So every picture tells a story

Press, 1 May 1984, Page 12

So every picture tells a story

At a recent fine art auction held by McCrosties the price paid for a small Pratt ware jar, depicting a scene of “The Battle of Alma,” brought forcibly to mind the enthusiasm of collectors in this field, and the extent of their determination when bidding for a rare piece.

Though far below the top price of $11,500 paid for a large Royal Doulton porcelain vase painted by Edward John Raby, the successful bid for the quite insignificant looking little jar still considerably exceeded the modest offer I had been authorised to make on behalf of the Canterbury Museum. When proposing to make a bid for some piece at an auction sale it is always advisable to inspect the article well beforehand. Unless your income is unlimited, make careful enquiries among other collectors and dealers to ascertain just what is available, and at what price. Auctions are exciting and entertaining occasions, but it might sometimes be advisable to attempt to add to one’s collection in other ways.

Pratt ware is a term now applied to a particular category of underglaze, chromatic, transfer-printed Staffordshire pottery. It was made largely during the period 1830 to 1890 by a number of firms, but derived its name from the company of F. and R. Pratt, who first produced it.

Like most of the famous potteries it was a family affair started by William

Pratt in 1774, and carried on by his sons and grandsons in a place called Middle Fenton which had once been known as Lane Delph, and is now part of Stoke-on-Trent. Now it is best known for the thousands of pictorial pot lids and jars it made to contain, embellish, and advertise the wares of many manufacturers producing almost anything in cream or paste form. Toothpastes had such fanciful names as “Sweet Honeysuckle” and “Indian Betel Nut.” Anchovy paste, potted ham and “Prince Albert’s Ambrosial Shaving Cream” were also contained in Pratt ware.

Pratt and Company, in earlier days, were responsible for numerous figures, busts and other objects rejoicing in the brightest greens, blues and yellows; and rich brown and purple. Primitive in style, these greatly resembled the pottery of Ralph Wood. They are keenly sought by discerning collectors, though most widely known and certainly more commonly collected in New Zealand are the famous pot lids. The Pratt grandson, Felix Edwards, was guiding the destinies of the firm during the heyday of the best of the pot lids. He had begun work in 1828, just eight years before George Baxter perfected the colour printing process which was to provide the nation with colourful pictures for its walls for nearly a century. After some 10 years of experimentation it was possible to apply this process

to ceramics. By 1847 Pratts had produced the first full colour printed pot lid. With the assistance of the unusually talented artist engraver, Jesse Austin, who joined the firm in 1847, Pratts produced a remarkable series of jars, lids, and other items on which were reproduced the popular paintings of the great masters; royal portraits; the funeral of the Duke of Wellington; contemporary history such as Arctic expeditions, illustrations of scenes from the theatre, the Crimean war; religious, and sentimental objects and

scenes related to the proposed contents of the jar such as “Mending the Nets” on a fish-paste container. Originally priced quite cheaply and certainly not at first intended for the collector, pot lids were very soon being gathered up, especially by admirers of the Baxter prints. Competitors were not slow to copy. Soon they were producing pieces of similar quality to cater for a collecting enthusiasm which lasted well into the 19205, and was resumed in the post-Second World War era. Since then many inferior copies and reissues have appeared. Among the most successful competitors of Pratts was the Cauldon Pottery, which at one time even

Collecting with Myrtle Duff

managed to lure the great Jesse Austin away from the Pratt organisation after a temporary disagreement with one of the family.

Austin returned to Pratts within 12 months. But Cauldon eventually had the final victory early this century when a certain Harold Robinson, having already ac-. quired the Cauldon works, purchased F. and R. Pratt and Company, closed it down, and transferred all the operations of the combined potteries together with the Pratt archives, watercolours, and printing plates to Cauldon.

Pot lid enthusiasts are very often collectors of other types of containers, usually old bottles, so it is not surprising that competitions for pot-lidders and

displays of these most interesting artefacts have usually been included in antique bottle shows. This year’s National Antique Bottle Show, the ninth to be held, will be at the Pioneer Stadium, Lyttelton Street, during Queen’s Birthday Week-end from June 1 to June 4. It will include four or five categories for the proud owners of Pratt ware.

This will be an ideal opportunity for those not familiar with these intriguing, and usually beautiful little collectables to find out more about them.

Examples illustrated include a small lid entitled “Bears on Rocks,” a political symbolism in which a large Lion representing

Scene of Constantinople, a jar by Cauldon Pottery, above; and left, “Exhibition of 1851,” a larger lid by T. J. and F. Mayer. England threatens a seated Russian Bear with a French Cockerell on its shoulder. This one was actually made by the Pratt firm. A second, larger lid came from the Meyer factory in 1851. It is most attractive and illustrates the International Building of 1851 at the Exhibition of Art and Industry of all Nations. The small jar is similar in size and shape to the one sold recently. It comes from the Cauldon Factory and has scenes of Constantinople. All these were lent by a private collector, Nigel Harrison, who is quite happy to provide information about Pratt ware to anyone interested. His telephone number is 33-614.