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The Lives and Works of the Women Artists at the Della Robbia Pottery Birkenhead in Late Victorian and Edwardian England

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The Lives and Works of the Women Artists at the Della Robbia Pottery Birkenhead in Late Victorian and Edwardian England The Lives and Works of the Women Artists at the Della Robbia Pottery Birkenhead in Late Victorian and Edwardian England. Kathleen Camilla Hawley A thesis submitted in partial fulfilment of the requirements of Oxford Brookes University for the degree of Doctor of Philosophy. December 2001 IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, lS23 7BQ www.bl.uk The following has been excluded at the request of the university lIustrations on pages 15,55,56,57,58,59,60,92,9 3,94,121,122,123,159,160, 161,162,163,191,192,193, 194,195,225,226,227,228, 229,230,231,232,233 Abstract The lives of three female and one male artist working at the Della Robbia Pottery in Birkenhead are the subjects of a case study located in Liverpool. The case study examines the larger issues concerning the employment of women, particularly working and middle-class women, in the decorative arts in late Victorian and Edwardian England. The findings are analysed in the light of interpretative models employed by feminist historians, particularly the view that women's professional involvement and access to training was shaped and constrained by ideologies of gender. The study examines the extent to which the academic institutions, which provided the training, institutionalised ideologies of appropriate feminine activity in their admission procedures, availability of classes, and financial barriers to participation. Blackburne House School, the Liverpool School of Art, The University Art Sheds and the Sandon School of Art are the main institutions studied. The structure of the work place, as defined by the Della Robbia Pottery, is analysed for gendered patterns in the division of labour. The influence of the Arts and Crafts Movement in the context of current debate amongst art historians is referenced to the experiences of both the male and female employees at the pottery. The functions of exhibitions are examined in the light of their importance to the development of women's professional advancement. Two important movements integral to women's history, Socialism and Suffiagism were found to exist at the pottery and their effect on the artists' lives are investigated. Finally the workings of the Victorian and Edwardian art world are demonstrated through the activities of the Liverpool Positivist Church which had a strong presence at the Della Robbia Pottery. Acknowledgements Much of my research time has been spent in rather dark and musty library archives but I never failed to be amazed at the cheerful and positive attitude of the librarians and archivists who have helped me with my research. In particular I would like to acknowledge the help of Samantha Melia of Cork City Museum; Patricia Collins of Glasgow City Art Galleries; Adrian Allan of the Sidney Jones Library Liverpool University; Dr. Ceridwen Lloyd-Morgan of the National Library of Wales and Joseph Sharples, recently of the Walker Art Gallery. A very special thank you to Colin Simpson of the Williamson Museum and Art Gallery Birkenhead whose innocent comment, ''We don't know anything at all about Marian de Caluwe," was the unwitting catalyst for this research. I would have been forced to admit defeat on the research if it had not been for the great kindness shown to me by the families of the artists who I tracked down. Joy Robinson (nee Rathbone), Jon Rathbone, Angela Rathbone, Mrs. Morrow and Doreen Walker have all given freely of their time and shared their personal family history with me. Serendipity, in the guise of the two unknown gentlemen I met in St. David's Chapel Llandaff Cathedral, was the path to Professor Angela Vaughan John. It was Professor John who physically introduced me to the National Library of Wales and as a consequence to the very new Clarence Whaite Archive. My final thanks goes to Dr. Louise Durning whose major contribution has been to tum my gauche and immature intellectual skills into something related to respectability. It would be inappropriate not to mention the gentle but skilful tutoring of the late, well loved Jeanne Sheehy who set me on the Della Robbia path. Needless to say my husband became a saint during the last six months of the research. ii Contents Acknowledgements 11 List of Illustrations IV Introduction 1 2 Art Education for Women in Liverpool 1850-1910 18 3 Work Opportunities for Women 66 4 The Influences of the Arts and Crafts Movement on the 98 Lives of the Artists at the Della Robbia Pottery 5 Exhibitions: To Show or not to Show 128 Table 1. Sales figures from the Walker 146 Art Gallery Registers Table 2. List of Della Robbia employees 151 who exhibited under their own name 6 Hidden Socialism and Suffragism at the Della Robbia 168 Pottery 7 The Influences of Positivism on the Liverpool Art 200 Community Table 3. List of probable members of the 204 Liverpool Positivist Church ') , Conclusion 237 ) / Appendices 1. Structure of the Liverpool Institute 244 2. Map of Central Liverpool 1895 245 3. List of employees at the Della Robbia 246 pottery Bibliography 247 111 List of Illustrations. Figure Page 1. Photograph of Harold Rathbone by Fred Hollyer circa 1892. 