Figure of the Month
April 2020
I would not normally put up a damaged figure as Figure of the Month but this example of "The New Marriage Act" really caught my eye. My thanks to Sheppard’s Irish Auction House for these photographs which appeared in their catalogue for their sale on 24th March. In New Marriage Act figure groups, the bride and groom stand before a parson, whilst a young clerk beseeches the heavens for approval of the union. These groups commemorate the passage of The New Marriage Act of 1823, legislation that reinforced marriage.
Prior to 1823, persnickety marriage law made marriage difficult, and also made it quite easy to make a mistake. If a couple failed to comply with all the rules, their marriage was not legal and either party could seek an annulment even many years later. Even if both parties were happy to end their marriage, an annulment had disastrous financial consequences for children who unexpectedly found themselves declared illegitimate. Society expected marriage to last for life, so the New Marriage Act 1823 no longer made it possible to void a marriage for want of a minor mistake in form or fact either before or during the ceremony.
Prior to 1823, persnickety marriage law made marriage difficult, and also made it quite easy to make a mistake. If a couple failed to comply with all the rules, their marriage was not legal and either party could seek an annulment even many years later. Even if both parties were happy to end their marriage, an annulment had disastrous financial consequences for children who unexpectedly found themselves declared illegitimate. Society expected marriage to last for life, so the New Marriage Act 1823 no longer made it possible to void a marriage for want of a minor mistake in form or fact either before or during the ceremony.
The reason for my particular attraction to this figure is the fact that the wonderful early blue-tinged glaze is so abundant and visible and this is particularly so on the photograph of the plaque on the figure (left). This example is strikingly similar to that illustrated in Myrna Schkolne’s Staffordshire Figures 1780 to 1840 Volume 4, page 15, fig 139.29.
March 2020
The Legend of the Parson and his Clerk (circa 1820-30)
Many versions of the story exist but the most commonly told tale is that the Bishop of Exeter fell ill and came to Dawlish in the county of Devon to restore his health. However, an ambitious local priest aimed to succeed to the See (the bishop's office) in the event of his superior's demise.
The priest's guide was his clerk and they often made the journey to check on the condition of the bishop. One night in a terrible storm, whilst crossing Haldon Moor they lost their way and found themselves miles from the correct path. The priest in his frustration abused his clerk with the words “I would rather have the devil himself, than you, for a guide.”
At that moment a horseman rode by and volunteered to be their guide.
After a few miles, they came across a brilliantly lit mansion and were invited by their guide to enter and partake of his hospitality. They enjoyed a sumptuous repast and in the midst of the merriment, the news arrived that the bishop was dead. Eager to secure his chance for promotion the priest prepared to leave, together with the clerk and the guide; however, the horses refused to move. After liberal use of his whip and spurs the priest cried “Devil take the brutes”, upon which the guide exclaimed “Thank you, Sir “and shouted “Gee up”. The horses galloped over the cliff, carrying the parson and the clerk with them. The devil turned them both to stone, facing forever seaward, monuments to greed and disappointed ambition.
Many versions of the story exist but the most commonly told tale is that the Bishop of Exeter fell ill and came to Dawlish in the county of Devon to restore his health. However, an ambitious local priest aimed to succeed to the See (the bishop's office) in the event of his superior's demise.
The priest's guide was his clerk and they often made the journey to check on the condition of the bishop. One night in a terrible storm, whilst crossing Haldon Moor they lost their way and found themselves miles from the correct path. The priest in his frustration abused his clerk with the words “I would rather have the devil himself, than you, for a guide.”
At that moment a horseman rode by and volunteered to be their guide.
After a few miles, they came across a brilliantly lit mansion and were invited by their guide to enter and partake of his hospitality. They enjoyed a sumptuous repast and in the midst of the merriment, the news arrived that the bishop was dead. Eager to secure his chance for promotion the priest prepared to leave, together with the clerk and the guide; however, the horses refused to move. After liberal use of his whip and spurs the priest cried “Devil take the brutes”, upon which the guide exclaimed “Thank you, Sir “and shouted “Gee up”. The horses galloped over the cliff, carrying the parson and the clerk with them. The devil turned them both to stone, facing forever seaward, monuments to greed and disappointed ambition.
February 2020
John Carmel Heenan (1835-1873) and Tom Sayers (1826-1865)
Heenan was born in New York and Sayers was born in Pimlico London. Both were accomplished knuckle fighters. They fought on 17th April 1860 at Farnborough, attended by over 12000 people. Sayers was a middleweight and at 10 stone 10 pounds (150 pounds) and 5 feet 8 inches, was nearly 3 stone (42 pounds) lighter and 6 inches shorter than Heenan. Even with this disadvantage Sayers fought well, but dislocated his right arm in the fourth round and so continued the next 33 rounds only using his left.
With good footwork and a great deal of courage, Sayers saw through the 37 rounds lasting over two hours, earning a very deserving draw. After the match, Sayers refused Heenan’s challenge of a rematch and went into retirement.
Heenan was born in New York and Sayers was born in Pimlico London. Both were accomplished knuckle fighters. They fought on 17th April 1860 at Farnborough, attended by over 12000 people. Sayers was a middleweight and at 10 stone 10 pounds (150 pounds) and 5 feet 8 inches, was nearly 3 stone (42 pounds) lighter and 6 inches shorter than Heenan. Even with this disadvantage Sayers fought well, but dislocated his right arm in the fourth round and so continued the next 33 rounds only using his left.
