|
No.
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Notes
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Date
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Size in inches
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1
|
This is a ship tile,the reverse shows
"P.T. 1376/2".
Many artists decorated tube lined tiles.
The most celebrated being Edmund Kent. There is no
evidence to indicate that tiles with a raised series of
dots are by Kent. Less than a dozen of his signed tiles
are known.
|
c.1928
|
4 x 4
|
|
|
3
|
Another example of a tube lined tile.
Courtesy Salford Museum and Art Gallery
|
c.1930
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4 x 4
|
|
|
4
|
The heraldic theme
continued throughout Pilkington’s production. This
example is one of the few tiles that correspond to a
known tile catalogue.
|
1930
|
4 x 4
|
|
5
11
|
Unsigned. The tube line work is of a
very fine quality. The sailing ship may be "The Golden
Hind".
A similar design to the "Viking" tile is illustrated in
Cross’s work. It depicts a larger panel to be used in
"entrances and hallways".
The date of these tiles is based on that
illustration. The tile back is of a later kind though
neither is marked.
|
1930
|
12 x 6
|
|
6
|
See 10
|
1930
|
6 x 6
|
|
7
|
Sample cabinet containing
a range of plain glazes. Courtesy Salford Museum and Art
Gallery
|
c.1970
|
|
|
8 - 9
|
Commercial travellers’
samples
|
1930
|
4 x 4
|
|
10
11
|
Ships have always been a
popular choice. Pilkington’s designers produced pottery
wares depicting ships and many of their designs may be
found at Salford Museum and Art Gallery in the W.S.
Mycock design archive. Mycock began work at Pilkington’s
in the first period of tile production and was initially
engaged to work on tiles. We do not know if Mycock
designed these tiles. An illustration in Cross shows
Edmund Kent working on a "ship" tile. Designs for tiles
depicting ships are found early in the Pilkington’s
production range. For example there are printed designs
for ships in the first factory records. A design by
A.L.Duthie and John Chambers named "Argosies" was
exhibited by Pilkington’s in the 1902 Wolverhampton
Exhibition. Cross notes that Voysey also designed a
"ship" tile for Pilkington’s – The Vikings – see this
exhibition for a tile that may have been influenced by
this design.
|
1930
|
6 x 6
|
|
12
|
A sailing ship by CFA
Voysey - one of two ship designs by Voysey.
|
c1900
|
6 x 6
|
|
13
|
This is a very typical
deco tile. Courtesy Salford Museum and Art Gallery
|
1930
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6 x 6
|
|
14
|
This is a very bold tile
in the art deco style.
|
1930
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6 x 6
|
|
15
|
This is a classic art
deco design that especially suits Pilkington’s favoured
orange vermilion glaze which is captured within the tube
lined relief slip.
|
1926
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4 x 4
|
|
16
|
Another fine tube lined
tile in the style of a poppy. The RD number 227296 dates
the design to 1894.
|
c.1900
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6 x 6
|
|
17
|
Pilkington’s design book
features several landscape scenes this is transfer
printed. Pilkington's exported blanks for decoration by
other companies perhaps the most celebrated of these
being Currier and Ives in America.
|
1910
|
6 x 6
|
|
18
|
Transfer printed lake
scene.
|
1900
|
6 x 6
|
|
19
|
The Tudor rose was used
frequently in Pilkington’s designs.
|
1910
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2 x 6
|
|
20
|
No artist is known -
similar in style to the work of LF Day or J H Rudd.
|
1902
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6 x 6
|
|
21
|
A stylised flower
representation.
|
1909
|
6 x 6
|
|
22
|
This tile was part of a group of 3 -
probably for a fireplace.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
3 x 6
|
|
23
|
The RD number for this
tile dates the design to 1894 though the back might
indicate a slightly later production date. There is a
faint iridescence to the glaze.
|
1894
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6 x 6
|
|
24
|
This is a rather weak
design. The RD number indicates a date after 1909.
|
1910
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6 x 6
|
|
25
|
Hand painted mountain scene. See
earlier examples of these landscape scenes.
The tile may well be unique. The back has
been cut in a most unusual manner with diamond and cross
- cut routing.
|
1900
|
12 x 6
|
|
26
|
Two classic Art Nouveau
design tiles of cyclamen.
|
1900
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3 x 3
|
|
27
|
LF Day design.
|
1896
|
6 x 6
|
|
28
|
This tile depicts a tulip
in an Art Nouveau style. It has been attributed to
C.F.A.Voysey by several authorities and is very similar
in style to Voysey’s "Tulip Tree" which was illustrated
in the catalogue for the Glasgow Exhibition in 1901.
|
1902
|
6 x 6
|
|
29
|
Panel consisting of 4 moulded tiles
decorated with stylised flowers. These were most
probably used in fireplaces.
