Thank you, ma’am — we’ll miss you

Photograph taken at the British Industries Fair, Olympia Exhibition Centre, London in 1955

The Queen's Vase

Image courtesy of the Royal Collection Trust / © Her Majesty Queen Elizabeth II 2022

The above image shows the Queen’s Vase, a tribute to the Queen from the British Pottery Manufacturers’ Federation to commemorate the Coronation and to symbolise the unity of the Commonwealth. It was presented to her in private at Buckingham Palace on Wednesday, July 14th 1954.

The making of the vase was described at length in an article which appeared in the Derby Evening Telegraph on the same day. Described by the Federation as being “one of the most complicated pieces of bone china ever to be created” five employees worked on the two “Queen’s Beasts” and the Crowns which were Royal Crown Derby’s contribution to the vase. The employees are listed in the paper as follows:

* Miss Clara Smart (69) of 18 Litchurch Street Derby (Head Burnisher with 55 years service)

* Mr Albert Frederick Haddock of 123 Bower Street, Alvaston (Gilder with 51 years service)

Mr Kenneth Perry (26) of 8 Rowland Street Derby (Caster with 4 years service)

* Mr Walter Brough (50) of 55 Station Road, Mickleover (Glost printer with 13½ years service)

Miss Mary Adams (39) of 75 Litchurch Street, Derby (Printer’s transferrer with 25 years service)

(* Staff members marked with an asterisk appear in the book signed to mark the occasion of Harold Robinson’s 70th Birthday).

The vase was designed by 75 year old Mr John Wadsworth, arts director of Mintons Ltd. According to the Telegraph “before the Coronation skilled craftsmen and artists worked continuously to have the vase ready for the Queen’s return from her Commonwealth tour” (May 1954). It is described at length as follows “Ten sided, richly decorated and surmounted by a crown, the vase is 25½ inches high and is on a base of Australian black bean wood. Without its base it weighs 20lb”.

“Reproduced on the vase are the Royal Coat-of-Arms, the Royal Standard and the floral emblems of the four Mother Countries and of the Commonwealth and the Republic of India. At the top of the front centre panel is reproduced the Royal Coat of Arms on a slightly projecting shield”.

To each of the two panels immediately adjacent are two similarly raised shields, on each of which is reproduced respectively the Tudor Rose, the Scottish thistle, the Irish shamrock and the Welsh leek - the floral emblems of the four mother countries. Beneath the Royal Coat of arms is the Royal Standard. On each of the seven remaining panels are seven shields bearing the floral emblems of the countries of the Commonwealth - (Australia, South Africa, Pakistan, New Zealand, Canada) - and the Republic of India. The name of each country is printed on a tablet below each shield. India is described as the Republic of India to mark her special status as a member of the Commonwealth.

At the foot of each of the ten panels is a niche, each of which contains a coloured model of one of the ten Queen’s Beasts. Inscribed in gold around the plinth of the vase is this legend “To commemorate the Coronation of H.M. Queen Elizabeth II”

According to the Telegraph eleven similar copies of the vase were presented by the Duchess of Gloucester on July 20th in London to the Commonwealth High Commissioners and to representatives of England, Scotland, Northern Ireland and Wales. Each vase was specially adapted in that below the Royal Coat-of-Arms the shield of the coat of arms or state emblem of the recipient country was reproduced, so all are different. All include an image of the Royal Cipher in the middle of the back panel. It would appear that a vase was also presented to American President Dwight D. Eisenhower. See https://www.reddit.com/r/ArtefactPorn/comments/8ow84x/coronation_vase_presented_to_dwight_d_eisenhower/

About 50 of the most skilled workers in the industry were selected to work on the Queen’s vase and its replicas, and to keep the gift a secret all members of the Federation involved in the project “pledged themselves to secrecy.” According to the Telegraph article only Albert Haddock in Royal Crown Derby “knew the purpose of the work they did on the Queen’s Beasts and the Crowns”

According to F Brayshaw Gilhespy’s Book Royal Crown Derby, a “Beast is any living or mytholoical creature which has served as a badge in its master’s shield . Thirty or forty have served royalty in the last eight centuries, so there was some discussion among experts as to which ten should serve. Royal Crown Derby were responsible for producing The Falcon of the Plantagenets” and “The Beaufort Yale”. The other eight used were:

(1) The Golden Lion of England.

