WEDGWOOD AND WORLD WAR II

Some of you know I am a magazine addict, especially magazines with Wedgwood articles, ads and photos. I have collected a few issues of The Magazine Antiques from the World War II era which contain Wedgwood articles or references. One day it occured to me that the world was a black place in the months in which these issues, all sporting gorgeous covers, were published. It also occured to me to wonder how the world, those not directly fighting in or running the war, could go so blythely about their business, studying Wedgwood pots for heaven's sake, during such a time! I'd considered the question before, but the reality of the magazine covers struck some sort of chord that I couldn't ignore. One particular article, 'Sources of Wedgwood's Child Motifs', in the September, 1944 issue was written by the late Elizabeth Chellis who was an important contributor to Wedgwood scholarship for many years; her library is now held in the Birmingham (AL) Museum of Art, a vast and valuable resource for collectors, and her legacy to scholars for generations to come. I began to write a review of the article for the newsletter of the Wedgwood Society of Boston, in which Elizabeth and her family were and are active members, but couldn't get past the War; couldn't seem to get interested in reviewing the content of the article. I realized the title itself would tell collectors what the article contained, thus my musings became my article, trying to make sense of the context of the magazine in the world around my parents and grandparents, and all those others who were indelibly affected by the situation of the home front in September of 1944. The review was written nearly five years ago and in the interim I have begun transcribing my paternal grandfather's life-long diaries. I've been working on the World War II years for ages, I keep finding information, photos, cards, internet sites and other things to illustrate grandpa's world. In going through a magazine box recently I rediscovered these 1940s Antiques magazines, and now they are more relevant to me than ever. I am indeed transcribing the detailed minutiae of my grandparents' lives, set against the backdrop of The War. And the same musings keep falling into my brain! How could grandpa record the fact of my uncle's being with Bradley in France in 1945 in the same paragraph as saying that the refrigerator repairman failed to appear as appointed? Lives had to go on, life had to go on, war production and support efforts certainly occupied many minds and hands, but then there were the rest of the hours of the day and night. The Magazine Antiques certainly continued to forge ahead, announcing all the regular antiques shows, running the regular dealers' ads, and presenting great articles on varying subjects of interest to antiques aficionados. I am going to use some of the covers to illustrate the diary entries, perhaps others will let musings along these lines pop into their brains too! Here is the article I wrote, and I highly recommend if you are interested, try collecting some of these back issues from the 1940s! The covers are gorgeous and the early take on the antiques world is interesting too!

CLARE LEIGHTON ON WEDGWOOD GETTING MORE ATTENTION

Clare Leighton's New England Industries plates have been receiving quite a bit of press recently, perhaps because The Yale Center for British Art, in New Haven, CT, does such a great job of letting the world know about its holdings. Long a center for things British, as their name suggests, The Yale Center now contains the extensive archive of her prepatory work for the N E Industries series of Queen's Ware plates. There are many drawings for each scene, all of which characterize the various activities and enterprises undertaken in New England such as farming, grist milling, tobacco growing (who knew tobacco was grown in CT and VT?) and of course sugaring and others. This month's The Magazine Antiques, now in the mailboxes of subscribers, offers a very well illustrated and informative article on the subject of Clare's plates which begins on page 184. For Wedgwood collectors and Leighton fans, the article is well worth the price of the magazine on the stands if one doesn't subscribe. As an added bonus, the magazine also contains a splendid article on transfer printed wares, also well illustrated. On the back cover is a Jeff Bridgman ad for a splendid Civil War Flag and an ad from Stephen Score for a hand pieced appliqued cotton quilt called the Freedom Quilt, c1880. It is a magnificent quilt whose message is as vibrant today as when it was made! Both of these ads include gorgeous full color pictures of the items described. Enjoy this issue and learn so much about Clare and her prints & plates. I have received an inquiry from a lady who has a set of New England Industries plates for sale, just email me!
Here is a website if you can't wait to learn about Clare or don't have access to the magazine.

