Figure of the Day: John Liston as “Paul Pry,” 1820-29

John Liston as Paul Pry
1820-1829
The Victoria & Albert Museum

This Staffordshire figure, made in the 1820s, depicts John Liston (1776-1846), considered one of the leading comic actors of his day. The figurine shows Liston in character as “Paul Pry” in the play of the same name. This was one of the actor’s most famous roles and, therefore, this is one of several different figurines of Liston as Pry, the nosy and interfering star of the comic play by John Poole, which were produced in the 1820s—each modeled after contemporary engravings. 

Liston made the annoying character seem quite charming, somehow. The play enjoyed considerable success and, even, introduced several of the character’s catch-phrases into the popular vernacular. By 1825, people were quoting “Pry,’ with: “I hope I don't intrude,” “Just dropped in,” and “It's nothing to me,” with considerable gusto, and, soon, the name Paul Pry became a colloquial term for a busybody.

Figure of the Day: A Fool's Head, the Jet Jester, 1550-1700

Spanish Jet Figure, 1550-1700
The Victoria & Albert Museum

Small figures of jet (a particularly dense type of coal which can be carved and polished) like the one pictured above, especially in Spain, were created to seems to signify that a pilgrim had completed his or her journey, and reached the shrine of St James (the patron Saint of Spain) at the Cathedral of Santiago de Compostela. This was a trek which pilgrims made for well over the course of six hundred years, from the twelfth to the eighteenth century.


Many jet figures like this seem to have been drilled with holes to form beads for rosaries. From the earliest times, medicinal and magical qualities were assigned to jet which could be found in different parts of Europe (as well as North America).

This jet piece, which is larger than most, represents a fool's head and its precise function is uncertain. Perhaps it was the pommel of a jester's stick and may have been used during the “Feasts of Fools” when “the holiest offices and orders were made matters of the lightest jesting.”

The grinning portrait head has stylized tightly-curled hair, a large nose, wrinkled forehead and a ruff-like collar set on a bulbous base, on which are carved three shells. A smooth disc is carved on the back. It was made in Spain between 1550 and 1700.

Figure of the Day: A Victorian Fairing, 19th C.

Porcelain Fairing
Germany, 19th C.
The Victoria & Albert Museum

Fairings were small porcelain objects (boxes, little cups, vases, etc) of a figural design which were given out as prizes and trinkets at village fairs in Victorian England.  They’re relatively difficult to come by these days since they weren’t really as appreciated at the time as they are today.

The body of this Nineteenth Century fairing is of white porcelain with two figures on the base. One shows a seated man in a dressing gown and night-cap while the other is depicts a woman in casual day attire and a hat, carrying a folded umbrella.  A wee chest of drawers stands behind the figures. The front of the base is outlined in gilding, inscribed with “Missus is Master.”  Ha!

This, like most of the fairings used at British fairs was made in Germany.  Of the factories making them by far the most prolific was Conta and Boehme of Pössneck in Saxony. The subjects of these pieces vary from the innocent (playing children or animals or puns) to the saucy (bedroom frolics or the purely suggestive).

Figure of the Day: The Flower Girl, c. 1760

The Flower Girl
The Bow Porcelain Factory
The Victoria & Albert Museum

This figure from the Bow Porcelain Factory depicts a young woman with a basket of flowers. She symbolizes Springtime with her basket of flowers, her pink bodice and green corsage and diapered skirt of red, yellow and green. Blue circles and stars adorn her outfit and match her blue shoes—topped by pink rosettes.

She’s wholly Rococo on her circular base with applied leaves. This work of soft-paste porcelain painted with enamels and gilding followed the French fashion of porcelain figural groups designed for the dessert table. 

Figure of the Day: The Orange Girl, 1770-1784

The Orange Girl
Niderviller Pottery Factory
France, 1770-1884
The Victoria & Albert Museum

Here’s another attractive French porcelain figure which, once, would have graced an elegant dining table in a wealthy household. She would have once been joined by similarly attired figures, but now, she stands alone.

With her pyramid of oranges supported on a tray, she’s clearly an orange seller. Given her station, however, she’s dressed quite well--in that fantastical way in which peasants were portrayed in these figure.

This is the work of the Niderviller Pottery and Porcelain Factory, dating somewhere between 1770 and 1784.

Figure of the Day: A West Pans Romantic Group, 1764-1770

Figural Group and Candle Holder
West Pans Factory
Scotland, 1764-1770
The Victoria & Albert Museum

A work of soft-paste porcelain, oil gilded, this figural group is the work of the West Pans Factory in Scotland.  It was made between 1764 and 1770.

The group depicts a pair of young lovers, under a wreathed, semi-circular arbor surrounded by blooming trees and roses.  The stems twist to form a handle and, at the top, is a convenient taper holder.  

Beautiful and functional, it's a perfect representation of the handsome work of Scottish porcelain factories of the middle-late Eighteenth Century.

