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Posts from the ‘United Kingdom’ Category

Poole “Fleurie” 1979-80

The “Fleurie” Series was made at Poole Pottery UK 1979-1980.

It was designed as a range of giftware pieces by Ros Sommerfelt who was one of the long standing decorators at Poole who took on a greater role from the 1970s. 

Fleurie depicts portraits of Women with flamboyant hairstyles in an Art Nouveau style which was very popular in the 1970s. The design is much in the style of Alphonse Mucha, but they are not his designs as is often attributed.

The forms the design was applied to are the same shapes as the ones from the “Beardsley Collection” which Ros Somerfelt also designed in 1979. Others patterns she designed around this time were “Bow Bells”, “Lady of Shalott”, “Arthur & Guinevere”, and “Kandy” amongst others.

The glaze is a smooth satiny “alpine white” and the design transfer applied. Some pieces like the bowl picture below have a lovely band or decoration also applied.

Poole Fleurie , Photo Ray Garrod

Poole Fleurie – Photo Ray Garrod

Poole Fleurie , Photo Ray Garrod

Poole Fleurie , Photo Ray Garrod

Poole Fleurie , Photo Ray Garrod

Poole “Flurie” – photo Ray Garrod

Poole Fleurie Dish , with original box, Photo via LiveAuctioneers.com

Information sourced from “Poole Pottery”, Leslie Hayward & Paul Atterbury 1995.

 

 

 

Royal Doulton “Festival”, Lambeth Stoneware 1974

In 1974, Royal Doulton updated the concept of its original Lambethware stoneware from the turn of the century and created a casual tableware brand called “Lambeth Stoneware” – it was tough, durable, detergent and dishwasher proof and had strong public appeal. Other than the name though, it had no connection to the original Lambeth stoneware which closed in 1956 (and which was very different in nature) 

The new series was well designed with rounded forms and a country style charm which was popular at the time. It is long lasting and as tough as nails like a lot of the stoneware dinnerware series of the time.

There were a large number of patterns released, but I have not been able to locate a list of them – and I continue to be surprised when I come across another charming pattern from the series I haven’t seen before.

Two of the most popular seem to be “Tangiers” and “Basque” (which I have written about previously)…and recently I came across this charming pattern called “Festival”, produced 1975-1979. It features fruits, leaves and berries in blues and violets outlined in navy blue. 

The forms of this series seem to work best when a white glaze is used with a strongly coloured pattern, as in this design. It gives them a more timeless, less dated appearance than ones such as “Basque” with its dark muted tones. 

Royal Doulton Lambeth Stoneware "Festival"

Royal Doulton Lambeth Stoneware “Festival” Milk Jug – Photo Ray Garrod

Royal Doulton Lambeth Stoneware "Festival" Cup and Saucer,

Royal Doulton Lambeth Stoneware “Festival” Cup and Saucer, Photo via “Vintageoak” on Etsy

Royal Doulton Lambeth Stoneware "Festival"

Royal Doulton Lambeth Stoneware “Festival” – Lidded Sugar Bowl, Photo Ray Garrod

 

 

 

 

 

 

 

 

 

Denby “Trees”, Diana Woodcock-Beckering

Denby Trees c1970.

It would be hard to find a design that screams the 1970s more than this bold and colourful design. It has influences of Pop-Art, Psychedelic Art and the bold and colourful Graphic Design of this era. The design consists of black silhouetted trees set against an op-art style dot pattern sky in white on purple with rolling hills in green, orange and ochres. These colours (and the style of graphic) defined the look of so much design in the 1970s – but you dont often see the colour combination on dinnerware. 

The shapes the design is placed on you may recognise immediately as the forms Gill Pemberton designed for Denby “Chevron” in the 1960s. The “Trees” design was placed on all of the forms of Chevron including the steel handled teapot, coffee pots, lidded forms, bowls, plates and dishes. 

The design of Trees is by Diana Woodcock-Beckering who was trained at the Croydon College of Art and Design in 1962, which led to a Diploma at Loughborough College, before post graduate MA qualifications at the Royal College of Art, London starting in 1966.

Diana worked as a freelancer at Denby between 1969-1971, and after her time at Denby, Diana (now Diana Worthy) went on to set up Crich Pottery in Derbyshire in 1972 with her husband. 

There is so much to Diana than her “Trees” design for Denby though, in both her training & education and later work. 

I found a very thorough and well written 2001 article on the studio work of Diana HERE , which also has a good variety of images clearly showing the style Diana developed. Diana’s achievements during her study and post graduate study were quite stellar – from the article linked is this quote: 

“Diana could usually be found in college (Royal College of Art) at all hours, seven days a week. There she met Hans Coper, David Queensberry and Eduardo Paulozzi. Diana won the RCA prize for drawing and also the Frank Denning Memorial Award to study designs in Scandinavia. Her final degree show M (Design) RCA resulted in offers of freelance pottery designing for Kilkenny Design workshops and for Denby Pottery in Derbyshire. She also took a full time lecturing post at Wolverhampton Polytechnic in the Faculty of three-dimensional design” 

Denby Trees

Denby Trees – Photo Ray Garrod

Denby Trees

Denby Trees – Photo Ray Garrod

Denby Trees

Denby Trees – Photo Ray Garrod

 

Denby Trees

Denby Trees – Pinterest

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