WEDGWOOD PEERAGE & TRAINS

If your Wedgwood collecting activities include learning about the family of Josiah Wedgwood, you will perhaps be interested in a new posting on Wikipedia. Click the title of this post to see the news of the new Baronet of Etruria, Sir Ralph Wedgwood, who inherited the baronetcy from his late father, well known Wedgwood family member, historian and active Wedgwoodian, Sir Martin, and his lovely wife Sandy. The rules of inheritance are complicated, and you will note that the son of the second baronet, who is much older than Sir Ralph, is only heir presumptive. Suffice it to say, Sir Martin is much missed in the Wedgwood community and it is nice to know who has inherited his title. Meanwhile our good friend Piers, Lord Wedgwood, yet another lineage with its own set of inheritance 'rules', is having health problems and not traveling for awhile. He's very much missed on the Wedgwood circuit here in USA as well as around the world. We send all our very best wishes for his recovery and return to the china departments of the world!

While researching for this article, I came to learn that there was a famous train engine named the 'Sir Ralph Wedgwood' which was attacked in an air raid by the Germans on 29 April 1942. You can learn about it here. The train was named for the 1st Sir Ralph Wedgwood and we learn a bit more from Wikipedia:

"Sir Ralph Lewis Wedgwood, 1st Baronet CB CMG (2 March 1874 – 5 September 1956) was the Chief Officer of the London & North Eastern Railway for 16 years from its inauguration in 1923. Also chairman of the wartime Railway Executive Committee from September 1939 to August 1941. Knighted in 1924 and created a baronet in 1942. [1]

Wedgwood was the son of Clement Wedgwood and his wife Emily, daughter of the engineer James Meadows Rendel. His elder brother was Josiah Wedgwood, 1st Baron Wedgwood. He married Iris Veronica Pawson, daughter of Albert Henry Pawson on 24 October 1906 at St. Margaret's, Westminster. They had two children who survived to adulthood; John Hamilton Wedgwood (1907-1989), second baronet and Cicely Veronica Wedgwood (1910-1997), historian.

He was educated at Clifton College and Trinity College, Cambridge,[2] where he became a member of the Cambridge Apostles[3]. He was close friends there with his second cousin, Ralph Vaughan Williams, who later dedicated two of his works to him, "In the Fen Country" and "A Sea Symphony".[4] Ralph Wedgwood was an executor of Joseph Conrad's will in 1924.[5]

An A4 Class locomotive, 4469 Sir Ralph Wedgwood, was named after him but it was destroyed by bombing during World War 2. His name was later given to A4 Class 4466."

Thanks to Tony again, we have additional photos of the Sir Ralph Wedgwood. Above was taken at Ferryhill Locomotive shed, Aberdeen, 17 Jul 1965.
We have recently made friends with a Wedgwood collector in Scotland who is also a train buff. Thanks to Tony we have learned more information about the 'Sir Ralph Wedgwood' and he has piqued our interest in another train, the 'Josiah Wedgwood'.

Regarding the 'Sir Ralph Wedgwood' #4469: "...the destruction in June, 1942 was not the end of the story. In January, 1944, the name was transferred to [engine] # 4466, previously named 'Herring Gull', which ran until withdrawn in 1965....There is a plaque at the National Railway Museum in York marking the spot where #4469 was standing when it was destroyed [on 4/29/42]." "The tender from the original 'Sir Ralph' which lasted until 1960 was coupled to 'Highland Chieftain'. The National Railway Museum at York is the original locomotive depot and the scene of the bombing in 1942."

This photo above is the Sir Ralph at Peterborough about 1952.

To quote Tony further, and to see where our interest in the 'Josiah Wedgwood' began, "The naming tradition was carried out even more recently as a Class 86, 4040 horsepower electric locomotive, built in 1966, was named 'Josiah Wedgwood MASTER POTTER 1736-1795' at Stoke on Trent. I used to see it regularly working London to Scotland trains when I lived in Preston."

In working on something else, I found a great photo and article from Wedgwood Review, the company employee newsletter published in the 1960s to 1980s. We see there how the 'Josiah Wedgwood' looked when brand new compared to the one taken at Wolverhampton, when it had some age on it!

Following the careers of various Wedgwoods who did not spend their lives associated with the Potteries can be as interesting and rewarding as studying about Josiah I's products. A wonderful collection could be made of knowledge about the Wedgwood family almost as large as a collection of Wedgwood pots! Check the Links on our website for a couple of interesting family articles.