(2) The Tudor Greyhound.

(3) The Tudor Dragon.

(4) The White Horse of Hanover.

(5) The White Lion of Mortimer

(6) The Scottish Unicorn.

(7) The Griffin of Edward III

8) The Black Bull of Clarence.

According to Gilhespy the “Beasts” had silvered bodies with gilded decoration and true colours in the crests. The silvering was meant to be a substitute for the stone colour of the original examples at Hampton Court Palace - see .https://commons.wikimedia.org/wiki/Category:The_King%27s_Beasts,_Hampton_Court_Palace

The vase represents a snapshot of the Commonwealth membership at the time it was presented to Her Majesty. As far as the unity of the Commonwealth is concerned, all seven countries have remained members, but it is noted that South Africa left in 1961 to rejoin in 1994, whilst Pakistan left in 1972 and rejoined in 1989. According to Encyclopaedia Britannica 46 countries have joined the Commonwealth subsequently, although not all recognise the Queen as Head of State (see https://www.britannica.com/topic/Commonwealth-association-of-states)

It seems that the vase has largely been forgotten, but it represents a rare if not unique occasion where competitor pottery manufacturers came together to create a special commemorative piece. More than 8,000 hours are reported to have been spent on the project and there would have been significant cost implications for each participating business. Mintons sold a set of similar figures with flared bases (presumably to make them more stable) but it would have been difficult for any individual manufacturer to be able to capitalise by making replicas of the complete vase for sale. In view of the fact that much china manufacturing has now moved overseas, it would seem unlikely that this sort of co-operative exercise will ever be repeated.

According to the Royal Collection website “The British Pottery Manufacturers Federation (subsequently the British Ceramic Manufacturers' Federation) came into existence in 1919 and continued to trade until early 1995 when the company was dissolved as a result of its activities becoming fully incorporated within the British Ceramic Confederation”.

The vase made for Australia is kept at Parliament House, Canbarra. see this article https://www.abc.net.au/news/2016-11-29/queen-beasts-vase-at-parliament-house/8012996. Reference is made in this article to vases in New Zealand and Canada. This is a link to an image of the New Zealand vase https://www.parliament.nz/en/get-involved/features/display-of-royal-memorabilia/ There also appears to be a vase at the Lord Mayors’ Parlour, Stoke on Trent - see https://www.flickr.com/photos/tamla14/10309350873

You can see a number of images of the vases presented to Her Majesty and Scotland via this link to the Royal Collection https://www.rct.uk/collection/search#/1/collection/57141/the-queens-vase. If you simply wish to browse through the Royal Collection use the link to this excellent resource: https://www.rct.uk/collection/search#/page/1

This blog could not have been produced without the kind assistance of Kathryn Jones, Senior Curator of Decorative Arts Royal Collection Trust

John and Valerie Robinson June 2022

Duke and Duchess of Argyll

A dessert plate in the heraldic shape, dating from 1955. It is part of a Royal Crown Derby service commissioned by the Duke and Duchess of Argyll who had married four years earlier in 1951. This marriage ended in a “brutal and bitter” (Derby Telegraph) divorce in 1963. These events have been made into a three part BBC drama “A Very British Scandal” starring Claire Foy and Paul Bettany which starts 9 p.m. on Boxing Day. This is a link to the Derby Telegraph article by Rhianna Bensen https://www.derbytelegraph.co.uk/whats-on/whats-on-news/what-expect-a-very-british-6390345

John and Valerie Robinson 26th December 2021

"This Golden Age"

The title of a film which was made in 1956 and which may no longer survive.