Courtesy Towneley Hall Art Gallery and
Museum.
|
c.1905
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6 x 24
|
|
30
|
This work may have been
executed specifically for a shop display or for a
fireplace. A part tile to accompany this scene is
included in this exhibit – courtesy of Salford Museum
and Art Gallery. Richard Joyce specialised in the design
of ware featuring fish and may well have been the
designer of these tiles. A signed panel is know which
was painted by the artist Albert Hall.
|
1910
|
12 x 6
|
|
31
|
This delicate panel may
well have been placed in the side cheeks of a fireplace
or used in a wall panel. Courtesy Towneley Hall Art
Gallery and Museum
|
1930
|
3 x 18
|
|
32
|
This is another pattern
book design - E598. It is a set of four tiles, which
illustrates how the border decorations were intended to
be used.
|
1900
|
12 x 12
|
|
33
|
This is an early printed
tile. The main interest is that it came from a house
that used to stand opposite Pilkington’s on the site of
what was Rhodes Farm and became the offices of Bolton
Sewage works. It also shows the effect of heat damage on
a tile.
|
1900
|
6 x 6
|
|
34
|
This kind of printed tile
and others are illustrated in an early factory pattern
book and most of them have a factory design number
beginning with an E. Detailed descriptions of the
commercial colours offered may be found in the pattern
book.
|
1910
|
6 x 6
|
|
35
|
The quality of
Pilkington’s printed tiles is illustrated in this very
vivid image of stylised flower heads.
|
1905
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6 x 6
|
|
36
|
Set of 4 transfer printed tiles
showing the effect of the matching pattern. This pattern
is illustrated in the early print pattern design book.
Courtesy Towneley Hall Art Gallery and
Museum.
|
c.1905
|
12 x 12
|
|
38
|
Calendar tiles were introduced by
Lawrence Burton as an advertising feature. They remained
popular and are now collectable.
Courtesy Salford Museum and Art Gallery
|
1954
|
6 x 6
|
|
41
|
A stylised flower head
that would have worked together as a repeating pattern.
|
1910
|
6 x 6
|
|
42
|
A poppy modelled in low
relief.
|
1910
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6 x 6
|
|
43
|
This tile is more
"Victorian" than many Pilkington’s tiles. Judging by the
many copies available it was very popular. Carved by
A.J.Kwiatkowski
|
1900
|
12 x 6
|
|
44
|
A quartered tile which was a favourite
effect of the period.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 6
|
|
45
|
Moulded stylised lily
with 3 heads contained in a decorative cartouche with
corner quarters that would form part of a repeating
pattern.
|
1910
|
6 x 6
|
|
46
|
It is hard to see how
this tile could have been regarded as decorative but it
may have been used in fireplaces where it will have been
well lit.
|
1900
|
6 x 6
|
|
47
|
Moulded tile depicting stylised flower
and leaves.
Courtesy Towneley Hall Art Gallery and
Museum.
|
c.1910
|
6 x 6
|
|
48
49
50
|
These tiles were probably designed
under the direction of T.B. Jones who worked as Head of
Design at Pilkington’s after the 2nd World
War.
They are featured in an advertising booklet for
Pilkington’s fireplaces.
Courtesy Salford Museum and Art Gallery
|
c.1950
|
6 x 6
|
|
51
|
Probably a dado/border
tile -rather dull.
|
1890
|
3 x 6
|
|
|
52
|
This could be a pen tray or a border
tile, but as the reverse is glazed a pen tray is more
likely.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 2
|
|
|
53
|
Tube lined or moulded
border tile.
|
1960
|
1 x 6
|
|
|
54
|
Tube lined or moulded
border tile.
|
1959
|
2 x 6
|
|
|
55
|
Border tile in Persian
style, probably designed by John Chambers.
|
1900
|
1 x 6
|
|
|
56
|
4 different moulded tiles. These are
stated to be by Pilkington’s but the backs show unusual
markings.
Courtesy Towneley Hall Art Gallery and
Museum.
|
c.1900
|
3 x 3
|
|
|
57
|
These small tiles are
noted as being a Pilkington’s registered design (Cross).
