Susie Cooper - a comprehensive guide. Free 2014 price guide included. Everything the Susie Cooper enthusiast could want to know.

 

 

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Contents
Introduction 7
A Brief Biography 9
Pattern Names 15
Decorating Techniques 21
Shapes 25
Backstamps and Other Methods of Dating 27
Notes for Collectors
Starting a Susie Cooper Collection 81
Record Keeping 83
Insurance 84
Restoration 85
Lighting and Display 86
Rarity 87
Availability 89
Fakes 92
Reproductions 92
Auction Trends 93
Price and Rarity Guide 95
Pattern Dates - general guide 102
A Susie Cooper Chronology 110
Antique Markets, Speciality Shops and Fairs 115
Bibliography and Articles on Carlton Ware 116


Studio Vase circa 1933 Studio Vase, circa 1932/33
1930's Ibex Plate, silver Unicorn SVC banded 'Cosy' shape teapot,
beaker, Fox or Hound. mid 1930s.
INTRODUCTION
One of the unique characteristics of Susie Cooper pottery is the
breadth of time over which it has been produced. No other designer
has covered the seven decades of design we have seen from Susie
Cooper. She reflects with total sensitivity the design ideas of the periods
through which she worked, allied with a down-to-earth appreciation of
the needs of the housewife. As the 1930s advertising slogan put it,
'Elegance combined with utility. Artistry associated with commerce
and practicality'.
A wide variety of work is still readily available, ranging from her early
earthenware to the fine bone china of post-war years, with all kinds of
decoration - freehand painting, aerographing, tube-lining, lithographs,
crayon patterns, lustre decoration, sgraffito and incised ware.
It has been estimated that she produced over 4500 patterns and
about 500 new shapes, so there is likely to be something that will
appeal to every collector of ceramics among her work.
The price range is equally wide ranging from a few pounds to over a
thousand for rare examples at auction. Space requirements can be
tailored to availability - plates can be attractively displayed on a wall,
coffee cans can be grouped on a small set of shelves, a dinner service
can fill a dresser, a single vase can highlight a colour scheme.
Her work fits equally well into modern or traditional interiors. Because
of its subtle colours and classic shapes it has an understated elegance
that is tasteful and timeless. Her work is still emerging in sufficient
quantity to find perfect examples in almost all areas, so it is possible to
set high standards for a collection and to reject worn or damaged
pieces. However, if an item is very rare, one may have to accept it in
the condition it comes.
Since her work spans the Art Deco period, now very collectable, and
the newly collectable Forties and Fifties as well as more recent
decades, examples can be found at all levels - at general antiques
fairs, antique centres and markets and at specialist Art Deco shops and
fairs across the country. With a vast amount exported to America, this
is also true in the United States.
Susie Coop er has become so popular that there is even a collectors
group with a newsletter offering the opportunity to advertise items for
sale or items wanted and giving information about exhibitions and
specialist auctions of her work. Her work is instantly recognisable and
can be picked out easily when it turns up in unpromising circumstances
like flea-markets and charity shops. Though this now happens less
often, it is part of the joy of collecting to suddenly come across a 'find'.
Backstamps and pattern numbers help dating, while the style of
decoration also helps to indicate the period of production. Occasionally
a pattern name may be added, but more often than not there is
no set pattern name, and many of her hand-painted designs are
referred to only as "Geometric". Her latest designs have been for
tapestry and felt applique, which can be used to complement her
ceramic work. Very rare examples of her work can be seen in national
collections like the Victoria and Albert Museum in London or The City
Museum and Art Gallery, Hanley, Stoke-on-Trent.
Suitable items can be chosen for display in every room of the house,
including the bathroom. If a change of direction in collecting is
indicated, unwanted items can be easily disposed of, often at a profit.
Incomplete sets can often be made up with the help of a china
matching service, and, at present, prices are such that it is possible to
make use of dinner, tea and coffee services - if not in everyday use,
at least for special occasions. Given the quantity of items still available,
the question of fakes seems unlikely to arise. The only proviso for the collector
is to ensure that on early handpainted geometric patterns the
painting is original, since these were subject to flaking and may have
been repainted, though this is fairly easily detected with experience.
Because of the length of her career and her versatility in owning and
designing for her own factory (very unusual in the Thirties), many articles
have been written about Susie Cooper and these can form an interesting
ancillary collection. Similarly background information covering the
whole of her career can be obtained from studying the works listed in the
bibliography of this book. Our aim is to give the collector a
practical introduction to the work of Britain's leading lady of the
Potteries, and it is hoped that this will stimulate yet further interest in her
considerable achievements.
A BRIEF BIOGRAPHY
Susan Vera Cooper was born at Stansfield, near Burslem, on 29th
October, 1902. She was the youngest of seven children and had three
brothers and three sisters. Her great-grandparents had had connections
with the pottery industry, but her parents ran a farm and a family
retail business.
An early interest in .drawing and painting led her to evening classes
at the Burslem School of Art where she studied freehand painting and
plant form. She was encouraged by her mother and her tutor, ceramic
artist and designer Gordon Forsyth, and she went on to win a
scholarship for full-time tuition.
Initially interested in textile and fashion design, she decided to apply
for a scholarship to the Royal College of Art in London in 1922, but to
qualify for this she needed industrial experience.
Gordon Forsyth advised her to take employment at the pottery
decorating firm of A. E. Gray, beginning as a paintress on piece-work,
This gave her invaluable experience of work on the factory floor. She
was soon promoted to designing on an hourly rate and then became
resident designer, becoming as she later said, "committed to local
industry".
She stayed at Grays for around seven years, designing brightlycoloured
geometric, floral and banded ware, which was marked with
a backstamp of an ocean liner incorporating the words, Designed by
Susie Cooper. She also during this time produced textile designs for
Skelhorn and Edwards, a London-based firm.
Ambitious and confident of her capabilities, she found it irksome to
be inhibited by what the firm's sales force believed would sell, and by
the limited range of shapes available to her,
In order to have greater freedom to ensure harmony between shape
and pattern she decided the only way forward was as an independent
pottery producer and she left Gray's on her twenty-seventh birthday.
With the backing of her family and with her brother-in-law Jack
Beeson (known as vUncle Jack') who became her business partner, she
set up at the George Street Pottery, Tunstall. This was the autumn of
1929 which was also the year of the Wall Street Crash, and
unfortunately her landlord became bankrupt. This left her without
premises, but undeterred, in the spring of 1930 she moved to the
Chelsea Works in Moorland Road, Burslem, renting space from Royal
Doulton. She bought in whiteware for which she designed simple
patterns that were within the capabilities of her young workforce. These
included Polka Dot, Exclamation Mark and banded patterns.
At the British Industries Fair of 1931, her work created considerable
interest and, impressed by this, Harry Wood of Wood and Sons offered
her not only more convenient premises at his Crown Works in Burslem
but also facilities for the production of shapes to her own design. She
took up the offer and her first shapes were reminiscent of birds including
Kestrel and Curlew (1932) and Falcon and Spiral (1937). They were not
only highly stylised and innovative, but they were also easy to clean,
with spouts that poured well. This was also true of Wren, Jay and Rex
(1935) which she designed for Woods.
The inspiration for her patterns came largely from nature - Bronze
Chrysanthemums, Scarlet Runner Beans, A Country Bunch, Orchids,
and Shepherd's Purse.
Her incised ware featured squirrels, leaping deer, rams and goats,
leaves and flowers. All were produced in subtle colours and with high
or matt glazes. Her nursery ware often featured animals or illustrated
nursery Nhymes.
Her pottery sold at sensible prices, as she was aiming, as she said, at
"professional people with taste and not much money".
At the British Industries Fair of 1932 Queen Mary bought a breakfastin-
bed set and a jug, and a buyer from John Lewis ordered her Polka
Dot range. This was the beginning of a long and profitable association
with the department store, which also involved the trying out of new
lines and reporting back the buying public's response, giving Susie
Cooper valuable market research.
In the same year she was elected to the North Staffordshire branch
of the Council of the Society of Industrial Artists, often giving lectures at
their meetings in support of her own ideas on pottery design.
By now Susie Cooper was supplying other department stores as well
as John Lewis, among them Harrods, Waring and Gillow and Selfridges,
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and soon she realised that demand would outstrip supply unless she
adopted additional new decorating techniques. She decided to
introduce lithography in combination with hand-painting and
aerographing. Lithography was just beginning to come forward with a
wider palette of colours for mass manufacture, and Susie Cooper was
to prove remarkably adept at making use of the innovations that were
taking place.
By working closely with the manufacturers of lithographs, who were
willing to use her own watercolour designs, she achieved a very high
standard of lithography, resulting in designs like her famous Dresden
Spray, a best-seller for nearly twenty years, Iris, Clematis and Endon
Border, all of which had additional hand-painted decoration.
Similarly she was closely involved with all aspects of running her
factory - staff recruitment and training (her workforce of five
paintresses had increased to forty in two years) factory floor
management and organisation, promotion and marketing - as well as
producing up to two hundred patterns a year.
She advertised in the trade press and in top quality women's
magazines, made appearances at annual trade fairs and had a
showroom in London. This kept Susie Cooper's name in the forefront of
pottery production throughout the Thirties, and by now she was
exporting'to Europe and Scandinavia, America and Canada, South
Africa, Australia and New Zealand.
In 1939 the outbreak of war brought restrictions and shortages of
material, but in 1940 Susie Cooper was made Royal Designer for
Industry, the first woman in the Potteries to receive the award.
At first determined to carry on despite the problems of producing
pottery in wartime, she was forced by a disastrous fire at Crown Works
to cease production until rebuilding material became available in
1945, when she was able to resume.
In 1946 she was invited to join the selection committee for the Britain
Can Make It exhibition at the Victoria and Albert Museum, three of her
own designs being included.
At the British Industries Fair the following year her new designs
included her popular Tree of Life pattern, and she was clearly reestablished
as a force to be reckoned with, but by now she had
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decided to branch out into china production and in 1950 she bought
the Jason China Company of Longton.
A complete refit of the factory followed and 1951 saw the launch of
a new shape, Quail for china. This was put on display in the Royal
Pavilion at the Festival of Britain held at London's South Bank site.
Her post-war patterns, like those pre-war, drew their inspiration from
nature and included Teazle, Wild Strawberry, Sea Anemone and
Whispering Grass, while popular 1930s patterns continued to be made.
Sadly a tragic fire in 1957 halted production for nearly a year, but a
merger with R. H. & S. L. Plant in 1961 gave Susie Cooper the opportunity
to step up china production while phasing out earthenware, for
which demand had declined.
When in 1966 Josiah Wedgwood and Sons Limited took over both the
companies, Susie Cooper continued as a designer for the William
Adams and Sons section of the Wedgwood empire.
Though at first regarding the change as a challenge, she eventually
grew disillusioned by the impersonal nature of working in a huge
organisation and many of her designs failed to reach the production
stage. Although some new designs were sold in Boots and Tesco's in the
early 1980s, this was not under her own name, and a far cry from
acclaim she had enjoyed in earlier years.
A retrospective exhibition of her work under the title of Elegance and
Utility was held by Wedgwood at the Sanderson's Exhibition Gallery in
1978, and in the New Year's Honours List of 1979 she received the OBE.
In October, 1982, the City Museum and Art Gallery at Hanley, Stokeon-
Trent, held an exhibition in tribute to her eightieth birthday, and in
1987 the Victoria and Albert Museum organised a travelling exhibition,
Susie Cooper Productions.
In 1987 Wedgwood reintroduced three 1930s designs on the Kestrel
shape, and in 1992 held an exhibition at their Visitors' Centre in tribute
to her ninetieth birthday, including two room sets dressed with
appropriate pottery.
Now resident with her son Timothy on the Isle of Man, Susie Cooper
has produced seed paintings which have been successfully exhibited
in London, designs for tapestry and felt applique cushions, and for her
own celebration of her ninetieth birthday produced a limited edition of
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ninety of a model of a leaping deer, one of which was presented to the
Queen Mother, who has been an admirer of Susie Cooper's work
throughout her career,
Susie Cooper has obviously proved to be a dynamic and innovative
designer throughout a large part of the twentieth century, and as such
her contribution to the status of British pottery worldwide cannot be
over-estimated. She has been an international celebrity, both before
World War Two and since, and will be captivating collectors of her work
for many more years to come.
SVC/Wedgwood 'Applegay' No. C2018, circa 1964
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Quail shape 'One O'Clocks' coffee pot and Haw water No. 613, circa 1956
'Whispering Grass' toast and condiments, No. c609, produced circa 1956.
14
PATTERN NAMES
Since Susie Cooper is said to have designed more than 4500 patterns,
it would be a mammoth task to get to know them all.
Probably the best method of getting familiar with her work is to pinpoint
certain patterns or groups of patterns as being characteristic of
a period in her career. Then unfamiliar patterns can be 'matched' to
known patterns and an informed guess made as to their probable
date. This is particularly useful when the backstamp is one used over a
long period, for instance, a signature used from 1929 to 1980 or the
familiar leaping deer used from 1932 to 1965.
Much of Susie Cooper's inspiration came from nature. Apart from
geometric or 'cubist' patterns, banded designs and nursery ware,
many of her patterns have floral names.
Sometimes the pattern name is shown by a lithograph on the base of
the item. More usually a pattern number has been freehand painted
into the box provided as part of the backstamp. In this case, the
pattern and date can be identified by reference to a list based on the
firm's pattern books or in the case of earlier work from the list of 'Pattern
Numbers and Estimated Dates' given in Hand-Painted Gray's Pottery
by Paul Niblett.
Advertising material and reviews of the annual trade fairs in the
Pottery Gazette and Glass Trades Review, available at the Stoke-on-
Trent City Library Reference Department, are also invaluable in
providing information about pattern names and dates.
In some instances, in order to provide a ready means of
identification, some familiar patterns originally known only by numbers
have been given modern invented names by which they have
become known to collectors. These by now have sometimes been
adopted so thoroughly that it is difficult to remember that they are not
original names. Moon and Mountains, for instance, brings brightly
coloured circles and jagged lines to mind much more readily than the
anonymous 7960'. It seems pedantic to object to this since it is so
useful, especially to new collectors.
An additional guide is the complexity of the pattern, since Susie
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Cooper naturally took into account the developing skills of her
paintresses, being well aware from her own experience on piece work
of the importance of keeping the pattern's demands within the
capacity of the paintress while at the same time providing interest and
variety in the manipulation of the brushstroke.
Initially Susie Cooper had been employed at Gray's Pottery as part of
the team painting the range of lustre ware items designed by Gordon
Forsyth. These were shown at the British Industries Fair in February, 1923.
Soon afterwards she herself contributed as a designer to the Victoria
and Albert Museum's exhibition British Institute of Industrial Art, Recent
Examples of British Pottery held in September and October of that year.
Around this time a special backstamp, incorporating her name, began
to be used on her designs, which included brightly coloured floral and
fruit patterns.
During the following years, Susie Cooper herself contributed designs
to the Gloria Lustre range, usually identified by her monogram, a
selection of which is shown in Susie Cooper Productions by Ann Eatwell.
These pieces featured birds, animals and flowers, including goats,
antelopes, lions and cherubs, and some were exhibited at the
Wembley Exhibition of 1924 and at the Exposition des Arts Decoratifs in
Paris in 1925.
As well as handpainted flower and fruit designs, the print and enamel
technique was used over the next few years for patterns like Acorns,
Golden Catkin, Primula and Iris. Nursery ware was not neglected,
Quadrupeds appearing in a variety of colourways, featuring giraffes
and gazelles as well as farmyard animals, while "This is the House that
Jack Built' and other children's motifs proved popular,
An important development in 1928 was her introduction of banding
which she now used in both vivid and subtle combinations of colours.
By now geometric designs like Moon and Mountains, (black, red,
yellow, green and blue circles and zigzags) and the 1929 Cubist, black,
red, yellow, green, blue and grey blocks of colour, vied with the floral
print and enamel patterns featuring crocuses and daffodils, and
various banded patterns, including the attractive Layebands
produced for Heals and named after the West End actress, Evelyn
Laye, softly banded in yellow, pink and green.
16
Susie Cooper's time at Gray's ended with more floral and fruit
patterns in bright colours, sometimes with gilt embellishment and
sometimes with touches of lustre. Summertime, probably her last
pattern for Gray's, summed up her work there with colourful flowers
handpainted and edged with gilt.
Despite the uncertainty and insecurity of the George Street/Chelsea
Works period, 1930-31, Susie Cooper's invention was unflagging. Bronze
Chrysanthemums was her first recorded independent pattern, followed
by a bouquet of floral patterns including Carnation, Tulips, Lily of the
Valley, Bluebell and Marigold. Geometric and abstract designs
punctuated the floral patterns, and spots began to appear, as in
Symphony. Small stylised motifs like Peacock Feathers, in green, yellow
and black, were introduced along with the black and red Rose and
Citrons in orange, lemon, green and black, while Deer Leap
foreshadowed a trademark yet to come.
The security of being established at Crown Works in 1931 led to a run
of lively patterns; Scarlet Runner Beans, vivid in orange, red brown,
black, yellow and hair brown, and Tadpoles green, orange, brown, grey
and black, with Galaxy in yellow, blue, grey and black, as well as
various abstract, geometric and floral designs and nursery ware like
Rabbit.
The following year showed growing confidence both in her own
administrative ability and in the skills of her paintresses, resulting in
"Panorama", a charabanc on a trip to the country, Caravan, showing
a man leading a horse-drawn caravan, and a variety of characters
and animals such as Balloon Man, Spanish Dancer, Clown,
Woodpecker, Stag, Tigers, Squirrel and Monkey.
Floral patterns continued, including Briar Rose, Heliotrope, Cactus
and Oak Apple, a wide range of techniques - freehand painting, print
and enamel, on-glaze and underglaze - being employed.
The year ended with Susie Cooper's development of wash-banding
for one of her most popular patterns of all time, Wedding Ring,
produced in many variations both pre-war and post-war.