With good footwork and a great deal of courage, Sayers saw through the 37 rounds lasting over two hours, earning a very deserving draw. After the match, Sayers refused Heenan’s challenge of a rematch and went into retirement.
January 2020
The characters of Rinaldo and Armida are from Torquato Tasso's poem Gerusalemme Liberata (Jerusalem Delivered) circa 1581. The poem's tale is one of love and heroism in battle during the First Crusade (1096 - 1099). The sorceress Armida tries to kill the knight Renaldo, but instead falls in love with him and bewitches him. By 1600, the poem had been translated into English, and it was to remain popular in England into the nineteenth century, inspiring music, plays and numerous paintings. Notably in 1711, Handel's opera Rinaldo was London’s first Italian opera.
Van Dyck's painting Rinaldo and Armida (1629) and the Derby figure of the late 1770's shows Rinaldo with his eyes closed. These portrayals probably depict the moment at which Armida, filled with hatred for Rinaldo, finds him asleep, but, overwhelmed by his beauty is unable to destroy him. In earthenware groups, however, Rinaldo's eyes are open and Armida dangles a laurel crown over his head, perhaps showing the moment when she tries to entice him with her charms. The laurel crown is sadly lacking in this figure.
Acknowledgement: Myrna Schkolne, Staffordshire Figures 1780-1840 Volume 2, page 49.
Van Dyck's painting Rinaldo and Armida (1629) and the Derby figure of the late 1770's shows Rinaldo with his eyes closed. These portrayals probably depict the moment at which Armida, filled with hatred for Rinaldo, finds him asleep, but, overwhelmed by his beauty is unable to destroy him. In earthenware groups, however, Rinaldo's eyes are open and Armida dangles a laurel crown over his head, perhaps showing the moment when she tries to entice him with her charms. The laurel crown is sadly lacking in this figure.
Acknowledgement: Myrna Schkolne, Staffordshire Figures 1780-1840 Volume 2, page 49.
December 2019
This pair of figures belongs to me. Thanks to a "my staffordshire figures" blog by Myrna Schkolne I am confident in attributing them to the Dudson factory. Dudson used several distinctive bocage forms that are very useful in identifying their figures, but these figures lack typical bocages. Instead, look at the x-shaped sprig on the Mate base. That x-sprig is specific to Dudson. When such a sprig is used it is akin to a Dudson signature. The Mower base also has x-sprigs on it but they are partial; they most likely broke as they were formed. Pictured below is an enlarged view of the x-sprig... it really is quite distinctive.
The Dudson pot bank has operated as a family business from its foundation to the present day. In 1800, Richard Dudson established his first works at Broad Street, Shelton, and by 1830 Dudson was a specialist figure manufactory, although contemporary trade directories fail to list it as such.
The Dudson pot bank has operated as a family business from its foundation to the present day. In 1800, Richard Dudson established his first works at Broad Street, Shelton, and by 1830 Dudson was a specialist figure manufactory, although contemporary trade directories fail to list it as such.
Dudson's establishment coincides with the closure of Ralph Wood's pot bank. Wood died in 1795, but his son, Ralph Wood III, operated the pot bank until his own premature death in 1801. We repeatedly see Dudson figures formed just like Ralph Wood figures. It is possible that Dudson simply copied the Ralph Wood figures, but it is more likely that Dudson acquired some of the Ralph Wood molds.
November 2019
I have always liked Staffordshire figures which show the simple life so many of the Victorians had, and how very different life at all stages was as compared to today. This figure shows just that. The good student holding a book sits on a chair whilst the dunce stands next to her standing on one leg on a chair, and wears the telltale dunce’s cap to humiliate him in front of the entire class.
As you will appreciate, education was in itself something only a few early Victorian children were lucky enough to experience and the teaching methods were so very different. The humiliation of a student in this way for not learning as quickly as his fellow pupils would have been commonplace in the village schoolroom. Of course these days such ways would not be allowed and so this figure has a charm of its own as being wonderfully politically incorrect.
However in my schooling days punishments still occurred. We were made to stand in the corner for misbehaving in class, and more serious misdemeanors almost always meant a beating with a cane by the headmaster. How things have changed as it is now a criminal offense in certain parts of the UK for a parent to smack their child.
As you will appreciate, education was in itself something only a few early Victorian children were lucky enough to experience and the teaching methods were so very different. The humiliation of a student in this way for not learning as quickly as his fellow pupils would have been commonplace in the village schoolroom. Of course these days such ways would not be allowed and so this figure has a charm of its own as being wonderfully politically incorrect.
However in my schooling days punishments still occurred. We were made to stand in the corner for misbehaving in class, and more serious misdemeanors almost always meant a beating with a cane by the headmaster. How things have changed as it is now a criminal offense in certain parts of the UK for a parent to smack their child.
October 2019
These are two companion classical busts sometimes referred to as Comedy and Tragedy.
The sad faced figure on the left is Heraclitus (540-475 BC). He is known as The Weeping Philosopher because he found man's condition melancholy. This Staffordshire example is circa 1780, stands 5.5 inches tall and is after a similar bust made by Derby.
