For many
days an unwanted tea-tray was propped against the wall next to our back door.
It was waiting to be re-cycled via the charity shop next to the railway station
so, on my way to catch the 10.37 to Liverpool, I dropped it off. I've donated many
redundant possessions to that shop and I've noticed that the ladies (never a
man) behind the counter don't even look at what I plonk in front of them. They
treat objects which I consider useful and of some value with exactly the same lack
of interest as they do a trivial ornament. They look at me and say "Thank
you so much. Do you have a gift-aid card?" Still, I made sure the tray was
clean.
Before
leaving home I read about a housing regeneration scheme in Stoke-on-Trent, the
former epicentre of pottery manufacturing long enmired in what appeared to be
terminal decline. But all is not lost, apparently. During its heyday the workers
acquired formidable skills and the good news, for those who remain, is that
they are in demand once more. The surviving companies are having some success
in the markets where the "Made in Stoke" label still retains a
cachet. And well-regarded designers are locating their workshops to Stoke so as
to take advantage of the skills and facilities there. Recognising this, the
housing scheme aims to foster communities of people rooted in the city, its heritage
and its future.
Among the examples
quoted to illustrate the potteries' finest achievements were the Minton Peacocks,
four-foot high majolica facsimiles, brilliantly painted and glazed. Twelve were
made but only nine are accounted for, as a result of which they are extremely
valuable. I know it's a mere coincidence (these things do not 'happen for a
reason') but, later that day, the first thing I noticed at Liverpool's Walker
Art Gallery was - a Minton Peacock. Normally I would have walked past such a
piece with no more than a nod at its irrelevant magnificence but, this time, I just
had to stop and examine it. I admit that, while pottery peacocks don't do it
for me, they do have a certain presence.
Actually I
was at the Walker to view the exhibition of works chosen for the John Moores Painting Prize, having earlier been at the Tate where there is a lot of Andy
Warhol's output on display. Maybe it's because Warhol's work is so familiar
that I was less interested by it than I was by the freshness and variety of
expression in the prize paintings. Incidentally,
the manager of the Walker told me that we have Margaret Thatcher to thank for
the preservation of Liverpool's permanent collection of art: she nationalised
it so as to save it from being sold off by the bankrupt city council of the
day. Whether it's true or not, his anecdote did prompt me to take a closer look
at the collection.
Returning to
Manchester I saw that the station concourse had acquired some of the trappings
of Christmas. Tesco had erected a tent and its people, dressed in elf costumes,
were offering little plastic cups of champagne to passers-by. It seemed a counter-intuitive
sort of marketing ploy for a company whose share price has recently been ruined
by scandalous misrepresentation of its accounts, but I may go again tomorrow to
see if there's any left.
Then
I dropped into the charity shop, ostensibly on the lookout for interesting novels,
but with a surreptitious eye on the china ornaments and bric-a-brac. Unfortunately
coincidence did not repeat itself: there
were no four-foot high pot peacocks. And even if someone were to bring one in,
I'm sure the ladies would make no comment.
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