15 In private ownership. 2. Blackbume House School. Illustration from Herbert Tiffen's book 55 . A History ofthe Liverpool Institute Schools 1820-1935, facing page 103. 3. A Blackburne House Girl of the 1880s. Newspaper cutting 1944, 56 untitled and unclassified, Liverpool Record Office. 4. The Liverpool School of Art 1883. Illustration from Herbert Tiffen's 57 bookA History ofthe Liverpool Institute Schools 1820-1935, facing page 115. 5. Photograph of the Liverpool Advanced Antique Class circa 58 1900-1906. Liverpool John Moore's University Archives. 6. Design cover for the Sphinx by Cassandra Walker. Illustrated in the 59 Sphinx 8 (January 1901): 153. 7. Chalk and pastel drawing by Marion Walker of one of her sisters 60 in gypsy costume circa 1900. In private ownership, photographed by the writer. 8. Photograph of the Della Robbia Pottery workers circa 1889. 92 Williamson Museum and Art Gallery Archives. 9. Drawing of Charles Collis by Aphra Peirce, December 1900. Illustrated 93 in The Della Robbia Pottery Birkenhead 1894-1906 Exhibition Catalogue 1981. 10. Design for a fountain by Cassandra Walker illustrated in The Studio 23 94 (1901): 276. 11. Della Robbia panel circa 1900-1904 by Marian de Caluwe 121 Glasgow City Art Gallery. Design adapted from The Adoration by Andrea della Robbia circa 1480. 12. Della Robbia vase designed by Cassandra Walker. In private 122 ownership, photograph courtesy of Pear Tree Antiques. 13. Bookplate designed by Cassandra Walker for her brother 123 William Walker. In private ownership. tv 14. Photograph of the one of the Halls at the Cork Exhibition 159 1902. Cork City Museum Archives. 15. Della Robbia Pottery Bowl made at the Cork Exhibition by 160 Charles Collis, Hannah Jones and Cassandra Walker 1902. Photograph courtesy of Cork City Museum. 16. Invitation to the Whaite family to the Della Robbia Pottery 161 Christmas Exhibition. Clarence Whaite Archive, National Library of Wales. 17. Illustration of the Gwynedd Ladies Art Society Exhibition. 162 The Art Journal (1892): 282. 18. Oil painting of Philip Rathbone by Harold Rathbone 163 (circa 1884-1885) recently acquired by the Williamson Art Gallery and accompanying newspaper article in the Llandudl10 Advertiser14th August 1909. 19. Clarion Guild of Handicraft. The Clarion (7th September 191 1904): 7. 20. Portrait of Miss Charlie Genn by Scott Tuke. 192 Illustration from David Wainwright's Book Henry Scott Tuke 1858-1929 (mis-titled as Lucy Genn) 21. Statue of Joan of Arc by Marian de Caluwe 1900-1904. 193 Unpublished Catalogue, Glasgow City Art Gallery. 22. Pandora blue and white panel by Cassandra Walker circa 1898, 194 Wirral Museum, Birkenhead. 23. Photograph of Cassandra West (nee Walker) and her husband 195 Sydney taken in Canada 1918. In private ownership. 24. New Year's card to John Fraser designed by Harold Bloomfield Bare, 225 1889. Fraser Collection, Sydney Jones Library, Liverpool University. 25. Photograph of Mrs. Bloomfield Bare. In private ownership. 226 26. Photograph of "Faulkner Street Posativist Church." (sic) Street 227 and Positivist miss-spelt), in private ownership. 27. Scheme for A Church of Humanity In Liverpool, The Builder 228 (5th May 1911): 546. v 28. Photograph of Statue ofHumanity taken at an unnamed Mother 229 and Baby Home somewhere in Allerton, Liverpool. Photograph courtesy of Joseph Sharples, Walker Art Gallery. 29. Sketch of the Della Robbia Statue of Goddess of Humanity, 230 The Sphinx 13 (June 1906): 218. 30. Photograph of Edmund Rathbone wearing pince-nez. In private 231 Ownership. 31. Photograph of Positivist Ceremony Liverpool. In private ownership. 232 32. Illustration of Della Robbia Savoy Hotel Fountain The Art Journal 233 (1898): 223. VI CHAPTER ONE Introduction The words Della Robbia are usually associated with the productions of the Florentine family working in one of the most famous periods in art history, that of the Italian Renaissance. Rarely are they associated with industrial Merseyside and in particular with the late nineteenth century dock area of Birkenhead. This location was far removed from the splendour of Florence but nevertheless was home to a pottery factory also known by the title of Della Robbia. It is with the Birkenhead Della Robbia pottery that this thesis is concerned or rather the experiences of the women workers who were such an important feature of the pottery. The Birkenhead pottery founded in 1894, was the brainchild of Harold Rathbone and Conrad Dressler.l Prominence is usually given to Harold Rathbone rather than to Conrad Dressler where commentaries are made on the pottery since Conrad Dressler worked for the company for only three years of its twelve-year existence, leaving to set up his own pottery at Medmenham in Buckinghamshire.
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