The two photographs above were taken to publicise the film, but in the event it seems that the images were not used and are shown here for the first time. The production was a collaboration between Royal Crown Derby and opticians Lancaster and Thorpe. The first image taken from left to right shows: Unknown (Could this be co-editor and cameraman Kenneth Jones?), Phillip Robinson, Dorothy Robinson, Harold Thorpe, Richard Thorpe, his wife Nellie Thorpe and Norman Thorpe. The second image shows Daphne Thorpe, her husband Richard, Marion Thorpe (wife of Norman), Nellie and Harold Thorpe, Dorothy and Phillip Robinson and Norman Thorpe.

The film premiere with “Reception and cocktails” was held at the Assembly Rooms, Derby on the 29th November 1956.

Very fortunately Mr and Mrs Paget (See earlier blog entitled “An Invitation”) were invited to the event and kept their programme which has somehow survived

The making of the film had been recorded in some detail in an article by Wilf Shaw entitled “No gold bars - but they did get some film shots!” which appeared in the Derby Evening Telegraph of Friday 21st 1955. Between images of Phillip Robinson and Harold Thorpe, the paper declares that on a trip to South Africa “They shot thousands of feet of colour film and recorded in sound many phases of its industrial and social activities for inclusion in the scheduled Royal Crown Derby film “This Golden Age””.

The article provides further tantalising glimpses as to the content of the film as it continues “These scenes will “tie-up” South Africa gold production and the use of gold by the Royal Crown Derby company in the manufacture of high grade china. Scenes already filmed include: Clay mining in Cornwall; the presentation last July by the directors of the “Derby Evening Telegraph,” of a 2000-piece Crown Derby banqueting service to the Borough of Derby, and the town’s Octo-centenary celebrations. Mr Robinson and Mr Thorpe, who are collaborating in the production, have still to film sequences at the Royal Crown Derby factory in Osmaston Road, and of Derby from the air….Other South African scenes will include views of the countryside, hospitals, ….traditional tribal dances and animal life in the game reserves… The film should include spectacular sequences involving the black rhinoceros - “the terror of the forests”

The programme refers to other factories visited in the film. If it does survive it is likely to be a useful resource, especially for social historians.

Kenneth Jones is also listed as director and editor of a film made of the visit of Queen Elizabeth II and Prince Philip, Duke of Edinburgh, to Derby in 1957. see https://www.macearchive.org/films/visit-her-majesty-queen-and-his-royal-highness-prince-philip-duke-edinburgh-derby. This 9 minute film is listed as “a Camerathorpe Production a unit of Lancaster and Thorpe Ltd”.

It would appear from internet searches that Lancaster and Thorpe shops have been rebranded under the Vision Express banner.

Does the film or any of the footage survive?

John Robinson May 2021.

The Biscuit Printers Shop 1940-1945

Peggy Fox Later Mrs Laura Guertin

Left hand side, front to rear – Doris Wood, Gwen Smith, Peggy Fox/Laura Guertin, Barbara Elton, Margaret Gadsby, Margaret Millinger, Jack, printer.  Right hand side, front to rear – Edna Pountain, Joyce Evans, Mary Adams, Edna Jessop, Violet Branbury, Mrs E L Braine, Lucy Barker, Pat Chittendon, E Beer, Beatrice Smith. Rear centre on right, Raymond Russell printer, to his left Eddie Barker (husband of Lucy), printer.

This photograph was taken to record the development of the new Biscuit Printers Workshop and dates from about 1941 when Laura was 15.   Laura,  a pupil of Reginald Street High School, joined Royal Crown Derby soon after war broke out at the age of 14 as a Transferer’s Apprentice. It was the practice for local schools to arrange tours of the factory with a view to future employment.  The photograph was staged: normally work was carried out at four separate benches in teams of four, two apprentices, a transferer and a printer. Only half of the room is shown in the photograph. Typical of the time, without lockers, coats were hung up along the back wall. Initially, in her team the printer was called Frank, a first world war veteran. Frank retired to be replaced by Raymond Russell who appears in the photograph above.   Printing took place behind the part-glazed partition at the rear of the picture. The printer's colour was warmed on a stove and applied to the copper plate engraving by the printer using a spatula which forced the colour into the engraving whilst removing the surplus. The plate was then covered with dampened tissue paper and passed between the felt-covered rollers of a press which removed the moisture from the paper forcing the pattern onto it. It is just possible to see one of the presses in the background. Clearly throughout this era there were  specific designated roles for female and male members of staff.

