This beautifully graphic pattern consisting of bold geometric shapes is “Tivoli”, designed by Susan Williams-Ellis for Portmeirion in 1964. It was created on the striking “Serif” shape like many others by Ellis in the 1960s. The name “Tivoli” is a reference to the Tivoli Gardens in Copenhagen, which inspired Ellis to create this pattern.
The design came in 2 colour schemes – chocolate brown and turquoise, and an olive green and turquoise. Originally the design was created in brighter colours – pink/blue and violet/grey/red – but Ellis was persuaded to go with the more subtle colour schemes.
Pictured is a storage jar from the series with its original lid – often now seen with cork lids.
Only in production for a few years as apparently it was not as successful as some of the other designs from Portmerion in the same era – although hard to see why!
I think this design is just magic. It is appropriately named Magic City. The design was inspired by exotic middle eastern inspired domed buildings, and always reminds me of this time of year with a festive look about the design with its use of colour and line which hint of fireworks, Christmas lights etc, as well as the domed buildings of the Middle East.
It was designed by Susan William-Ellis at Portmeirion Pottery in 1966, and has become one of the great British classics of the era. The forms were used in several series which Susan designed around this time – and the shape was called “Serif”. Serif refers to the shape of the handle – and is a reference to how a serif is used in typography/calligraphy to add flare to the end of a corner.
The Serif series of shapes was originally used on the Cypher and Jupiter patterns with a raised relief finish, but it is Magic City which became the most commercially successful. Magic Garden is another lovely design on the Serif series of shapes.
Of interest – if you are in or visiting London 2019 – there is an exhibition/display in the ceramics room 146 of Portmeirion “Pottery Trendsetter” until Sunday 28th July
Portmeirion Magic City Tea Cup
Portmeirion Magic City PlatePortmeirion Magic City Coffee PotPortmeirion Magic City Coffee CupsPortmeirion Magic City Coffee Pot
As a reference, below is an image of “Magic Garden” – a much harder design to find than “Magic City”
Portmeirion Magic Garden – image via The Saleroom UK
Portmeirion “Totem” – Was originally launched in 1963. It propelled Portmerion pottery into stardom and is now considered to be a design icon of the 1960s. It was designed by Susan Williams-Ellis (1918-2007) the owner of the pottery.
Like Denby Chevron and Arabesque by Gill Pemberton for Denby at the same time, it was a revolutionary design and created a sensation, as there was nothing else like it.
Additionally, in an era when the concept of a “working woman” was looked upon with suspicion, in Britain at least – the success of Susan Williams-Ellis as a designer, businesswoman, as well as wife and mother was extraordinary.
“Totem,” was successful into the seventies, and the motifs on the ware are the most copied of all design motifs of that period. I think there is something quintessentially Celtic or English Tribal about the design, but at the same time it has visual references to symbols of the atomic age, space exploration and satellites.
British producer Lord Nelson, and Portuguese maker Secla both produced very similar designs in similar colours.
Totem had a striking cylindrical shape and beautifully textured surface, featuring stars and spirals, making you just want to touch it. These designs were carved directly into the moulds by Susan. It was originally made in 3 colours – blue, amber and dark green. The translucent flow glaze accentuated the relief pattern. White was introduced at a later date.
Portmeirion “Totem” Coffee CupsPortmeirion “Totem” Milk Jug
The idea for the shapes of the range was a practical one. When Susan and her husband had bought the pottery a few years earlier, it had been Kirkham’s Pottery. In the factory there were a large number of cylindrical moulds that had been used for making medical, pharmacological and laboratory vessels. Susan put them to creative use in designing the Totem range.
In photos of Totem pieces I have had, you can see the beautiful transparency of the glaze. However because of the type of glaze it is hard today to find a piece that doesn’t have crazing.
A bit of relevant background biography on Susan, from her Wikipedia entry:
Williams-Ellis was born in Guildford, Surrey, England, in the house of artist and critic Roger Fry. Her father, Sir Clough, was an eminent architect; Williams-Ellis’ mother was writer Amabel Strachey, cousin of author and Bloomsbury figure Lytton Strachey. Her parents were friends of other members of the Bloomsbury Group, including Augustus John and Virginia Woolf. Williams-Ellis’ godfather was Rudyard Kipling.
She was determined to be an artist from an early age. In the 1930s, Susan studied ceramics with Bernard and David Leach while she was at Dartington Hall School. At Chelsea School of Art, during the 1940s, her tutors included Graham Sutherland for painting and Henry Moore for sculpture, who helped to develop Susan’s innate feeling for three-dimensional shape and form.
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Rorstrand "Eden" c1960s
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