In 1933 stylisation continued with Leaf Pattern, orange, yellow, blue,
green and brown, Florida in pink, red, grey, black and green, and
Convulvulus, blue, green, pink and amber, while abstract motifs like
17
Spiky Circle, Blue Scrolls, Swirls, brown and black and Scrolls, blue and
black, became popular, with tube-lining being used for Whirl, Swirl and
Dropped Lines. Floral patterns - Country Flowers in blue, green, yellow
and purple, Morello, blue, orange, yellow and green, and Gilley
Flower, blue green, purple, brown and black - remained an abiding
theme, while Playing Card Motifs, Diamonds, Hearts and Club were an
innovation.
In 1934 the success story of the year came near its end, with the use
of thin sticks of marking colour utilised for underglaze painting. This was
cleverly developed over the next few years in various ways - Crayon
Line and Crayon Swirl in 1934, and Crayon Loops and Crayon Scallop
Border in 1936, along with many crayon/banding variations. Two new
patterns, Egyptian in blue, brown and black and Pyramids in red,
brown and black, introduced motifs from Egypt, while new tube-lined
patterns were put into production, including Oak and several
unnamed designs. Aerographing was also used, sometimes in
combination with sgraffito decoration, as in Circles.
By now Susie Cooper needed to speed up production to supply the
increasing demand for her pottery, and in 1935 she began to introduce
lithographs, designed by herself and specially produced for her to a
very high standard. A variation on the print and enamel technique, it
was much quicker in application and proved to be a success both
commercially and aesthetically. Dresden Spray was enormously
popular both pre- and post-war, retaining its popularity with today's
collectors, while Nosegay and Swansea Spray were also best sellers.
With Wedding Ring, Dresden Spray and the crayon patterns as basic
lines, Susie Cooper was now well-established, but she remained as
versatile as ever, adding new floral patterns like Blue Primula and Wide
Buttercups (1936) and Faenza, a green pattern of stylised feathers and
dots, and Exclamation Mark while Grey Leaf appeared in various
colourways, as did Printemps. Nursery animals like Noah's Ark, Black
Pom and Tango Terrier, Dignity and Impudence were matched by
Golfer, Skier and Horse and Jockey for the adults.
Two more popular lithographed patterns arrived in 1938, Endon, a
delicate border pattern in green, pink and brown, and Patricia Rose in
similar colours. Other patterns, like Regency Feather and Elderberry,
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combined aerographing with sgraffito. Starbursts made use of a star
motif while Sea Anemone was a stylised transfer print of ferns in green,
pink, orange and brown. The following year a fruit theme was
introduced again - Leaf and Vine, Apples and Pears, Pears and
Cherries, Pear and Plum and Grapevine, often with turquoise
predominant, followed by more feather, star and circle motifs. Long
Leaf in green, yellow and pink, was another popular transfer pattern.
The outbreak of war led to a shortage of materials and manpower,
but Black Leaves was introduced early in 1940 and proved popular. The
following year, old favourites continued in production, backed up by
new patterns like Tulip and Daisy Spray, Pink Aster Spray and Tigerlily.
Bud, mainly pinks and greens, and Seaweed were introduced in 1942
but early that year a disastrous fire ended production until after the
war.
As to be expected, there was a complete change in public taste
once the war was over, and Susie Cooper was swift to respond to the
new demand despite continuing shortages of labour and materials.
Deprived temporarily of the option of lithography, due to the fire which
destroyed all her stocks, she returned to banding, freehand painting
and sgraffito for striking patterns like Tree of Life and Tulip in Pompadour,
often using deeper colours like green, brown and mahogany to suit
contemporary interiors.
Following the move into china production in 1950, lithography once
again became central as a decorating technique and floral patterns
like Gardenia, Magnolia, Orchid and Azalea joined Blue Star, Gold Bud
and Astral.
Classical designs like Corinthian, Romanesque and Palladian were
offered along with Highland Grass, Sienna Pastel and Pomme D'or,
providing a wide range of options for the customer.
Two years after the second fire in 1957, Susie Cooper purchased the
Crown Works and from then on earthenware was gradually phased
out, until by 1964 she had switched over entirely to bone china. Once
again Susie Cooper fell victim to fire, and her lithography gave way to
hand-painting and sgraffito, with Black Fruit, Confetti and Relief Polka
Dot using aerographed decoration.
Amalgamation with R. H. and S. L. Plant Ltd led to further china ware
19
development and after new floral patterns like Cornflower, Speedwell,
Wild Rose and Glen Mist in blues and greys, Susie Cooper began to
explore the covercoat technique which was beginning to oust both
lithography and hand-painting. Covercoat, or 'slide', was simpler in
application and gave a much more uniform density of colour. It was,
ideal for the intense modern colours appropriate to the Swinging
Sixties. Silk-screened on to film, the pattern slid off on to the ware
cleanly and easily, giving consistently perfect results for the minimum of
effort.
Christmas Rose and White Jasmine were early covercoat patterns,
but perhaps better known were those after March 1966, the time of the
Wedgwood takeover, like Carnaby Daisy, Diablo in gold and black,
and the best-selling Corn Poppy, red, brown and black on white.
As well as tableware, Susie Cooper designed giftware for
Wedgwood, Floral Bouquet for the Silver Jubilee, the English Wild Flower
series and Birds of the World.
In 1982, following the final closure of the Crown Works in 1980 and
working from a studio at William Adams and Sons Ltd, at Tunstall, Susie
Cooper designed Blue Daisy, Meadowlands and Inspiration to be sold
in chain stores, her final design being a new covercoat version of
Florida in 1984.
Apart from a revival of three 1930s patterns, Marguerite, Pink Fern
ana Polka Dot in time for the 1987 Victoria and Albert Museum
exhibition of her work, Wedgwood produced no new Susie Cooper
patterns from 1984, though for her ninetieth birthday she created,
appropriately enough, a limited edition of ninety leaping deer in
porcelain.
20
DECORATING TECHNIQUES
Susie Cooper's early experiences in the decorating shop at Gray's
Pottery gave her in-depth knowledge. She was aware of the necessity
for the decoration and the technique by which it was applied to be in
harmony with each other and to be within the capabilities of the
decorator.
Just as Clarice Cliff designed bold geometric patterns for her young
apprentices to apply to the stocks of dated whiteware she had been
given for her early experiments, so Susie Cooper at first restricted her
designs to simple banding, blocks of colour, spots, stars and stylised
flowers.
Then, as her skills increased, she designed patterns using more
complicated brushwork and techniques until the paintresses were
capable of a whole range of variations and could reproduce at speed
any of the many hundreds of patterns she designed, using any method
specified.
Susie Cooper joined Gray's at the point when Gordon Forsyth was
designing a lustre ware range. This, intended to be launched under the
range name of 'Gloria Lustre', employed various metallic glazes and
featured heraldic birds and beasts, flowers and fruit.
Difficult to apply and fugitive in wear, lustre painting uses metals like
gold, silver, titanium, platinum and bronze in compounds which are
painted on over the glaze and the fired in a reducing or oxygenstarved
atmosphere in order to leave a thin film on the surface of the
ware, either giving a solid metallic colour or an iridescent effect. It is a
technique more suited to decorative objects than those intended for
daily use, and requires perfect preparation and firing conditions for
success. Susie Cooper helped in the production of Gordon Forsyth's
designs, usually being responsible for painting the heraldic lions which
were a prominent symbol in the range.
Also at Gray's Susie Cooper developed a wide variety of banding
and lining techniques used in different combinations of width and
strength. The bands of colour could be solid, shaded or washed on
using colour mixed with turps or aniseed to make it flow evenly.
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Another technique she was later to use in her own factory was the
print and enamel method, whereby a printed outline was applied to
the surface of the ware and then colour applied to enhance the
decoration. This method, speedier than total hand-painting, was in
wide use throughout the Potteries.
On-glaze decoration was also widely used, the paint being applied
after the piece had been glazed, using enamel colours, then fired at a
low temperature.
Under-glaze decoration, like the Crayon patterns were carried out
freehand with sticks of colour made up specially for Susie Cooper. They
were applied on the biscuit (i.e. unglazed) ware and glazed
afterwards, giving a depth and richness to the finished result.
Tube-lining - outlining the pattern with liquid slip extruded from the
glass nozzle of a rubber bag - was another technique carried out
before glazing, considerable experience being required to ensure the
surface was neither too wet nor too dry for the thin thread of clay to
adhere. Charlotte Rhead is the ceramic artist best known for her tubelined
designs, and the technique has also been in constant use at the
Moorcroft factory where it remains so to this day, but Susie Cooper also
produced some very stylish tube-lined designs, including Dropped Line,
spiral effects and floral patterns outlined in tubing.
A combination of under- and on-glaze decoration known as inglaze
was achieved by painting on glaze with underglaze colour and
letting the colour melt when fired, to create a three-dimensional effect.
In some instances, simple patterns were applied freehand, but for
more complicated patterns a pounce was used, a pierced outline of
the patterns through which charcoal dust was blown to provide
guidelines. Sometimes these were overdrawn with Indian ink. The ink
and charcoal vanished when the item was fired.
Very typical of Susie Cooper's style of decoration was the Incised
ware in which the decoration (flowers, leaves, squirrels, deer, goats and
stags) was carved into the leather-hard clay body before glazing, often
with a matt glaze, and firing.
Similarly, in Sgraffito decoration the piece was first glazed in a solid
colour and the pattern incised freehand through the glaze. Increasing
commercial pressure led to the use of aerographing, (the use of a
22
spray gun), for shading borders and to prepare pieces for Sgraffito
decoration.
Lithography was also used to speed up production as demand
increased. A form of transfer printing, it had been widely used but as
the designs were often created by artists not familiar with pottery
production the results were frequently less than satisfactory. Unwilling to
accept this, Susie Cooper worked to create a co-operative relationship
with the manufacturers and persuaded them to produce lithographs
from her own water-colours so that a high standard of suitability was
possible. She was to have many successes with this method, including
Dresden Spray, Printemps, Cactus and Nosegay.
After the war, silk-screen techniques replaced lithography to a large
extent since there was now a demand for more permanent colours
due to the advent of detergents and dish-washers, A screen being
used for each colour, the pattern was built up on to the film from which
it was then applied to the pottery and the backing sheet removed. This
also is known as the 'covercoat' method.
SVC 'Diablo' No. c2150, circa 1969.
23
Beakers for World Wildlife Fund, No 'Silver Jubilee' limited editions of 500
C2203, about 1970 c2208, circa 1977/78.
'Venetia'coffee pot c2039, produced vHyde Park' coffee pot No. cl92,
circa 1964. produced circa 1959.
24
SHAPES
During her time at Gray's, Susie Cooper had very little opportunity to
design shapes and this was a major reason for her dissatisfaction,
leading to her determination to set up her own factory.
At Gray's she did, however, design the shape of a coffee-pot which
was produced for Gray's by Johnson Brothers Ltd. It was made in about
1928 and was 20cm high. Probably around the same time she designed
a teapot, milk jug and sugar bowl which were produced for Gray's by
Lancaster and Sons Ltd.
Once the Susie Cooper Pottery was safely established at the Crown
Works, Burslem in the summer of 1931, she was able to design shapes to
be made for her by the adjacent factory of Wood and Sons, and as a
result the Kestrel shape appeared at the British Industries Fair\n 1932,
The following year the Curlew shape was shown at the same event,
as well as the Kestrel tureen with its reversible lid.
Susie Cooper also designed shapes for Wood and Sons. The Wren
shape for them appeared in 1935, ana was followed by Jay. She
modified their Classic and Rex shapes and from 1935 used these for her
own patterns as well. In 1937 the Falcon shape was launched, and the
following year's B.I.F. saw the Spiral shape unveiled.
Despite changing tastes post-war, Susie Cooper's shapes remained
popular, especially decorated with her new patterns designed to
appeal to current taste. As she moved into china in 1950 she designed
the Qua/7 shape for the 1951 Festival of Britain.
Following the fire of 1957 the Can shape proved popular and was to
remain so until 1989, while the Fluted shape, designed in 1956 but not
shown until the following year, was also a success. Also in 1957 the
Scallop shape was designed and shown at the Blackpool Fair.
After the move to William Adams in Tunstall the Simple shape was
also effective with Susie Cooper patterns of the 1980s, as was the
Hexagon shape, both being made by Adams.
Finally, the wheel came full circle when in 1987-8 Wedgwood issued
three Susie Cooper designs from the 1930s on Kestrel shape breakfast
sets, issued in presentation boxes.
25
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SZ/t7Z6L oojp seiduuos uojpnpojd ,seqeu.j_x Jo ,sruAdDd%
BACKSTAMPS AND OTHER METHODS OF
DATING
So recognisable is Susie Cooper's work that it is often unnecessary to
turn an item over to check the backstamp on the base.
With experience, a collector will also soon be able to hazard a fairly
accurate guess as to the period of her career to which it belongs,
judging by the type of pattern and method of decoration.
Shape is also a guide to dating as the item clearly falls into the
period in which that particular shape was in production.
Certain popular patterns were in production for long periods and
will require other clues to pinpoint the probable date of production
within that period. Some patterns were produced only briefly or only in
small quantities, and in these cases there is less latitude for error.
Where a designer moved from one factory to another, as Susie
Cooper did from Gray's Pottery to her own factory, it must be
remembered that certain of her patterns were kept in production after
she left, sometimes for a period of several years, and these will therefore
carry the later backstamp, in this instance Gray's clipper
backstamp.
Sometimes the backstamps incorporated the name of a pattern in
the form of a lithograph, while occasionally a backstamp was
designed especially for a particular pattern which it named as part of
the backstamp design. This is obviously helpful, particularly if it is an
unfamiliar pattern in production only briefly.
Dating pottery can never be an exact science as at the time it was
made it was not anticipated that one day it would become
collectable, so the application of backstamps was often haphazard
and sometimes misleading.
Shape, pattern and backstamp are all useful clues to identifying
items, but no more than clues. Best of all is hard evidence in the form
of provenance - details from the original owner or the family of the
original owner as to when it was bought, particularly in the case of a
wedding gift, a twenty-first birthday present or an anniversary
presentation.
27
Apart from such evidence, it is best not to be too dogmatic in
attempting to date any particular piece. In the case of Susie Cooper,
many backstamps were in use, sometimes simultaneously, for several
years, even up to half a century, while certain popular patterns were in
production for several decades.
Impressed marks on the base of some items indicate not the date of
decoration but the date of the manufacture of the whiteware.
Decoration was necessarily, therefore, after this date, but how long
after is difficult to determine.
Pattern numbers, sometimes painted freehand in the box
incorporated into certain backstamps, are a useful guide as they can
be checked against the lists of Susie Cooper patterns based on the
pattern books from which the paintresses worked, but again it is
necessary to remember that patterns were often in production over a
period of years. All that is indicated by the pattern number is that the
piece was decorated between those two dates. The first is arbitrary
(though it cannot have been decorated before the pattern was
designed!) and the other, later date, is flexible to some extent as
occasionally in the 1930s 'matchings' could be ordered by the
customer to replace broken items in discontinued patterns.
An impressed mark beginning with a 'W' (for Woods) indicates the
date of manufacture of the whiteware, the last two digits being the
year and the prior digit(s) being the month of production.
The majority of patterns designed by Susie Cooper for Gray's carried
a backstamp she had herself designed. Keeping to Gray's existing
tradition of a theme of ships, she brought this up to date by creating a
picture of a liner with two funnels using orange, green and black, with
"Handpainted" above and the wording below reading "Gray's Pottery,
Hanley. England. Designed by Susie Cooper". Used from 1923 to about
1931, by which time she had, of course, left the company, variations
were evolved to cover Nursery ware, when the mark was in blue only,
or sometimes reading simply 'Susie Cooper Ware'. Sometimes, printed
in black only or brown, the backstamp included the name of the
pattern. Occasionally it was used without the final line which read
"Designed by Susie Cooper", presumably for work by other designers,
or for items decorated after she left the factory.
28
Boxed Fruits, perhaps No. c899.
29
Her first independent mark was a simple triangle applied by a
rubber stamp and therefore often a little blurred, since it was applied
on top of the glaze. It read succinctly 'A Susie Cooper Production',
sometimes with the additional wording 'Burslem, England'. Used from
1930 to 1932, it was stamped in black. It is said that a similar backstamp
had been used previously at the George Street premises in the autumn
of 1929, when the additional wording was, of course, 'Tunstall, England'
instead of 'Burslem'.
Most familiar by far is the Leaping Deer backstamp, introduced in
1932 and used until the mid-sixties with a vast number of variations. The
usual wording read 'A Susie Cooper Production, Crown Works, Burslem
England' with a box below into which a pattern number could be
painted freehand. Usually printed in brown, it was sometimes found in
green or blue, with or without a pattern number or, from time to time,
with a pattern name. Between 1932 and 1956 the wording only of this
backstamp was occasionally used, without the deer. Sometimes, too,
the deer and the box were missing, the box being replaced by a very
neatly written script signature with a circle below the line that was
inscribed beneath the name. Various incised signatures, some with
dates or reference numbers, were used from 1932 to 1980, particularly
on studio ware, England being added below on many items.
A variety of printed signatures was used from 1933 to the mid-sixties,
usually in brown but sometimes in green. 'England' was often added
from 1934. Again reference numbers or pattern names were
occasionally added.
Some patterns, made for John Lewis and/or Peter Jones, the big
department stores, were marked not with Susie Cooper's name but the
the name of the retailer and the pattern name, and the pattern's
predominant colour was then used for the backstamp.
A special Woods backstamp was used on items which carried
patterns designed by Susie Cooper for Woods, sometimes also
indicating 'Designed by Susie Cooper for Awmacks Leeds,
manufactured by Wood and Sons Ltd'.
Bone china was at first marked with a delicate signature with an
asterisk below and the words 'Bone China England' printed in brown,
black, green or blue. This mark was used from 1950 to around 1966.
30
A circular backstamp printed in black and reading 'Susie Cooper
Made in England' round the edge with 'Fine Bone China' in the centre,
was used from about 1957 to 1960 and may have been intended for
the export market, hence the emphasis on its English origins.
Another printed signature above 'Susie Cooper Fine Bone China
England' followed, printed in black and sometimes with the pattern
name and/or number, and from 1967, 'Member of the Wedgwood
Group'.