Laura was taught to carry a dozen cups on one arm and piles of plates and saucers, the ferrying of ware to and from the warehouses forming a significant part of her duties.  The ware had to be dusted before the transfer prints were put on subsequently rubbed down firmly using a special tool with a black end.  When the pattern was secure the tissue backing papers were soaked off in vats of water before being placed on a draining board to dry. One of the first tasks Laura learnt was applying factory marks which came as printed sheets, the marks cut out and centrally positioned using a template. Sheets with a different date cipher were used at the beginning of each year.     Apprentices were also given the unpleasant task of removing any spots on the pattern with a pumice stone dipped in turpentine, flaws caused by nicks in the copper engraving plates used to print the patterns. As well as obligatory tea making duties, Laura was also tasked with cleaning the engraving plates, kept on the second floor next to the Engraver’s shop. This required her to carry buckets of water up two floors, a particularly detested chore. Harry Short was the engraver at the time. Later she was promoted and tasked with applying the printed pattern to the ware, requiring considerable skill to ensure it was an exact fit.

She recalls her firewatch duties which were organised on a six week rota.  Her group of four ladies took over Phillip Robinson’s office setting up camp beds around the fire.  They were instructed on how to extinguish an incendiary bomb using either a stirrup pump or bucket of sand.  When the sirens sounded they were required to put on their tin hats and carry out their duties.  Understandably nervous as a novice, her watch stood in a group at the Employee’s entrance by the Ladygrove Cottages hoping nothing would happen, until an Air Raid warden cycled by demanding to know what they were doing.  They replied “Firewatching the Royal Crown Derby” to which he responded “Well disperse - do you think Jerry’s coming up the Grove?”  This broke the tension and they patrolled in pairs.

Laura’s sister Betty Fox (later Crawford) worked in the Lithographers department together with her best friend Betty Smith (later Linnell). She still keeps in touch with Beattie Bates and Doris Wood. Doris appears in the photograph above.

She regarded Fred Finney, manager of the best warehouse, with special affection.  One day aged 14, as she was carrying a box of china which was a special order she slipped on a step and dropped the box. As she sat down on a step in tears, Fred came along, saw what had happened and said “Don’t cry there’s worst accidents at sea right now.”  He replaced the broken pieces without any fuss.  She has never forgotten his kindness.

Just before the start of work at 8 a.m. on the morning of July 27 1942 a Dornier bomber  flew at low level close to the factory. It had avoided the radar and the sirens did not sound.  She recalls someone shouting “Under the benches everyone” but it happened so fast there was no time to react. Osmaston Road was machine gunned and a bomb was dropped on Rolls Royce, inflicting casualties.

She recalls the visits of the American Soldiers whose “Understanding the English” tours resulted in gifts of gum and chocolate.  She particularly remembers a visit by Dame Anna Neagle. She recollects that a young man named Ernie Browning painted dogs on ashtrays during this period. (See an example of his work under “Country Pursuits”).

Most of Laura’s work was centred around the production of the Blue Mikado and Avesbury ware produced in considerable quantities for export under the US Government Lease Lend Act. When aged seventeen and a half and wishing to experience life outside the confines of a factory and escape the all-pervading smell of turpentine she applied to join the Land Army. She was stunned to learn that she could not as she was already in a reserved occupation, her work at Crown Derby essential to the war effort.

Laura left Royal Crown Derby soon afterwards at the end of the war to take up a residential nanny position in Duffield. Emigrating to Canada in 1951 she returned to England in 1996, now living near Derby.

Laura has written down her experiences at Royal Crown Derby and this blog is based on her account but edited for the sake of chronology. 

John and Valerie Robinson - April 2017