Exhibition Resources

Fair of the British Pottery & Glass Manufacturers

AE Gray’s stand at the 1915 or, more likely, the 1914* Stoke Fair.
The only label that can be read is the one on the table at the front: [Old Chelsea (possibly pattern 593)]. The other three labels are illegible.

Identifiable patterns are: The teacup on the left of the small table looks to be this unnumbered pattern, on a bone china shape.
Georgian pattern 743: the water jug and basin (middle shelf, extreme right)
Jacobean pattern 427 or 576: jug & basin (middle shelf, left); tea & dinner ware (lower shelf, left)
[The landscape pattern plate] (middle shelf, towards centre) is almost certainly the 9″ plate signed CB Wood and which has the rare acorn backstamp known to have been used with Hardwicke pattern 829.
The filled bulb bowl on the lower shelf is probably the shape design registered by AE Gray with the Patent Office, number 610383, in January 1913.

*The logic for attributing 1914, rather than 1915, is the absence of any Sèvres Marbling pattern which was especially noted in the 1915 Fair report.

2nd British Pottery & Glass Fair

© Pottery Gazette, Lema Publishing Ltd

Although a black & white illustration, this version of Sèvres Marbling is expected to be pattern 958 with a black upper ‘marbled’ section and a pink-enamelled rose and leaf lithograph below. See the Named patterns section for more detail.

Image credit: GP
Image credit: © The National Archives

Notes:Here is a range of pots of pattern 958 incorporating the Sèvres Marbling motif and which is Registered Design No 646904: the relevant Design Index page is shown. The tall vase has the Mappin & Webb retailer’s mark. Many of the pots with this design often have a suffix to the pattern number: the tall square-section vase has 1523 and the ‘cooling tower’ vase has S6. These are probably shape references.

4th British Industries Fair

© Pottery Gazette, Lema Publishing Ltd

The text of the article (left) reads:

A. E. Gray & Co., Ltd., of Glebe Works, Hanley, have favoured us with the accompanying photograph of their stand at the British Industries Fair, which arrived too late for inclusion in our last issue. It fully illustrates the advantage of the open stand for exhibition purposes, the blending of artistic shades of decoration being par- ticularly well accomplished. The Royal purchases are indicated by labels in the left-hand island case.

Click here for a magnified view of the left-hand case

5th British Industries Fair

© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
Albert Edward Gray is depicted in the second caricature down on the left.
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
Pattern 576

The additional rectangular mark may be associated with the Manchester china and glass retailer HG Stephenson Ltd, the company for whom AE Gray worked prior to setting-up his pottery business.

7th British Industries Fair

© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
© Pottery and Glass Record, Lema Publishing Ltd

9th British Industries Fair

All the barrels here with metal lids and handles have pattern designs dating from 1915 to the early 1920s and show the typical style of 'mounted' ware of this period. Biscuit barrels were undoubtedly popular!
All the barrels here with metal lids and handles have pattern designs dating from 1915 to the early 1920s and show the typical style of 'mounted' ware of this period. Biscuit barrels were undoubtedly popular!
© Pottery and Glass Record, Lema Publishing Ltd
© Pottery and Glass Record, Lema Publishing Ltd
This is the earliest known lustre design to carry the sunburst Gloria Lustre mark E - see the Backstamps section for more detail.
This is the earliest known lustre design to carry the sunburst Gloria Lustre mark E - see the Backstamps section for more detail.

1923 British Institute of Industrial Art - Exhibition of Industrial Art

Facsimile entries from the catalogue of exhibits (pp 15-18) at the British Institute of Industrial Art’s Exhibition of Industrial Art Today held in the North Court of the Victoria & Albert Museum, Sept/Oct 1923. Courtesy the Victoria & Albert Museum and RIBA Collections.

Case No 95
Names highlighted in yellow are names known to be Gray’s Pottery employees at some time in their lives. Alice Jones (née Hancock) transferred to the Susie Cooper pottery when it was set-up in 1929. Hilda May Lockett was undoubtedly a fine artist and her signature, a form of the letters H, M and L, can often be seen on grander pieces of Gray’s lustre ware of the 1920s.