Later marks sometimes included the Wedgwood Vase motif with or
without the wording 'Susie Cooper Design' and other descriptive details.
From 1982, Adams' Crown trademark and name replaced any
mention of Susie Cooper herself, though Wedgwood retained the
words 'Susie Cooper Design' until the late 1980s,
SVC sweet dish sgraffito decoration 'Orchid' perhaps c403, circa 1953.
31
Gray's 'Pastoral' No. 8321, circa 1928.
Gray's 'Quadrupeds' No 7742, circa 1928.
32
Guan Yin - modelled in bone china by Susie Cooper when at the Burslem
School of Art, and painted in enamel colours with gilt embellishment. This striking
figure in oriental costume is one four produced between 1919-1922 and is 16.5cm
high. The others are of a Flower Seller, a Spanish Lady and a powder bowl
modelled as a crinoline lady holding a posy of flowers. (N Jones)
33
The shape of this coffee pot was designed by Susie Cooper while at Gray's and
the vivid geometric pattern in green, black, yellow and grey is also her work. It
was because there were few opportunities to design shapes at Gray's that Susie
Cooper felt impelled to set up as an independent pottery producer and so
embarked on a career that was to lead to international fame. (N Jones)
34
A fruit set in a bold handpainted floral pattern. (Courtesy Christies)
A Cube tea set, panels of overlapping rectangles and wavy lines handpainted
in yellow, green, grey, brown, ochre and black, with the early triangular
backstamp, (Courtesy Christies)
35
A Gloria Lustre ovoid vase with scalloped flower-heads enclosed in scrolled lines
in lustre red and blue with gold embellishment, produced for Gray's (cl925). The
Gloria Lustre range was initiated at Gray's by Gordon Forsyth, who was a major
influence on Susie Cooper at this time, It carried a special backstamp, a sunray
in black and yellow, and included ornamental and useful items, richly
decorated in a variety of lustres. (NJ)
36
Three Gloria Lustre examples - a pear-shaped vase in gold on green and
purple, a waisted cylindrical vase in pink, lilac and gilt and an ovoid vase in
blue, pink, purple and gilt. (Courtesy Christies)
37
A Gray's part coffee service in silver lustre, showing shallows in flight, which was
made for Heal's. (Courtesy Christies). Below (left) SVC Canadia export plate,
circa 1950; (right) Gray's lustre jug, circa 1928.
38
Four late 1920s pieces for Gray's with a 1930s geometric design, middle left, (NJ)
39
Leaping Deer handpainted wall plaque,
40
Late 1930s Fox handpainted wall plaque.
41
The saucer of the moustache cup was decorated with barber's equipment
"Dignity and Impudence", the two dogs, taking its title from a Victorian oilpainting
by Landseer, is shown here on a Paris shape jug and dates from around
1936. It is transfer printed in orange, yellow and black with narrow blue and
yellow bands, while the plate behind it shows Cowboy, from the same time.
42
A sense of humour often enlivened her A plate dating from about 1933
work - the moustache cup and showing the pattern shown at the
saucer (cl933) was designed for the Exhibition of British Art in that year. (NJ)
American market.
Another humorous design was Golfer, The Cowboy and his horse appear
on a large breakfast cup, he looks again on this lamp-base, banded in
down a hole, his club behind him. orange and yellow, (NJ)
43
Susie Cooper never lost her love of modelling, and in the early 1930s produced
several wall-masks - a Judge, a Chinaman and one based on film star Greta
Garbo, and sold under the name of Brunette. A fourth, a stylised self-portrait of
herself was not put into production.(N Jones)
44
Teaware items in a beautiful handpainted floral pattern. (Courtesy Christies)
An attractive mixture of Gray's and Crown Works coffee cans, a space-saving
item to collect. (Courtesy Christies)
45
While at Gray's, Susie Cooper designed a number of striking geometric patterns,
including the one known to collectors as Moon and Mountains which is shown
on the two plates here and Cubist shown on the vase and the large jug on the
right. Unfortunately, such large areas of flat colour tended to flake and though
she also produced some geometric patterns in the early years of her own
factory, they were eventually discontinued. (N Jones)
46
A geometric vase with an unusual
shape and pattern in blue, yellow,
grey, black and white enamels. (NJ)
A superb geometric globular vase in
subtle shades of brown, yellow, black
and grey on cream. (Beverley's)
The strongly defined brushwork and
brilliant colours gave this geometric
square plate more impact.
A geometric bowl in greens, yellow,
orange and black. Again strong
brushwork led to greater impact. (NJ)
47
A Kestrel coffee service in geometric patterning (top) and another in a very
unusual abstract design featuring rectangles, dots and angular black lines.
(Courtesy Christies)
48
^ coffee set. The rather elaborate shape is from the early years of Susie
hooper's factory, cl 932-1934, (NJ)
49
Three large plates from the mid-1930s featuring animal subjects, with sgraffito
decoration, (Courtesy Christies)
50
An earthenware floral plate with a pattern designed by Susie Cooper towards
the end of her time at Gray's (cl928). Painted in red, blue, orange, green,
yellow and black, it had a yellow glaze and was used on tableware, featuring
a large bell-shaped central flower surrounded by seven-petalled red and blue
flowers and circular green leaves. (Beverley)
51
Aerographing with sgraffito decoration was a technique which Susie Cooper
developed and used throughout her career, On the blue-green plates it is used
as a border, with spiral embellishment to the centre, and on the trio ribbon
decoration has been used to give lightness and delicacy to the deep colour, in
combination with a single narrow band. (NJ)
On these large plates, the central area is decorated with fish, birds or animals
and the rim has a simple pattern of lines and dots. (NJ)
52
Inspiration from nature always remained the mainspring of her work, as these show,
the Turkey plates being designed for Thanksgiving celebrations. The Leaping Deer,
of course, was also incorporated in the trademark she used for over 30 years. (NJ)
The Woodpecker, shown here on items from a dinner service, was a print and
enamel pattern from 1932, in yellow, green, black and grey, banded in grey
with an edge of pink spots. (Courtesy Christies)
53
A very unusual, highly decorated wall-plate, featuring strongly stylised flowers
and a bowl of fruit. (Courtesy Christies)
54
A Gray's plate in orange, red, black and yellow in a geometric pattern with a
Crown Works triangular galleon lamp base, a Seafull biscuit barrel and a Gloria
Lustre ginger jar. (Courtesy Christies)
A batchelor set, Kestrel shape, deep blue with crescent sgraffito, made at the
Crown Works, (Courtesy Christies)
55
Another studio ware vase, this time with an abstract pattern incised, 30.7cm high
and dating from about 1936, with a smaller white vase, decorated with selfcoloured
buttons. A large range of this ware was produced in many strong
colours, including blues, pinks, greens, yellows, cream, white and even red. (N J)
56
This table centre with a leaping deer, painted in fawn, brown and green with a
matching flower-trough in three parts, was also made in the mid-1930s and
sometimes had a matching model of a pursuing hound. (NJ)
In her incised ware, too, Susie Cooper chose animals for subjects. Here a greygreen
jug is decorated with leaping rams, and a large pink vase with squirrels,
both from around 1933, while the small matt-glazed vase has a pattern of leaves
and buds. (NJ)
57
A very unusual handpainted tray in A charger with a central leaf motif,
strong colours with an 'eye' motif, banded in grey and ochre. (Courtesy
(Courtesy Christies) Christies)
Bone china cups and saucers featuring interior decoration and gilt handles from
the early 1950s, including the Orchid and Tulip patterns, (Courtesy Christies)
58
- . f
* I
A box and lid decorated with the Scarlet Runner Beans pattern (1931), painted
in yellow, orange, black and brown with matching banding. This lively pattern
was typical of this period of her work. (NJ)
B ^
-
Two floral teaware patterns from the same time, hand-painted in strong colours.
(NJ)
59
Early floral patterns, all hand-painted, and a beaker in The Homestead, one of
a number of patterns designed to be produced in small quantities. This, a rare
example of a landscape pattern, echoes the Clarice Cliff cottages going into
production around this time. (NJ)
60
A Kestrel shape Tea for Two with pink scalloped edging and pink motifs. The
Kestrel shape appeared at the British Industries Fair in 1932. It was an instant
success and remains perhaps her most popular shape. (NJ)
The Two Leaf Spray pattern of 1935, with green interiors and dotted edge, also
in the Kestrel shape. (NJ)
61
A pale blue Breakfast set in the Kestrel shape, including a muffin dish with a
double-walled base to hold hot water, to keep toast or muffins warm, and with
a lidded hot water jug.
An Asterix coffee set, this time in the Falcon shape from 1937. Asterix was one of
Susie Cooper's most successful patterns, begun in 1934. This shape was not
made for John Lewis though. (NJ)
62
Graduated black bands and tango orange decorate this striking Kestrel shape
teaset, dating from about 1932. Other colours were used in combination with
the graduated black bands, including blue, pale green and yellow. (NJ)
Maximising on the skill of her banders, Susie Cooper went on to develop this theme,
using several colours in bands and adding, as herewith dots and crosses as
variations. (NJ)
63
Another Kestrel coffee set, this time in a subtle combination of pink and
brown with dots and crosses, the decoration of the pot being on the upper
section. (NJ)
A Kestrel coffee set, this time in yellow with black, the decoration emphasising
the elegant shape of the pot. (NJ)
64
A large service plate, the central motif of the antelope in brown, grey and
yellow, with banding in the same colours and a dotted edge. One of a series of
similar plates with animals as their subject from the mid-1930s it is an example of
Susie Cooper's vigorous yet economical drawing of natural subjects. (NJ)
65
Due to commercial pressure, Susie Cooper enterprisingly turned to lithographs
based on her own watercolours. Dresden Spray (1935) was to prove her most
popular pattern, in production to the end of the 1950s. (N J)
66
Skilfully adapted to fit all shapes and sizes of ware and banded in a wide vareity
of colours, it has retained its popularity with today's collectors. (NJ)
These examples, from a charger to a coaster, show how effectively the basic
lithograph could be made to fit perfectly any size or shape. The borders were
added by hand, and the pattern became Susie Cooper's best-seller, analogous
to Clarice Cliff's Crocus, (NJ)
67
Even egg-cups got the Dresden Spray treatment, while another very popular
pattern was Printemps, of 1936, made up of the previous year's lithograph,
Swansea Spray, but with a decorative scalloped border added. (NJ)
Like Desden Spray, Printemps was versatile, decorating here a double jamdish.
The salad dish is in Charcoal Feather, a post-war pattern. (NJ)
68
Swansea Spray is shown here on the trio in the foreground, and on the righthand
plate with decorative motifs on the border. The right-hand centre cup and
saucer is in Printemps, the Kestrel teapot shows another very popular pattern,
Long Leaf, and the plate on the left is a later bone-china example.
Here the trios are different colourways of Grey Leaf and the large jug has the
Nosegay pattern. The cups and saucers are in Gardenia and a feather pattern.
69
Teaware on the left, in the Endon pattern (cl938), in the Spiral shape of the
same year, was printed in pink, green and sepia, while the teacup and saucer
in Long Leaf (1939), has banding in pink and green. (NJ)
In about 1940, Patricia Rose made its appearance, attactively coloured in pink,
yellow, brown and green. Banded usually in pink, grey or blue, it here has an
attractively scalloped border in pink with dots. (NJ)
70
Gardenia, from the early 1950s, was another very attractive floral pattern, seen
here on a coffee set banded in two shades of green. The Kestrel shape was still
very popular at this time. (NJ)
Various teawares, Ferndown jug and basin (cl959) a wildflower pattern trio, a
banded trio in pink and brown and a dotted teapot in the Falcon shape. (NJ)
71
The Falcon shape again, this time for a cord and ring transfer print, "Elegance",
the lid of the coffee pot, the rims and interiors of the jug and basin handpainted
in blue. (NJ)
Fruit motifs were popular in the 1950s on both china and earthenware. Here, a
plate in a fruit pattern and a cup and saucer in berry design. (NJ)
72
A dividend nursery plate with a pig, a Horse and Jockey plate, another dividend
plate with a cow, a Skier cocoa pot, a lampbase with a duck, a Dignity and
Impudence mug and a Quadrupeds sugar bowl. (Courtesy Christies)
A Crown Works vegetable tureen on a matching stand and ladle in Crayon
Loop. (Courtesy Christies)
73
Three teaplates in various shapes - including Acorn, a popular pattern for
many years. (NJ)
Three floral patterns, including Tigerlily, the motif in red, pink and green. (NJ)
74
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D U.+IM 'MO||eA puo ueejb 'eniq ui wow pj^ueo D 'we^Dd ejDMeiqoj S,ADJ0 V
•uMOjq ui pepuoq 'seAoei puo sj.nu lezog ^o ^ouu IDJJUOO
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A tureen and stand from a Gray's part dinner service featuring a floral motif and
a yellow dotted border. (Courtesy Christies)
A Kestrel tureen and oval platter, the tureen in Pear in Pompadour and the
platter in Tulip in Pompadour. (Courtesy Christies)
76
SVC Fox and Hound circa 1934
'Ashmun' motif No. c2206 circa 1974/75.
77
Fruit and vegetable depicted on a plate in pink, green, ochre and brown with
scrolled banding. (Courtesy Christies)
78
A 'Tree of Life' plate and an 'Apples' plate. (Courtesy Christies)
Two Gloria Lustre pieces - a 1924 footed bowl decorated with a goat and a
ginger jar with a ram motif. (Courtesy Christies)
79
80
NOTES FOR COLLECTORS
Starting a Susie Cooper Collection
Often a collection is started almost by accident, when one or more
items are inherited from a relative, and in this case those first items may
dictate the direction the collection is to take. Additional items may be
purchased to 'go with' the first pieces and the collection will grow by
means of gifts and further purchases till it becomes an absorbing
hobby.
Eventually it may even become a spare time occupation, as the
need to sell off surplus items to raise funds to buy more suitable ones
leads into occasional dealing at antique fairs, perhaps, with retirement,
becoming a full-time occupation and lifelong interest,
For collectors this new found interest adds purpose to weekend
outings, with planned visits to antique fairs and holidays offering new
antique venues to explore with the collection in mind.
Some collectors like to collect 'across the board', buying what takes
their fancy out of what comes their way and including examples from
all periods of Susie Cooper's career, while others prefer to specialise in
one or more periods or even select a favourite pattern, perhaps to fill a
dresser or a particular set of shelves.
Alternatively, 'shape' can be the deciding factor, for example,
coffee cans, which look attractive as a group, or wall-plates which will
form a decorative display on almost any wall of the house.
Some collectors aim at getting a single example of each pattern,
but since it has been estimated that Susie Cooper designed around
4500 patterns, this is a mammoth task.
Others decide to build up 'sets', which can be done piece by
piece, though it is important to ensure that the condition of each piece
is consistent throughout. It is important, too, that the pieces in the
collection harmonise with their setting. One way to ensure this is to
emulate the original buyers, and to choose pieces with a particular
setting in mind. Vases and tablelamps, for instance, are particularly
suitable for sitting-rooms or bedrooms, while nursery ware displays
attractively in the kitchen or bathroom.
81
'Trios' (a single cup, saucer and plate) will display well and do not
demand a large outlay, while at the same time they allow a wide
range of patterns to be shown.
When more funds are available, teapots look impressive, especially
if accompanied by a matching hot water jug and perhaps milk jug and
sugar basin. Complete teasets are less practical, taking up as they do
so much more room.
Bread and Butter Plates, being slightly 'dished' rather than the flat
shape of dinner or pudding plates, are particularly effective either on
the wall or behind a small group of matching items.
Very small items, like cruets, toastracks, egg-cups, ash-trays and
candlesticks make an interesting collection and are easily
accommodated, but unfortunately in these cases price seldom relates
to size and they can be expensive. Another factor is that collecting
these items brings the Susie Cooper collector into competition with
egg-cup collectors, toast-rack collectors and so on.
Since at present, pre-war Susie Cooper shapes and patterns are the
most collectable, and therefore the most expensive, if funds are
limited, collectors with an eye to the future will not neglect post-war
patterns, many of which are typical of their own period and as such
are likely to be very sought after in years to come, with the added
advantage that they can be found now at very reasonable prices,
sometimes even in charity shops or at flea markets. It is worth bearing
in mind that some of the best collections in the country were built up
from similar humble sources in the days before Susie Cooper pottery
was thought of as being not only collectable but of vast investment
potential.
To accompany a collection, it is interesting to build up a scrap-book
of cuttings, articles and information about Susie Cooper, which can be
stored in a folder with transparent display sleeves. This will add
enjoyment to the collection while at the same time providing valuable
reference material for pattern identification and dating.
82
Record keeping
Almost certainly as time goes by, a collector will find that certain pieces
in his collection no longer fit the parameters he has set himself and he
will want to part with them. This is where record-keeping comes into its
own.
If the pieces have come to him as gifts, he will of course probably
have little idea what was paid for them or where they were bought, but
if they are items he has bought himself, his records will be invaluable in
reminding him of the transactions involved.
This is why it is essential, from the very start of a collection, to keep a
careful note of each item. Polaroid photographs, too, are helpful not
only as a visual record of the collection to refer to when adding to it
away from home, but also for insurance purposes.
The date of each purchase should be noted, with its cost (plus a
note too of the asking price if what has been paid is a price agreed
between seller and purchaser) aetails of the seller and some brief
details of shape, pattern and condition, especially any distinguishing
marks by which it would be recognisable in case of theft. The details on
the base should either be written down or photographed. Backstamps
are particularly important if a set is being collected as matching
backstamps, though not essential, are desirable in most cases.
With complete records, it is much easier to approach a dealer with
a view to selling or perhaps part-exchanging items which are no longer
suitable for the collection. Inevitably as knowledge and appreciation
grows, standards rise and what was considered acceptable in the
early haphazard days of collecting is now inappropriate for inclusion
with more recent and carefully considered acquisitions.
As well as practical considerations, there is also the satisfaction to
be gained from monitoring the rising prices of Susie Cooper pottery.