WONDERFUL RETROSPECTIVE OF WEDGWOOD & NORMAN WILSON BY HIS SON

Norman Wilson (1902-88) was a master potter and inventor who was Works Manager at the early Wedgwood Etruria factory and later deeply involved in the design of and planning for the new factory at Barlaston. Wilson's matt (matte) glazes (Moonstone & Ravenstone) were perfect for Keith Murray and John Skeaping wares while his Alpine Pink bone china body, Globe shape coffee sets, the Leigh shape for bone china, the Barlaston shape for Queen's Ware and his own original glazes, known as Norman Wilson Unique ware, are all well-known and highly collectible today. Famed Wedgwood scholar Robin Reilly sums up Wilson's value to Wedgwood thusly in his Wedgwood Dictionary: "Norman Wilson's achievement was threefold: he exercised a strong & beneficial influence on the design of Wedgwood tableware shapes; as an inventor & technician he raised Wedgwood to a pre-eminence in production standards and efficiency unknown since the 18th century; and as Production Director he selected and trained a team of young and talented managers who would build upon the secure foundations he had laid." High praise indeed. Please go here to read a wonderful article, from 2009 but very timely, written about Norman Wilson by his son. The article is beautifully illustrated and full of interesting information from a more personal viewpoint than the public normally enjoys. Clicking the title of this post will take you to our website where we have a piece of Norman Wilson Unique Ware for sale.

Christmas Greetings 1970 style

In working on some inventory items today I found the December, 1970 issue of Wedgwood Review, the Josiah Wedgwood & Sons employee publication of the 1960s and 1970s. Herewith the Christmas Greeting from the Wedgwood USA corporate folks to the factory in England, alas, a factory which is oh so quiet these days, most manufacturing having been sent off-shore. I wonder if they still exchange greetings! Click the title of this post to see our in-stock and ready to ship CHRISTMAS ITEMS.
Wedgwood, Barlaston, England
We'll deck the halls with boughs of holly for 'tis the season to be jolly.
But before we do, we just want to say how glad we are to have you there working on our Wedgwood ware.
If it weren't for you and the work that you do, our days in the US soon would be through.
So, the warmest Christmas greetings from all of us here
and a wish for a healthy and prosperous New Year.
Wedgwood, U.S.A.

Wedgwood Museum Controversy update

Click the title of this post to see the dialogue in a recent House of Lords session regarding the upcoming court decision on the fate of the Wedgwood Museum.
Better yet, go here to hear and see the session itself!

ROYAL SOUVENIRS - AN OVERVIEW

I'm often asked about the 'value' of royalty souvenirs. There are royalty collectors the world over, and the British Royalty items stand at the top of the list of those collectibles. In our years of selling, and we mostly have carried the ceramic items, we find that the number of collectors is down from a generation or two ago. We know the Wedgwood Ravilious items are still popular and we have a list of WANTS for the earlier items from Queen Victoria backward.

Edward VIII who abdicated is an interesting historical persona and the story of his abdication is interesting, so his items interest me personally. There are two schools of thought, one, that since he abdicated and was never King, his commemorative wares are worthless; the other that since he abdicated his items are more interesting, therefore more valuable, because they were produced ahead of an event that never happened! It is true that once his abdication was known many of the pre-coronation items were literally thrown away or given to company employees to take home -. those are the bulk of what survives. So are they more or less valuable? There is no way anyone can tell YOU what you should collect! Collect for your own enjoyment, education and pleasure, not for a hope that in the future it will make you wealthy. Souvenir items are at the height of their value when the event is current and interest is high. Later on, there will have been something else to take its place in the world's eye. Or, perhaps it will be valuable well beyond your lifetime. Like Victoria's bloomers, whodda ever thunk it? Click the post title to see an article from the UK Sentinel on this subject. And check our older posts for a commentary on the PRE EVENT SOUVENIRS, of all things, for the 2012 London Olympics. Meanwhile, here's a collector's tip for you: The future Edward VIII didn't like being photographed from his right side, didn't like the way he looked. Check out a very interesting plate we have in stock, bought exactly for this reason, we knew the right side profile items are very rare, thus more collectible.

