Clarice Cliff: The Woman Who Painted Britain’s Tables with Modernity

Discover the extraordinary journey of Clarice Cliff, from factory girl to design icon. Her vibrant Art Deco ceramics revolutionised British homes and continue to captivate collectors worldwide.

Clarice Cliff: The Daring Doyenne of Art Deco Ceramics

In the annals of British design history, few names shine as brightly as Clarice Cliff. Her vibrant, avant-garde ceramics not only revolutionised the pottery industry but also brought a splash of colour and modernity to countless homes across the nation. From humble beginnings in the industrial heartland of Stoke-on-Trent to becoming a celebrated figure in the world of art and design, Cliff’s journey is a testament to her extraordinary talent, unwavering determination, and innovative spirit.

The Early Years: From Factory Floor to Artistic Visionary

Born on 20 January 1899 in Tunstall, Stoke-on-Trent, Clarice Cliff’s roots were firmly planted in the heart of Britain’s pottery industry. The daughter of Harry Thomas Cliff, an iron foundry worker, and Ann Machin, who supplemented the family income by washing clothes, Clarice was one of seven children in a modest household.

From an early age, Cliff displayed a natural affinity for the arts. While attending school, she crafted papier-mâché models for a local pottery company, foreshadowing her future career. Her aunt, a hand-painter in the pottery industry, likely served as an early inspiration and mentor.

At the tender age of 13, Cliff took her first steps into the world of ceramics, beginning work as a gilder in the pottery industry. This entry-level position involved adding gold lines to traditional pottery designs. However, Cliff’s ambition and talent soon saw her progress to freehand painting at another potbank.

The Pursuit of Artistic Excellence
Determined to hone her skills and expand her artistic horizons, Cliff enrolled in evening classes at the Burslem School of Art. This commitment to self-improvement would prove crucial in her later success, equipping her with the technical skills and artistic vision that would set her apart from her contemporaries.

In 1916, a pivotal moment in Cliff’s career occurred when she joined the A. J. Wilkinson factory. This move would set the stage for her meteoric rise in the industry. At Wilkinson’s, Cliff’s talents were quickly recognised, and she was offered a second apprenticeship in 1924 at the age of 25.

The Birth of ‘Bizarre’: A New Era in Ceramic Design

The late 1920s marked a turning point in Cliff’s career. In 1927, she was given her own studio at the Newport Pottery, adjacent to the Wilkinson factory. This space became a crucible of creativity, where Cliff experimented with on-glaze enamel colours and developed her distinctive style.

The ‘Bizarre’ Revolution
Cliff’s first productions under her own name were christened ‘Bizarre’. These early pieces were characterised by bold, bright colours and simple geometric patterns, often used to cleverly conceal imperfections in the pottery. The name ‘Bizarre’ was apt, as these designs were indeed a radical departure from the traditional pottery of the time.

The earliest ‘Bizarre’ pieces bore a hand-painted mark, usually in rust-coloured paint, simply stating ‘Bizarre by Clarice Cliff’. As demand grew, a professional ‘back stamp’ was introduced, reading ‘Hand painted Bizarre by Clarice Cliff, Newport Pottery England’.

The Crocus Pattern: Cliff’s Signature Design
In 1928, Cliff produced a design that would become her signature: the ‘Crocus’ pattern. This simple yet striking design featured hand-painted crocus flowers in vibrant orange, blue, and purple, with green leaves added by holding the piece upside down and painting thin lines among the flowers.

The ‘Crocus’ pattern was an instant success, its clearly hand-painted nature appealing to consumers who valued craftsmanship and individuality. To meet the growing demand, Cliff was given a team of painters to work on ‘Crocus’ in the ‘Bizarre’ shop, where they were trained in her distinctive technique.

The Art Deco Influence: Modernism Meets Domesticity

As the 1920s gave way to the 1930s, Cliff’s work increasingly reflected the influence of the Art Deco movement. This international style, characterised by bold geometric forms and vibrant colours, perfectly suited Cliff’s aesthetic sensibilities.

Shapes and Patterns: A Modernist Revolution
Cliff’s designs during this period embraced the angular and geometric forms of Art Deco. Her work featured abstract and cubist patterns applied to striking shapes designed for domestic use. From plates and jugs to teapots and cups, Cliff brought the cutting-edge of modern design into the homes of everyday people.