Already her work is offered for sale at specialist auctions in London and
commands prices which would have seemed exaggerated even just a
few years ago. As with Clarice Cliff, certain designs are attracting
particularly high prices at present, and as these special items get more
scarce, patterns now thought to be run-of-the-mill will shortly be in
much greater demand. Though collectors value their items primarily for
83
the outstanding talent which has gone into their making, the
investment potential exists and is a further justification for all the
dedication and hard work that goes into making a collection of this
kind.
Insurance
Once a collection really gets under way, considerations of insurance
naturally arise, since all too soon the aggregate value of the pottery
puts it outside the scope of ordinary household insurance.
Particularly if one or more individual items of are high value, it is best
to check if they exceed the top limit of existing insurance. If so,
separate insurance is going to be required.
This will need updating at regular intervals since as prices rise
replacement costs rise with them.
If the collection contains, say, a coffee set or a tea for two, this fact
must be pointed out when insurance is discussed, as the loss of a single
item such as a cup or milk jug, would ruin the whole set, being perhaps
in some cases impossible to replace, yet unless this matter has been
taken into account, insurance liability may be for the single broken item
only.
The cost of insuring a collection is in proportion to the total value of
the pieces, and as most people have already taken precautions
against burglary in their routine insurance situation, this cover extends
to the separate insurance of the collection. It is in any case unlikely that
except in the case of a targeted theft, ordinary intruders would try to
carry off fragile pottery, Accidental damage is more likely to be the
cause of a claim.
Making a claim is much easier when careful records have been
kept, and 'before' and 'after' photographs give positive proof that
damage has occurred. Many insurance companies also require one or
more statements from reputable antique dealers that the item was
worth what the collector claims and will cost this sum to replace.
Sometimes, in the case of an irreplaceable item, the collector will
wish to consider restoration and estimates for this must be submitted,
bearing in mind the loss of value, since a restored item cannot be
84
considered to be of equal value with a perfect piece. The difference in
value should be added to the cost of restoration in claiming for the
compensation due.
Restoration
While obviously it is preferable to buy an item in undamaged,
unrestored condition, very occasionally something may be offered
which, though not pristine, is so rare that it is unlikely to be available
again. In that case a collector may feel that for the sake of acquiring
a unique piece, damage is acceptable.
If the damage is minor, say, a hairline crack which will be virtually
invisible if the item is carefully placed, restoration may be inappropriate
and unnecessary.
If the damage is unsightly, skilled restoration - which is costly - may
be considered essential. Naturally, the damage will have been taken
into consideration in fixing the price of the piece. Restoration will not
bring the item back to the value of a perfect piece, though it will
improve the appearance and so make it more desirable.
Restoration on an item reduces its value by around a third, though
this is obviously only a very rough guide and the amount of restoration
will vary from piece to piece. Also, of course, some restorers are much
more skilled than others, the best being frighteningly competent.
For this reason it is important to be able to trust the dealers from
whom items are bought. Reputable dealers will always frankly point out
any damage and/or restoration and price pieces accordingly.
That said, standards vary enormously and the collector needs to be
clear as to what is acceptable to him. Some collectors reject anything
that is less than mint condition, while others can happily live with minor
chips on the back of a plate which will look fine once hung on the wall.
Wear from use is another matter again, and since Susie Cooper's
lithographed work is fairly readily available, it seems sensible to look out
for pieces where the central lithographed motif is not faded or worn.
Crazing, (the faint cracking of the surface glaze), varies enormously
from piece to piece and it is up to the collector to decide how much
is too much. If an item is crazed to such an extent it affects the
85
immediate appearance of the piece, it is probably too much. Very
slight crazing is perhaps inevitable, being the result of the passage of
time.
Handling a piece is probably the best way to assess it, since more
can be revealed by touch than by sight. Check handles, spouts, rims
and bases for minor damage, while a careful look into the interior of
teapots and coffeepots for staining is advisable. It is often possible to
remove light staining by standing a solution of detergent or
bicarbonate of soda in the pot overnight. An old toothbrush will help
for removing stains or dirt from awkward corners.
Susie Cooper's early handpainted patterns are the ones where
restoration is most likely to have been carried out to the paintwork, so
it is wise to look closely at these with this in mind. Very slight variations
in the colour may be detected, as some colours are particularly hard
to match. Owing to new Health and Safety regulations certain
combinations of pigment are no longer permitted.
Where restoration has taken place to the body of the item, this may
be revealed by variations in the surface glaze.
However, it would be unfortunate if the pleasure of collecting came
to be spoilt by suspicion. Most dealers are too concerned for their
reputation to do anything underhanded, and should any item prove to
be unsatisfactory for any reason, they will be prepared to refund the
cost in full.
Lighting and Display
Much will depend on the space available to display the collection as
it grows. If they harmonise with existing furniture, china cabinets of the
period are appropriate and can be found in a variety of woods or
veneers, so that it is usually possible to find a suitable one. They have
the double advantage of protecting the collection from damage and
of cutting down on dusting, which in itself reduces the risk of accidents.
Some china cabinets come with original strip lighting (which must
be re-wired) but it is fairly easy to insert lighting if it is needed. If shelves
are being made specially, it makes sense to have these of glass as then
lighting from the top may be sufficient to light the whole display.
86
If the shelves are in a suitable alcove, perhaps one each side of a
chimney-breast, sliding glass doors will add protection to the pieces.
For displaying plates, most ironmongers and DIY shops sell platehangers
in a variety of sizes, but it is important to choose those with
plastic-covered hooks to avoid damage to the rim of the plate or to
the paint-work.
For wall-plates or plaques, special heavy-duty plate-hangers are
available in very large sizes. Though these are expensive compared
with the usual hangers, it is a wise precaution to use them.
Generally speaking, pieces from the same period of Susie Cooper's
career or in the same idiom look attractive grouped together.
Alternatively, colour-blocking to match a colour scheme can be very
effective.
Because much of Susie Cooper's work was in advance of her time,
it will fit equally well into traditional or modern interiors. Modern display
cases with spotlighting will set off most of her work to its best
advantage, especially the larger pieces.
While Susie Cooper's seed paintings are sold for large sums of
money and so are out of reach of the average collector, posters of
exhibitions of her work are more moderately priced, and suitably
framed would make an appropriate background to a display of her
work.
Recently a range of cushion covers has been made available
based on designs by Susie Cooper for tapestry or felt applique and
these would also enhance a collection made up for use in the room
where it is housed.
Table-lamps by Susie Cooper are sometimes found and would
naturally be the perfect lighting in a room where a collection of her
work is on display.
Rarity
Tableware from any pottery has always been made in much greater
quantity than 'fancies' - that is, decorative items intended for display
rather than for practical use. However, because of the hazards of
everyday use, tableware tends to get broken on a regular basis, while
87
fancies are often preserved by being handled with more care and
kept in safer places.
Because Susie Cooper's name has been familiar to the buying
public for so long, as synonymous with quality and value, it is less likely
that in periods of changing taste her work was disposed of to jumble
sales or charity shops, and collectors may find that it has been stored
away in the cupboards and attics of elderly relatives who changed to
a modern alternative but felt their original Susie Cooper pieces too
good to let go.
The publicity surrounding Susie Cooper's recent ninetieth birthday as
well as the rise in interest in the Art Deco period generally, fostered by
the media and by films and television has made people aware that if
they have Susie Cooper pottery or china in their homes, this could now
be brought on to the market to satisfy current collecting demands.
While post-war shapes and patterns remain in good supply and prewar
lithographed tableware is fairly easy to find, the early handpainted
items, the incised ware and Susie Cooper's work for Gray's all
tend to be much rarer. This is especially true of lustre ware, which is
difficult to find in good condition and is expensive when found.
Shape also is a factor, the Kestrel shape being particularly popular,
probably because its 'double' spout makes it instantly recognisable.
Among the hand-painted patterns, those featuring animals,
especially the leaping deer which has been particularly identified with
Susie Cooper since she used it as her trade mark for so many years, and
those featuring people, like the golfer, the skier and the clown, are
extremely sought after and fetch high prices at auction.
Similarly, geometric patterns either in vivid shades like the black,
green, red, blue and yellow Moon and Mountain or the more subtle
colour combinations of her early Crown Works days, are very popular
with collectors and are always expensive as a result.
Sets of items, for example. Tea for Two sets or Breakfast in Bed sets,
tend to be more expensive as a set than they would be if the cost of
individual items were added together. This is especially so if it is clear
from provenance or from the matching of the backstamp and
paintress' mark throughout that the set is not 'made up' but has been
together from its manufacture.
88
With such a very wide range of patterns to choose from, it seems
likely that items can be found with comparative ease to complement
any colour scheme and it is up to collectors to decide if they feel it
would be appropriate to go for quantity or quality. Decorating a
kitchen, for instance, in a vast array of, say Dresden Spray or Printemps,
can look extremely effective, while in a sitting room a single piece of
incised ware can be sufficient to provide the perfect focal point.
Probably one of the most enjoyable methods of collecting is to sidestep
the hype of expensive 'collectable' patterns and choose a theme
which particularly appeals - the sea, perhaps, or a selection of
favourite flowers - and collect items related to that theme, buying as
a rule the more reasonably priced items, with an occasional special
piece when funds permit.
Availability
Collecting, like any other hobby, demands much more than mere
spending-power. Time, thought and effort have gone into every major
collection and a well-balanced selection of items will give much
greater pleasure than sheer bulk.
Having decided upon the direction the collection is to take, and
backed this up by reading all that relates to the subject, the next step
is to find out what is available locally. Some dealers now specialise in
items from the Twenties and Thirties and among them there may be
several who deal primarily in Susie Cooper, just as there are some shops
which sell almost exclusively Clarice Cliff. Having identified the dealers
with a Susie Cooper bias, it should be possible to arrange to be
informed when items particularly needed to fill gaps in the collection
become available.
Such dealers, and other collectors one meets with in the course of
dealing with them, may then be the source of information about Susie
Cooper outlets further afield. These may be shops, stalls in antique
markets or fairs. In turn the fairs may be general, with a proportion of Art
Deco stalls, or specialist Art Deco fairs of which there are an increasing
number taking place regularly through the year.
Events advertised locally such as school fetes or charity bazaars with
89
bric-a-brac stalls are worth visiting on the principle that even today not
everybody is aware of the collectability of Susie Cooper items and
some of her work may have been put out, perhaps without having
been recognised for what it is. It is well worth paying perhaps a little
more than asked, always provided of course that the condition
warrants it, in order to build up a good relationship with the organisers,
so that in future they may watch out for items of interest. The same is
true of charity shops, where a regular and generous customer will be
regarded as worth cultivating.
Magazines for collectors carry details of fairs, auctions and shops as
well as having classified columns for collectors' advertisements. It is
best, of course, to be fairly specific about requirements, otherwise
items may be offered ranging from early Gray's pieces through to
patterns seventy years later for Wedgwood, many unsuitable for the
collection in mind.
Probably the most helpful and productive source of information and
advertising is the magazine published by the Susie Cooper Collectors'
Group. The Group exists to promote the exchange of information and
items between collectors and as each collection takes a slightly
different angle from every other it is unwise to regard other collectors
as rivals, since co-operation can result in many satisfactory deals and
exchanges.
As interest and enthusiasm grows, it may be appropriate to consider
studying the trade press. The major organ of the trade is the Antiques
Trade Gazette, which is available on subscription only, and is weekly.
Also weekly is the Antiques Bulletin, available mainly by subscription but
frequently sold at fairs, while Antiques Today is monthly, available by
subscription but sold in shops, markets and fairs.
Many collectors are wary of auctions but it should be remembered
that the private collector can afford to pay slightly more for pieces
than the dealers who have to bear in mind overheads and profitmargins.
That said, the buyer's premium adds to all successful bids at
most auction houses.
Specialist Susie Cooper auctions now take place at Christie's in
London and may be regarded as an accurate guide to price trends,
except when artificially high prices result from a personality clash
90
where two people get locked into a bidding battle. Apart from this, the
occasions can be very instructive and often modest bids secure
desirable items. For those unable to attend, a catalogue obtained
before hand and then priced up from a list of sale results, obtainable
afterwards, provides a very useful price guide to use in future
transactions.
Local auction houses usually include a run-down on items coming
up in the sales they advertise and provided the pottery has been
scrutinised thoroughly when viewing the auction, bargains can
sometimes be had on occasions when no local dealers are looking
particularly for Susie Cooper pieces.
If other commitments prevent attendance in person at auctions, it is
usually possible to secure the services of one of the porters, who will bid
according to instructions in return for a small tip when successful.
As well as allowing for the disposal of surplus items, the occasional
taking of a stall at an antique fair may prove worthwhile as Susie
Cooper pottery being put out for sale elsewhere in the venue can be
seen before the public is admitted. It is also probably worth paying the
higher 'trade admission' charged now at many of the larger fairs which
allows the collector entrance along with trade buyers before the fair is
open to the general public. That said, it is worth keeping a sharp eye
open for items which emerge later in the day as sales cause gaps on
stalls and fresh stock is put out. It is a mistake to assume all the best
goes first.
Particularly with Susie Cooper, it is worth letting as many people as
possible both in the trade and outside it know that items are being
sought, since friends may have other friends or relatives with Susie
Cooper pottery available.
Because of this factor, once the collection gets well under way,
further publicity can be useful, such as articles in the local press or in
collectors' magazines. Caution is advisable, of course, and it is unwise
to be too free with information such as exact address or telephone
numbers. The journalist concerned will be willing to act as intermediary
in case of bone fide offers, which can sometimes be of great interest.
91
Fakes
So far there has been no major cause for concern regarding fake items
of Susie Cooper pottery. Obviously it is not worthwhile to fake items
unless they are very valuable, the cost of the exercise outweighing the
potential gain, and generally speaking the expensive pieces are sold
either by very reputable dealers or by major auction houses, where
provenance and authenticity are guaranteed.
While considerable quantities of Susie Cooper pottery continue to
be available, it seems unlikely that fakes will be a viable proposition. It
is far more likely that damaged items will be restored and passed off as
perfect or that worn paint will be replaced, and these are the areas in
which collectors should exercise caution.
Since the backstamps used throughout Susie Cooper's career have
been extremely well documented, any variation which is unfamiliar
should be treated with suspicion until authenticity is proved. As in many
other collecting situations, the guiding principle must be, 'If in doubt,
don't buy it!'
Reproductions
So far reproductions of Susie Cooper pottery have not been produced,
but at the time of the 1987 Victoria and Albert Museum's travelling
exhibition, Wedgwood re-issued three Susie Cooper patterns on the
Kestrel shape.
These were on show at the time of the exhibition so that orders
could be taken, but, attractive as they were, they were not considered
to be a commercial success, perhaps because collectors felt that they
preferred to put out their money on original pieces rather than on reissues
of earlier shapes and patterns.
Wedgwood have already begun a series of high-quality
reproductions of the work of Clarice Cliff so it seems quite probable
that eventually it will be considered appropriate to offer a similar range
based on the work of Susie Cooper. When and if that day comes, and
it seems unlikely to be for some years yet, collectors will have to make
the same decision Clarice Cliff collectors have had to make - whether
92
or not to include modern replicas among original work, whether to buy
them and keep them as a separate section of the collection, or
whether to avoid them altogether.
Auction Trends
For some years, Susie Cooper items have been appearing in sales of
twentieth century decorative arts held by the major auction houses in
London and elsewhere, but generally these were pieces which fell into
the 'art pottery' category, that is, large vases and plaques either from
the lustre ware ranges or studio ware, incised or hand-painted, and
these naturally fetched high prices, being rare and impressive.
Otherwise, items like tableware, whether lithographed or handpainted,
or nursery ware, were generally sold at minor auctions and
regarded as run-of-the-mill. Then in 1991 an auction was held at
Christie's South Kensington at which the morning was devoted to work
by Susie Cooper and the afternoon to Clarice Cliff pottery. Christie's
had been holding one-day Clarice Cliff sales for some years, and these
were regarded as being the highspot of the year for Clarice Cliff
collectors. That Susie Cooper was acknowledged to have a similar
devoted following was a major step forward in her increasing
popularity. Commercial recognition was being added to scholarly
approval. Over one hundred and fifty lots were listed in the catalogue,
many illustrated in colour and ranging from a single soup bowl to a
Gray's tea-set for six in a geometric pattern. The fact that the estimate
for this tea-set was £200-£400 when it fetched over £1500 may indicate
that the auction house, while sensing that there was movement in the
Susie Cooper market, had not realised quite how much
The following year a similar auction was held but this time less than
sixty lots were offered, possibly because increasing enthusiasm for Susie
Cooper's work meant that less of the important items were available
for auction. However, some superb wall-plates were on offer, fetching
between three and five hundred pounds each, while a pair of vases in
the Moon and Mountain pattern fetchea over twelve hundred,
including premium.
93
'Ashmun' cream jug and fancies c2206, circa 1974/75.
'Classic Vista' can jug and covered sugar No. c990, circa 1960.
94
PRICE AND RARITY GUIDE
With such a long period of production and such a wide range of
shapes and patterns, to give guidance as to possible prices for Susie
Cooper items is difficult in the extreme, but as always rarity is a major
factor. Other basic guidelines are obvious - most collectors prefer
hand-painted pieces to those decorated with lithographs, while in
general and for the present only, pre-war items are considered more
collectable than post-war pieces, which leads to the preference for
earthenware rather than bone china. Again, the Kestrel shape is
particularly popular, perhaps because it is so easy recognisable with its
'double' spout.
That said, other factors may be operating to affect a transaction, for
example if a lithographed item is needed to complete a set, the
purchaser may be willing to pay more for it than the casual collector
simply adding another minor item to a widely-based collection. From
the seller's point of view, a regular customer may warrant a
concessionary price as against that asked from a purchaser never met
up with before. These and similar instances apart, the essential
ingredient in a transaction is that both parties should feel satisfied with
it, neither grudging nor aggrieved.
Collecting and dealing usually involves an on-going relationship
based on trust, built up over a period of time and a history of fair
transactions. It must also be borne in mind that the market is affected
by a variety of transitory circumstances - an article in the national
press, a repeat showing of the popular Channel Four series 'Pottery
Ladies', high prices reported as being achieved at auction, or even
jitters on the Stock Exchange. Dealers, too, have their ups and downs
from time to time, sometimes feeling a smaller profit in the hand to be
better than a potentially larger one later - perhaps much later! -
while overheads vary from place to place and inevitably these affect
price-levels.