The smiling figure on the right is Democritus (460-370 BC), a Greek philosopher and the founder of the atomic theory. He is known as The Laughing Philosopher because he found man's condition ridiculous. Again after a Derby bust and Circa 1780, 5.5 inches tall.
The sad faced figure on the left is Heraclitus (540-475 BC). He is known as The Weeping Philosopher because he found man's condition melancholy. This Staffordshire example is circa 1780, stands 5.5 inches tall and is after a similar bust made by Derby.
The smiling figure on the right is Democritus (460-370 BC), a Greek philosopher and the founder of the atomic theory. He is known as The Laughing Philosopher because he found man's condition ridiculous. Again after a Derby bust and Circa 1780, 5.5 inches tall.
September 2019
Sir Robert Peel
Peel was a British Conservative statesman who served twice as Prime Minister of the United Kingdom (1834-35 and 1841-46) and twice as Home Secretary (1822-27 and 1828-30). He founded the Metropolitan Police Service and was one of the founders of the modern Conservative Party.
The son of a wealthy textile manufacturer and politician, Peel was the first Prime Minister from an industrial business background. He entered the House of Commons in 1809 and became a rising star in the Tory Party. When Peel first became Home Secretary, he reformed and liberalised the criminal law and created the modern police force leading to a new type of officer known in tribute to him as "bobbies" and "peelers". After a brief period out of office he returned under the Duke of Wellington, also serving as Leader of the House of Commons.
After being in the Opposition (1830-34), he became Prime Minister in November 1834. Peel issued the Tamworth Manifesto, laying down the principles upon which the modern British Conservative Party is based. His first ministry was a minority government and after only four months it collapsed and he served as Leader of the Opposition during Melbourne's second government (1835-41). Peel became Prime Minister again after the 1841 election. His second government ruled for five years. He played a central role in making free trade a reality and set up a modern banking system. His government's major legislation included the Mines and Collieries Act 1842, the Income Tax Act 1842, the Factories Act 1844 and the Railway Regulation Act 1844.
Peel was a British Conservative statesman who served twice as Prime Minister of the United Kingdom (1834-35 and 1841-46) and twice as Home Secretary (1822-27 and 1828-30). He founded the Metropolitan Police Service and was one of the founders of the modern Conservative Party.
The son of a wealthy textile manufacturer and politician, Peel was the first Prime Minister from an industrial business background. He entered the House of Commons in 1809 and became a rising star in the Tory Party. When Peel first became Home Secretary, he reformed and liberalised the criminal law and created the modern police force leading to a new type of officer known in tribute to him as "bobbies" and "peelers". After a brief period out of office he returned under the Duke of Wellington, also serving as Leader of the House of Commons.
After being in the Opposition (1830-34), he became Prime Minister in November 1834. Peel issued the Tamworth Manifesto, laying down the principles upon which the modern British Conservative Party is based. His first ministry was a minority government and after only four months it collapsed and he served as Leader of the Opposition during Melbourne's second government (1835-41). Peel became Prime Minister again after the 1841 election. His second government ruled for five years. He played a central role in making free trade a reality and set up a modern banking system. His government's major legislation included the Mines and Collieries Act 1842, the Income Tax Act 1842, the Factories Act 1844 and the Railway Regulation Act 1844.
August 2019
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The Vicar and Moses
Myrna Schkolne in Volume 2 of her book Staffordshire Figures 1780-1840, has Chapter 109 entitled Religious Officials and Observers. She makes the point that the Church of England clergy in the late C18th and early C19th were high living at that time and were ready targets for ridicule. They were high living as many came from very wealthy families. The eldest son took the title and family estate whilst a younger son often became a priest or a vicar. As always the Staffordshire potter was quick to pick up on that.
There are in fact two pieces that are commonly referred to as The Vicar and Moses, but these pictures are of the piece which was modelled on William Hogarth’s illustration entitled the Sleeping Congregation, first published in 1736. It is also known as The Parson and Clerk. This piece portrays the parson dozing in the pulpit whilst the clerk earnestly addresses the congregation.
This particular model will be early C19th. What is interesting about this particular piece is that it has no base (nor appears ever to have had a base) which allows the collector to see how the Parson and Clerk were made and fixed within the model of the pulpit. This model is illustrated in Myrna Schkolne’s book ref fig109.8 page 258. The height is 8.9”.
Acknowledgement: Myrna Schkolne, Staffordshire Figures 1780-1840 Volume 2
This figure forms part of the private collection of Alan Sturrock
Myrna Schkolne in Volume 2 of her book Staffordshire Figures 1780-1840, has Chapter 109 entitled Religious Officials and Observers. She makes the point that the Church of England clergy in the late C18th and early C19th were high living at that time and were ready targets for ridicule. They were high living as many came from very wealthy families. The eldest son took the title and family estate whilst a younger son often became a priest or a vicar. As always the Staffordshire potter was quick to pick up on that.
There are in fact two pieces that are commonly referred to as The Vicar and Moses, but these pictures are of the piece which was modelled on William Hogarth’s illustration entitled the Sleeping Congregation, first published in 1736. It is also known as The Parson and Clerk. This piece portrays the parson dozing in the pulpit whilst the clerk earnestly addresses the congregation.
This particular model will be early C19th. What is interesting about this particular piece is that it has no base (nor appears ever to have had a base) which allows the collector to see how the Parson and Clerk were made and fixed within the model of the pulpit. This model is illustrated in Myrna Schkolne’s book ref fig109.8 page 258. The height is 8.9”.
