One of the most successful of the pottery modellers of the 1920s and 1930s was Gwendolen Parnell, one of the so-called Chelsea Potters, whose studio was in Paradise Walk, near the Royal Hospital. She had a good eye for the market and her series of characters from The Beggar’s Opera, made while it was enjoying a long run at the Lyric, Hammersmith, gained her much publicity and put her right in the public eye.
Her upper-class connections served her art well. She sold a piece to Queen Mary while still a student at Camberwell School of Arts and Crafts and, when her career was established, modelled society figures including Lady Diana Cooper and Gladys, Baroness Swaythling.
This figure of Marlene Deitrich was featured on the front page of The Sketch in 1933.
Studio pottery figurines were popular in Britain in the 1920s and were exhibited in galleries alongside the new abstract pottery of William Staite Murray and Bernard Leach, but they fell out of favour and their absence from histories of studio pottery was total, as if they had been airbrushed out.
Now that the scope of pottery is broader, however, they are coming back into view. A few years ago Paul Hughes wrote a detailed biography of Stella Crofts, with catalogue raisonée. And, looking for more information, I came cross the website of Robert Prescott-Walker’s Polka Dot Antiques, who show figurines by Molly Mitchell-Smith, Marion Morris, Gwendolen Parnell, Jessamine Bray, Sybil V. Wiliams, Anne Potts, William Ruscoe, J. Palin Thorley and Charles Vyse. The picture shows a very nice figurine by Bray and Williams from their Dulwich Pottery.