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INTRODUCTION
Clarice Cliff was born on January 20th 1899 in Tunstall, Stoke-on-Trent. She began working at the age of 13 as an apprentice enameller. At the age of 17 Clarice joined A.J. Wilkinson’s Royal Staffordshire Pottery as a lithographer and it was here that her drawing ability was soon discovered. She attended evening classes at Burslem School of Art for 2 years and then went on to study sculpture at the Royal College of Art in 1927. Clarice returned after only a few months to set up a small studio in Wilkinson's Newport Pottery; decorating traditional white-ware. Clarice was given her own studio; in 1927-28 a market testing of over 700 of her 'Bizarre ware' design was planned and shown overwhelmingly popular. She marries Colley Shorter. …show more content…
It is impossible to count accurately the number of shapes and variants she produced, but in just key years she amassed 220 shapes, and at least eight named tea and coffee ranges – in fact Clarice had designed around over 300 shapes1 combine this with the 270 plus patterns. Astonishing to see how she credited with producing about 8.5 million pieces during her career. Clarice’s gift was in creating shapes that no one else dared to attempt to make, and then decorating them with equally daring designs. All the evidence shows that she was the most influential British designer if the …show more content…
The shortage of coal dramatically affected factory production levels and alternative solutions had to be found. At the same time Clarice saw potential of a mass of old undecorated stock acquired by A.J. Wilkinson when they bought the neighbouring Newport pottery. Earlier in her career she had used gliding as a means of disguising small faults on the Oriflamme wares. Colley agreed to the experiment and early in 1927 a studio was provided on the Newport site along with a young paintress, Gladys Scarlett, to assist. Clarice set about developing a range of designs with bold blocks of vibrant colour in interlocking triangular forms with banding added to cover the rest of the body; each piece was quickly outlined and the colour heavily filled in to cover any imperfections; the brushstrokes were definite and obvious, which used to be the best selling point. This style was far removed from the traditional potteries ware, and the results were instant, dramatic and

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