These particular tiles have a local connection. They
were removed from a fireplace in a house in Prestwich
which belonged to the Pilkington family. The fine border
tiles are all very clearly marked. They appear tube
lined but because they are identical it is more likely
they were made from a mould.
|
1900
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3 x 3
|
|
|
58
|
"The letter writer" -
This tile is illustrated in Cross and is by
A.J.Kwiatkowski. Kwiatkowski’s granddaughter is a member
of Pilkington’s Lancastrian Pottery Society and is keen
to find out information about her grandfather. Anyone
who can help should contact the Society. "Jo"
Kwiatkowski would not have been asked to begin work at
such an illustrious company if he was not already held
in high regard.
|
c.1900
|
6 x 10
|
|
|
59
60
|
The technique has been
described as "emaux ombrants" (shadow enamel) and was a
speciality of the tile manufacturer Craven Dunnill. It
is considered these are Pilkington’s as the tile back is
keyed in exactly the same manner as a "Bury" tile and it
has the "feel" of Pilkington’s.
|
c.1900
|
6 x 12
|
|
|
61
|
This incredible tile is almost
certainly an initial design for part of the reredos at
Ashton Albion Congregational Church installed in 1920.
The tile features the very best of tube line work and
the border is in a classic orange vermilion glaze. It
was designed by Gordon Forsyth.
Courtesy Salford Museum and Art Gallery
|
1920
|
12 x 18
|
|
|
62
|
These modelled tiles are
exceptionally attractive. Several are known and shown in
this exhibition. The depth of colour and the skill of
the moulding allows the glaze to flood more deeply into
some place than others and this is used to highlight
aspects of the design. Designed by Florence
Steele.
Steele was a worker in silver but she designed several
tiles for the company around 1900.
|
1900
|
6 x 6
|
|
|
63
|
Woman and chickens, see
comment above.
|
1900
|
6 x 6
|
|
|
64
|
A pair of tiles in deep
relief showing a standing winged cherub set against a
column and holding a wreath. Many tile companies of the
period produced similar designs to this which were used
as feature tiles, fireplace tiles or in furniture. These
are part of a frieze by A.J.Kwiatkowski.
|
1910
|
12 x 6
|
|
|
65
|
Another example of a moulded "picture"
tile. Thought to be by A.J. by Kwiatkowski.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 12
|
|
|
66
67
|
These lustre tiles may have been
designed as furniture or fireplace inserts.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
8 x 8
|
|
|
70
|
The print for this tile
is found in the factory records with a design reference
of E525. Designed by Ernest Evans a freelance designer.
|
1900
|
12 x 6
|
|
|
71
|
Another stylised art
nouveau flower – it is easy to see the influence of
Voysey in these designs.
|
1904
|
6 x 6
|
|
|
72
|
A typical art nouveau
tile. It has RD 440215 on the reverse. Courtesy Bury
Museum and Art Gallery
|
1900
|
3 x 6
|
|
|
73
|
This is an example of the
tube line style. Tube lining involved laying a line of
slip along the decoration, which acts as a wall to
contain coloured glazes. It is often difficult to tell
the difference between a tube lined tile and a tile
modelled in low relief, which is achieved by using a
mould. The mould itself may have been created from a
tube lined tile. Because the tube line process is done
by hand no two tiles will be identical. Identical tiles,
which appear to be tube lined, may be compared for
variations. If there are no variations it indicates that
a mould was used. This tile is of a classic art nouveau
design. However the tile is stamped "Made in England"
which probably indicates this is a 1930’s copy.
|
c.1930
|
6 x 6
|
|
|
75
|
Part of a design by Mucha titled "The
Lily". This tile panel was exhibited at the 1901 Glasgow
Exhibition. John Chambers, Miss Tyldesley and Miss
Briggs painted it. The original full panel was 3ft 6 in
by 18 in.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 12
|
|
|
76
77
|
Tile TF 543 was priced at 10
shillings. By comparison Jessie Jones, a famous "lady"
artist at Pilkington’s, commenced work in 1907 for 7
shillings a week.
Tiles in a Persian style picked out with
Rhodian red blobs of glaze, were 5 shillings each.