Acknowledgement: Myrna Schkolne, Staffordshire Figures 1780-1840 Volume 2
This figure forms part of the private collection of Alan Sturrock
July 2019
The Legend of Gelert the Dog
One of the best known and loved folk-tales in Wales is the story of a faithful hound, and the Staffordshire potters were as always, quick to capitalise on this sad and poignant tale.
The story goes that in the thirteenth-century, Prince Llywelyn the Great had a palace at Beddgelert in Caernarvonshire, North Wales. The Prince was a keen hunter, and spent much of his time in the surrounding countryside. He had many hunting dogs, but one day when he summoned them as usual with his horn, his favourite dog Gelert didn’t appear, so regretfully Llywelyn had to go hunting without him.
When Llywelyn returned from the hunt he was greeted by Gelert who came bounding towards him… his jaws dripping with blood. The Prince was appalled, and a horrible thought came into his mind… was the blood on the dog’s muzzle that of his one-year old son? His worst fears were realised when he saw in the child’s nursery, an upturned cradle and walls spattered with blood! He searched for the child but there was no sign of him. Llywelyn was convinced that his favourite hound had killed his son.
Mad with grief he took his sword and plunged it into Gelert’s heart. As the dog howled in death, Llywelyn heard a child’s cry coming from underneath the upturned cradle. It was his son, unharmed! Beside the child was an enormous wolf, dead, killed by the brave Gelert. Llywelyn was struck with remorse and carried the body of his faithful dog outside the castle walls and buried him where everyone could see the grave of this brave animal, and hear the story of his valiant fight with the wolf. To this day, a cairn of stones marks the place, and the name Beddgelert means in Welsh ‘The grave of Gelert’. Every year thousands of people visit the grave of this brave dog.
June 2019
Clocks were expensive and therefore only found in the homes of the better off in the 18th and early 19th centuries. However, the master of the house generally had pocket watches and the Staffordshire potters were quick to latch onto a way of selling their wares by producing watch holders of all types. This is an early nineteenth century example with typical early decoration in prattware colours. The figures to the side of the clock are in classical dress which epitomises the fashion of the time.
The master of the house would return home in the evening from wherever he had been during the day, detach his watch from its Albert chain and place it in the watch stand so it gave the household a timepiece they could use during the time he was at home. This particular piece is interesting as it has two holes in the base so that the watch stand could be screwed to the overmantel or shelf where it stood, so it was secure and could not be accidentally be knocked over or broken.
May 2019
The Victorian potter was good at making models of all kinds... royalty, politicians, criminals and animals, and also models depicting scenes of every day life. The figures entitled "Sand" and "Beesums" are just such models and show travelling salespeople who would probably go from town to town and village to village selling sand and beesums to the peasant or worker's wife. Nearly all houses in Victorian times would have had hard floors of either earth, stone flags or wood. These floors may have been dressed with sawdust or straw. The floors got very dirty and soiled so the housewife would have scattered sand on the grimy surface to help abrase the dirt and then bush it away with a broom called a beesum.
April 2019
Bull-baiting was an ancient sport which involved pitting a bull against another animal. This was usually a dog such as a bull terrier, bull dog or mastiff.
In England during the time of Queen Anne, bull-baiting was practiced in London at Hockley-in-the-Hole twice a week and was also reasonably common in provincial towns. At Tutbury, a bull was tied to an iron stake so that it could move within a radius of about 30 feet. The object of the sport was for the dogs to immobilize the bull.
Before the event started, the bull's nose was blown full of pepper to enrage the animal before the baiting. The bull was often placed in a hole in the ground. A variant of bull-baiting was "pinning the bull", where specially-trained dogs would set upon the bull one at a time, a successful attack resulting in the dog fastening his teeth strongly in the bull's snout. The extinct Old English Bulldog was bred especially for this sport.
Bull-baiting continued into the 19th century. Bull-baiting dogs, including bulldogs and bull terriers, were bred to bait animals, mainly bulls and bears. During bull-baiting the dog would attempt to flatten itself to the ground, creep as close to the bull as possible, then dart out and attempt to bite the bull in the nose or head area. The bull would often be tethered by a collar and rope which was staked into the ground. As the dog darted at the bull, the bull would attempt to catch the dog with his head and horns and throw it into the air.
The sport began to die out early in the 19th century, both because the baiting caused a public nuisance and because of new concerns about animal cruelty. A Bill for the suppression of the practice was introduced into the House of Commons in 1802 but was defeated by thirteen votes. It was not finally outlawed until parliament passed the Cruelty to Animals Act 1835, which forbade the keeping of any house, pit, or other place for baiting or fighting any bull, bear, dog, or other animal.
In England during the time of Queen Anne, bull-baiting was practiced in London at Hockley-in-the-Hole twice a week and was also reasonably common in provincial towns. At Tutbury, a bull was tied to an iron stake so that it could move within a radius of about 30 feet. The object of the sport was for the dogs to immobilize the bull.
Before the event started, the bull's nose was blown full of pepper to enrage the animal before the baiting. The bull was often placed in a hole in the ground. A variant of bull-baiting was "pinning the bull", where specially-trained dogs would set upon the bull one at a time, a successful attack resulting in the dog fastening his teeth strongly in the bull's snout. The extinct Old English Bulldog was bred especially for this sport.
