures of the picnic
at Llangollen in 1930. Doris Johnson brought out sample plates she had
taken to show Clarice the day she got her job in 1934!
(The exhibition
closed February 21st)
Chetwynd
House ~ January 23rd: Bizarre ‘girls’ Alice Andrews, Rene
Dale and Nora Dabbs sat around the inglenook in front of a brightly glowing
log fire and Alice said ‘I wonder what Clarice would think of all this,
and us being in her house?’ We sat there reflecting for a few moments and
then unanimously felt that she would have enjoyed herself and got the party
going with a ‘bang’ which is exactly what Professor Flavia Swann
did! Champagne corks could be heard popping in the distance and soon couples
were arriving. Within minutes the rooms were full of people talking elatedly
about Clarice and her pottery as Mumm champagne was served along
with hors-d’oeuvres.
Guests entered through the magnificent Arts & Crafts porch, leading
to the lofty double height room created when the house was altered. Professor
Swann was given gifts of chocolates from guests, and one had thoughtfully
found pots of the King George variety heather Clarice had
grown in the garden. Some guests, fascinated, sat looking through Clarice
and Colley’s own viewer at the originals of the stereoscopic slides they
had taken of each other and Chetwynd, and the originals of Clarice’s letters
were passed around. One collector produced a Yo Yo vase from
her handbag and put it on the Parker and Unwin sideboard! Small groups
were shown around, and saw Clarice’s bedroom with its ‘fresh air’ design,
and all the other rooms which still have their original fireplaces and
fittings.
A highlight was the luxurious buffet supper, which was delicious
and plentiful. Flavia had made her own special dish which consisted of
turkey, grapes, .... and .... as well as many other secret ingredients
which she would not disclose to anyone! Good Burgundy and Graves
wines were served with the buffet. The finale was when Flavia and Len made
a short speech and toasted Clarice. We all sang ‘Happy Birthday’ to Clarice,
and also to Nora who had celebrated her 83rd birthday just days before.
A delicious Crocus Bon Jour teapot cake was then cut
by the ‘girls’. Finally two hours after the departure time, people
started to leave Chetwynd ~ rather full, merry and socially satiated, probably
as Clarice and Colley’s friends would have done some forty years earlier!
Leeds
~ January 30th: To celebrate Clarice’s Centenary the organisers
of the Yorkshire member’s group promised an exhibition of ‘100 years,
100 patterns and 100 shapes’ and they fulfilled this promise perfectly.
The day’s agenda was brimming with activities. In the morning after coffee
and welcome, Len gave his Clarice Cliff: the Art of Bizarre lecture,
based on the centenary book. This included much new information from his
research. The exhibition then opened and collectors viewed and discussed
the wonderful pieces assembled just for this one day. This was fabulous
because most of them were rare and in excellent condition. The extremes
were a huge Umbrella stand and a Miniature vase, both in
SlicedFruit.
An Isis vase in Green House was ‘to die for’ and I might
add it was bought by the owners at a fair recently for just £700!
A buffet lunch followed and was excellent.
Next, Dr. Phil Woodward talked animatedly with Rachel Steel about
his Desert Island Pots, and then bravely put them
out for us to handle! This was followed by another chance to view the exhibition
and take part in a quiz. During afternoon tea Jean Broadbent put the day
into context and toasted Clarice, quoting from a letter Edna Cheetham had
written a few years ago. Then followed a surprise ~ two cakes, a
Conical
teapot in Blue Firs and a Bon Jour in Crocus!
Very full, we then enjoyed Richard Green talking about
Restoration
whilst simultaneously stripping old restoration from an early Bizarre
vase in front of us! Special thanks were then extended to organisers, Rachel
and Tony, Michael and Jane, Jean and John, and Pat and Graham for the time
and energy spent organising the day.
Michael Slaney
The 1992 Wedgwood
reproductions
Further to the June 1998 Review article
on the Midwinter reproductions, we now detail the pieces and production
of the first Wedgwood series. They were prompted by the growing
interest in the early nineties in the Midwinter reproductions, and
the enthusiasm of several members of staff at Mason’s Ironstone,
where they were to be decorated by the experienced team of hand-paintresses.
Len was asked to act as consultant and was shown sample pieces they had
already evolved. These included hand-painted Crocus ~ at the time
it would have been cheaper to buy an authentic piece! They were also going
to use existing vase and bowl shapes, which again he advised them against.
As the project developed the main force behind
it was Andrew Klimecki. He and Len decided to make available some of the
more difficult to find designs and shapes. They chose the Stamford
teapot as being Clarice’s best overall shape, and an eight inch Lotus
jug was created in preference to a larger one. Clarice’s Conical
bowl was also reproduced, and the largest piece was a mei ping, shape 14,
in the twelve inch size. Finally, as Mason’s had a ginger jar in
their range which was identical to Clarice’s, they decided to utilise it.