A.Bowl, by Mary I. Royle
B.Bowl, decorated with conventional bands in blue and grey.
C.Bowl, by G. Jones.
D.Vase with fine white body decorated in deep blue.
E.Vase with four panels containing conventional flowers.
F.Vase with Persian tree design.
G.Bowl, designed and executed by H. Hallam.
H.Bowl, designed and executed by Hilda F. Ferris.
I. Bowl, designed and executed by Alice Wright.
J. Bowl, designed and executed by G. Jones.
K. Lustre plate, designed and executed by Hilda Brammer.
L. Vase with blue iris and yellow volute decoration.
M. Bowl, designed and executed by E. Saunders.
N. Vase with incised decoration.
O. Vase, designed and executed by Cecil Smith.
P. Plate, designed and executed by L. Davies.
Q. Vase, designed and executed by Millicent Taplin.
R. Plate, designed and executed by C. Smith.
S. White vase with blue Persian design.
T. Vase, designed and executed by W. Ruxoe.
U.Bowl, designed and executed by D. Aldersen.
V.Dish, designed and executed by Vera Taylor.
W.Wax coloured pot with raised black decoration.
X. Bowl, designed and executed by E. R. Owen.
Y. Bowl, designed and executed by Mary I. Royle.
Z. Plate, designed and executed by Laura Stone.
AA. Yellow pot with incised decoration.
BB. Vase, designed and executed by Alice Hancock.
CC. Vase with lid.
DD. Large shallow bowl decorated in blue-grey and green.
EE. Vase, designed and executed by Wm. H. Bell.
FF. Vase, designed and executed by A. Fieldhouse.
GG. Vase decorated with conventional rose sprays.
HH. Vase, designed and executed by A. Fieldhouse.
II. Covered vase, designed and executed by N. Hughes.
JJ. Plate, designed and executed by Nellie Mallett.
KK. Vase, designed and executed by Nellie Hughes.
LL. Vase, designed and executed by Elizabeth Roberts.
MM. Ivory coloured vase with blue incised decoration.
NN. Jug, designed and executed by Hilda May Lockett.
OO. Plate, designed and executed by Winifred M. Emberton.
PP. Lustrous dish in claret and indigo.
QQ. Vase, designed and executed by C. Smith.
RR. Plate, designed and executed by Nellie Smith.
SS. Pot with raised decoration.
TT.Vase with cover.
UU. Bowl, designed and executed by Alice Hancock.
VV. Plate, designed and executed by Hilda Davies.
WW. Pale blue vase with dark blue raised decoration.
XX. Bowl, designed and executed by Taylor.
YY. Plate, designed and executed by E. Jones.
ZZ.Jug, designed and executed by Gladys M. Oldersen.

A to ZZ, by students of the Stoke and Burslem Schools of Art under the supervision of Gordon Forsyth.

Case No 125
The case containing the bulk of Gray’s Pottery exhibits. Unfortunately, no images of the pots have come-to-light and it is therefore impossible to know which designs were displayed. Letters missing in the sequence relate to other companies’ products.

A.….
B.etc
I.Examples from dinner, tea and coffee services, with gold band and floral decoration, designed and executed by A.E.Gray & Co., Ltd.
J.Examples from dinner and tea services, floral decoration, designed and executed by A.E.Gray & Co., Ltd.
K.Small tea plate, coffee cup and tea cup floral decoration, designed and executed by A.E.Gray & Co., Ltd.
L.Examples from tea and dinner services, designed and executed by A.E.Gray & Co., Ltd.
M.Examples from tea and dinner services, designed and executed by A.E.Gray & Co., Ltd.
N.Small bowl decorated with lustre, fruit design, executed by A.E.Gray & Co., Ltd.
O.Small bowl decorated with lustre, conventional floral design, executed by A.E.Gray & Co., Ltd.
P.Jug decorated with lustre, design of fruit, executed by A.E.Gray & Co., Ltd.
Q.Bowl decorated with lustre, design of fruit, executed by A.E.Gray & Co., Ltd.
R.Honey jar, decorated with conventional design in pink lustre, by A.E.Gray & Co., Ltd.
S.Examples from tea and dinner services decorated with conventional design in lustre, by A.E.Gray & Co., Ltd.
W.Cup and saucer decorated with lustre, design of fruit, by A.E.Gray & Co., Ltd.
X.Vegetable dish and plate yellow band decoration, by A.E.Gray & Co., Ltd.
Y.Teapot decorated lustre, design of fruit, by A.E.Gray & Co., Ltd.