What follows are general guidelines only, and assume good
condition throughout. Nothing should be taken to be hard and fast
rules, for just as it is very unwise to be dogmatic about pottery
95
production, exceptions popping up the minute anyone says 'They
always did this' or 'They never did that', so it would be foolish to dictate
a code of prices as immutable as the laws of the Medes and Persians.
Price range 1 covers those patterns made in quantity and so easy to
find, price range 2 covers patterns produced briefly or made in smaller
quantities and price range 3 indicates patterns or shapes which are
rare and very collectable. All three price ranges apply in the main to
earthenware, since at present post-war items are still to be found at
very modest prices, surfacing at house clearances, charity shops and
flea-markets, though it is obvious that the lustre ware of the late 1970s,
expensive in its own day, is always going to retain and later increase in
value, while classic post-war patterns like that produced for the Royal
Pavilion at the Festival of Britain in 1951 will command high prices from
collectors keen to build up a representative collection spanning the
whole of Susie Cooper's distinguished career.
Carved or Incised Ware
The cost of this varies according to the size of the item and its
decorative subject, bowls ranging from £80/$160 to £150/$300 and jugs
from £80/$ 160 to £200/$400. Vases usually cost over £100/$200 and may
be as much as £250/$500, decoration of squirrels, rams, etc being
generally preferred to leaves and flowers, or simple curves or scrolls. In
the main, deeper, richer colours are probably more popular.
Matt Glazed Ware
This range owes its appeal to sophisticated muted colours, simple
flowing shapes and the soft, pearly sheen of the matt glazes. The price
for these items ranges from £75-£125/$150-$250 for jugs, £60-
£100/$120-$200 for bowls and £80-£200/$160-$400 for vases, according
to size. Like Incised ware, the matt glazed ware has the attraction of
studio pottery and is effective when displayed singly or grouped
together.
96
Nursery ware
At present this is very popular and fetches high prices, a Kestrel shape
Nursery ware cocoa pot and cover fetching nearly £300 at the
Christie's specialist Susie Cooper auction on 12th November 1992, while
the previous year a similar item but in the very rare Skier pattern went
for £660. A three-inch Nursery ware mug, 'Dignity and Impudence',
with two amusing dogs confronting each other, went for £275 in 1991,
a 'Horse and Jockey' plate for £132 and a Nursery ware lamp base for
£209. It is obvious why Nursery ware is rare, since it was subject to even
more hazards in use than everyday tableware. It also has a nostalgic
appeal recalling childhood days and favourite pieces of nursery
pottery. While purists may feel it lacks the sophistication of Susie
Cooper's designs for adults, it nevertheless has a sturdy charm and is
well-designed in attractive colours, portraying realistic animals in
humorous and endearing ways, eschewing the anthropomorphism of
furry creatures clad in human dress.
97

TABLE WARE AND RELATED ITEMS
Group 1: Lithographed patterns, simple banded
patterns, hand-patnted items with minimal decoration.
Group 2: Hand-painted, tube-lined and sgraffito
decoration.
Group 3: Lustre ware, cubist and geometric handpainted,
pictorial hand-painted in short order patterns.
Teapot Large
Teapot Small
Milk jug + Sugar basin
Trio (cup, saucer teaplate)
Teacup & saucer
Coffee cup & saucer
Coffee pot
Plate 5"
Plate 7"
Plate 8"
Plate 9"
Plate 10"
Large fruit dish
Fruit dish 5"
Tureen, cover
Sauce tureen, cover, ladle saucer
Group 1
£55-£75/$150-$210
£45-£65/$130-$190
£35-£65/$104-$190
£25-£45/$70-$130
£15-£25/$44-$70
£20-£30/$60-$90
£55-£75/$150-$210
£7-£l 2/$20-$36
£8-£13/$24-$38
£10-£15/$30-$50
£13-£18/$38-$54
£15-£20/$44-$80
£30-£40/$90-$120
£15-£20/$44-$60
£45-£55/$130-$160
£65-£85/$190-$240
98
Group 2
£100-£200/$300-£600
£75-£150/$210-$450
£55-£95/$150-$280
£50-£100/$150-$200
£30-£65/$90-$190
£35-£55/$94-$150
£100-£200/$300-$600
£15-£30/$40-$90
£18-£35/$54-$90
£20-£40/$60-$90
£25-£50/$70-$150
£30-£60/$90-$180
£60-£90/$180-$270
£25-£507$70-$150
£65-£85/$190-$240
£75-£95/$210-$290
Group 3
£250-£450/$650-$1350
£150-£300/$450-$900
£150/£250/$450-$650
£150-£300/$450-$900
£95-£150/$280-$450
£65-£95/$190-$280
£250-£450/$650-$1350
£55-£75/$l 50-3210
£75-£100/$210-$300
£85-£100/$250-$300
£95-£120/$280-$360
£125-£150/$324-$450
£100-£150/$300-$450
£65-£90/$190-$270
£100-£150/$300-$450
£100-£150/$300-$450
99
Group 1: Lithographed patterns, simple banded
patterns, hand-painted items with minimal decoration.
Group 2: Hand-painted, tube-lined and sgraffito
decoration.
Group 3: Lustre ware, cubist and geometric handpainted,
pictorial hand-painted in short order patterns.
Meat dishes, edge decoration only
Large
Medium
Small
Gravy boat with saucer
Soup or pudding dish
Covered soup bowl with saucer
Chargers, wall plaques, decorative
wall plates
Larger jugs
(Paris shape etc)
Biscuit barrels
Lamp base
Vase
Novelty items
such as cheese dish, muffin dish,
egg cup set, ash tray,
Candle holders, cocktail trays etc.
Group 1
£35-£50/$94-$150
£30-£40/$90-$120
£25-£35/$74-$104
£25-£35/$74-$104
£18-£25/$54r$74
£15-£25/$44-$74
£65-£l 20/3190-3290
£25-£35/$74-$104
£65-£85/3190-3254
£65-£l 50/3210-3290
£35-£l 00/3104-3160
£70-£l 20/3210-3360
100
Group 2 Group 3
£45-£60/3130-3180
£40-£55/3120-3160
£35-£50/374-3l50
£40-£65/3120-3190
£25-£35/374-3l04
£25-£35/374-3l04
£100-£150/3300-3450
£90-£l 20/3270-3360
£80-£l 00/3240-3300
£85-£l 00/3250-3300
£55-£95/3154-3290
£55-£95/3154-3290
£75-£l 50/3210-3450 £200-£750/3600-32200
£35-£75/3104-3210
£95-£l 25/3290-3324
£100-£150/3300-3450
£75-£l 50/3210-3450
£75-£l 25/3210-3374
£125-£350/3324-31040
£150-£450/3450-3l340
£200-£650/3600-32000
£200-£650/3600-32000
£150-£350/3450-3l040
101
PATTERN DATES - A GENERAL GUIDE
With an output stretching over seven decades, and a total of over four
and a half thousand patterns, it is clearly impossible here to list every
pattern ever made in all its variations. The following is a general guide,
indicating the date of initial production of as many named patterns as
possible. Those given later names by collectors are indicated by bold
italic type.
1923
Gloria Lustre items, florals and fruit
Fruit Border
Dragon
1924
Gloria Lustre items, birds and
animals, cherubs
1925
Gloria Lustre items, florals and fruit
1926
Gloria Lustre items, florals and fruit
1927
Vine
Oranges
Bird on a Twig
Other fruit and floral motifs
1928
Acorns
Golden Catkin
Almond Blossom
Quadrupeds
Primula
This is the House that Jack Built
Iris
Lupins
Floral and banded items
Moon and Mountains
1929
Cubist
Silver Palm
Daffodils
Crocus patterns
Layebands
Harmony
Pastoral
Hawaiian
Thistle
Blue Lupins
Persian Bird
Birds
Summertime
Floral, geometric and abstract
patterns
1930
Bronze Chrysanthemums and
102
other floral patterns including
Tulips, Bluebell and Marigolds
Golden Corn
Yellow Fruit
Persian
Spots
Banded, abstract and geometric
items
Caravan
Rodeo
Wreath of Flowers
A Country Bunch
Landscape, incised, floral,
abstract, geometric and
banded items including
Wedding Ring
1931
More floral patterns - Rose,
Daisy, Marsh Marigold etc
Symphony
The Storm
The Pasture
Rooster
Deer Leap
Banded abstract and geometric
items
Scarlet Runner Beans
Tadpoles
Hunting Subjects
Rabbit
Galaxy
Feather
1932
A very prolific year - floral motifs
like Chintz Spray, Nosegay,
Shepherd's Purse, Briar Rose
Figural patterns like Balloon
Man/Flower Seller, Spanish
Dancer/Mexican, Clown
Animal and bird patterns -
Tigers, Monkey, Woodpecker,
Red Fox
1933
Graduated Black Bands
Yellow Flower
Florida
Killlarney
Little Bo-Beep
Abstract motifs, scrolls, swirls and
circles, playing card motifs and
floral patterns like Gilley Flower,
Pink Hydrangea, landscapes
and tube-lined patterns
1934
Pink Carnation
Harebell
Silver Fern
Polka Dot
Scroll
Crayon Line
Egyptian motifs, dots, circles,
banded, tube-lined and crayon
patterns
1935
Circle and Dash
Two Leaf Spray
Leaves
103
Cromer
Lithographs like Dresden Spray,
Swansea Spray
Animal motifs, abstract and
crayon patterns
1936
Wide Buttercups
Blue Primula
Faenza
Horse and Jockey
Noah's Ark
Skier
Floral patterns like Printemps,
Grey Leaf etc
Animal patterns like Black Pom
and Tango Terrier, Dignity and
Impudence etc
Banded, crayon and
aerographed patterns
Abstract motifs like Exclamation
Mark, Crescent, etc
1937
Colour variations on established
patterns
Aerographed, sgraffito
decoration, banded patterns
Sepia
Ribbon
Nursery ware patterns
Bud motifs & other stylised borders
1938
Endon
Aubergine
Regency Feather
Starbursts
Woodlands
Pineapple
Floral motifs like Patricia Rose,
Elderberry
Aerographed items
1939
Double' motifs - Leaf and Vine,
Pears and Apples, Pears and
Cherries, Pears and Plums,
Scallop and Curl
Long Leaf
Sage Band
Dog & fowl motifs, feathers & ferns
Beechwood
Aerographed, spotted and
freehand designs
1940
Fruit and floral motifs,
aerographed patterns
1941
Tulip and Daisy Spray
Pink Aster Spray
Tigerlily
Vine Leaf
Cornflower
1942
Starburst
Bud
Seaweed
Sgraffito and aerographed items
104
1946
Tree of Life
Bud and Ring
Starburst 2
Aerographed patterns
1947
Chinese Fern
Wintersleaf
Michaelmas
Aerographed abstract motifs
1948
Winter Sunshine
Stars
Ladybird
Aerographed patterns
1949
Stars
Spots
Tulip in Pompadour
Pear in Pompadour
Sabrina and Pompadour
Blue Campanula
Aerographed & banded patterns
1950
English Summer
Canabola
White Dahlia
1951
Waterlily
Black Oak Leaf
Peach
China ware introduced
Regency Stripe
Sea Anemone
Astral
Australian Wild Flower Series
Nutmeg Tree
Persian Rose
Stars, floral and bird motifs
1952
Forget-me-not Blue
Azalea
Gardenia
Magnolia
Clematis
Wreath Border
Bracken
Fruit motifs
China ware
Floral motifs, colour variations on
established patterns
1953
Everlasting Life
Blue Orchid
Colour variations on established
patterns
China ware
Aerographed decorations
Star motifs
1954
No earthenware
China ware
Whispering Grass
One o'clock
105
Colour variations on several
established patterns
1955
Richmond Rose
Graaulated Lines
China ware
Parrot Tulip
Scroll
Circles
Ring and Dot
Bud
1956
Highland Grass
Blue Fern
Sienna Pastel
Olive Pastel
Black Spot
Stars
Leaf
Petronella
Rubber-stamped motifs
China ware
Charcoal Skeleton Leaf and
other aerographed patterns
Serpentine Banding and other
aerographed and sgraffito
patterns
1957
Brown Feather
Green Feather
Black Feather
Bird
Charcoal Skeleton Leaf
China ware
Corinthian
Romanesque
Palladian
Sheraton
Pomme D'or
1958
Spirals
Meadow Sweet
Carefree
China ware
Confetti
Relief Polka Dot
Shaded Harlequin
Teazle
Black Fruit
Blue Ivy
Romance
1959
Ferndown
Hazelwood
Acanthus
Simplicity
Windfall
Pink Campion
Cornfly
Cornelia
Candy Stripe
Gooseberry
New Nut
Elderberry
Parrot Tulip
Blue Gentian
106
China ware
Hyde Park and other covercoat
patterns
Colour variations on established
patterns
Lady Smock and other new
transfer patterns
1960
Established floral patterns
China ware
Wild Rose
Classic Vista
Margaret Rose, Glen Mist and
other covercoat patterns
Colour variations on established
patterns
1961
Established floral and fruit patterns
Daffodils
Amaryllis
Colour variations of established
patterns
China ware
Universal Fruit and other covercoat
motifs, some for export to USA
1964
Floriana
Rhythm
Modesty
Squares
Ovals
Lady Barbara
Penelope
Serenity
There were no earthenware
patterns after July 1964
China ware
Lady Barbara
Penelope
White Wedding
Apple Gay and other covercoat
motifs
Colour variations on established
patterns
1965
Broken Stripes
Vintage
Nasturtium
Venetia
Moselle and other covercoat
motifs, plus colour variations
1962
No earthernware produced
Blue Rose, Blue Peony and other
covercoat floral motifs plus
colour variations of established
patterns
1966
Garland
Art Nouveau
Autumn Leaves and Berry
Athena
Jason
Distinctive
Iris
107
Carnation
Colour Variations
(Wedgwood)
1967
Covercoat patterns including
Mercury, Neptune, Andromeda,
Saturn and Heraldry
Greensleeves for W Adams & Sons
1968
Carnaby Daisy
Harlequinade
Autumn Leaves
Keystone
Nebula and other covercoat
patterns, plus colour variations
1969
Diablo
Pennant
Colour variations
1970
Colosseum
Florida
Cressida
Spartan
1971
Columbine
Cornpoppy
Camelia
Charisma
Indian Summer
Everglade
Lucerne
Black Eyed Susan
Banded patterns and covercoat
motifs
1976
Chou Dynasty
Floral Bouquet (Silver Jubilee
pattern) with silver lustre
decoration - the wheel coming
full circle from her Gloria Lustre
for Grays
1977
Variation on Floral Bouquet
English Wildflower series
1979
Birds of the World
Iris and other floral patterns
1982
Blue Daisy
1983
Meadowlands
Inspiration
Stardust
1984
Blue Haze
Florida
108
Goblets 'Gold Star' mid to late 1950s. Collection of mid-1950s items.
'Black Fruit' TV set No. c897, circa 1958. 'Nebula' No. C2135/8, circa 1969
'Keystone' can teapots No. C2131/2. 'Assyrian motif Quail jug No. clOlO
109
A SUSIE COOPER CHRONOLOGY
1902 29th October - Susie Cooper born at Stansfield near Burslem,
the youngest of seven children of John and Mary-Ann Cooper.
1914 February - John Cooper died and his family moved to Milton.
1917 After leaving school, Susie Cooper helped in the family business.
1918 September - Enrolled at Burslem School of Art for evening
classes in freehand drawing, plant drawing and cookery.
1919 Awarded a scholarship for full-time training at the school.
Gordon Forsyth, formerly art director at Minton Hollins and the
Pilkington Tile & Pottery Company, Principal of the City Schools of
Art, encouraged her. He became Superintendent of Art
Education the following year.
1922 June (sometimes given as 1923) - Joined Gray's Pottery in order
to qualify for a scholarship to the Royal College of Art in London.
Decided instead to stay on in the pottery industry.
1923 Working on piece-work, Susie Cooper painted the lions on the
Gloria Lustre range exhibited on the Gray's stand at the B.I.F.
Promoted to resident designer. Backstamp incorporating her
name introduced (used until 1931) September/October: Exhibition,
Victoria & Albert Museum, 'British Industrial Art, Recent Examples
of British Pottery', included pattern 2866, her own floral design.
1924 Items designed by Susie Cooper shown at the British Empire
Exhibition, Wembley.
1925 Exposition des Arts Decoratifs et Industries Modernes, Paris, items
designed by Susie Cooper shown on Gray's stand in the British
Pavilion.
1928 'Golden Catkin', 'Almond Blossom', 'Quadrupeds', 'This is the
House that Jack Built', using the print and enamel technique.
Banded ware and geometric designs, including Cubist
Designed shape of coffee pot, teapot, milk jug and sugar
110
basin, Johnson Brothers Ltd, making the coffee pot for Gray's
and Lancaster and Sons the other items.
1929 Layebands, created for the West End actress Evelyn Laye and
sold by Heal's. 'Thistle', also for Heal's was designed but not on
sale until the following year.
Design of screen curtains for the Odeon Cinema, Marble Arch,
commissioned by Skilhorn and Edwards, a leading London
interior design company.
29th October - Susie Cooper left Gray's Pottery.
Premises rented at the George Street Pottery, Tunstall, but closed
after three weeks by the bankruptcy of the landlord.
1930 Chelsea Works, Moorland Road, Burslem, rented from Doulton &
Co.
April - first advertisement in Pottery Gazette & Glass Trades
Review. Floral patterns like 'Bronze Chrysanthemums', 'Tulips',
'Carnations' and 'Marigolds', as well as small stylised patterns
like 'Peacock Feathers'. 'Symphony', 'Spots', 'Exclamation
mark' and also banded patterns. Black triangle mark in use (until
1932)
1931 B.I.F. stand very successful and at invitation of Harry Wood
moved in August to second floor of the Crown Works, Newcastle
Street, Burslem. Lively patterns like 'Runner Beans', 'Tadpoles'
and 'Galaxy' followed.