Andrew was on hand throughout the painting of the pieces to ensure the
brash brushstrokes that make Bizarre so individual were replicated,
as the Mason’s paintresses were used to doing very fine work. The
range debuted at Harrods on May 20th 1992 and the sparkling evening
preview with invited guests naturally caused a sensation!
Rarity ~ Value : Originally, the Solitude
vase
was £215, the TennisConical bowl was £175, the Lightningplaque£135,
the Stamford teapot, milk and sugar in Pink Roof Cottage
£185, and the House & Bridge Ginger jar was the most expensive
at £250. Each came in a box with a limited edition certificate signed
by Wedgwood Chairman Kneale Ashwell, and Len. Members were offered the
pieces with a 10% discount. The bargain was a shape 14 decorated in Latona
Blue Dahlia. A quantity of these had been produced when it was decided
to replace these with the
Solitude pattern. Wedgwood sold them exclusively
to club members for just £155. All these pieces are now collectable
on what is called the ‘secondary market’ but relatively few of them are
seen compared to the larger 1993 Series 2. In November 1997 at Christie’s
the Solitude vase sold for £575, whereas the House &
Bridge ginger jar was a bargain at £322. Then, in May 1998 the
Tennis was £517, the Lightning made £230 and
the LatonaDahlia made an astounding £667. As this prompted
more of the Series 2 pieces onto the market, Christie’s moved these
reproductions from their ClariceCliff sale to their DecorativeArts
auctions.
In the June Review we look at the Series
2 reproductions from 1993.
Michael Slaney
SHARDS
French
Fan! There are many anonymous ‘star’ Clarice collectors,
but one who has surfaced recently is Dawn French. Pavilion Books
sent her a signed copy of Fantastic Flowers and she kindly wrote
back, ‘Thank you Leonard Griffin for your lovely book and for letting
us all get a step closer to Clarice.’
Bizarre WORLD
Clarice Cliff in Canada and America
Len is speaking at the Royal
Ontario Museum, Toronto on March 27th on Collecting Clarice Cliff,
and the following day on Keith Murray. Other speakers are Ginger Moro on
20th Century Jewellery, and Donald Davidoff on Arts & Crafts. There
will be a meeting of local members and friends on the Saturday evening,
details from Susan Scott (416 657
8278, or Email at scottca@ibm.net.
In June the Louis Meisel
Gallery in New York will host a launch party for the American publication
of Fantastic Flowers by
Abrams. Louis and Susan will also
stage a Centenary display of Bizarre ware. Details in the
March Newsletter.
Australia ~ A member has written with
news of an exciting find ~ a Daffodil shape teapot in May
Avenue. Although a few examples of Daffodil cups are known,
this is the first example of this pattern on this teapot shape. The member
purchased the it from a local antique shop after the owner had bought it
from the daughter of the original owner. Evidently the teapot was given
as a wedding present and sat on a kitchen shelf with a collection of teapots.
It had never been used which explains its original mint condition. The
member writes that his ‘eyes nearly popped out of his head’ when he first
saw it, particularly as it shows almost the entire pattern from one angle.
If that wasn’t all, within two weeks the same member was able to get a
matching Daffodil shape cup and saucer from an unrelated source!
SOUTH AFRICA ~ Forty five thousand rand
sounds rather more than £4,567 but that was what six telephone
bidders and devotees in the room saw a rare sample piece sell for! A giant
Umbrella
stand which went through auction recently was rare because it featured
a previously unseen Nuage floral, which has been named Nuage
Passion Flower. On style grounds we date it to 1930 or 1931 when
it was probably sent as part of a trade show or as a centrepiece for a
display.
NEw Zealand ~ The club meeting at BurlingtonBerties
on December 13th was packed. Devotees shared some rarities including the
first known Bon Jour shape May Avenue vase and a stunning
Lucerne
plate. Jonathan & Lynley of our NZ agents put a lot of hard work in
to organise this. The Clarice Cliff Seminar in January at Akaroa
in
the South Island was held literally on top of a mountain. Lectures and
videos were spliced with delicious al fresco food and refreshments. Thanks
to Erik & Russell for this.
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The Clarice Cliff exhibition at the ManawatuMuseum in Palmerston
North, opened on February 13th.
-
Happy Birthday
to Bizarre ‘girl’ Edna Cheetham who was 80 on February 15th ~ the club
sent a floral bouquet. Edna still tours the world on ‘adventure’ holidays,
and is a docent at the Tate Gallery in St. Ives.
STOLEN: Many members will by now have heard
of the disturbing robbery of two members in the North West. Thieves, actually
after money, were thwarted, so instead stole a collection of over sixty
pieces of Clarice. They were unaware this was in the house when they broke
in. The robbery was featured on Granada Television’s ‘Crime
File’. Distinctive pieces stolen in this theft include: Appliqué
Avignon Octagonal plate, Delecia Citrus gold/silver plates,
Crocus and Viscaria Biarritz plates, Bon Jour dredger
in Delecia Pansies, Chick Cocoa pot in Coral Firs, a Lightning
Sabot, a Limberlost Conical teapot, a Blue Chintz
Stamford teapot, Melon Beehive honey, and Gardenia
Beehive honey.