Rooms on the West Side
Furniture displays, Nos 209 and 236.

209Kitchen dresser with shelves over, designed by E.W. Hardy, executed by G.Hardy & Co.
A.B.Two hand decorated jugs, designed and executed by A.E.Gray & Co., Ltd.
C.Cup and saucer by Bishop & Stonier.
D.Examples of kitchen jars by Lancaster & Son.
E.F.G.etc
236Suite of furniture in walnut, with waxed finish, designed by C.A.Richter and executed by The Bath Guild of Handicraft and Design.
A.Chest of drawers.
B.Wardrobe.
C.Dressing table with mirror.
D.Chair with cane seat.
E.Four-fold screen, covered in needlework.
F. to K.Six hangings, by Wm. Foxton and F.W.Grafton & Co.
L.Hand decorated ewer and basin, by A.E.Gray & Co., Ltd.
M.Torfyn rug, designed by R. D. Simpson, executed by The Scottish Folk Fabrics.
N.Stencilled colour print, by James A. Found.

10th British Industries Fair

A compilation of the layout details for the 1924 British Industries Fair extracted from the Pottery and Glass Record, March 1924, pp 105/6 © Lema Publishing Ltd
Group of figurines
William Kent of Burslem, Stoke-on-Trent, better known for its electrical porcelain products, acquired various figure moulds around 1878 and continued to use them up until 1962. The company's 24-page 1955 catalogue, entitled 'Olde Staffordshire Ware', illustrates many of the figures, cottages, useful ware and Toby jugs that were still in production. The author's text includes the words:

KENTS "OLD STAFFORDSHIRE" POTTERY IS NOT "REPRODUCTION" IN THE STRICTEST SENSE OF THE WORD, BECAUSE, EXCEPT FOR A PERIOD DURING WARTIME, THE POTTERY HAS BEEN PRODUCED CONTINUOUSLY FROM THE EARLY DAYS.

AE Gray obviously saw a market for these figures, decorated in a novel way, often using lustre colours. The illustration shows some that were sold under the AE Gray backstamp, including an undecorated Inebriates figure - this was Kent's name for the traditional The Parson & Clerk.
Pattern No 4343, possibly the type of nurseyware design referred to in the report.

1924 British Empire Exhibition

Image kindly supplied by E-bay member wiggy131
4000
Image kindly supplied by E-bay member wiggy131
Image credit: GP
4263
Image credit: GP
4345
4380
4386
5130
5180
5181
This bowl has the external inscription: H.A.G. & M.E.G. SEPT 14th 1923. It was a commemorative piece for Hazel Arthur Gray and Margaret Emma Gray. Robert Doughty Gray and his wife Elizabeth had eight children: Hazel Arthur was their sixth, Albert Edward their seventh. Underneath the bowl are the initials 'H.M.L.' alongside the pattern number, indicating a piece painted by the highly-accomplished paintress Hilda May Lockett.
5200
5200
Image credit: Martin Harrison

The paintress' signature on the base is one of the variants of the entwined letters SVC - indicating a pot painted by Susie (Susan Vera) Cooper.
5241
5269
5269
5269
Image kindly supplied by Martin Harrison.
5295
Image kindly supplied by Martin Harrison.
Unknown pattern
Susie Cooper painted this pot and she said that she was inspired by a frieze on the upper floor of the Burslem School of Art in Queen Street, Burslem, Stoke-on-Trent. The frieze does not exist today. The four marks on the base are: the Gray's Gloria lustre mark E1; the British Empire Exhibition 1924 mark (see pattern 5241); a signature being a variant of the entwined letters SVC - indicating a pot painted by Susie (Susan Vera) Cooper; the mystical four-sided rebus (see the Backstamps, History of section).
Unknown pattern