1932 Leaping Deer backstamp introduced (used till mid-1960s).
'Nosegay', 'Freesia', 'Woodpecker' and various characters and
animals used as motifs. The 'Kestrel' shape launched at the B.I.F.
'Wedding Ring' ordered by John Lewis, the department store.
The London showroom was opened in October. Incised studio
ware proved popular.
Susie Cooper was elected to the North Staffordshire branch of
the Council of the Society of Industrial Artists.
1933 April - Susie Cooper became a director of Bursley Ltd.
The Kestrel tureen, with reversible lid, was introduced, as well as
the 'Curlew' shape. Invited to exhibit at the Dorland Hall
Exhibition of Inaustrial Art in Relation to the Home. Stylised floral
patterns and abstract motifs featured.
I l l
1934 Tube-lining was used as decoration. A range of wall-masks was
made. 'Polka Dots' and 'Crayon' patterns were popular.
1935 Exhibited at the Royal Academy's 'British Art in Industry'
exhibition.
'Wren' and 'Jay' shapes designed for Woods and 'Rex' and
'Classic' shapes modified. Lithography introduced - 'Dresden
Spray', 'Nosegay' and 'Swansea Spray'.
1936 New crayon patterns included 'Crayon Loop' and 'Crayon
Scallop'. Floral patterns included 'Blue Primula', 'Wide
Buttercup', 'Grey Leaf, 'Printemps' and 'Faenza'. Nursery ware
featured animals. Other motifs included 'Horse and Jockey',
'Golfer' and 'Skier'.
1937 Bursley Ltd was renamed the Susie Cooper Pottery Ltd
'Falcon' shape launched.
1938 'Spiral' shape launched. Patterns included 'Endon' and 'Patricia
Rose' and also aerographing with sgraffito.
1939 Fruit patterns were very successful.
Susie Cooper was made a Royal Designer for Industry.
1940 Despite wartime restrictions, new patterns were launched
including 'Black Leaves', 'Tulip', 'Daisy Spray', 'Pink Aster Spray'
and 'Tigerlily'.
1942 'Bud' and 'Seaweed' were among the patterns launched, but a
serious fire then ended production until after the war.
1946 When rebuilding allowed resumption of production, shortage of
lithographs, stocks of which had been destroyed by the fire, led
to hand-painted, aerographed and sgraffito patterns using
motifs based on leaves and berries, seaweed ana flowers. 'Tree
of Life' was a particularly successful pattern.
Susie Cooper was invited to join the selection committee for the
'Britain Can Make If exhibition.
112
1948 'Tulip in Pompadour' and 'Pear in Pompadour' were typical of
the new contemporary style of patterns now produced.
1950 in order to expand china production, Susie Cooper bought the
Jason China Company of Longton.
The 'Quail' shape was designed for the Festival of Britain.
Lithography was revived for floral patterns like 'Gardenia',
'Magnolia' and 'Orchid'.
1951 Quail coffee sets were commissioned for the Royal Pavilion at
the Festival of Britain. Patterns now included 'Astral', 'Gold Bud',
'Sea Anemone' and 'Faenza'
1956 The Fluted shape, a version of Quail, was launched. Strong
classical patterns included 'Palladian', 'Corinthian',
'Romanesque', 'Pomme D'or' and 'Highland Grass'.
1957 The Scallop shape was launched at the Blackpool Fair, but
shortly afterwards a second fire caused considerable damage.
1958 Despite this, Susie Cooper designed the Can shape, destined to
be an all-time favourite over the next three decades. A merger
with R. H. and S. L. Plant was negotiated, to facilitate the planned
switch to bone china and the phasing out of earthenware.
Popular patterns included 'Hyde Park' and 'Black Fruif.
1959 Susie Cooper bought the Crown Works. 'Spirals',
'Meadowsweet' and 'Carefree' were launched.
1964 By now the change over to china was complete. Typical
patterns of the early 1960s were 'Glen Misf, 'Venetia', 'Talisman'
and 'Apple Gay'.
1966 Josiah Wedgwood and Sons now took over both companies,
Susie Cooper continuing as designer for her own company,
producing designs like 'Cornflower', 'Champagne', 'Pimpernel'
and 'Mariposa'.
1967 This year was notable for many vivid covercoat patterns like the
popular 'Carnaby Daisy', 'Harlequinade', 'Autumn Leaves' and
'Keystone'.
113
1971 'Cornpoppy', perhaps the most familiar of all the post-war
patterns, was launched at the Blackpool Fair.
1972 Susie Cooper resigned as director of Susie Cooper Limited.
1976 The wheel came full circle as Susie Cooper designed lustre ware
to celebrate the Silver Jubilee of the Queen the following year.
1978 A retrospective exhibition of Susie Cooper's work was held by
Wedgwood at the Sanderson's Exhibition Gallery in London,
entitled 'Elegance and Utility'.
1979 Susie Cooper was awarded the Order of the British Empire in
recognition of her services to the British pottery industry.
1980 Closure of the Crown Works by Wedgwood. Susie Cooper moved
her studio to William Adams in Tunstall.
1982 Stoke-on-Trent City Museum and Art Gallery mounted an
exhibition of her work to celebrate Susie Cooper's 80th birthday.
1985 A Channel 4 television series 'Pottery Ladies' saluted the work of
Clarice Cliff, Charlotte Rhead and Susie Cooper. Extremely
popular, it has been repeated several times since.
1987 Under the title 'Susie Cooper Productions', the Victoria and
Albert Museum launched a travelling exhibition of her work, in
association with which Wedgwood revived three 1930s patterns
on breakfast sets in the Kestrel shape.
Susie Cooper was awarded an Honourary Doctorate, its highest
honour, by the Royal College of Art.
1990 An exhibition of Susie Cooper's seed paintings was held at Stokeon-
Trent City Museum and Art Gallery, travelling later to a
London Gallery.
1992 Susie Cooper's ninetieth birthday was celebrated by Wedgwood
by an exhibition of her work at their Visitors Centre, Barlaston.
Susie Cooper herself celebrated by producing a limited edition
of ninety of a porcelain model of a leaping deer.
114
2014
Susie
Cooper
Market
Guide
Prices
are
gleaned
largely
from
eBay,
the
new
market
for
collectables.
Unfortunately,
this
has
led
to
a
fall
in
values
for
the
more
common
items.
However,
rare
items
are
still
worth
a
premium,
and
in
those
cases
we
recommend
a
major
auction
house
to
sell
the
items.
Cornpoppy
-­‐
Dinnercoffee
Set
£150.00
Cornpoppy
-­‐
Lidded
Sugar
Bowl
£20.00
Cornpoppy
-­‐
Milk
Jug
-­‐
Creamer
£20.00
Crescent
Sgraffito
Cup
Saucer
And
Plate
-­‐
1930s
£17.00
Pink
Dresden
Spray
-­‐
Ladle
£16.00
Pink
Dresden
Spray
-­‐
Teapot
£19.00
Pink
Dresden
Spray
Coffee
Pot
Or
Hot
Water
Jug
£28.00
Pink
Dresden
Spray
Teapot
£70.00
Pink
Dresden
Spray
Teapot
7
Inch
High
1930s
£20.00
Talisman
C1139
5
X
Coffee
Cup
&
Saucer
Vgc
£15.00
The
Years
Plate
£27.00
Two
Cups
And
Saucers
And
A
Tea
Plate
£16.00
Susie
Cooper,
Cornpoppy
Lidded
Tureen
£39.00
(1930s)
Gravy
Boat
&
Stand:
-­‐
£27.00
(1930s)
Gravy
Boat
&
Stand:
£15.00
10
Piece
Coffee
Set
(4cupssaucerssugar
Bowlcream
Jug)
£17.00
12
Pce
Retro
Complete
Carnaby
Daisy
Coffee
Cans
&
Saucers
£79.00
14
Pce
Coffee
Set,
5
Cups
-­‐
6
-­‐
Saucers
-­‐
Milksugar
&
Coffee
Pot.
£15.00
18
Piece
T-­‐Set
6
X
Cups
&
Saucers
&
Tea
Plates
£20.00
1920s
Fruit
Lustre
Paris
Jug
£34.00
1920s
Jug
Grays
Hand
Painted
Floral
£49.00
1930s
Trio:
£28.00
1930s
Trio:
£33.00
1940s
Teapot
£16.00
1950s
Clematis
Trio
-­‐
2
Indiviually
Priced
£22.00
1950s
Glen
Mist
Teapot
1.0
Pint
£29.00
1950s
Harlequin
Coffee
Set
Boxed
-­‐
Pristine
£27.00
1977
Queens
Jubilee
Trinket
Box+Pin
Dish
Limited
Edition
£14.00
2
Talisman
Egg
Cups
England
C1139
Euc
Free
Shipping
£21.00
2
X
Black
Fruit
Coffee
Cups
And
Saucers
£24.00
2
X
Glen
Mist
Coffee
Cups
And
Saucers
£14.00
31
Piece
Tea
Service
In
Glen
Mist
C1035
£79.00
3x
Fragrance
C485
Teacups
And
Saucers
Brown
Backstamp
£19.00
4
Cups
4
Saucers
£20.00
4
Glen
Mist
Cups
And
Saucers
£19.00
4
Grays
Pottery
Dishes
£20.00
4
X
Green
Swansea
Spray
Coffee
Cups
&
Saucers
£19.00
6
Coffee
Cups
Saucers
£16.00
6
Hyde
Park
Coffee
Cans
&
Saucers
£28.00
6
Retro
Black
Fruits
Coffee
Cups
&
Saucers
Non
£59.00
6
X
Iconic
Sunflower
Cups
&
Saucers
£18.00
6"
Glen
Mist
Dessert
Bowls
£40.00
6pc
Tea
Set
,
(1936-­‐40)
Pink
Sage
Green
Band
£24.00
8166
Grays
Pottery
Coffee
Can
&
Saucer
£51.00
A
22,Piece
Tea
Set.
Glen
Mist.
£21.00
A
Cup
&
Saucer
Glen
Mist
1974c
£19.00
A
Grays
Pottery
Jug
In
Moon
&
Mountain
Pattern
By
Susie
Cooper
C1925
£84.00
A.
Grays
Pottery
Large
Handpainted
Wall
Charger
C1925
£126.00
Abstract
&
Jazz
Modern
Pattern
8127
Grays
Pottery
Milk
Jug
Creamer
£150.00
Abstract
&
Jazz
Modern
Pattern
8127
Grays
Pottery
Sugar
Bowl
£150.00
Abstract
&
Jazz
Modern
Pattern
8127
Grays
Pottery
Sugar
Bowl
£75.00
Abstract
&
Jazz
Pattern
8127
Grays
Pottery
Coffee
Can
Cup
+
Saucer
£250.00
Abstract
Pattern
10
Dinner
Plate
Crown
Works
1934
£17.00
Acorn
Cup
And
Saucer
£20.00
Acorn
Milk
And
Sugar
Jug
Acorn
1398
£35.00
Acorn
Pattern
4
Soup
Bowl
On
Stand
£35.00
Acorn
Pattern
4
Soup
Bowl
On
Stand
£36.00
Acorn
Pattern
Six
Dinner
Plates
£16.00
Acorn
Pattern
Six
Side
Plates
£26.00
Acorn
Tea
Cup
And
Saucer
1398
£31.00
Amber
6
Coffee
Cups
&
Saucers
£15.00
An
Unusual
Large
Plaque
-­‐
Plate
-­‐
Dish
-­‐1930s
£136.00
An
Unusual
Large
Plaque
-­‐
Plate
-­‐
Dish
-­‐1930s
£65.00
Apple
Gay
C2018
Milk
Jug
&
Sugar
Bowl
£24.00
Apple
Gay
C2018
Trio
£49.00
Art
Dec
Printemps
Kestrel
Tea
Pot
£62.00
Art
Deco
6
Coffee
Cans
Cups
Cream
&
Sugar
-­‐
Pattern
£36.00
Ashmun
7
Inch
Vase
£14.00
Asterisk
19
Piece
Coffee
Service
With
Cake
Plate
£175.00
Black
Fruit
6
Piece
Coffee
Cup
And
Saucer
Set
£50.00
Black
Fruit
Coffee
Cup
Set
Of
Six,
1950-­‐60s
£40.00
Black
Fruit
Coffee
Cup
Set
Of
Six,
195060s
£69.00
Black
Fruit
Coffee
Cup
Set
Of
Six,
196070s
£36.00
Black
Fruit
Coffee
Or
Tea
Pot.
£51.00
Black
Fruit
Coffee
Set,
1960s
£75.00
Black
Fruit
Cup
And
Saucer
Boxed
Set
-­‐
£36.00
Black
Fruits
Coffee
Cans
&
Saucers
Pre-­‐£20.00
Black
Fruits
Coffee
Cans
&
Saucers
Pre-­‐£30.00
Black
Fruits
Coffee
Cups
&
Saucers
Pre
-­‐
£69.00
Black
Fruits
Coffee
Pot
Yellow
Lid-­‐
£39.00
Black
Fruits
Coffee
Set,
Cup
&
Saucers,
Plates
&
Jug
£40.00
Black
Fruits
Set
Of
Six
Coffee
Cups
Saucers
Pre
1950s
£95.00
Black
Keystone
Plates
£16.00
Blue
And
Black
Banded
Tango
Small
Kestrel
Jug
£22.00
Blue
And
Black
Banded
Tango
Small
Kestrel
Shape
Bowl
£25.00
Blue
Dahlia
Tureen
With
Lid
By
Susie
Cooper,
Blue
&
White
£22.00
Blue
Dasiy
Coffee
Set
For
Adams
£75.00
Blue
Dasiy
Tea
Cup
&
Saucer
For
Adams
£6.00
Blue
Lily
Bowls
X
6
C1932+
£16.00
Blue
Lily
Dinner
Plates
X
6
C1932+
£35.00
Blue
Lily
Salt,
Pepper
&
Mustard
Cruet
Set
C1932+
£23.00
Blue
Lily
Side
Plates
X
6
C1932+
£41.00
Blue
Nosegay
Small
Teapot
With
Stand
£24.00
Blue
Panel
Spray
Large
Footed
Bowl
£46.00
Blue
Printemps
-­‐
Tea
For
Two
Set
£161.00
Blue
Printemps
Cup
And
Saucer
£23.00
Blue
Printemps
Milk
And
Sugar
Size
42
£41.00
Blue
Wedding
Band
Teapot
-­‐
Kestrel
Shape
£65.00
Bluegoldfloral
Tea
Cup
And
Saucer
£16.00
Boxed
Kevin
Francis
Peggy
Davies
Lady
Young
Susie
Cooper
Ltd
Edition
£83.00
Boxed
Russell
Hobbs
Cp2
Coffee
Percolator
-­‐
Glen
Mist
Vgc
£18.00
Bridal
Bouquet
Coffee
Set.
6
Trios.
£19.00
Bridal
Bouquet
Teapot
£14.00
Brown
Coffee
Cups
+
Saucers
X
6.
C2071
£21.00
Burslem
Works
Green
&
Cream
Gardenia
Part
Dinner
Service
£49.00
Cactus
Highly
Collectible
China
£21.00
Charisma
1st
China
Tureenlidded
Vegetable
Dish
Charisma
1st
£44.00
Charisma
Coffee
Set
£36.00
Charisma
Coffee
Set
15
Pieces
Pot
Jug
Bowl
Cups
Saucers
£39.00
Chatsworth
Rimmed
Soup
Bowls
-
6
Of
8
14(21cms)
£30.00
Chrysanthemum
Pattern
Dish
Vgc
£33.00
Classic
Glen
Mist
Coffee
Pot,
Creamer
And
Sugar
Bowl
£28.00
Clematis
Pattern
Trio,
Ex
Cond,
£24.00
Coffee
Can
And
Saucer
Circa
1930s
£39.00
Coffee
Can
And
Saucer
Orange
Tango
£21.00
Coffee
Pot
-­‐
20.0cm
-­‐
Nebula
Pattern
(Green
C2137)
£37.00
Coffee
Set
,
,
£21.00
Coffee
Set
£19.00
Coffee
Set
Abstract
And
Jazz
.
£337.00
Coffee
Set,
Snowdrop
£22.00
Contrast
Coffee
Set,
6
Cups
&
Saucers
+
Sugar
Bowl
£14.00
Corn
Poppy
China
(78
Pieces)
£225.00
Corn
Poppy
Creamer
£18.00
Corn
Poppy
Large
Oval
Platter
£18.00
Corn
Poppy
Lidded
Tureen
£30.00
Corn
Poppy
Teapot
£16.00
Cornpoppy
-­‐
Coffee
£54.00
Cornpoppy
(Design)
Coupe
Soup
Bowl
Great
Value
£20.00
Cornpoppy
1
X
Coffee
Cup
And
2
X
Saucers
£14.00
Cornpoppy
4
X
Dessert
Soup
Bowls
20cm
£59.00
Cornpoppy
6
Place
Tea
Set
With
Tea
Pot
£105.00
Cornpoppy
China
Plates,
Coffee
Cups
And
Saucers
Vgc
£45.00
Cornpoppy
Coffee
Can
Set
£59.00
Cornpoppy
Coffee
Set
£20.00
Cornpoppy
Gravy
Boat
&
Underplate
Discont
£35.00
Cornpoppy
Mug
£24.00
Cornpoppy
Soup
Bowl
+
Saucer
(1st)
X
2
£25.00
Cornpoppy
Soup
Bowls
+
Saucer
(1st)
X
6
£80.00
Cornpoppy
Tea
Coffee
Set
No
Damage
20
Pcs£39.00
Crescent
Pattern
Set
£79.00
Crockery
Set
1950s
£25.00
Crown
Works
Bowls
X
2
-­‐
£16.00
Crown
Works
Burslem
Brown
Yellow
Black
Stripes
Striped
Mug
£33.00
Crown
Works
Burslem
Dble
Handle
Lidded
Tureen
Wedding
Bands
Pattern
£17.00
Crown
Works
Dining
Display
Dishes
X
2
-­‐
C1935
£19.00
£19.00
Crown
Works
Plates
X
2
-­‐
Dining
Display
-­‐
C1935
£7.00
Crown
Works
Sauce
Tureen
Ladle
+
Plate
-­‐
C1935
£16.00
Crown
Works
Sea
Anemone
26-­‐Piece
Dinner
Set
(C.0038)
£65.00
Cubist
,
Cream
Jug
,
Circa
1920
£31.00
Cubist
Coffee
Can
&
Saucer
£118.00
Cubist
Large
Paris
Jug
£175.00
Cubist
Paris
Jug
£75.00
Cubist
Pin
Dish
By
Grays
Pottery,
Handpainted
£30.00
Cubist
Plate.
