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Clarice Cliff is one of the most important and well-known Art Deco ceramic designers in Britain and abroad. Her brightly hand-painted tablewares decorated with stylised landscapes, flowers and a whole range of abstract patterns skilfully applied to art deco shapes took the rather traditional and reserved British pottery market by storm during the late twenties and early thirties. Her Bizarre wares, the name given to her first range, were in such demand that new tea and coffee ware shapes were created for the table alongside vases, face masks and many amusing fancies. This book looks at how Clarice Cliff became so successful through great determination, her intuitive sense of colour and shape and an understanding of what sort of pottery the younger generation wanted in their new homes. This was coupled with her great ability to interpret the latest contemporary patterns and shapes from Europe and adapt the style for the more reserved British market. The popularity of her art deco classics has led to a large international collectors' market which has grown considerably over the last twenty years with specialist auctions and exhibitions dedicated to her life and work which has proved so popular that the prices realised for certain rare and less well-known items has exceed GBP15,000. The main part of the book focuses on collecting Clarice Cliff pottery highlighting the development of her patterns and shapes alongside an extensive price guide that gives the collector full information about actual sales with detailed information on dates and prices realised at reputable auctions.
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2 of 2 people found the following review helpful
Embracing Clarice Cliff's Bizarre Talent
5 Jun 2010
Format:Hardcover|Amazon Verified Purchase
I am a collector of Clarice Cliff pottery and am anxious for any new information regarding her history or information detailing her brilliant creations. Andrew Casey provides additional views and knowledge concerning one of the most well known Art Deco ceramic designers during the 1920's and 1930's. Similar to most studies, he gives us a short biography of her rise from a working class family to head designer at A.J. Wilkinson and Newport Pottery in England. Most Cliff aficionados are aware of her relationship with the owner, Colley Shorter, who motivated her when sending her to design school and encouraging non-conventional designs. Clarice Cliff eventually married Colley Shorter after his wife died. It was understandable that during that time, many factory workers distanced themselves from her. However, Casey states, "more recently some people have used this affair to discount her amazing achievement...." I am rather shocked that in 2010, her work would be diminished presumably because Cliff, a working class factory girl, had an affair with an upper class married man. Maybe because she was a woman.....
Casey presents the evolution of her work and the impact the world economy was reflected in her designs and ambition. In addition to her prolific output of designs and shapes, she would feel the mood of the times and adjust her lines of ceramic ware. He also presents other famous artists of the times: Dame Laura Knight, Eric Elliot and others but does evaluate the present prices of their work in today's market.
Casey does add a new feature to the study of her ceramics. He presents the prices of the sold pieces at auctions and then gives us the "present" price or value. In any price guideline, it is a difficult task to determine the worth of art but he does attempt to give us some measurement. He also clearly delineated the timeframe and difference between the Bizarre and Fantasque lines. He provides the collector with Clarice Cliff dealers and auction houses, which only seem to be located in the U.K. or Australia.
Casey presents the evolution of her work and the impact the world economy was reflected in her designs and ambition. In addition to her prolific output of designs and shapes, she would feel the mood of the times and adjust her lines of ceramic ware. He also presents other famous artists of the times: Dame Laura Knight, Eric Elliot and others but does evaluate the present prices of their work in today's market.
Casey does add a new feature to the study of her ceramics. He presents the prices of the sold pieces at auctions and then gives us the "present" price or value. In any price guideline, it is a difficult task to determine the worth of art but he does attempt to give us some measurement. He also clearly delineated the timeframe and difference between the Bizarre and Fantasque lines. He provides the collector with Clarice Cliff dealers and auction houses, which only seem to be located in the U.K. or Australia.
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