I have argued before that faery has had a profound influence on many aspects of culture, especially in the visual arts. I have illustrated my posts with a wide range of images, from oil paintings to postcards, but not previously ceramics. However, pottery also proved a popular vehicle for fairy imagery, from the ‘Boo-Boos’ of Mabel Lucie Attwell to some very high quality pieces produced by the famous Wedgwood company.
‘Fairyland lustre ware’ is one of Wedgwood’s best-known (and most highly collectable) ceramic ranges. It was the project of one designer, Daisy Makeig-Jones. The contemporary fashion was for geometric Art Deco designs, but Jones’ work seemed to appeal to a public wearied and depressed by the First World War.
Susannah Margaretta ‘Daisy’ Makeig-Jones (1881–1945) was born in Wath-upon-Dearne near Rotherham, Yorkshire, the eldest of seven children. As a child, she was taught by a governess at home before attended a boarding school near Rugby, where her artistic talent was identified and encouraged. When her family moved to Torquay, she entered the town’s school of art. She then moved to London to live with an aunt whilst attending Chelsea art school.
Jones wanted to develop an independent career as an artist but had to wait until her late twenties to realise this. An introduction from a relative to the managing director of Wedgwood encouraged in Jones the hope that she might train to become a ceramic designer. She was immediately enthusiastic about this idea and wrote to Wedgwood, who were at first reluctant. To become a successful designer she would first have to learn the basic principles and processes of ceramic manufacture, which would mean working on the factory floor. The long apprenticeship and the social gulf between Jones, a doctor’s daughter, and the factory hands were both concerns to the company’s management. Nonetheless, she was not to be discouraged and her persistence secured her a position. In 1909, at the age of twenty-eight, she travelled to Staffordshire to begin training as an apprentice pottery painter.
Jones showed great promise and was promoted to the permanent staff in August 1911. For a while she designed nursery ware in the studio of the company’s art director (using illustrations for Hans Christian Andersen as a model) but in January 1914 she finally achieved her ambition to become a designer with a studio of her own.
Jones was attracted to fanciful designs and began to produce imitations of Oriental dragon patterns in 1913 in what was called ‘ordinary lustre ware.’ She moved on to her signature Fairyland Lustre design in 1915. In creating these new patterns on bone china (also new to Wedgwood), Jones was influenced by illustrations in children’s story books, such as H J Ford’s pictures for Andrew Lang’s colour fairy books, which she had loved as a girl, as well as illustrations by Edmund Dulac, Arthur Rackham and Kay Nielsen. She rarely drew fairies herself, using other artists’ figures within an overall decorative scheme of her own devising. Jones also drew upon the rich colours and designs of old oriental porcelain. Daisy produced fantasy landscapes peopled by magical figures such as fairies and elves, all in glowing, jewel-like colours picked out with gold.
Jones’ promotion within Wedgwood was unusual not only because she was a woman, but also because she rose from within the company’s ranks, an exception to their usual practice of bringing in well-known and established designers from outside. Apparently, this rapid success was not good for Jones’ character. She became self-important and domineering and would not take advice from her employers; this personal trait was compounded by her higher social standing and family links to the Wedgwood family. Some staff alleged that she seemed more interested in fairies and elves and mythical worlds rather than the real one of harsh economic facts. She was not prepared or able to change her way of working and, eventually, in April 1931, she was asked to retire. She initially refused and carried on working in her studio. A confrontation followed, of course, and Jones left Wedgwood in a fury, having had all her designs smashed. Her career was over and she returned to Devon to live with her family. Jones died in 1945.
The Fairyland line was a boon to the Wedgwood company, as business had fallen off with the outbreak of war, a loss of revenue compounding a range of pre-existing financial difficulties. The new Fairyland Lustre series proved extremely popular because, New York antiques dealer Nicholas Dawes has surmised, “Many Europeans were looking for something to escape from the horrors of war,” and Jones’ designs were “escapist [and] fantastical.” This may be correct: we have seen previously how artists responded to the Great War: some by taking shelter in fairyland (such as Algernon Blackwood and Edward Elgar, Bernard Sleigh, Estella Canziani, Robert Graves, J R R Tolkien, Rose Fyleman and Francis Ledwidge), others by confronting it and recruiting faery to the war effort.
A large part of the success of the Fairyland lustreware range was the beautiful effects that Jones achieved by combining modern technical innovations and an ancient glazing technique that mixed gold, silver and copper metallic oxide pigments in oil before painting them onto the pottery. After firing, the metal melts into a very thin, lustrous, reflective film that produces an iridescent effect. The complexity of the process and the cost of the raw materials meant that, at the time, the pieces were considered expensive, but were still a commercial success for the company.
A trade booklet titled Wedgwood Fairyland Ware from 1921 described the line in these terms:
“The doors of Fairyland are many but hard to find. Some are hidden in hollow trees or caves, others are in wells or lakes, or at the bottom of the sea. It’s possible to get there by climbing up a rainbow, a sunbeam, a moonbeam or by getting a leprechaun to make you a pair of fairy shoes.”
Fairyland Lustre line proved immensely popular across in the United States during the 1920s, providing Wedgwood with a popular and expensive product with which to penetrate the lucrative American market. Soon, however, Jones’ Art Nouveau fairies faded from fashion as tastes changed and the line was progressively discontinued from 1929. Wedgwood hired a new art director and moved on to more austere modern styles, abandoning the expensive multi-coloured glazes as the world entered economic depression.
The range comprised sixty-two patterns made until 1931 or available by special order until 1941. Its contemporary popularity is attested by the fact that it was quickly imitated. Besides its artistic significance, it is highly collectable today and can command very high prices.
For more information, see my book Fairy Art of the Twentieth Century