English artist Clarice Cliff received world-wide recognition for her Art Deco pottery designs from 1928-1964. Her vast body of work is easily recognized by its innovative use of color and abstract designs. Regarded by many as one of the most influential ceramic artists of the 20th Century, her work is collected and admired world wide.
After leaving school at the age of 13, she apprenticed at the Lindgard Webster Company of the Stoke-on-Trent area of Staffordshire, England. Working in the factory days and taking art classes in the evening she carefully studied every available technique of pottery making. In 1916 she relocated to the A.J. Wilkinson factory in Burslem. Working for apprentice wages, Cliff honed her skill at molding vases, hand painting, gilding and enameling along side other aspiring artists.
A defining moment in her life came in 1920 when Colley Shorter, the man who would later become her husband, took interest in her work and together they traveled to Paris where she studied at the Royal College of Art. Paris opened up a world that would forever change the impressionable young Clarice. The museums, the architecture and even the events of everyday life held a sense of mystery and excitement that, years later, would be present in her work.
In 1928 she rose to fame with the release of her first line, “Bizarre.” Aptly named , Bizarre Ware was decorated with a series of geometric and figural forms in classic Deco style. The inexpensive line brought her work to the masses as it was sold at Woolworth’s locations across the country. The earliest pieces will be marked “Bizarre by Clarice Cliff” with later examples extending the mark to read “Hand painted Bizarre by Clarice Cliff, Newport Pottery England” and a facsimile of her signature.
The same year she produced what would become her signature design, “Crocus.” This simple floral pattern was completely hand painted in upward strokes of orange blue and purple. Despite the beginning of the Great Depression, Cliff’s popularity soared and she was provided with a team of artists who produced plates, jugs, teapots, vases and cups and saucers.
During WWII pottery companies were restricted to producing only plain white utility ware. Cliff continued to work in the management side of the business but was unable to practice her art. Production was sent to Australia and North America post-war, but the buying public had lost interest in Cliff’s bold designs and they sought the subtle patters of more traditional wares. Clarice never returned to her art. Lines bearing her name were produced until the mid-1960s but these later pieces are of little interest to serious collectors.
One of the draws to collecting Clarice Cliff pottery is the vast selection of shape and pattern combinations available and the large range in pricing. Value is dictated by the scarcity of the pattern and the uniqueness of the shape. Crocus was produced in large volumes from 1928-1964 and will be relative inexpensive. By contrast, the short lived Applique pattern (1930-1931), which took many hours to paint, will demand a much higher value. The most expensive of Cliff’s many patterns is Sunspots of which only 20 examples have surfaced.
Collectors watch for marked Clarice Cliff pieces from 1927-1942 in mint condition. Until next time . . . Linda
Linda Kennett is a professional liquidation consultant specializing in down-sizing for seniors and the liquidation of estates. She is currently not taking new clients.