11th & 12th British Industries Fairs

This image is possibly that of the Gray's Pottery exhibition stand in 1926 or, more likely, in 1927. Within the doorway can be seen a large ginger jar and cover, possibly that held in the Victoria & Albert Museum collection (identification reference C.193-1977).
Note that Gray's Pottery's stand for both the 1926 and 1927 British Industries Fair was the same number: G9.
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
The tea/coffee ware is likely to be pattern 4638 and the vase, extreme right, in the lower image may be pattern 5307 (see right).
This pattern, No 7103, may be the pattern being referred to in the report.
4638 Image credit: GP
5307 Image credit: Originator unknown
Pattern 7082

British Institute of Industrial Art - Autumn Exhibition

Facsimile entries from the catalogue of exhibits (pp 35, 36, 48, 54, 55, 58, 91) at the British Institute of Industrial Art’s Autumn Exhibition of Industrial Art held in the North Court of the Victoria & Albert Museum, Nov/Dec 1929. Courtesy RIBA Collections.

The only identified pattern is the nursery pattern 7742 (item 147B), named Quadrupeds (see below). Items 147C and 200BB suggest bespoke named patterns: 5384, 7238, 7905 and 8038 are examples of this type. Unfortunately, no images exist of the items on display.

The headings relate to specific areas of the Exhibition. Numbers and/or letters missing in the sequence relate to other companies’ products.

FOR THE SLENDER PURSE
147BA. E. Gray & Co. LtdPorridge Bowl and plate (‘Quadruped Nursery Ware’ – see below). Designed by Susie Cooper. Each 1s. 6d.
INDUSTRIAL ART
147CA. E. Gray & Co. LtdPorridge Bowl and Plate (‘John’) Porridge Bowl. 1s. 9d. Plate 1s. 7½d.
Table 148.
148CA. E. Gray & Co. LtdFlower Pot for MacFisheries. 8s. 3d.
Table 200 etc.
200ZA. E. Gray & Co. LtdPieces from Breakfast and Dinner services. Designed by Susie Cooper. Plate (10 ins.), 1s. 2d. Jug, 2s. 6d. Cup and Saucer, 1s. 6d. Vegetable dish, 7s. 6d. Plate (6 in.), 1s.
200AAA. E. Gray & Co. LtdHousehold Jar. Designed by Susie Cooper. 1s. 9d.
200BBA. E. Gray & Co. LtdMug ‘Peter.’ 1s. 6d.
200CCA. E. Gray & Co. LtdBanded Cream Service. Plate (10 ins.), 1s. 3d. Vegetable Dish, 6s. 9d. Handled Beaker, 1s. 6d. Jug, 3s. 3d.
200DDA. E. Gray & Co. LtdHousehold Jar. Designed by Susie Cooper. 2s. 6d.
200EEA. E. Gray & Co. LtdCigarette Box. (Silver Lustre and Blue.) 5s. 3d. Ash Tray, 10½d.
200FFA. E. Gray & Co. LtdTea Set. (Lavender and Silver Lustre.) Cream Jug, 2s. 3d.; Sugar Bowl, 2s. 3d.; Plate, 1s. 7d.; Tea Pot, 5s. 7d.; Tea Cup and Saucer, 2s. 11d. Note: possibly pattern 8115.
290AA. E. Gray & Co. LtdHors d’Oeuvre Set. Designed by Susie Cooper. £1 7s.
300AA. E. Gray & Co. LtdChild’s Tea Set in decorated box. Designed by Susie Cooper. 14s.

343BA. E. Gray & Co. LtdTea and Dinner Services (Orange Band and Black Spots). Dinner Plate, 1s.; Cheese Plate, 9d.; Cup and Saucer, 1s. 1d.; Tea Pot, 3s. 9d.; Sugar Bowl, 1s. 3d.; Cream Jug, 1s. 3d.
508AA. E. Gray & Co. LtdTea Service : Tea Pot, 5s. 3d.; Cup and Saucer 1s. 10d.; Plate, 1s. 1d.; Sugar Bowl, 1s. 8d.; Cream Jug, 1s. 8d.; Dutch Jug, 3s.
PERMANENT COLLECTION*
Page 91Gray, A.E. & Co. Ltd.Covered Dish, Teapot and Plate in brush decoration, painted overglaze.