The
Years
-­‐
Cubist
£24.00
Cute
Printemps
Cruet
Set
£24.00
Deco
Grays
Pottery
Cubist
Pattern
Cup
&
Saucer
C1930
£29.00
Deco
Grays
Pottery
Cubist
Pattern
Side
Plate
C1928
£31.00
Demitasse
Coffee
Cup
And
Saucer
£17.00
Designed
Pottery
Feature
Plates
&
Bowl
£14.00
Designs
Bradford
Exchange
Plates
£60.00
Dessert
Set
Green
Feather
£19.00
Diablo
4
Trios,
Cake
Plate,
Sugar
Bowl
And
Milk
Jug.
£35.00
Diablo
Complete
15
Piece
Coffee
Set
1960s
£27.00
Diablo
Fruit
Dessert
Bowls
X
5
£25.00
Diablo
Pattern
4
Cup
Coffee
Set
£79.00
Diablo
Vegetable
Dish
Tureen
&
Lid
£17.00
Dinner
Plate
Patt
8037
1928
Tulip
£37.00
Dish
Floral
Lustre
£18.00
Dresden
Chocolate
Pot
&
Truly
£24.00
Dresden
Pink
Dinner
Plates
X
2
£15.00
Dresden
Pink
Oatmeal
Bowls
X
2
£15.00
Dresden
Rex
Shaped
Footed
Jug
£14.00
Dresden
Spray
10
Dishes
Bowls
(88)
£50.00
Dresden
Spray
Coffee
Cans
And
Saucers
X
4
£32.00
Dresden
Spray
Coffee
Cans
Cups
&
Saucers
£15.00
Dresden
Spray
Cup,
Saucer
And
Plate
Trio
In
Soft
Pink
£22.00
Dresden
Spray
Dessert
Salad
Plate
9
(107)
£15.00
Dresden
Spray
Egg
Cups
(5)
£46.00
Dresden
Spray
Giant
Size
Mixing
Bowl
12
Inch
£45.00
Dresden
Spray
Grapefruit
Dish
£32.00
Dresden
Spray
Large
Fruit
Bowl
£15.00
Dresden
Spray
Lidded
Jam
Marmalade
Sugar
Dish
£20.00
Dresden
Spray
Salt
And
Pepper
Pots
£36.00
Dresden
Spray
Tea
For
One
Hot
Water
Jug
-­‐
Art
Deco
£36.00
Dresden
Spray
Teapot
£69.00
Dresden
Spray
Teapot
Unused
Vgc
£30.00
Dresden
Spray
Toast
Rack
£27.00
Dresden
Sprays
1017
1014
Vegetable
Tureen
&
Lid
In
Vgc
£45.00
E242
Pattern
Symphoney
Runner
Beans
Butter
Dish
&
Cover
71
£62.00
Early
1930s
Large
Green
Jug
Pitcher
£14.00
Early
1930s
Yellow
Beaker
No1
Great
£32.00
Early
1930s
Yellow
Beaker
No2
Great
£26.00
Early
Coffee
Cup
&
Saucer
Exclamation
Mark
Pattern
Vgc
£16.00
Early
Production
Burslem
Coffee
Cups
&
Saucers
10
Piece
£25.00
Early
Tea
For
One
Kestral
Shape
Tea
Set
£36.00
Endon
Pattern
-­‐
4
Egg
Cups
£17.00
Endon
Pottery
£41.00
English
2
Pint
Teapot
With
Summer
Flower
£17.00
English
China
Coffee
Set
6
Trios
£18.00
Everglade
China
Coffee
Set
Including
Milk;
Sugar;
Plate;
£19.00
Extremely
Crown
Works
Nursery
Childrens
Plate
-­‐
L06
£73.00
Falcon
Coffee
Set
Greencream
£56.00
Feathers
Cup
Saucer
And
Side
Plate
Trio.
Blue
Background.0030s
£21.00
Fine
3
Bowls
Pattern
Is
Fruit
£15.00
Fine
Coffee
Cups
Saucers
Plates
Set
15
Piece
Leaf
£25.00
Fine
Set
£18.00
Floral
Dessert
Bowl
£27.00
Floral
Tea
Set-­‐Clematismagnolia
-­‐Mixed
Set-­‐
£30.00
Floral
Tea
Trio.
£22.00
For
Yellow
Daisy
Egg
Cups
£14.00
For
Yellow
Daisy
Egg
Cups
£14.00
For
Yellow
Daisy
Kestral
Shaped
Jug
£26.00
For
Yellow
Daisy
Kestral
Shaped
Toast
Rack
£15.00
For
Yellow
Daisy
Rex
Shaped
Tea
Trio
£18.00
Four
Hand
Painted
Cups
And
Saucers
£56.00
Fragrance
Breakfast
Set
For
One
Person
£39.00
Fragrance
Gravy
Or
Sauce
Jug
Boat
And
Saucer.
Vgc
.
£15.00
Full
Coffee
Set
Complete
&
In
Vgc
£77.00
Gardenia
Soup
Coupes
And
Stands
X
6
£24.00
Gardinia
Spares.
£32.00
Gardinia
Tea
For
Two
Tea
Pot.
£17.00
Gardinia
Trio
£25.00
Gardinia
Unusual
Coffee
Trio.
(1)
£32.00
Gardinia
Unusual
Coffee
Trio.
(2)
£27.00
Gardinia
Unusual
Coffee
Trio.
(3)
£33.00
Geometric
Patterned
Mugbeaker
£57.00
Glen
Mist
-­‐
Four
Dessert
Pie
7
Plates
£29.00
Glen
Mist
-­‐
Meat
Plate
Platter
Serving
Dish
£39.00
Glen
Mist
21
Piece
Tea
Set
-­‐
£24.00
Glen
Mist
3
X
Mugs
Large
Coffee
Cups
-­‐
£25.00
Glen
Mist
47
Piece
Dinner
&
Tea
Set
Tea
&
Coffee
Pot
£220.00
Glen
Mist
6
Side
Plates
C
1035
Signed
£20.00
Glen
Mist
6
Tea
Cups
&
Saucers
£24.00
Glen
Mist
6
X
Salad
Plates
21.0cms
Diam
-­‐
£16.00
Glen
Mist
7
Coffee
Cups
Cans
And
Saucers
Vgc
£39.00
Glen
Mist
Buffet
Plate
&
Mug
Cup
£18.00
Glen
Mist
Cache
Pot
(Design)
£20.00
Glen
Mist
Coffee
Cups
Cans
,
Saucers
&
Plates
(10)
£49.00
Glen
Mist
Coffee
Pot
£20.00
Glen
Mist
Coffee
Pot
By
£29.00
Glen
Mist
Coffee
Pot
In
Vgc
£40.00
Glen
Mist
Coffee
Set
£21.00
Glen
Mist
Coffee
Set
£39.00
Glen
Mist
Coffee
Set
£47.00
Glen
Mist
Dinner
6
Plates
27.0cm
£30.00
Glen
Mist
Dinner
Set
Tableware
()
£55.00
Glen
Mist
Fruit
Serving
Bowl
Fine
£20.00
Glen
Mist
Oval
Serving
Plate
£49.00
Glen
Mist
Part
Tea
Set
(22
Pieces)
In
Good
£89.00
Glen
Mist
Pattern
Coffee
Set:
£60.00
Glen
Mist
Small
2-­‐3
Cup
Teapot
Round
Shape
£49.00
Glen
Mist
Tea
Pot
-­‐
£16.00
Glen
Mist
Teapot
£30.00
Glen
Mist
Vase,
By
.
£22.00
Glen
Mist,Design,
Large
Urnvase
21cm
Tall.
£29.00
Gloria
Lustre
Beaker
£25.00
Gloria
Lustre
Beaker
£45.00
Gloria
Lustre
Bowl
£15.00
Gloria
Lustre
Milk
Jug
£70.00
Gloria
Lustre
Vase
So
£60.00
Gold
Star
(Asterisk)
Coffee
Cans
&
Saucers
-­‐
Set
6
Cups
&
5
Saucers
£29.00
Grapefruit
Dish#1
£18.00
Grapefruit
Dish#2
£14.00
Grapefruit
Dish#3
£16.00
Gray
Pottery
Cup
&
Saucer
Old
30s
Backstamp
£27.00
Gray`S
Pottery
1920`S
Cup-­‐
£28.00
Grays
1920s
7913
Handpainted
Dish
Great
£19.00
Grays
1920s
7913
Handpainted
Dish
Great
£19.00
Grays
Coffee
Can
And
Saucer
£25.00
Grays
Cubist
Jug
Pitcher
1930s
Larger
Size
£21.00
Grays
Early
Geometric
Jug
£39.00
Grays
Hand
Painted
Jug
Black
Pyramid
Interest
£20.00
Grays
Lidded
Bowl,
Hand
Painted.
£17.00
Grays
Pottery
(Susie
Cooper)
Floral
Teapot
Signed
Elsie
£110.00
Grays
Pottery
1925
Gloria
Lustre
Vase
By
Gordon
Forsyth
£72.00
Grays
Pottery
1928
Dish
With
Lid
£62.00
Grays
Pottery
Coasters
No
Damage
£29.00
Grays
Pottery
Coffee
Can
&
Saucer
£32.00
Grays
Pottery
Coffee
Set
£20.00
Grays
Pottery
Early
Large
Milk
Jug
And
Sugar
Bowl
£15.00
Grays
Pottery
Floral
Water
Pot
£28.00
Grays
Pottery
Geometric
Jug
£80.00
Grays
Pottery
Golden
Catkin
10
Ins
Plate
£18.00
Grays
Pottery
Hand
Painted
12"
Cubist
Charger
£252.00
Grays
Pottery
Hand
Painted
Wall
Vase
Pocket
£24.00
Grays
Pottery
Handpainted
10
&
58
Dia
Plate
Interest
£82.00
Grays
Pottery
Heals
Trio
1929
Layebands
Pattern
Made
For
Actress
£95.00
Grays
Pottery
Jug
£49.00
Grays
Pottery
Plate
1928
Harmony
Pattern
£24.00
Grays
Pottery
Plate
Pattern
8209
£20.00
Grays
Pottery
Silver
Lustre
Persian
Bird
Pattern
Cup
&
Saucer
£67.00
Grays
Pottery
Striped
Jug
£26.00
Grays
Pottery
Teapot
-­‐
Circa
1929
Banded
£18.00
Grays
Pottery
Trio
1932
£24.00
Grays
Pottery
Vase
-­‐
£360.00
Grays
Tea
For
2
Set
Hand
Painted
Water
Lily
Pat
No
A58158
£56.00
Grays
Tray
£26.00
Grecian
Pattern
E2423
Tea
Set.
Teapot,
Cups,
Saucers,
Milk
Jug
Etc
£39.00
Green
Dresden
Pepper
And
Mustard
Pot
£14.00
Green
Dresden
Spray
Cruet
£31.00
Green
Dresden
Spray
Fruit
Bowls.
£15.00
Green
Dresden
Spray
Soup
Dish
&
Cover
(A
,
Unusual
Item)
£21.00
Green
Dresden
Toast
Rack
£46.00
Green
Hand
Thrown
Ribbed
Vase
139
£95.00
Green
Keystone
Soup
Bowls
With
Saucers
2
Of
£22.00
Green
Nosegay
Salt
And
Pepper
£20.00
Green
Patricia
Rose
Cup
And
Saucer
#2
£40.00
Green
Patricia
Rose
Cup
And
Saucer
#4
£40.00
Green
Patricia
Rose
Cup
And
Saucer
#5
£40.00
Green
Patricia
Rose
Cup
And
Saucer
£45.00
Green
Patricia
Rose
Cup
And
Saucer
Falcon
Shape
£25.00
Green
Patricia
Rose
Milk
Jug
Falcon
Shape
£20.00
Green
Patricia
Rose
Twin
Handled
Soup
Bowls
X
4
£20.00
Green
Polka
Dot
Tea
Pot,
Vgc,
First
£24.00
Green
Printemps
8.00
Dinner
Plate
More
£19.00
Green
Printemps
9.00
Dinner
Plate
More
£19.00
Green
Swansea
Spray
Trio
£7.00
Grey
Leaf
Sauce
Tureen
On
Stand
Kestrel
Shape
Green
£16.00
Greys
Pottery
£19.00
Hand
Painted
Floriana
-­‐
7
Piece
Fruit
Dessert
Bowls
&
Server.
£19.00
Hand
Painted
Tea
Pot
By
For
A
E
Gray
Ltd
£20.00
Handpainted
Azalia
Footed
Coffee
Duo
£14.00
Handpainted
Azalia
Footed
Coffee
Duo
£14.00
Handpainted
Feather
Dessert
Bowls
£14.00
Handpainted
Feather
Dessert
Bowls
£16.00
Handpainted
Feather
Twin
Spout
Gravy
Boat
£24.00
Handpainted
Grays
Pottery
Floral
Beaker
-­‐
Pattern
£21.00
Handpainted
Orchids
Coffee
Duo
£19.00
£19.00
Handpainted
Orchids
Coffee
Duo
£21.00
Handpainted
Orchids
Coffee
Duo
£28.00
Handpainted
Red
Stars
Coffee
Duo
£14.00
Handpainted
Red
Stars
Coffee
Duo
£14.00
Handpainted
Trio
Circa
1932
£32.00
Handpainted
Trio
Circa
1932
£37.00
Harlequin
£30.00
Harlequinade
Coffee
Can
And
Saucer.
Harlequinade
1968
£15.00
Harlequinade
Coffee
Can
And
Saucerharlequinade,
1968
£15.00
Harlequinade
Coffee
Can
And
Saucerharlequinade,
1968
£15.00
Hgrays
Pottery
Floral
Beaker
-­‐
Pattern
£31.00
Highland
Grass
Dinner
Plates.
£15.00
Highland
Grass
Jug.
£15.00
Highland
Grass
Kestrel
Shaped
Jug.
£15.00
Hors
Doeuvre
Dishes
On
Oak
Tray
£75.00
Hors
Doeuvre
Set
With
Original
Tray
£25.00
Hyde
Park
Pattern
Coffee
Set
£54.00
Iris
Bowl
-­‐
1930s.
£54.00
Iris,
6
X
Eared
Bowls
£34.00
Jasmine
C979
Coffee
Pot
£15.00
Katina
Dinner
Plates
8
10
58(27cms)
£57.00
Katina
Saladstarter
Plates
-­‐
8
12(21.0cms)
£32.00
Katina
Tea
Set
£41.00
Kestral
Shape
Teapot,
Sugar
Bowl
And
Jug
-­‐
Dresden
Spray
£114.00
Kestral
Shape
Teapot,
Sugar
Bowl
And
Jug
-­‐
Endon
£36.00
Kestral
Shape
Teapot,
Sugar
Bowl
And
Jug
-­‐
Endon
£68.00
Kestrel
Breakfast
Hot
Water
Pot
1930s
Bachelor
Set
£30.00
Kestrel
Coffee
Pot
4.0
Inches
Nursery
Ware
Horse
&
Jockey
£71.00
Kestrel
Coffee
Pot:
£129.00
Kestrel
Coffee
Set
Complete
1930s
£245.00
Kestrel
Creamer
-­‐
£22.00
Kestrel
Milk
Jug
-­‐
£25.00
Kestrel
Milk
Jug
Sugar
Bowl
Egg
Cup
Pepper
Pot
1930s
£28.00
Kestrel
Shape
C1930s
£34.00
Kestrel
Shaped
Coffee
Pot
£79.00
Kestrel
Shaped
Tea
For
Two
-­‐
Pink
Dresden
Spray
£236.00
Kestrel
Shaped
Tea
Pot
-­‐
Patricia
Rose
£28.00
Kestrel
Shaped
Teapot
£47.00
Kestrel
Tea
Pot
1930s
Part
Of
Bachelor
Set
£25.00
Kestrel
Teapot
£19.00
Kestrel
Teapot
Four
Lily
Pattern
Burslem
1930s
£19.00
Kestrel
Toast
Rack
1930s
Part
Of
Bachelor
Set
£28.00
Kevin
Francis
China
Le
Deco
Ceramic
Designer
Vgc
Boxed
£45.00
Kevin
Francis
Ltd
Ed
No
448
Of
1000
£36.00
Kevin
Francis
Peggy
Davies
Young
Ltd
Ed
£109.00
Kevin
Francis
The
Young
Figurine.
£65.00
Kevin
Francis-­‐Ltd
Ed
Vgc
£36.00
Keystone
Black,
Teapot
£72.00
Keystone
Coffee
Set
By
For
£95.00
Keystone
Old
Gold
-­‐
Soup
Bowls
And
Stands
X
4
£19.00
Keystone
Old
Gold
20-­‐Piece4-­‐Place
Dinner
Service-­‐£37.00
Keystone
Old
Gold
34-­‐Piece6-­‐Place
Dinner
Service-­‐£81.00
Kingfisher
6
X
Coffee
Cans
&
Saucers
Boxed
Kingfisher
£45.00
Large
3.0pt
Blue
&
Cream
Utility
Jug
194050s
V.G.Cond
£25.00
Large
Early
Handpainted
Charger
Panorama
Pattern
£40.00
Large
Grays
Pottery
Pitcherjug
Hp
Deco
Floral
Era
Of
Grays
Cliff
Large
Meat
Platter
(1930s):
£16.00
Large
Pink
Greyleaf
Kestrel
Teapot,
Tea
Pot
£56.00
Large
Set
Of
Printemps
-­‐
Pattern
2205
-­‐
£122.00
Limited
Edition
Collectors
Plate
By
`Rainbow`
£20.00
Long
Leaf
Trio.