Bull-baiting continued into the 19th century. Bull-baiting dogs, including bulldogs and bull terriers, were bred to bait animals, mainly bulls and bears. During bull-baiting the dog would attempt to flatten itself to the ground, creep as close to the bull as possible, then dart out and attempt to bite the bull in the nose or head area. The bull would often be tethered by a collar and rope which was staked into the ground. As the dog darted at the bull, the bull would attempt to catch the dog with his head and horns and throw it into the air.
The sport began to die out early in the 19th century, both because the baiting caused a public nuisance and because of new concerns about animal cruelty. A Bill for the suppression of the practice was introduced into the House of Commons in 1802 but was defeated by thirteen votes. It was not finally outlawed until parliament passed the Cruelty to Animals Act 1835, which forbade the keeping of any house, pit, or other place for baiting or fighting any bull, bear, dog, or other animal.
March 2019
At this time of year in the UK, if you are fortunate you can sometimes see male hares boxing each other in the fields. This particular figure depicts hare coursing which was until relatively recently a popular country pursuit.
Usually two greyhounds were released to chase a hare to the death. The hare was not only fast but bobbed and weaved, and so great skill was required in its pursuit by the greyhound.
This particular piece is a watch stand which would have been used to double as a clock on the parlour mantlepiece. It would have held the pocket watch of the man of the house after he returned home in the evening. It is a fine and rare example of a watch holder, obviously made for someone who enjoyed coursing.
February 2019
Cymon and Iphigenia
These figures portray Cymon and his beloved, Iphigenia. In 1700, John Dryden published their story as a poem in his Fables, Ancient and Modern. The tale has ancient roots for Cymon is the hero of The Decameron, a novella by Giovanni Boccaccio written in around 1350. The narrative tells that Cymon's aristocratic father considers him a dolt and sends him to live and work with his slaves in the countryside. In this environment, Cymon becomes increasingly coarse. One day, he comes upon highborn Iphigenia, slumbering in a field. He is so smitten by her beauty that his noble bearing surfaces, and his father reinstates him. Iphigenia is promised to another, but this tale of wars and abduction in the name of love ends happily with Cymon and Iphigenia united for life.
Ralph Wood introduced these figure models into the Potteries in the 1780s. Shortly after, Ralph Wedgwood, a plagiarist extraordinaire, copied them, apparently using the same molds. This pair, titled SIMON and IPHIGENIA in a manner that is typical of Wedgwood, was made circa 1795. The figures have an impressive presence, with Simon standing 9.5 inches tall.
These figures portray Cymon and his beloved, Iphigenia. In 1700, John Dryden published their story as a poem in his Fables, Ancient and Modern. The tale has ancient roots for Cymon is the hero of The Decameron, a novella by Giovanni Boccaccio written in around 1350. The narrative tells that Cymon's aristocratic father considers him a dolt and sends him to live and work with his slaves in the countryside. In this environment, Cymon becomes increasingly coarse. One day, he comes upon highborn Iphigenia, slumbering in a field. He is so smitten by her beauty that his noble bearing surfaces, and his father reinstates him. Iphigenia is promised to another, but this tale of wars and abduction in the name of love ends happily with Cymon and Iphigenia united for life.
Ralph Wood introduced these figure models into the Potteries in the 1780s. Shortly after, Ralph Wedgwood, a plagiarist extraordinaire, copied them, apparently using the same molds. This pair, titled SIMON and IPHIGENIA in a manner that is typical of Wedgwood, was made circa 1795. The figures have an impressive presence, with Simon standing 9.5 inches tall.
January 2019
The year 2019 marks the 200th anniversary of the birth of Queen Victoria who was potted in many forms by the Staffordshire potters. It therefore seems entirely appropriate for us to start this year with a figure of the Queen as our Figure of the Month.
Victoria (Alexandrina Victoria; 24 May 1819 – 22 January 1901) was Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. On 1 May 1876, she adopted the additional title of Empress of India.
Victoria was the daughter of Prince Edward, Duke of Kent and Strathearn, the fourth son of King George III. Both the Duke and the King died in 1820, and Victoria was raised under close supervision by her mother, Princess Victoria of Saxe-Coburg-Saalfeld. She inherited the throne at the age of 18, after her father's three elder brothers had all died, leaving no surviving legitimate children. The United Kingdom was already an established constitutional monarchy, in which the sovereign held relatively little direct political power. Privately, Victoria attempted to influence government policy and ministerial appointments; publicly, she became a national icon who was identified with strict standards of personal morality.
Victoria married her first cousin Prince Albert of Saxe-Coburg and Gotha in 1840. Their nine children married into royal and noble families across the continent, tying them together and earning her the sobriquet "the grandmother of Europe". After Albert's death in 1861, Victoria plunged into deep mourning and avoided public appearances. As a result of her seclusion, republicanism temporarily gained strength, but in the latter half of her reign, her popularity recovered. Her Golden and Diamond Jubilees were times of public celebration.
Her reign of 63 years and seven months was longer than that of any of her predecessors and is known as the Victorian era. It was a period of great industrial, cultural, political, scientific, and military change within the United Kingdom and was marked by great expansion of the British Empire.
Victoria (Alexandrina Victoria; 24 May 1819 – 22 January 1901) was Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. On 1 May 1876, she adopted the additional title of Empress of India.
