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Product Description
Review
'A must' --Antiques Diary
'Accessible ... provides inspiration ... concise and easy to understand information with invaluable advice on identifying genuine pieces' --Antiques Info
'Greg Slater is a real authority and this compact book ... is the essential guide for collectors and fans alike'
--Image Interiors
'Accessible ... provides inspiration ... concise and easy to understand information with invaluable advice on identifying genuine pieces' --Antiques Info
'Greg Slater is a real authority and this compact book ... is the essential guide for collectors and fans alike'
--Image Interiors
Product Description
Greg Slaters previous book, Comprehensively Clarice Cliff, was the definitive reference book on identifying the decorative patterns in Clarice Cliffs work. This new, compact and accessible volume by Slater is the first book on collecting Clarice Cliff that shows you how to maintain and enjoy a collection as well as being a guide to the individual pieces. An essential guide for all collectors and enthusiasts of Clarice Cliffs work, and much more than a concise reference to shapes and patterns, it also provides inspiration on how to create original and harmonious displays of a collection for any occasion and shows how themes based on colour, pattern, season or style, and the use of the ceramics in a lifestyle setting, were at the centre of Clarice Cliffs creative vision.
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Customer Reviews
Most Helpful Customer Reviews
Format:Paperback
This book claims to be "Clarice Cliff for Collectors" - nicely elliterative I know, but actually very far from the case.
Let's put it this way, if you bought this book knowing nothing about Clarice Cliff's work and wanted to discover something of her enduring appeal, at the end of it you would still be wondering what all the fuss was about, in fact you would probably be incredulous! The cover illustration is of two Clarice designs both a very long way from her best, in even their own categories of landscapes or banded patterns.
As the saying goes, "all that glitters is not gold" and it applies very well to Clarice's ceramics. When she was good, she had no equal but unfortunately for every stunning design there are a multitiude of poor, unattractive ones both in shape and decoration. The best of Clarice's designs formed only a small part of the output of Wilkinson's and Newport Pottery, the sister firms she worked for, but this author seems to be on a mission to "educate" collectors to appreciate things which quite frankly have very little merit which happened to be produced at the time, some with a Clarice backstamp but not all.
The book has loads of colour photographs but many are of appalling items, unattractive and tasteless both in shape and decoration. There are some interesting original archival photographs taken by the factory at the time, and these, whilst historically interesting are often also of (nowadays)quite undesirable pieces.
I also found the editorial tone of the book quite dictatorial, telling us what a collection should contain. The whole point of collecting is to buy what you like, be it a particular shape in different designs or maybe the same design on different shapes, or even better just a representative collection of the best shapes with as many different patterns as you can afford. You don't need to be told that any collection other than what the author suggests, is worthless!
If you are a Clarice "novice" I suggest you try any of Leonard Griffin's books, or the one by Will Farmer (which I reviewed some time ago).
Let's put it this way, if you bought this book knowing nothing about Clarice Cliff's work and wanted to discover something of her enduring appeal, at the end of it you would still be wondering what all the fuss was about, in fact you would probably be incredulous! The cover illustration is of two Clarice designs both a very long way from her best, in even their own categories of landscapes or banded patterns.
As the saying goes, "all that glitters is not gold" and it applies very well to Clarice's ceramics. When she was good, she had no equal but unfortunately for every stunning design there are a multitiude of poor, unattractive ones both in shape and decoration. The best of Clarice's designs formed only a small part of the output of Wilkinson's and Newport Pottery, the sister firms she worked for, but this author seems to be on a mission to "educate" collectors to appreciate things which quite frankly have very little merit which happened to be produced at the time, some with a Clarice backstamp but not all.
The book has loads of colour photographs but many are of appalling items, unattractive and tasteless both in shape and decoration. There are some interesting original archival photographs taken by the factory at the time, and these, whilst historically interesting are often also of (nowadays)quite undesirable pieces.
I also found the editorial tone of the book quite dictatorial, telling us what a collection should contain. The whole point of collecting is to buy what you like, be it a particular shape in different designs or maybe the same design on different shapes, or even better just a representative collection of the best shapes with as many different patterns as you can afford. You don't need to be told that any collection other than what the author suggests, is worthless!
If you are a Clarice "novice" I suggest you try any of Leonard Griffin's books, or the one by Will Farmer (which I reviewed some time ago).
Format:Paperback|Amazon Verified Purchase
The book arrived on time and I was amazed at the quality of the book. It lets you know about many of the products by Clariss Cliff and the many patterns she introduced. You can understand why she was so popular and why she is so enduring.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
6 of 6 people found the following review helpful
Promoting the Authors collection
24 Oct 2009
Format:Paperback|Amazon Verified Purchase
As the co-author of The Bizarre Affair along with the MOST prominent expert and historian on Clarice Cliff Leonard Griffin, I find this latest attempt to document the life and work of this artist to be somewhat confusing. Until I realized that Neil Mitchell who wrote the preface to 'Comprehensively' and 'CC for Collectors' is Slater's long term partner, and like Slater has no ceramics background and is not impartial. He coined the phrase 'staff designers at Wilkinson's' to bring in Dolly Cliff, Butler et al, but of course from 1928 Clarice was at Newport; he and Slater are obsessed with making it all 'Wilkinson's' to plug their Dolly Cliff and others(Butler)designed collection. A good example of bias is his statement in Comprehensively 'both Butler and Dolly Cliff contributed ideas and resources to Clarice Cliff'. Butler had been sacked by Colley Shorter in 1930 as with Clarice Cliff as his designer he clearly did not need Butler. I believe there is NOTHING notable from Butler's work between 1930 and 1935.
As regards Dolly Cliff, she spent most of her time doing dancing exhibitions in Stoke, and was never a 'designer' she just ran small decorating shops, which were transient and 'closed down' depending on demand and orders
.
The new book has so many false claims, and contorting of the known facts it's hard to know where to start! Mitchell's preface firstly tries to link to our book, then has a go at 'the conventional canon accidentally created by Bizarre Affair'.
Slater's 'How to' and 'Introduction' re-enforces the Wilkinson message - 'it includes designs by her colleagues at the A. J. Wilkinson pottery'.
His blurb on Dolly claims 'Dolly Cliff produced over 400 fully freehand patterns.' But in the large section in Comprehensively there were only 12 different 'Dolly patterns'.
Some books are scholarly and historically important Others are more commercially promotional
As regards Dolly Cliff, she spent most of her time doing dancing exhibitions in Stoke, and was never a 'designer' she just ran small decorating shops, which were transient and 'closed down' depending on demand and orders
.
The new book has so many false claims, and contorting of the known facts it's hard to know where to start! Mitchell's preface firstly tries to link to our book, then has a go at 'the conventional canon accidentally created by Bizarre Affair'.
Slater's 'How to' and 'Introduction' re-enforces the Wilkinson message - 'it includes designs by her colleagues at the A. J. Wilkinson pottery'.
His blurb on Dolly claims 'Dolly Cliff produced over 400 fully freehand patterns.' But in the large section in Comprehensively there were only 12 different 'Dolly patterns'.
Some books are scholarly and historically important Others are more commercially promotional
4 of 4 people found the following review helpful
Elegant photography
31 May 2009
Format:Paperback|Amazon Verified Purchase
The photography and the color printing are the strongest features of this book. As a collector, I did not garner any new ideas or information. This book is fairly elementary for a seasoned collector but would be adequate for a new collector or for someone who wants some display ideas.
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