Courtesy Bury Museum and Art Gallery
|
|
6 x 6
|
|
|
78
|
c.1900
|
|
|
|
79
|
This very exotic plant
tile bears a Registered Design (RD) number on the
reverse, which indicates a date around 1900. Cross
ascribes its design to Lewis Day. The curving leaves and
the sensuous nature of the flower are not unlike the
"Lily" tile by Day also in this exhibition.
|
1900
|
12 x 6
|
|
|
80
|
The RD number 418023
indicates the design year. The stylised grapes and
leaves are finely worked.
|
1903
|
6 x 6
|
|
|
81
|
John Chambers designed
these small Persian tiles. This one was probably
intended for fire surrounds. Courtesy Bury Museum and
Art Gallery
|
1900
|
3 x 3
|
|
|
82
|
Courtesy Bury Museum and
Art Gallery
|
1900
|
6 x 6
|
|
|
83
|
A finely executed tile in Persian
style. Pilkington’s produced several designs in this
style and other examples may be seen at Manchester City
Art Gallery and The Peter Scott Gallery at Lancaster
University.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
8 x 8
|
|
|
84
|
Lustre tile.
|
|
6 x 6
|
|
|
85
|
Gold lustre on blue
ground – moulded tile – not marked but bears typical
Pilkington’s combed back.
|
c.1905
|
6 x 14
|
|
|
86
|
Lustre tile
|
|
6 x 6
|
|
|
87
|
Another excellently
worked lustre tile with an eagle device. This tile was
priced at 3 shillings, again at least a days' pay for
many. Small infill tile probably used for fireplaces.
Courtesy Bury Museum and Art Gallery
|
c.1900 both
|
6 x 3
|
|
|
88
|
The tiles exhibited from
Bury Museum’s collection were acquired in 1909 and many
have unique backs. Several show the price and help
confirm the provenance of other tiles. Not all are
marked but they undoubtedly "feel" like Pilkington’s and
may have been given by Pilkington’s who donated several
items of pottery at this time. Courtesy Bury Museum and
Art Gallery
|
|
3 x 3
|
|
|
89
|
Lustre tile
|
|
6 x 6
|
|
|
90
|
This small tile appears
to be similar to those used in the fireplace exhibited
in the 1908 Franco British Exhibition. An example of a
larger work by Hall is illustrated in Cross and the tree
has similarities to this. Lustre tiles - to capture the
light from a fire - were very popular particularly in
the grander fireplaces that graced the homes illustrated
in the foremost Art Journal of the day "The Studio".
|
1900
|
3 x 6
|
|
|
91
|
Excellent lustre tile. Plastic body.
Typical lion rampant - a favourite heraldic device in
gold lustre that has worked exceptionally well. This
tile was priced at 5 shillings, which was 2 or 3 days’
pay at the time. Various designers have been suggested
for this tile. It was ascribed to Voysey and Richard
Joyce when it featured in the 1908 Franco British
Exhibition - set in a fireplace designed by J H Sellars.
Heraldic designs featured strongly on both pottery and
tiles. A series of designs entitled "heraldic" may be
found in the Mycock archive at Salford. One of the
earliest tile designs by Lewis Day featuring an image of
this type was shown at the Wolverhampton Exhibition in
1902.
These are classic Pilkington’s lustre
tiles made from a plastic body. Gordon Forsyth noted
"the simplest thing one can make is a "plastic" tile.
The term plastic is used because it is made by hand from
soft clay, and not by the "dust" process, as is commonly
the practice in mass produced pressed tiles."
Courtesy Bury Museum and Art Gallery
|
c.1900
|
6 x 6
|
|
|
92
|
Lustre tile.
|
|
6 x 6
|
|
|
94
|
Border tile in lustre
with an iridescent glaze. The thickness of the tile
indicates the probable date.
|
1910
|
1 x 6
|
|
|
95
|
An
example of a lustre tile that has fired badly in the
kiln. The decoration on these early plastic lustre tiles
is variable. Kilns were coal fired and the skilled
kilnsman was a valued employee. Some lustre tiles of
this period have no discernible decoration except a
jumbled mass of colours – this one for example..
|
1900
|
3 x 3
|
|
|
96
|
Stylised Tudor rose.
|
1900
|
3 x 3
|
|
|
97
|
A small lustre tile probably designed
as a fireplace insert. The heart motif and the scale
designs were also found on pottery.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
3 x 3
|
|
|
98
|
The design and lustre on
this tile seems to have failed - a form of stylised
fleur de lys can be made out.
|
1900
|
3 x 3
|
|
|
99
|
Designed for furniture or
fireplace inserts these stylised leaves are in a lustre
glaze.
|
1900
|
3 x 3
|
|
|
100
|
Another tile in the Persian style -
probably designed by John Chambers but in this case it
has a lustre finish.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 6
|
|
|
101
|
A lustre tile reminiscent of the de Morgan style -
peacocks were a favourite of several Pilkington’s
artists especially Gordon Forsyth.
Courtesy Salford Museum and Art Gallery
|
c.1900
|
6 x 6
|
|