One of Cliff’s most iconic designs from this period was ‘Sunray’. This vivid pattern, with its evocation of joy and nature, exemplified the Art Deco aesthetic. The sunburst motif, popular in Art Deco design from windows to hotel foyers, was adapted by Cliff to striking effect on her ceramics.

Innovation in Form
Cliff’s innovation extended beyond surface decoration to the very shapes of her pottery. She experimented with different forms to best showcase her designs, from triangular teacup handles to the distinctive conical shape of her sugar casters. These shapes drew inspiration from the geometric rhetoric of Cubist art, further cementing Cliff’s position at the forefront of modernist design.

The 1930s: Triumph Amidst Adversity

The 1930s were a period of both professional triumph and personal complexity for Cliff. In 1930, she was appointed art director at Newport Pottery and A. J. Wilkinson, a testament to her growing influence and success.

A Clandestine Romance
This period also saw the development of Cliff’s relationship with Colley Shorter, the owner of the pottery. Their professional collaboration gradually evolved into a secret affair, conducted away from the public eye. Despite the personal complications, this partnership proved creatively fruitful, with Shorter supporting and promoting Cliff’s innovative designs.

Thriving in the Great Depression
Perhaps most remarkably, Cliff’s wares continued to sell in high volumes throughout the Great Depression, commanding premium prices despite the economic hardship. This success was a testament to the broad appeal of her designs and her ability to capture the public imagination.

The ‘Artists in Industry’ Project
Between 1932 and 1934, Cliff took on a significant role as art director for a major project involving nearly 30 artists. Prompted by the Prince of Wales, this initiative aimed to promote good design in tableware, further cementing Cliff’s status as a leading figure in British design.

Later Life and Legacy

The 1940s brought significant changes to Cliff’s personal and professional life. In 1940, she married Colley Shorter, and the couple moved to Chetwynd House, a beautiful Arts and Crafts home with extensive gardens. Here, Cliff found a new creative outlet in gardening, applying her artistic sensibilities to the 4-acre grounds.

The Twilight of a Career
A. J. Wilkinson and Newport Pottery continued to produce ware under Cliff’s name until 1964. However, following Colley Shorter’s death in 1963, Cliff made the decision to sell the factory to Midwinter and retire. She retreated from public life, becoming somewhat reclusive in her later years.

A Belated Recognition
In a poignant twist of fate, the first exhibition dedicated to Clarice Cliff’s pottery took place from December 1971 to January 1972 in Brighton. Although Cliff provided comments for the catalogue, she declined to attend the opening, perhaps preferring to let her work speak for itself.

Tragically, on 23 October 1972, Clarice Cliff died suddenly at Chetwynd House, just months after this first public celebration of her life’s work.

The Enduring Appeal of Clarice Cliff

In the decades since her death, Cliff’s work has experienced a remarkable resurgence in popularity. The 1970s and 1980s saw a revival of interest in her designs, leading to worldwide collectability and firmly establishing Cliff as a key figure in the Art Deco movement.

A Centenary Celebration
1999 was celebrated worldwide as Clarice’s centenary year, a testament to her enduring influence and the timeless appeal of her work. Today, Cliff’s ceramics continue to be highly sought after by collectors and design enthusiasts alike, with prices reflecting their status as important pieces of 20th-century design history.

A Pioneer for Women in Design
Cliff’s success was groundbreaking not just for her innovative designs, but also for her status as a female designer in a male-dominated industry. She was one of the first women to put her own name to a range of ceramics, paving the way for future generations of female designers.

The Clarice Cliff Legacy

Clarice Cliff’s journey from a 13-year-old factory worker to one of the most celebrated ceramic designers of the 20th century is a testament to her extraordinary talent, determination, and vision. Her bold, colourful designs brought the avant-garde into everyday homes, democratising modern art and design in a way few others have achieved.

Cliff’s work embodies the spirit of the Art Deco era — optimistic, forward-looking, and unafraid of bold statements. Yet it also reflects a deeply personal artistic vision, one that continues to resonate with audiences today. Her ability to balance artistic innovation with commercial appeal set her apart from her contemporaries and ensured her lasting influence on the world of design.

As we continue to appreciate and collect Clarice Cliff’s work in the 21st century, we are not just preserving pieces of ceramic history, but celebrating a legacy of creativity, innovation, and the transformative power of design. In every Clarice Cliff piece, we see not just a beautiful object, but a reflection of a remarkable woman who dared to bring colour and modernity to the everyday, forever changing the landscape of British design.

Bob Lynn / 09-Sep-2024