If you see these pieces please call DC Harris on 0795
797 1777
STOLEN TWO: A short raid on a house in Nottinghamshire
meant that despite a burglar alarm a thief was able to take Lotus
jugs in Original Bizarre and Crocus. These pieces
are distinctive and are on pages 10 and 15 of Christie’s November
catalogue.
What the Papers
Say
Period Living & Traditional Home featured Clarice in January. ‘The
happy China of Clarice Cliff’ was liberally illustrated with photos from
Fantastic Flowers the journalist also spoke to Bizarre ‘girl’ Edna Cheetham
who said, ‘When you hand-paint you use your own strokes, so there’s always
a little of you in it. We’d put our own mark on the bottom of each piece,
mine was a stroke and a dot.’ In The Lady on January 19th a two page feature
on the Centenary concentrated on Clarice as a person. Journalist Lucille
Grant wrote, ‘Clarice had ideas not only for surface design, but also for
a variety of shapes which could be decorated, from beehive honeypots and
Conical sugar dredgers, to bowls and vases.’ In Collect It! the cover had
‘the Centenary of the Queen of Art Deco’ and inside the Lucerne coffeeset
was splashed over two pages! In Home magazine Tessa Harris noted ‘Her first
assignment offer the company showed her real understanding of the British
ceramic market.’ l Many regional papers covered Clarice’s Centenary and
also the Dan
Hogg sale. In Wales, the Western Daily News had the Rudyard candlestick
in colour. Noting that the estimate was £3000 it commented, ‘but
when you put together Cliff, Christie’s and a centenary, who knows where
the bidding will end?’ The Southern Daily Echo featured a whole page in
colour, and journalist John Condle commented that Clarice was ‘one of the
20th century’s most famous ceramic designers.’ The SW Magazine (south
of the Thames) featured Jonathan Daltrey of Banana Dance. Under the heading
‘Bizarre Bazaar’ he suggested ‘the first piece you buy should be Crocus
because it is inexpensive and everyone should have at least one piece in
their collection’. The article had a Crocus Mr. Puddleduck egg cup set,
and a shot of Jonathan’s private collection. He observed of Clarice’s work
‘It’s like a painting. Every single piece is different, depending on the
time of day it was decorated and the mood of the paintress’. The worst
coverage was in The Guardian, where under the promising heading ‘The Queen
of Art Deco still reigns Supreme’, the reporter stated, ‘Towards the end
of last year there were some 18cm sugar sifters, one with blue furze design
was sold for £2183. Another sifter, an Orange Roff Cottage design
sold for £2185.’ Presumably, the journalist Stewart Dalby was feeling
‘furzy’ after a ‘roff’ night and forgot to use the Grauniad’s spell checker
?
The Barry Jones
Collection
An enthusiastic club member,
Barry was often seen animatedly bidding at Christie’s, and enjoying
a glass of wine at the Banana Dance socials. When he died unexpectedly
in 1995, his loss stunned his collector friends and his family. His brothers
found themselves with the responsibility of deciding what should happen
to his extensive collection. The club was only too pleased to advise them
on this. We are now able to announce that after nearly three years of work,
it has been negotiated for over 300 pieces of the collection to form the
bulk of the Wedgwood exhibition. The Barry Jones Collection,
as it is to be known, will hopefully then be kept together and loaned to
a museum. As the first permanent major display of Clarice Cliff
in the world, a suitable tribute to Barry’s enthusiasm for Clarice’s work.
-
We have named an unrecorded
Inspiration
river scene found in Barry’s collection Bazique
in his memory. More details of The Barry Jones Collection
will be in the next Clarice Cliff Collectors Club Newsletter.
-
The club will be issuing a special Crocus
badge later this year, but as our main Centenary
badge was are re-issuing our most popular badge ever. We produced the
Age
of Jazz shape 432 dancers in yellow ten years ago and they quickly
sold out. We have decided to offer them in a choice of red or blue. To
make them a true commemorative they will be supplied on a Centenary
card.
-
A Yorkshire woman bought a house and got more
than she paid for! Left in the cellar was a vase. She recognised the name
on the base and gave it to her mother. She wrote to the club and we were
delighted to tell her that it was a shape 360 in a rare Inspiration
design, Tresco.
This is just part of the
C.C.C.C. February Review there is another seven thousand
words! To subscribe and get the whole magazine (in glorious colour)
just write to Leonard Griffin at:
C.C.C.C. ,
Fantasque House,
Tennis Drive,
The Park,
Nottingham
NG7 1AE
Great Britain (UK)
