Wedgwood Fairyland

Susannah Margaretta ‘Daisy’ Makeig-Jones was born in 1881, in a small village near Rotherham. From an early age, she showed a passion for art, attending Torquay School of Art, and later Chelsea art school in London. Encouraged by a relative to consider a career as a ceramic artist, Daisy wrote to the managing director of Wedgwood at the time, Cecil Wedgwood. He replied, explaining that to become a ceramic designer, she would first need to train as a painter in the factory—a prospect he assumed the daughter of a doctor would find unappealing.

But Daisy was determined. In 1909, at the age of 28, she began an apprenticeship at the Etruria factory. Thanks to her prior artistic training, she advanced quickly, earning a permanent staff position just two years later.

In 1914, Daisy achieved her ambition of becoming a designer at Wedgwood, with her own studio. The first Fairyland Lustre pieces were introduced at the end of 1915. Inspired by her love of fairy tales, and the fantastical illustrations of Edmund Dulac, Arthur Rackham, and Kay Nielsen, these vivid, otherworldly works offered a vibrant contrast to the horrors of the Great War—and proved immensely popular.

Daisy continued working at Wedgwood until 1931, when changing fashions, the economic downturn, and several changes in leadership led to her being asked to retire. She didn’t go quietly—initially ignoring the decision and continuing to work until a heated argument with the new managing director, Josiah Wedgwood, led to her abrupt departure. Before leaving, she instructed a worker to smash all of her remaining designs. 

Daisy retired to Conisbrough in South Yorkshire, where she lived until her death in 1945, at the relatively young age of 63.

But Daisy was determined. In 1909, at the age of 28, she began an apprenticeship at the Etruria factory. Thanks to her prior artistic training, she advanced quickly, earning a permanent staff position just two years later.

In 1914, Daisy achieved her ambition of becoming a designer at Wedgwood, with her own studio. The first Fairyland Lustre pieces were introduced at the end of 1915. Inspired by her love of fairy tales, and the fantastical illustrations of Edmund Dulac, Arthur Rackham, and Kay Nielsen, these vivid, otherworldly works offered a vibrant contrast to the horrors of the Great War—and proved immensely popular.

Daisy continued working at Wedgwood until 1931, when changing fashions, the economic downturn, and several changes in leadership led to her being asked to retire. She didn’t go quietly—initially ignoring the decision and continuing to work until a heated argument with the new managing director, Josiah Wedgwood, led to her abrupt departure. Before leaving, she instructed a worker to smash all of her remaining designs. 

Daisy retired to Conisbrough in South Yorkshire, where she lived until her death in 1945, at the relatively young age of 63.

The creation of Fairyland Lustre ware was an intricate and time-consuming process, often involving five or six separate kiln firings.

It began with the design being engraved onto a copperplate. The plate was heated, and a printing-colour—a blend of pigment and oil—was applied. A sheet of damp ‘pottery tissue’ was laid over the plate and run through a powerful roller press to transfer the design. This tissue was then carefully applied to a biscuit-fired ceramic piece, which was submerged in water to dissolve the paper, leaving the design imprinted on the surface.

Next, the painting department decorated the background, often using small sponges to create textured, mottled effects. The piece was then fired to set the underglaze. After that, it was dipped in a lead glaze and fired once more in a high temperature 'glost' kiln.

The distinctive lustre finish was applied next, followed by another low-temperature firing. Finally, the gold detailing was added by transfer-printing a paste made from mercuric oxide and oil onto the surface. A fine powder composed of gold, mercury, and flux was dabbed onto the printed design using a cotton wool pad. The vessel was then fired one last time in a low-temperature kiln, completing the elaborate process.

It began with the design being engraved onto a copperplate. The plate was heated, and a printing-colour—a blend of pigment and oil—was applied. A sheet of damp ‘pottery tissue’ was laid over the plate and run through a powerful roller press to transfer the design. This tissue was then carefully applied to a biscuit-fired ceramic piece, which was submerged in water to dissolve the paper, leaving the design imprinted on the surface.

Next, the painting department decorated the background, often using small sponges to create textured, mottled effects. The piece was then fired to set the underglaze. After that, it was dipped in a lead glaze and fired once more in a high temperature 'glost' kiln.

The distinctive lustre finish was applied next, followed by another low-temperature firing. Finally, the gold detailing was added by transfer-printing a paste made from mercuric oxide and oil onto the surface. A fine powder composed of gold, mercury, and flux was dabbed onto the printed design using a cotton wool pad. The vessel was then fired one last time in a low-temperature kiln, completing the elaborate process.

Both vases will be offered in our Fine Art, Interiors & Design Sale on May 30th.