Victoria was the daughter of Prince Edward, Duke of Kent and Strathearn, the fourth son of King George III. Both the Duke and the King died in 1820, and Victoria was raised under close supervision by her mother, Princess Victoria of Saxe-Coburg-Saalfeld. She inherited the throne at the age of 18, after her father's three elder brothers had all died, leaving no surviving legitimate children. The United Kingdom was already an established constitutional monarchy, in which the sovereign held relatively little direct political power. Privately, Victoria attempted to influence government policy and ministerial appointments; publicly, she became a national icon who was identified with strict standards of personal morality.
Victoria married her first cousin Prince Albert of Saxe-Coburg and Gotha in 1840. Their nine children married into royal and noble families across the continent, tying them together and earning her the sobriquet "the grandmother of Europe". After Albert's death in 1861, Victoria plunged into deep mourning and avoided public appearances. As a result of her seclusion, republicanism temporarily gained strength, but in the latter half of her reign, her popularity recovered. Her Golden and Diamond Jubilees were times of public celebration.
Her reign of 63 years and seven months was longer than that of any of her predecessors and is known as the Victorian era. It was a period of great industrial, cultural, political, scientific, and military change within the United Kingdom and was marked by great expansion of the British Empire.
December 2018
This spill vase was made in Staffordshire circa 1820 by the "Sherratt" pot bank. "Sherratt" figures are known for their whimsical humor, and this vase is no exception. The rampant lion and unicorn stand as they do on Britain's royal coat of arms, but "Sherratt" replaced the traditional shield between them with a clock, perhaps to remind the viewer of the inexorable passage of time. The tiny sheep at the base are yet another incongruous touch, and the identity of the classical lady on the vase's neck remains a mystery.
November 2018
The greyhound or whippet was a popular dog to own in Victorian times and therefore a popular subject for the Staffordshire potter. They were principally a dog of the wealthier classes who used them to pursue the sport of coursing (using dogs to chase and catch hares or rabbits by speed and sight but not by smell). The dogs usually raced in pairs. The sport of coursing has now been banned in the UK.
The Victorian potters made many coursing greyhound and whippet models but these are amongst the best showing a pair standing in typical pose next to a fence.
The Victorian potters made many coursing greyhound and whippet models but these are amongst the best showing a pair standing in typical pose next to a fence.
October 2018
Peace and Justice
This fine pair of figures portraying Peace (right) and Justice (left) was made in Staffordshire in around 1810. Justice holds a sword signifying her power and a scale symbolic of fair measure. Peace is crowned with a laurel wreath. She holds an olive branch in one hand and with the flaming torch in her other hand she burns the weapons of war at her feet.
September 2018
Figures of Victoria and Albert were made in profusion and there are many models illustrated in the Harding directories. However, quality varies and this particular pair are both fine and rare. It is unusual to see a figure of Victoria without either a crown or hat of some description on her head.
These figures were made in two sizes. Albert is the same in both sets but Victoria has been substantially remodeled in the larger size. The figures are either 7.75 or 9 inches tall and are illustrated in the Harding Second Addendum page 52 figs. 477, 477A and 477B.
August 2018
In 1834, the Slavery Abolition Act abolished slavery in Britain's colonies. This figure of a kneeling slave may predate emancipation and perhaps was made to support the abolitionist cause. It is reminiscent of the Slave Emancipation Society medallion that William Hackwood designed circa 1787, bearing the words “Am I not a man and a brother?”
July 2018
Street vendors and street entertainers were commonplace on the streets and at country fairs in Victorian England. This figure is of such a person who would travel from place to place entertaining those he met with his barrel organ and his monkey. This is a big figure -- perhaps 15 inches tall and circa 1870-80.
June 2018
This pair of deer, made in Staffordshire circa 1830, is attributed to the "Sherratt" pot bank. At the time they were made, deer hunting had fallen from favor. By then, deer then, rather than being perceived as quarry, were appreciated as adornments for the estates of the affluent.
May 2018
Another figure which simply depicts rural life in Victorian England. There are plenty of figures that represent sea fishermen and their wives but far less common are fresh water fisherman. This figure shows a man on the banks of a fast flowing stream or river from which he has pulled a fine salmon doubtless to provide a meal for himself, his wife and a large family. There is a pair to this figure but it sits well as a single.
Circa 1860.
April 2018
This pair of figures of Neptune and
Venus was made by the "Sherratt"
pot bank circa 1830. They are after earlier Derby porcelain figures, but the titled bases are typical of "Sherratt". These figures must have been commercially successful in their time because "Sherratt" made them on assorted bases, and Venus can even be found with different heads. The small Cupid at Venus's feet, not
always present on Venus-Neptune pairs from other pot banks, lends a charming touch.
March 2018
This pair of swans would have adorned an ornamental pond in Victorian times. Many large Victorian houses had large heated glass conservatories or orangeries attached to them in which the house owner would grow exotic plants such as ornamental ferns and orchids. These buildings would also often contain a water feature such as a pond containing fish. These pottery swans swam in those ponds to make the whole setting look more authentic. Look how the potters even painted their legs to look as if they were swimming. White with gilt decoration they are circa 1860.
