Contents
Introduction
Page
1
Chapter 1 – Identity and Nostalgia – locating in society
8
Part I Nostalgia
Material culture and the evocation of nostalgia
8
14
Part II Identity
Identity and Acquisition
16
19
Summary
Part III The Significance of Ceramics in Material Culture
Conclusion
20
21
29
Chapter 2 - The revival of hand-painted ceramic decoration in the context of late
19th C. social and political environments.
Introduction
31
Literary and Philosophical references
32
Nostalgia, Identity and Class
34
Societies and Associations
41
Regional Identity
43
Images of ‘Rural life’
45
Consumption and identity
50
Interior Design advice – the presentation of class
52
Staffordshire figures
56
II
The Evolution of hand applied decoration
61
III
The Twentieth Century, nostalgia and identity
- a reappraisal of the hand made.
67
Conclusion
77
i
Chapter 3 - Identity and Class:
The Nineteenth Century China Painters
79
Eighteenth Century China Painters
80
Middle class and female employment
81
Help for ‘Redundant’ women
85
‘Appropriate’ occupations and training
87
Female School of Design
91
Working in Stoke-on-Trent
93
Training for the Potteries
95
Lambeth School of Art
97
Decorating methods: under and over glaze
98
Minton’s Art Pottery
99
Doulton’s Art Pottery, Lambeth
101
China painting in the home – advice from magazines and journals
103
China painting - in literature and art
106
Howell and James, part of the nineteenth century exhibition culture
108
Paintresses, Amateurs, Lady Amateurs and Professionals
114
Class and Social Identity
119
Class and prizes, awards and prices
125
Buyers at the Howell and James exhibitions
129
Painted designs and motifs
133
Conclusion
140
Chapter 4 - Arts and Crafts and hand-painted ceramics
144
Arts and Crafts practice in industrial manufacture
144
Art Pottery
151
Alfred and Louise Powell
152
ii
Josiah Wedgwood & Sons
153
Alfred Powell
154
Louise Lessore
157
The Wedgwood Pattern records
159
The Work at Wedgwood
160
Alfred Powell’s designs
161
Louise Powell and the eighteenth century designs
166
The Training of Paintresses
172
Exhibitions
175
Legacy
179
Chapter 5 - Authenticity and remembrance in the use of hand painting
At the Fife Pottery and Aller Vale Art Pottery
186
The Expansion of pottery purchasing in the context of Victorian taste
187
“Telling Tales” – or narratives from objects
189
Two Regional Potteries
190
Wemyss Ware
190
A Unique Pottery – difference and tradition
198
Later Wemyss – collecting and souvenirs
200
Hand-painted souvenirs – identity and authenticity
202
Doulton’s Series Ware – an armchair souvenir
205
Aller Vale Art Pottery Souvenir Motto Ware
207
Conclusion
220
Chapter 6 Hand painting in South Wales -
222
The dichotomy of Welsh or English identity
224
Llanelly Pottery in literature
227
iii
Guest and Dewsberry’s revival of hand painting
230
Arts and Crafts Movement’s influence
232
The Decorators – the importance of the individual
233
Samuel Shufflebotham
233
Sarah Roberts
235
Decorators’ added value
239
The origins of Llanelly Pottery designs
240
Chicken, Hen, Cockerels
243
Authenticity and the Dutch motifs
244
Cockerel motif
247
Relationship to Quimper in France
249
The wider context of the cockerel motif
251
The value of Llanelly Pottery– cultural or economic
254
A collection of cockerel plates
261
Bread Plate – a narrative
264
Llanelly pottery in the twentieth century – a distinct identity
265
Local newspapers – authentic or creative journalism
266
Welsh Industries Association – an ‘English’ influence
on Welsh identity and design of motifs in Welsh Pottery
272
Pugh Brothers – a twentieth century identity
279
The China Painters of Llanelli
282
Conclusion
285
CONCLUSION
288
Appendix I – Biographical Details of some of
the China Painters at Howell and James
294
Appendix II – Details of exhibits and exhibitors at Howell and James
300
iv
Appendix III – 1901 Llanelly Census
307
BIBLIOGRAPHY
Books & Journals
Archives
Exhibition Catalogues
Newspapers and Magazines
PhD Theses
Conference
Electronic Resources
310
310
317
317
318
322
322
322
List of Illustrations
324
v