The Victoria & Albert Museum

Sculpture of the Day: The Sense of Smell, c. 1752

The Sense of Smell
Derby Porcelain Factory

Modeled by Agostino Carlini (1713-1790) for the Derby Porcelain Factory between 1752 and 1755, this figure group of soft-paste porcelain is gilded and painted with enamels. The group comes from a series which depicted the senses. This one represents the sense of smell and depicts a woman holding a nosegay. She looks away from a curiously-bald child on a stool. The child is reaching for a flower to add to those already clipped. 

Figure of the Day: Fanny Kemble, 1840

Fanny Kemble
Staffordshire, 1840
The Victoria & Albert Museum

As I’ve mentioned before, the earliest Staffordshire earthenware flatbacks depicted Queen Victoria. The popularity of these Royal portraits gave rise to portraits of notable public figures, often celebrated entertainers and actors.

This Staffordshire flatback depicts the actress Fanny Kemble and is based on an 1829 engraving by Richard J. Lane, after a drawing by Sir Thomas Lawrence. Frances “Fanny” Anne Kemble (1809-1893) was the daughter of the famed actors Maria and Charles Kemble and one of the long acting dynasty which had dominated the British stage since the late Eighteenth Century. 

Fanny made her debut on stage at the age of nineteen as “Juliet” at the Covent Garden Theatre. She found fame both in England and in the U.S. where she was married to a Philadelphia businessman.

Figure of the Day: The Banyan Man, 1760-1780

The Banyan Man
France, 1760-1780
The Victoria & Albert Museum

The work of The Lunéville Pottery Factory in France, this wholly Rococo figure of a standing man was made to appeal to the Eighteenth Century fascination with the exotic and the asian. The figure is dressed in a turban and a banyan, and is likely a lost member of a set of dessert figurines.

The figure was made of tin-glazed earthenware adorned with enamel colors and dates between 1760 and 1780. 

Figure of the Day: An Actor, 2nd C. BC

An Actor
Etruscan, Second Century B.C.
The British Museum

Made in Italy in the Second Century B.C., this terracotta figure depicts a comic actor. As was the theatrical style of the time, the actor has donned a mask. This mask is a broad representation of a bald slave. He carries something in his hand, but what? Is it a purse? We’re unsure. The figure was found in Carino, Italy and is an excellent representation of the figural work of our Etruscan forebears.

Figure of the Day: Two Putti with Grapes, 1762-1770

Figure Group
French, c. 1760
The Victoria & Albert Museum

The work of the French Crépy-en-Valois Porcelain Factory, this figure group depicts two blond puttis seated face-to-face. Each one is holding a bunch of grapes. Figures like this one were designed to represent the seasons. Typically, those holding grapes denoted Autumn.

The soft-paste group, painted in enamels, was made between 1760 and 1770.

The underside is marked “D.C.O.” Interestingly, the enamel that we see on this figure is a later addition. For years, the piece was attributed to Mennecy, however, that attribution was amended when it was noticed that the figures had been re-fired with newer enameling.

The Home Beautiful: A Figure of Caritas, c. 1759

Caritas
Germany, 1759
The Victoria & Albert Museum

Made in Fürstenberg, Germany (presumably where the family of Diane is von), this figure group of hard-paste porcelain depicts a woman wearing a head-cloth and a flowered smock. Seated upon the sort of Rococo base one would expect from a German figure of the 1750s, the woman is nursing a child while other children are flitting about in various stages of dress. The group obviously is meant to represent Caritas (Charity). It’s the work of the Fürstenberg Porcelain Factory’s chief modeler Johann Christoph Rombrich and dates to about 1759. 

Figure of the Day: Charity, A Staffordshire Figure, 19th C.

Charity
From a Series of the Virtues
Staffordshire, England
C. 1838
The Victoria & Albert Museum

This early Staffordshire figure is part of group meant to depict the virtues of Faith, Hope, Love and Charity. Here, we see Charity in porcelain painted in enamel colors. She is portrayed as a woman in a white robe which is edges in red and covered with a pattern of floral sprigs. 

Charity carries a baby on her left arm as a small child stands by her right side. The rocky, polychrome plinth/mound upon which she stands has been inscribed with her name and is accentuated by a thin, red stripe.

Figure of the Day: A Victorian Fairing, 19th C.

Fairing
German, 1887
The Victoria & Albert Museum

Fairings were so-called because they were given out as prizes and souvenirs at Victorian fairs. These porcelain trinkets were often made in Germany for the English market. Here’s another great example of a Nineteenth Century fairing.

The body of this piece is made of white porcelain which has been coated with a brilliant, shiny glaze. The base is typical of these objects—a moulded rectangle fitted with scrollwork at the reverse.

These objects often depicted comical scenes. The group here depicts two women in sporting dress, each on a bicycle. They are about to collide, prompting the caption:A dangerous encounter. 
This fairing is marked :

'1887', 'OM', 'I'

Like most fairings, this one was made in Germany. Many German porcelain concerns had lines of inexpensive fairings, but certainly the most prolific was Conta and Boehme of Pössneck in Saxony.