Covered Dish and Two Plates, decorated in brushwork and lustre.

Ewer and Basin, lustre decoration.

Two Jugs, decorated overglaze.

Two Bowls, decorated in brushwork and lustre.

Three Oblong Plaques, designed by Gordon Forsyth.

* A report on the work of the British Institute of Industrial Art 1919-24 (RIBA Archives ref BIIA/22/9), has a list in Appendix II (pp 59/60) of works included in the Institute’s Permanent Collection. Under ceramics, the entry for A.E. Gray & Co Ltd is a list of six examples of pottery and lustreware. Note that the pottery plaques are kept for an ‘indefinite period’, rather than on ‘permanent loan’.

Barker's store - Modern Pottery Exhibition

This is possibly the venue, Barker's of London, associated with the Exhibition. Note the presence of Summertime pattern, together with, perhaps, 8312, 8721 or 8332.
This is possibly the venue, Barker's of London, associated with the Exhibition. Note the presence of Summertime pattern, together with, perhaps, 8312, 8721 or 8332.
Image kindly supplied by E-bay member llanypwll.
Summertime pattern number 8586
Image kindly supplied by E-bay member llanypwll.
Marsh Marigold pattern number 8742

JH Awmack Ltd

© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd The display appears to show a wide range of <i>Gray's Pottery</i> jugs.
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd The display appears to show a wide range of Gray's Pottery jugs.

Transcript of the article

November 2, 1931. THE POTTERY GAZETTE AND GLASS TRADE REVIEW.

AMONGST THE CHINA AND GLASS SHOPS

It was our very great pleasure a few weeks ago to have the opportunity of visiting and inspecting the newly completed china and glass emporium of the firm of J. H. Awmack, Ltd., situated in The Headrow, Leeds, and it is equally our pleasure to be able to put before readers of THE POTTERY GAZETTE AND GLASS TRADE REVIEW a number of impressive photographic illustrations, which are likely to give rise in many quarters to some deep thinking.

We ought, perhaps, to explain at the commencement of our remarks that this recent visit of ours to Leeds was one that was quite definitely planned; there was nothing that was casual or accidental about it. We had been hearing on all sides during the early months of the present year glowing reports concerning a marvellous new establishment which was rapidly growing to completion in England’s fifth largest provincial city; and so unmistakable was the interest that was being manifested, and so frequent and definite the references to what was regarded as “a wonderful venture,” that we decided, after we had satisfied ourselves that the new premises were at last in full swing, to journey northwards in order that we might investigate conditions for ourselves on the spot.

It is almost unnecessary to add that we had many times previously been in Leeds, and that we were not by any means unfamiliar with the name and standing in the retail trade of J. H. Awmack, Ltd. But we had traditionally associated this name with an address in New Briggate-premises that we recalled to mind in connection with visits paid to them many years ago. It was a trifle difficult, therefore, for us to think of ” Awmacks, of Leeds,” in association with a new-sounding address; and particularly one that we had always thought of in years gone by as a narrowish, and perhaps not too interesting, thoroughfare, by no means to be compared, at one time, with the two leading shopping streets of Leeds (Briggate and Boar Lane).

But, to get down to business, Leeds has been ” looking up ” during recent years, and some remarkable improvements are being made in the redesigning of the city thoroughfares. For a long time past it has been evident to anyone who has given the matter serious thought that the time would arrive when, in the progressive march, some serious alterations would have to be made in certain congested parts of the city, and notably in the neighbourhood of New Briggate, at a prominent corner of which stood the old premises of J. H. Awmack Ltd., upon a site which had been held by them for close upon half a century. Sure enough the day arrived when the Corporation decided that this particular corner must be (continues)

17th British Industries Fair

This lamp base may the shape described in the report. This example, decorated with pattern A239, has the Waite & Sons mark on the base; Waites were lamp suppliers who purchased from <i>Gray's Pottery</i> as well as other manufacturers.
This lamp base may the shape described in the report. This example, decorated with pattern A239, has the Waite & Sons mark on the base; Waites were lamp suppliers who purchased from Gray's Pottery as well as other manufacturers.
Waites
GP
Notes:This plate is made of Johnsons pink earthenware, named and backstamped Rosedawn (see also 'Backstamps', 'History of' section). The pattern may be one of those referred to in the Pottery and Glass Record report of March 1932.