February 2018
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Prince George Augustus Frederick was born on August 2, 1762. He ruled Britain as Prince Regent from 1811 and on January 29, 1820, acceded to the throne as King George IV. He is remembered for his flamboyant preferences that dictated the style later dubbed "Regency", his succession of mistresses, and his troubled marriage that embarrassed the crown. On his death in July 1830, the Times editorialized with brutal frankness, "There was never an individual less regretted by his fellow-creatures than this deceased king... If George the Fourth ever had a friend--a devoted friend--in any rank of life, we protest that the name of him or her has not yet reached us." |
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January 2018
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This is an interesting and unusual figure. It represents an unfortunate soldier or sailor who fought in the Crimean war and whose injuries resulted in him losing a leg or legs. It seems somewhat bizarre perhaps one might say cruel that he should find himself sitting in a shoe which is of course the very thing he will be missing if he has no leg!
The tops appear from time to time but the shoe is often missing and so a complete top with shoe is scarce. This shoe is painted green but it can be pink. The piece is a Crimean figure circa 1856. |
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December 2017
This apparently unique figure group, circa 1825, portrays a once-common sight in parks and on street corners across Britain. In the era before refrigeration, milk cows had to be located within quick reach of consumers. As the French-born American merchant Louis Simond tells in his journal in 1811, in London women bearing milk pails went door to door dispensing a quota of milk that was “as big as an egg, being the allowance of a family; for it is necessary to explain, that milk is not here either food or drink, but a tincture,—an elixir exhibited in drops, five or six at most, in a cup of tea, morning and evening.”
November 2017
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This rare figure depicts a confrontation between a poacher and a landowner. It is truly representative of rural life in Victorian times. There were many families living in the countryside but the size of their families coupled with low incomes meant they often resorted to poaching to find food to eat. Although this was commonplace it was a dangerous thing to do as if caught, the perpetrator would find that his punishment at law would be either imprisonment, deportation to the colonies and hard labour or sometimes hanging. This figure is unusual as it is titled "Poachers". It is well modelled and coloured and dates from circa 1850. |
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October 2017
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In 1828, William Corder went to the gallows for allegedly murdering Maria Marten and burying her body beneath the floor of his Red Barn. The Red Barn Murder was the crime of the nineteenth century, and earthenware portrayals are among the rarest of Staffordshire pottery objects. |
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September 2017
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A pair of Victorian Staffordshire figures, probably depicting street musicians with drums astride Irish setters. Is the bowl for feeding the dog or donations from the public? |
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August 2017
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From Medieval times until 1831, game law restricted ownership of hunting dogs such as this pearlware pooch to landed gentry with sufficient income from land. This barred over 99% of the population from owning hunting breeds. The stars of the canine world then were pointers and setters. Their regal bearing made them gentlemen’s hunting helpmates, and those with good field skills commanded high prices
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July 2017Victorian Staffordshire equestrian figure of Sir Robert Peel, British Prime Minister in the 1830s and again in the 1840s. Peel was instrumental in the creation of the modern British police force, and the police nicknames “bobbies” and “peelers” are a form of tribute to him.
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June 2017
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These fine figures of the poet Geoffrey Chaucer and the scientist Sir Isaac Newton, two men who shaped our world, were made in Staffordshire by Ralph Wood, circa 1785.
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May 2017A rare and large Victorian Staffordshire figure of Britannia seated above a clock face flanked by lions and holding the Union Jack aloft. |
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April 2017 |
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This pearlware watch holder, made in Staffordshire circa 1805, is almost 10 inches high. It depicts Urania, the Greek goddess of truth. Urania is also the muse of astronomy, and for this reason she is usually portrayed holding a globe or compass. |
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March 2017
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An unusual pairing of Victorian Staffordshire animal figures in the form of spill vases with leaping zebras and foxes
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February 2017This splendid gentleman setting out for a day's shooting has his dog at his side. The figure was made in Staffordshire circa 1820. In that time, only gentlemen with income from land of at least GBP100 a year were allowed to hunt game animals. Others who did so risked death or transportation.
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January 2017What better way to start a new year than with man’s best friend: a pair of the ever-popular King Charles spaniels, seated contentedly on cushions.
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December 2016All collectors love dandies, and the cute couple alongside are rather special in that, unlike all other dandies, they stand with a sheep, a goat, and two dogs. Made circa 1820 and only about 5 inches tall, this tiny treasure is the perfect eyeful.
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November 2016With US politics being most newsworthy at the moment, this month's figure is a fine quality figure of Benjamin Franklin, one of the founding fathers of the United States. It was made circa 1845.
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October 2016This stunning spill was made in the Staffordshire Potteries circa 1825 and can be attributed to the "Leather Leaf Group" pot bank. It is taller than most because the vase has been placed atop a plinth. Perhaps for this reason, the lady and gentleman musicians wear rather tall hats!
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September 2016Relatively few fine cat figures were produced in the Staffordshire Potteries during the nineteenth century. This was because cats were not yet widely accepted as domestic animals and were still associated with witchcraft. This fine pair of recumbent cats date to circa 1850.