The firm was established in 1790, specializing in small porcelain pieces such as dolls' heads and, from about 1855-1860, in these fairground trinkets. The subject matter of the figural groups varied from the most innocent (children, pigs, dogs, simple puns) to the frankly ribald (naughty frolics and dirty jokes). Sometimes, the figures would lampoon contemporary politics or society with caricatures or scenes which were considered timely or humorous. The ladies on their bicycles that we see here are demonstrative of that theme.

Figure of the Day: A Victorian Fairing, 19th C.

Porcelain Fairing
Germany, 19th C.
The Victoria & Albert Museum

Fairings were small porcelain objects (boxes, little cups, vases, etc) of a figural design which were given out as prizes and trinkets at village fairs in Victorian England.  They’re relatively difficult to come by these days since they weren’t really as appreciated at the time as they are today.

The body of this Nineteenth Century fairing is of white porcelain with two figures on the base. One shows a seated man in a dressing gown and night-cap while the other is depicts a woman in casual day attire and a hat, carrying a folded umbrella.  A wee chest of drawers stands behind the figures. The front of the base is outlined in gilding, inscribed with “Missus is Master.”  Ha!

This, like most of the fairings used at British fairs was made in Germany.  Of the factories making them by far the most prolific was Conta and Boehme of Pössneck in Saxony. The subjects of these pieces vary from the innocent (playing children or animals or puns) to the saucy (bedroom frolics or the purely suggestive).

Figure of the Day: Mother Goose, 1890

"Mother Goose"
Staffordshire
1890
The Victoria & Albert Museum

From Staffordshire, this figurine represents Mother Goose--the subject of the fairy tale which appeared in a French collection published by Charles Perrault and was translated into English in 1729.

Made in 1890, the figure may have been produced because the fairy tale was a generally popular subject, or, most likely because of a theatrical production which was opening at the time. We should note that much earlier in the Nineteenth Century the clown Grimaldi (who was the model for Mr. Punch’s friend, Joey the Clown) had made his name in the Covent Garden production of Dibdin's pantomime “Mother Goose,” or, “the Golden Egg.”

The figure of Mother Goose is shown on goose-back, on a circular colored base, holding a broom in her right hand. She is wearing a white striped hat, a mauve shawl, a green bodice and an apron over a white shirt.

Figure of the Day: Harlequin with a Bird Cage, 1743

Hard-Paste Porcelain Figure of Harlequin
Meissen, 1743
The Victoria & Albert Museum

Modeled by the famed Johann Joachim Kändler (1706-1775) for the Meissen Porcelain Factory in Germany, this figure of Harlequin is crafted of hard-paste porcelain. The impish character from the Commedia dell’Arte is depicted seated on a grass-topped rock upon which a bird cage is resting. In his hand, he holds a green bird. However, at his feet is a crouching cat—not a good sign for the bird.

Such figures were made, as this one was, in the Eighteenth Century to adorn the dining tables of luxurious households during the dessert course. A renewed interest in these figures developed during the Victorian era. Many members of Britain’s upper-classes, including the Royal Family, collected these Eighteenth Century figures, actually spurring the creation of then-new figurines in the same style.

Figure of the Day: The Bronze Jester Candlestick, 15th C.

Bronze Candlestick
Germany
Fifteenth Century
The Victoria & Albert Museum

This handsome Fifteenth Century bronze figure heralds from Germany and takes the form of a fool or jester on a triangular molded pedestal adorned with three apes, of course, and resting on three lions.

But, this isn’t just a sculpture.  He’s a useful fool.  You see, with his extended left hand, he would support a candle which would rest upon his shoulder as he looked up at the flickering light. 

I think this is a very attractive and unusual piece, and exceedingly modern for having been made in the 1400s.  

Figure of the Day: Earth, 1772-1775

Earth
Bristol Porcelain Factory, 1772-1775
The Victoria & Albert Museum

Made between 1772 and 1775, this hard-paste porcelain figure is the work of the Bristol Porcelain Factory. Painted in enamels, we have a figure of Earth as a young man with a cloak of dark brown thrown over his shoulders. His sleeveless tunic is adorned with a floral design and, on his feet, he wears purple sandals. His attributes, appropriate for his role, are a basket of produce, a rake and a hoe.

This is one of four figures—emblematic of the Elements: Earth, Wind, Fire and Water—which were produced during the early 1770s by the Bristol factory. 

Figure of the Day: The Young Peddlar, 1760

The Victoria & Albert Museum

This figure in soft-paste porcelain painted in enamels and gilding depicts a young, male Jewish peddlar. A basket of bottles is slung from his shoulders and he wears a fur-lined turquoise-green jacket, striped trousers, black shoes and a fur-lined red cap.


Made in 1760, this figure is the perfect example of the kind of porcelain ornaments produced in Derby in the Eighteenth Century. From the fine modeling of the figure to the applied flowers on the base, it’s the quintessential representation of the skill of the Derby Porcelain Factory.

The subject is clearly identified as a young Jewish man by his fur-lined cap and jacket—traditional garb for English Jews in the Eighteenth Century.