(1)
£33.00
Long
Leaf
Trio.
(2)
£33.00
Loose
Lidded
Trinket
Box
-­‐
Glen
Mist
By
£29.00
Lot
7
Wedding
Band
Demitasse
Cups
Saucers
2
12
Old
Set
£28.00
Manor
Limited
Editions
The
Pottery
Ladies
£18.00
Marigold
Bowl
£31.00
Marigold
Covered
Sugar
Basin.
£15.00
Marigold
Dessert
Bowl
£15.00
Marigold
Dessert
Bowl
£17.00
Marigold
Dessert
Bowl
£21.00
Marigold
Jug
£32.00
Meadow
Sweet
Dinner
Plates
Set
Of
Five
10
Inch
Vgc
£21.00
Meadow
Sweetlarge
Lipped
Bowls
Set
Of
Five
9
Inch
Vgc
£19.00
Meat
Plate
Patt
8037
1928
Tulip
£19.00
Milk
Jug
And
Small
Coffee
Pot
£21.00
Moon
&
Mountains
Fruit
Bowl
£175.00
Moon
And
Mountain
Pattern
Paris
Jug
Vgc
£161.00
Moon
And
Mountains
Jug
£120.00
Mugcup.
Stanley.
£100.00
Nasturtium
15pc
Tea
Set
£19.00
Nebula
6
Peice
Coffee
Set
(Vgc)
£35.00
Newhall
Teapot
18.00
Nosegay
Pattern
Vegatable
Tureen
From
1932
£14.00
Nosegay
Small
Coffee
Pot
C1930+
£49.00
Nursery
Baby
Three
Divisional
Plate
-­‐
Vgc
&
£89.00
Old
Gold
Keystone
4
Soup
Bowls
&
Dishes
£21.00
Old
Gold
Keystone
6
Dinner
Plates
£30.00
Old
Gold
Keystone
Coffee
Pot
£20.00
Old
Gold
Keystone
Set
Of
Four
Soup
Bowls
And
Stands
£19.00
Old
Gold
Keystone
Tea
Pot
£20.00
Orange
Polka
Dot
Trio
(Pretty)
£18.00
Pair
1930s
Miniature
Plates
By
£37.00
Pair
Grays
Pottery
Dishes
Tulip
Pattern
8037
£26.00
Pale
Blue
Spotted
Teapot.
£19.00
Parrot
Tulip
Teapot
With
Two
Matching
Cups
And
Saucers
£55.00
Part
Dinner
Service
-­‐
Ex
£49.00
Part
Tea
Set
-­‐
1179
£37.00
Patricia
Rose
Coffee
Duo
£29.00
Patricia
Rose
Dinner
Plates
1930s
£45.00
Patricia
Rose
Fruit
Dishes
5
£51.00
Patricia
Rose
Kestrel
Cream
Milk
Jug
£28.00
Patricia
Rose
Side
Plates
1930s
£22.00
Patricia
Rose
Spiral
Preserve
Pot
With
Lid
£45.00
Patricia
Rose
Sugar
Bowl
And
Cover
£31.00
Patricia
Rose
Tea
Pot
£95.00
Patricia
Rose
Trio
£67.00
Period
Coffee
Set
£79.00
Persia
,Two
Coffee
Cans
And
Saucers
.
£5.00
Persia
C2019
Six
Coffee
Cups,
Saucers
And
Milk
Jug
£20.00
Pimento
Coffee
Cups
Burnt
Orange
&
Black
£34.00
Pimento
Coffee
Set
For
6
£39.00
Pink
&
Cream
Pitcher
Jug
One
Cup
Teapot
Tea
Pot
£29.00
Pink
And
Cream
Tea
Set
£26.00
Pink
Crescent
Rex
Shaped
Teapot
(A
Item)
£39.00
Pink
Dresden
Clover
Cruet
£24.00
Pink
Dresden
Paris
Shaped
Custard
Jug
£14.00
Pink
Dresden
Rex
Shaped
Tea
Trio
Truly
£24.00
Pink
Dresden
Small
Double
Dish
£14.00
Pink
Dresden
Spray
Coffee
Pot
8
Inch
High
£32.00
Pink
Dresden
Spray
Tea
Set
With
Kestrel
Teapot
£160.00
Pink
Dresden
Spray
Trio.
£28.00
Pink
Dresden
Trio
1005
Pattern
£14.00
Pink
Dresden
Trio
1005
Pattern
£14.00
Pink
Dresden
Trio
1005
Pattern
£16.00
Pink
Dresden
Trio
1005
Pattern
£19.00
Pink
Fern
Lidded
Jug
£17.00
Pink
Floral
Blue
Wash
Milk
And
Sugar
£36.00
Pink
Floral
Clover
Leaf
Cruet
£29.00
Pink
Floral
Green
Wash
Tea
Pot
£32.00
Pink
Iris
Coffee
Pot
£23.00
Pink
Leaf
Trio.(1)
£30.00
Pink
Orchid
Coffee
Cups
And
Saucers
(X4)
£106.00
Pink
Orchid
Coffee
Pot
£50.00
Pink
Orchid
Part
Tea
Set.
£120.00
Pink
Patricia
Rose
Kestrel
Shape
Tea
Pot
-­‐
£210.00
Pink
Patricia
Rose
Lidded
Jam
Pot
£29.00
Pink
Ribbon
Rose
Gravy
Jug
£19.00
Pink
Studio
Ware
Bowl
£18.00
Pink
Swansea
Spray
Cruet
£30.00
Pink
Swansea
Spray
Sugar
Basin.
£15.00
Pink
Swansea
Spray
Trio.
£30.00
Pink
Swansea
Spray
Trio.
£30.00
Pink
Swansea
Spray
Trio.(1)
£47.00
Pink
Swansea
Spray
Trio.(2)
£20.00
Pink
Swansea
Spray
Trio.(2)
£47.00
Plate
-­‐
Patricia
Rose
£17.00
Plate.
The
Years
-­‐
Clouds
£33.00
Polka
Dot
Teacoffe
Pot
2030s
£30.00
Polka
Dot
Teaset
For
One
,
Teapot,
Cup
Etc
£48.00
Polka
Set
Of
6
Dark
Red
And
White
Polka
Dot
Cups
And
Saucers
1950-­‐64
£34.00
Pottery
Coffee
Set
£67.00
Pottery
Pattern
Grays
Coffee
Can
Saucer.(
Fault).
£21.00
Pottery
Teapot
In
Meadow
Sweet
Pattern
#R4528
£26.00
Pottery.
An
Teapot
£30.00
Pretty
Demi
Tasse
-­‐
Acorn
£20.00
Printemps
Blue
2
Tier
Cake
Plate
Stand
£18.00
Printemps
Cup
And
Saucer
£31.00
Printemps
Cup
And
Saucer
£33.00
Printemps
Dinner
Service
£30.00
Printemps
Kestrel
Coffee
Pot
£25.00
Printemps
Milk
Jug
Size
36
£22.00
Printemps
Trio.
£30.00
Production
Creamer
Crown
Works
Wedding
Ring
Pink
Tan
23
£16.00
Production
Skier
Hand
Painted
Tankard
24
£137.00
Productions
Studio
Ware
Leaf
Bowl
1932
£79.00
Rainbow
Plate
£25.00
Red
Printemps
Set
£115.00
Regency
Set
Of
X
6
China
Coffee
Cups
&
Saucers
£18.00
Regency
Stripe
Signed
Susie
Cooper
Regency
Stripe
6
China
Coffee
Canssaucers
19678
£34.00
Retro
Cups
And
Saucers
Crown
Works
England
£20.00
Retro
Orange
Coffee
Set
£39.00
Reverie
Teaset
5
Cups
6saucers
6
Plates
Milk
Sugar
Bread
Plate
£15.00
Romance
Green
Part
Coffee
Set
-­‐
Great
£45.00
Romance
Pink
Tea
Set
£32.00
Romance
Pink
Tea
Set
£46.00
Rosss
Belfast
Ginger
Ale
Jug
£225.00
Rosss
Water
Jug
29
£41.00
Salt
And
Pepper
Shakers
Hyde
Park
C912
Vgc
£21.00
Set
Of
4
Charisma
Cereal
Dessert
Bowl
1st
Con
£20.00
Set
Of
6
Chatsworth
Saladstarterdessert
Plates
-­‐
8
12(21.0cms)
£20.00
Set
Of
6
Star
Burst
Asterisk
Coffee
Cans
&
Saucers
£29.00
Set
Of
8
Soup
Dishes
And
Saucers
£19.00
Set
Of
Coffee
Cups
&
Saucers
In
Flower
Motif
£15.00
Set
Of
Six
Coffee
Cups
&
Saucers
-­‐
£26.00
Set
Of
Six
Coffee
Cups
&
Saucers
Circa
1950s
Ref
10327
£28.00
Set
Of
Six
Glen
Mist
Pattern
Cups
&
Saucers
£14.00
Sgraffitio
Vase
-­‐
C
1930s
-­‐
&
552
£23.00
Side
Plate
Nursery
Ware
1930s
Horse
&
Jockey
Handpainted
£66.00
Signed
&
Dated
1932
Bowl
Stylised
Leaves
£120.00
Six
Glen
Mist
Espresso
Cups
And
Saucers
£19.00
Solera
15
Piece
Coffee
Set.
£17.00
Solera
20
Piece
Tea
Set.
£16.00
Soup
Bowl
And
Stand
£27.00
Spiral
Fern
Coffee
Cans
&
Saucers
X
4-­‐Wedgewood-­‐Fine
China
£29.00
Squirrel
Studio
Ware
Bowl
£98.00
Star
Burst
6
X
Coffee
Cans
&
Saucers
Harlequin
£17.00
Star
Bust
Coffee
Cups
&
Saucers
£25.00
Starburst
Cups
&
Saucers
Eight
In
Total
To
Collect
From
Herts
£20.00
Starburst
Tea
For
Two
Breakfast
Set
Bluepink
(
8
Items
)
£50.00
Studio
Range
Signed
&
Dated
1932
Incised
Deco
Bowl
Stylised
Flowers
£140.00
Stylish
Charisma
Large
Teapot
2
Pint
1971
£29.00
Stylish
Charisma
Small
Teapot
34
Pt
1971
£16.00
Sugar
Bowl,
Milk
Jug
And
Teaplate
£16.00
Sunflower
Coffee
Pot
In
Great
£14.00
Sunflower
Coffee
Pot
In
Great
£24.00
Sunflower
Pattern
6
Place
Dinner
Service
£645.00
Sunflower
Set
Of
Six
Coffee
Cups
&
Saucers
Great
£19.00
Sunflower
Tea
Set
Service
Inc.
Teapot
-­‐
£50.00
Susie
Cooper
Coffee
Set
1950s
£62.00
Susie
Cooper,
Dinner
Plate,
1930s
Hand
Tinted
Turkey
-­‐Thanksgiving
£39.00
Susie
Cooper,
Starburst
Goldturquiose
Milk
Jug
£18.00
Susie
Cooper,
Starburst
Goldturquiose
Open
Sugar
Bowl
£18.00
Susie
Cooper.Cream
Jug
&
Sugar
Bowl.Printemps
2205.England.
£17.00
Susie
Copper
Tea
For
Two
£82.00
Suzie
Cooper
Dumbells
Set
Of
6
Cups
And
Saucers
Totally
Original
£39.00
Swansea
Spray
12pc
Coffee
&
Water
Pot
Set
&
Cups
-­‐
P21
£31.00
Swansea
Spray
Trio
£14.00
Swansea
Spray
Trio
£14.00
Swansea
Spray
Trio
£15.00
Talisman
Tea
Plates
-­‐
Set
Of
6
C1139
£18.00
Tango
Coffee
Can
&
Saucer
£49.00
Tango
Coffee
Can
&
Saucer
£49.00
Tankard
Great
£80.00
Tea
Bowl
In
What
I
Believe
Is
Her
Hand
Painted
Star
£20.00
Tea
For
Two
Set
Pattern
No.
927.
C1930.
£96.00
Tea
For
Two
White
With
Red
Spots
£59.00
Tea
Set
For
4,
Day
Lily.
£38.00
Tea
Set
Romance
Blue
Pattern
£27.00
Tea
Set
With
Teapot
For
8
People
C1936
Pat.0022
£276.00
Teapot
£20.00
Teapot
And
Milk
Jug
£18.00
Teapot
Assyrian
Motif
No
C1010
£33.00
Teapot
Printemps
2205.England.
£60.00
Teapots
&
Hot
Water
Pot
-­‐
Dresden
Spray
Pattern
-­‐
Rex
Shape
£25.00
Teaset:12
Cups
&
Saucers
11
Tea
Plates
£40.00
The
Assyrian
Teapot
In
Pattern
£49.00
The
Years
Plate
£26.00
Thistle
Pattern
Coffee
Cup
&
Saucer
Hand
Painted
1421
£19.00
Thistle
Pattern
Coffee
Pot
Hand
Painted
Pattern
1421
£61.00
Thistle
Pattern
Creamer
Jug
Hand
Painted
Pattern
1421
£18.00
Three
Sectioned
Hordoeuvres
Dish
£29.00
Tigerlily
Large
Milk
Or
Water
Jug
1-­‐Pint
£19.00
Trio
-­‐
Cup,
Saucer
&
Side
Plate
-­‐
Glen
Mist
£7.00
Trio
-­‐
Patricia
Rose
£66.00
Trio
Circa
1932
£47.00
Trio
Of
Susie
Cooper,
Teacup,
Saucer
+
Side
Plate.
.
£15.00
Trio
Of
Susie
Cooper,
Teacup,
Saucer
+
Side
Plate.
.
£16.00
Trio
Pink
Dresden
Pattern
£27.00
Trio
Pink
Dresden
Pattern
£29.00
Trio
Pink
Nosegay
Pattern
£49.00
Trio
Pink
Nosegay
Pattern
£56.00
Trio
Pink
Nosegay
Pattern
£56.00
Trio
Red
Feather
Trio
And
Milk
Jug.
£35.00
Trio
Tea
Set
£37.00
Trio
Two
Leaf
Trio.(1)
£35.00
Trio-­‐Lustre
1936
£20.00
Trio:
£16.00
Trios
Of
4
Glen
Mist
£33.00
Tulip
Tureen
Patt
8037
1928
Tulip
£49.00
Tureen.
(Corn
Poppy)
Not
Used.
£29.00
Twin
Handled
Oblong
Tray
Early
Pattern
No
E267
Leaping
Stag
£28.00
Two
Hand
Painted
Butter
Dishes
£37.00
Ultra
Tango
Toast
Rack
£74.00
Venetia
Fine
Tea
Set
1969
Newunused
£54.00
Venetia
Pot
£28.00
Venetia)
Tea
Service
£35.00
Vgc
Glen
Mist
Teapot
-­‐
2
Pints
£36.00
Waterlily
1950
Cup
And
Saucer
£91.00
Waterlily
Cup
And
Saucer
£45.00
Wedding
Band
Covered
Soup
Dish
And
Saucer.
£19.00
Wedding
Band
Kestral
Shape
Tea
Set
£65.00
Wedding
Band
Trio
(A
Item)
£15.00
Wedding
Bands
Coffee
Cups
And
Saucers
X
3
£25.00
Wedding
Ring
Kestral
Sugar
Bowl
Lidded
£15.00
Whispering
Grass
Cup
&
Saucer
C.0050-­‐66
Shabby
Chic
£15.00
Wild
Strawberry
Tea
Pot
Lid
£19.00
Wood
&
Sons
Dash
And
Squiggle
Meat
Plate
1935
Rd
799332
£32.00
Years
Plate
Abstract
£20.00
Years
Plate
Clouds
£20.00
Years
Plate
Cubist
£20.00
Years
Plate
Pyramids
£20.00
Yellow
Daisy
Kestral
Shaped
Tea-­‐Pot
£30.00
Yellow
Nosegay
Fruit
Bowls.
£21.00
Yellow
Nosegay
Lidded
Jam
Pot
£29.00
Yellow
Nosegay
Tea
Cup
And
Saucer.
£18.00
Yellow
Tango
Milk
Jug
#1
£14.00
Yellow
Tango
Milk
Jug#2
£14.00
BIBLIOGRAPHY
Elegance and Utility Adrian Woodhouse, Wedgwood, 1978
Susie Cooper Productions Ann Eatwell, Publications Department,
Victoria and Albert Museum, London, 1987
Susie Cooper Ceramics, A Collectors Guide Andrew Casey, Jazz
Publications, 1992
Susie Cooper Adrian Woodhouse, Trilby Books, 1992
Handpainted Grays Pottery Paul Niblett, City Museum and Art Gallery,
Stoke-on-Trent, 1982
Art Deco Tableware Judy Spours, Ward Lock, 1988
A Collector's History of English Pottery Griselda Lewis, Antique
Collectors Club, 1985
Ceramics Frances Hannah, Bell 8c Hyman, Twentieth Century Design
series, 1986
Potters and Paintresses Cheryl Buckley, Womens Press, 1990
A Woman's Touch Isabelle Anscombe, 1984
Articles
Susie Cooper, Pride of the Potteries Graham Crossingham-Gower, Art
and Antiques, 1975
Susie Cooper, OBE, Designer, March 1979
Art Deco Ceramics: England Garth Clark, Ceramics Monthly,
September 1979
Susie Cooper, Diverse Designer Su Snodin, Antique Collector, August
1982
Sixty Glorious Years Neil Fletcher, Antique Collecting, October 1984
Our Susie Adrian Woodhouse, Homes and Gardens, June 1987
Saluting Susie Cooper Pat Watson, Antique & Collectors Fayre, June
1987
Designed for Elegance and Utility Stephen Dale, Antique Dealer &
Collectors Guide, October 1990
The Story of Susie Cooper, A Living Legend Pal Watson, Antique Bulletin,
October 1992
also
Christie's South Kensington, Catalogues, Clarice Cliff and Susie Cooper
sales, 7 November 1991, and 12 November 1992.
The Pottery Gazette and Glass Trade Review
116