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August 2016This figure depicts the American actor Thomas Dartmouth Rice in the role of Jim Crow. Rice created the Jim Crow routine in the US circa 1828 and performed it on the London stage in 1836. His performance was a sell-out, and Jump Jim Crow quickly became an international song and dance sensation. This figure was made circa 1836. Jim Crow figures were also made in the Victorian era. |
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July 2016
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June 2016
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May 2016
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Victorian Staffordshire potters produced figures of contemporary royalty in great abundance. They potted many figures of Queen Victoria and Prince Albert and their large family, but they fashioned far fewer figures of royals of bygone times, such as this fine example of Henry VIII and Anne Boleyn.” |
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April 2016
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This petite pearlware figure of a chimney sweep alongside a woman, circa 1815, recalls the "climbing boys" (sometimes younger than six) who were forced to scale chimneys. This perilous occupation took its toll on the health and sometimes claimed the lives of these children who were dubbed "English Slaves."
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March 2016
“Babes in the Wood” is usually a relatively common and uninspiring Victorian figure, but this particularly early circa 1840 version is quite superior in both quality and decoration.
February 2016
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This piper and his companion tambourine player are among the earliest of enamel-painted figures. They were made by James Neale circa 1780, and she is impressed with the NEALE & CO. mark beneath. |
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January 2016
A classic pair of “man’s best friend” to start the new year. This pair of spaniels standing on pink bases decorated with leaves is known as “Majesty & Grace” and was made circa 1850.
December 2015Titled on the plaque on the base DR SYNTAX STOPPED BY HIGHWAYMEN, this months figure is after a Thomas Rowlandson engraving by the same title. Rowlandson's illustrations on the Dr. Syntax theme inspired William Combe's amusing Dr. Syntax poems, published from 1809. This figure is attributed to Patriotic Group. H: 8.6”. It is very rare, all other recorded examples having lost the highwayman from the base. |
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November 2015This month's photo is prompted by the furry devils that are coming into our garden at this time of the year, burying nuts from our neighbors' trees in everything from garden borders to small pots. Squirrels are quite rare in Staffordshire pottery, and this 9.5” tall version decorated in the manner of the Thomas Parr factory is a rarity in Victorian Staffordshire. |
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October 2015
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A rare armorial container with removable stopper. The purpose of the container is unknown. It seems ill-suited for use as either a vessel for liquid or a spill vase, so perhaps it was intended to be purely decorative. Made circa 1820.
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September 2015
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The Staffordshire potters of the early nineteenth century reflected the public interest in wild animals popularized by the traveling menageries. This fascination continued into the Victorian era. Leopards like this fine pair are rare and desirable. Made circa 1850.
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August 2015
Most performing bear groups have a little lion (in reality, a dog dressed in a costume and wig) in the foreground, but now and again there is a monkey instead, as seen in the group alongside.
Notice the stiff leathery-looking bocage leaves, the long leaves on the base, and the distinctive flowers. These all confirm attribution to the unidentified pot bank dubbed the Leather Leaf pot bank.
Notice the stiff leathery-looking bocage leaves, the long leaves on the base, and the distinctive flowers. These all confirm attribution to the unidentified pot bank dubbed the Leather Leaf pot bank.
July 2015
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The figure was described in P.D. Gordon Pugh’s Staffordshire portrait figures book as “MONKEY PLUCK." The monkey has a pannier in its back, and a barrel at its side. Legend has it that monkeys were trained by monks to pick the choice inaccessible “cloud mist” green tea leaves. Hence the name monkey pluck. |
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June 2015
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This stunning bear baiting group was formerly in the Hope McCormick Collection. The bear's appealing expression and the man's comic pose offset the savagery of the scene. The once-common sport of bear baiting was banned in England in 1835, so this rare group, made circa 1820, is a last reminder of a sport that was once too common.
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May 2015
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A rare Victorian Staffordshire titled figure "DON'T YOU WISH YOU MAY GET IT" depicting a dog trying to get to a monkey, the dog tethered to a kennel. Made circa 1860. |
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April 2015
Figures impressed "TITTENSOR" are so rare that this figure couldn't resist sporting its rear view, complete with three marks. Unlike most bocage figures, which are enamel-painted, this group is decorated in under-glaze colors. And whereas most little bocage shepherds and shepherdesses stand on individual bases, here the bases are combined to form one unusual arrangement. Tittensor groups are particularly naive, and that just adds to their charm.
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March 2015This very rare figure portrays George Hudson (1800 - 1871), who inherited a fortune and used it to invest in the early railroad. Hudson came to control one-third of England's railways and he was known as "The Railway King," but in 1848, his financial mis-dealings were exposed. He lost his money and died in obscurity.
"RAIL WAY BILL" is painted alongside the figure because Hudson opposed the Railway Bill that introduced government oversight of private railways. |
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February 2015This particularly rare figure portrays Maria Malibran (1808–1836), a renowned beauty and an international mezzo-soprano of extraordinary vocal range and power. In 1836, Miss Malibran suffered permanent head injuries when falling off a horse. Thereafter, she performed a handful of times before collapsing on the stage in Manchester in September 1836 and dying days later
The figure is approximately 7.5" inches tall and was made circa 1835. The design source is an engraving for the Dramatic Magazine after A. M. Huffman by J. Rogers. |
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January 2015
This rare and (so far) unrecorded Victorian Staffordshire figure, circa 1850, depicts spaniels on either side of a watch holder and is surmounted by a candle holder.
The figure stands 8.75" tall and is 8" wide. It is reminiscent of the early pearlware "Royal arms" groups. If you have seen another figure like this, please contact us.
The figure stands 8.75" tall and is 8" wide. It is reminiscent of the early pearlware "Royal arms" groups. If you have seen another figure like this, please contact us.