So the short answer is, well, not a short answer! Royalty souvenirs give pleasure while being collected, but if they are produced in huge quantities, and are not of premium quality, they won't increase in value during your lifetime, so collect what you like! Here's another collectors' tip - when Diana died interest in her items rose for a few short weeks. She was back in the news, deeply mourned and those who never got a Diana souvenir suddenly wanted one. I predict that when something else happens in the Royal Family interest will again increase. When (if?) Charles becomes King, watch and see what happens. His Prince of Wales items may well rise in value...afterall, they are older (& likely a better quality product) than the new kitsch that will be produced and they are dwindling in availability due to their age, breakage, etc., and they represent a time gone by that won't be back again. Likely if Charles is King, William will be elevated to Prince of Wales, but he won't serve in that slot as long as Charles has...so there could be a rash of souvenirs in a short amount of time. Pick your choices carefully with an eye to what you may want to add in the future because in the next 20 to 25 years, there should be quite a few royal events to spur souvenir production. And do check out the Pre Event souvenir items for the London Olympics, it's a whole new category. These are souvenirs of the road leading up to the Olympics, not Olympics souvenirs! Should be interesting to see how they fare on the market. Cheerio!

Wedgwood Institute, Burslem

I've seen many references to the Wedgwood Institute in my Wedgwood wanderings over the years but never delved into its story. Today an article which popped up on the internet got me to wondering again. Due to the high cost of rehabilitation to accomodate proper fire escapes, and probably handicap requirements, the building sits nearly empty. It is a fabulous example of 1860s architecture, having taken 6 years to build (by the father of Rudyard Kipling), and with its statue of Josiah, and location where the Brick House Works once stood, an important building which deserves to be bustling once again. There is controversy over public versus private use, ownership and rights. There is always a problem with financing the work needing to be accomplished for its renaissance. Click this post title to see an article about its history and more photos. Wouldn't it be a wonderful school once again! Or a fabulous condominium building. We Americans could be expats in the Potteries with our own little condo-on-the-common right in the hub of Stoke! Here is another article about the current controversy over the reuse of older architecture, a blog on the topic.

Another blog I have discovered contains gorgeous photos of the Wedgwood Institute, with good factual information also. Go here to see it.

The Wedgwood Room at Catherine Palace, an Adam Masterpiece

Receiving my recent newsletter of the Wedgwood Society of Boston brought a smile to my face recently. Therein was a lovely photo of the Wedgwood Room at the Catherine Palace. I've seen many photos of it over the years, and none much better than this. When I inquired as to who had written the rather funny caption, I was told it "came from the Internet"...well so what's new? The photo in the newsletter is in black and white but Ron, the Editor, favored me with the original color version which is certainly stunning. Herewith the rather odd caption, doubtless written by someone smitten with the look of the room but not a Wedgwood or architecture scholar, which is OKAY, not everyone can be a scholar on the huge subject of Wedgwood and all its nuances.

“In Catherine Palace in Russia, there was a room designed by the guy behind Wedgwood Pottery, commissioned by the family who lived in the palace at the time. Imagining having such an amazing designer come and put his stamp on one of your many rooms in such an elaborate and unique way made me feel like a princess. I suppose you would have had afternoon tea in there or it would simply sit there as a statement or work of art. It was great, like a tea cup had spread itself all over the walls. Very nice decor.”

What do we think the Adam family would say to this review? I love finding inane, entertaining ditties on the Internet!

Cape Cod Museum shows Clare Leighton's Wedgwood

Here is an article from the internet this morning. Being of New England ancestry, these are a favorite subject of mine. Pictured is the plate depicting the grist mill so well known in New England history.

CAPE COD — New England Industries, a series of 12 plates depicting wood engravings by Clare Leighton, is on exhibit at Cape Cod Museum of Art, 60 Hope Lane, Dennis. The plates, made in 1949 - 1950 by Wedgwood in England, are a gift of the late Brewster, MA sculptor Yvonne Backus.

In 1950, Leighton was asked by Wedgwood to create a set of 12 engravings depicting industries that formed the foundation of the New England heritage. Leighton created her beautiful tributes through a process called transfer printing.

Leighton’s prints are in the permanent collections of London’s British Museum; Victoria and Albert Museum; the Library of Congress in Washington, DC; the Mint Museum in Charlotte, North Carolina; and the Boston Museum of Fine Art among numerous others.