19th British Industries Fair

The oblong tray is pattern A1284 and the jug is, seemingly, an identical pattern A1544. The tray has the early Gray's Heal's backstamp.
The oblong tray is pattern A1284 and the jug is, seemingly, an identical pattern A1544. The tray has the early Gray's Heal's backstamp (see right).
Heals 1
Early Gray's Heal's backstamp
A1450
This pattern, A1450, is one of a number of patterns which could be described as having a 'tartan' motif: crossed lines and bands. This may be the type of pattern described in the report.
See also patterns A1395 and A1687 (see right), also produced around 1934.
Pattern A1395
Image credit: hadleywaterhouse
Pattern A1687
Pattern A1687
Image credit: Originator unknown

20th British Industries Fair

20th British Industries Fair - Stands C11 & 22

grays map
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd

Note the prominent position of Gray's Pottery's stand at the BIF - this was nearly always the case.

British Art in Industry

British Industry in Art
An Advisory Committee was appointed for each area of specialisation. Committee No IV, Ceramics, comprised several influential potters, together with notable persons in the fields of art & design. The actual pots on display may have been influenced by these participants!
Among the speakers listed for lectures given during the Exhibition are Gordon Forsyth , on British Pottery, and Frank Pick, Managing Director of London Underground, on Design and Tradition: their Inter-actions.
British Industry in Art
The five Gray's Pottery exhibits as listed on various pages of the Ceramics section. Item 232 is almost certainly pattern A961 (see below), a design comprising narrow gold and silver vertical lines. This corresponds with the only illustration...
..of the Gray's exhibits in the Illustrated Souvenir publication. Item 250 is likely to be pattern A1608 (see below).
A961
Image credit: GP

Notes: The design reference appears in The Pottery and Glass Record, January 1935. Manchester City Museum & Art Gallery has a coffee pot and two cups & saucers of this pattern in its collection: its 1935 accession record (1935.117/3) indicates a price of 5/3d (26p) for the pot and 2/6d (12½p) for each cup & saucer.
Pattern A1608
A1608
Image credit: GP

Notes: Manchester City Museum & Art Gallery has a teapot, cup & saucer and a plate of this pattern in its collection: its 1935 accession record (1935.105/3) indicates a price of 3/3d (16p) for the teapot, 16/- (80p) per dozen for the cup & saucer and 10/9d (54p) per dozen for the plate.

22nd British Industries Fair

Britain Can Make It Exhibition

A8381/A8375

A8384/A8385/A8386

A8252

A8144

A8320

A8235

27th British Industries Fair

28th British Industries Fair

29th British Industries Fair

Festival of Britain - Ceramics on the South Bank

6th Harrogate Fair

Blackpool Gifts & Fancy Goods Fair 1956

D647 kitchenware
© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
This is a contemporary advertisement for D647 kitchenware and was published regularly in 1956 and 1957.
advert
Patt. No A8551. 'Coaching Scenes.' Printed in black, painted in tang, yellow, blue, green and brown. The finish is in copper lustre.
Patt. No. A8552. 'Hunting Scenes.' Printed in brown, painted in tang, yellow, green, brown and grey. Finish is in copper lustre.
Patt. No. A8526. Stoneware. 'Hunting Scenes.' Printed in brown, painted in tang, yellow, green, brown and grey. Finish is in copper lustre.
Patt. No. A7894. Ship printed in black. Painted in silver brown. (Sails) blue and green. Printed verse at the back. Finish in copper lustre.

© Pottery Gazette and Glass Trade Review, Lema Publishing Ltd
This advertisement was published during 1948 and 1949 but the style of decoration continued through into the 1950s and will be similar to that described in the report. The tobacco jar, or humidor, is likely to have been made by Pearson of Chesterfield.

Blackpool Gifts & Fancy Goods Fair 1957

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