Value Measures

Thought I’d update you with progress on the value measures I have been making.  I’ve modeled a few variations now, which are drying ready for the application of colour.  You might recognise some elements from the Bygone spoon collection – twisted stems, worn edges, broken….  I’ve tried some different forms and sizes, exploring scale and proportion, and I’ve played with a couple of type faces at varying font sizes.

Assorted Value Measures

I think the idea is worth pursuing though there are a number of refinements to be made.  I’m not happy with the shape of the bowl, generally too round (thought it works with some handle styles), I’m going to explore a more ovoid bowl form or perhaps pear shape like the apostle spoons.  Also the measuring line.  It’s ok indented (made by pressing an edge into the clay), but I want to see what it’s like raised.  I know this seems like, and is, a small detail but I am thinking ahead to the glazing of the spoon.  I want to pour glaze up to the measuring line (the glaze will subtlely change the intensity of the underlying colour and draw the eye to the measure mark) and I am thinking that a raised line will provide a better end point for the glaze.  Practically, it should be easier to wipe any excess glaze from a raised line.  An indented mark would probably fill with glaze, building up excess which could potentially run during subsequent firing.  In anticipating and responding to these potential problems I am hoping to avoid later time consuming and costly disappointments.  I’ve also been making some measuring cups based on some old metal scoops I have.  Not sure about the handles yet though!

Value Measuring Cup

Detail

I suppose this is how an idea develops, considering and refining, reacting to problems and improving.  Of course few people would probably notice these things, other makers perhaps (once developed, a keen eye rarely misses). But I just need to feel that whatever I put out there is as good as I can make it.  As a sole maker you must be your own quality control no-one else has the same vested interest in your work!  Sharon

Value 2

A couple of strands are intertwining!  In thinking about value and having loved Mary’s spoon collection, I was reminded of a spoon from my own collection, a Victorian, ceramic measuring spoon.  This got me thinking about making some kind of measure of value.  At the moment I am thinking spoons, but it may develop into other things like cups.  Instead of being marked with the usual units of measurement the objects would carry a value measurement such as precious, priceless, worthy etc stamped into the clay or maybe written on a tag.  I would aim to reference Mary’s spoons in some way.  Perhaps some would be made then broken, torn or worn etc.  I like the idea that these ones might carry the highest value measure. Perhaps I might include some accession numbers or some of the unknown initials marked on the spoons.  Lots to play with!  Sharon

Victorian ceramic measuring spoon

Spoon drawer, Mary Greg Collection

Value

Mary Greg letters

I’ve been thinking a lot about value. It’s a common thread of discussion every time we meet. The value of the collection to Mary and the lack of value (or perceived lack of value) the collection has within the Art Gallery currently. I wondered if this was always the case. The letters certainly reveal that the collection was held in greater esteem in the 1920’s. It was considered worthy enough to house a permanent display at Heaton Hall. Bathos writes (9th Oct 1924)

“….your collection at Heaton Hall is still attracting thousands weekly. Up to date this year over 154,000 visitors have passed through the turnstiles.”

And again in 1925 (Aug 17th)

“…123,208 visitors to your exhibition of dolls at Heaton Hall this year.”

There was even a Royal visitor in May 1927!

“.. Princess Mary appreciated all that was shown her”.

Interestingly in June 1927 Bathos informs Mary that Heaton Hall had 16,000 visitors over Whitsun compared to the 14,000 at the City Art Gallery. 1-0 Mary!

If value were to be judged by visitor figures alone then this collection was significant. I also think there must be some value in further research into the visitor demographic and exhibition content held at different sites. Did one appeal more to the masses and why? Are there any other historic, statistical records held at the Gallery? When and why was the collection taken off display at Heaton Hall? Is that when it went into storage?

Sharon