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: 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: 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.

Sculpture of the Day: "Filch" from "The Beggar's Opera," 1920

Arnold Pilbeam as Filch from "The Beggar's Opera," 1920
The Victoria & Albert Museum

This Staffordshire figure by an unknown artist depicts early Twentieth Century actor Arnold Pilbeam as the character of “Filch” from Nigel Playfair's celebrated revival of John Gay's “The Beggar's Opera” which opened at the Lyric Theatre Hammersmith in June of 1920.  The production was designed by Claud Lovat Fraser with music re-written and supplemented by Frederic Austin.  This ballad opera featuring traditional tunes and took London by storm.

The revival ran for over three years to much acclaim and its popularity spawned a surprising number of figurines in porcelain and wax representing moments from the show.  This figure is an excellent example of the type of souvenirs produced during the run of the show.  Here, the character stands in a lime green full-length coat much like the actual costume worn in the show.

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: The Staffordshire Elephant, 1866

Staffordshire Elephant
England, 1886
The Victoria & Albert Museum

This earthenware figure of an elephant with a howdah (the carriage on his back) and a figure seated on top was made in Staffordshire, England in 1886 by an unknown modeler.

The figure has been lead-glazed and is painted with a brilliant palette of enamel colors. 

I just love this figure.  It's a real treat.  And, speaking of treats, we'll have this week's "Treat of the Week" on Friday, so make sure to stop by, then.

To Serve and Project: The Elliot “King George III” Tobacco Jar

Tobacco Jar
Staffordshire Porcelain Factory
1780-1800
The Victoria & Albert Museum

Tobacco jars often were modeled as portrait busts.  This earthenware jar with a white, yellow, brown and green glaze is meant to represent King George III.  He looks rather potty, yes?

This was made between 1780 and 1800 in Staffordshire.  So, by then His Majesty was well on his way to Crazy Town.  I wonder if he ever tried to take off the top of his head and root around for tobacco in there.  I kid, of course.  Nice wig, too.  I think that whole Revolution Kerfuffle wasn't a beauty treatment.

Figure of the Day: Joseph Grimaldi (Joey the Clown), 1840

Staffordshire Flatback, 1840
Joseph Grimaldi (Joey the Clown)
The Victoria & Albert Museum

1837 saw a new trend in production for the porcelain makers of Staffordshire when they introduced lead-glazed earthenware flat-back figures of Queen Victoria. These figures were painted in enamels on the front while the back, (which was, you can guess, flat) was left white. In tended to be displayed on a mantelpiece, sideboard or any location where the reverse of the piece was against a wall, these figures quickly became popular.

Flatbacks were soon produced depicting a variety of subject from Royalty and historic figures to actors and celebrities. The modelers often referred to popular prints of the day in order to find subjects and depict them somewhat accurately.

This one is modeled after a print of the famed Regency Panto clown Joseph Grimaldi (Joey the Clown, 1779-1837) who found much success with “Mother Goose” in 1806 at Covent Garden. Grimaldi was revered as a comic singer, a daring acrobat and as a performer who could make dozens of unexpected costume changes during his routine. He was so renowned that, to this day, the name “Joey” is often used as a nickname for a clown. This Staffordshire figure is dated to about 1840, but, sadly, we have no way of knowing the name of the modeler.

Figure of the Day: The Staffordshire Harpy, 1780-90

Harpy
Burslem Factory, Staffordshire
1780-1790
The Victoria & Albert Museum

Here’s a nifty Staffordshire figure. Not the usual happy scene or elegant portrait, this lead-glazed earthenware figurine depicts a harpy seated on a four-lobed oval base.

With the head of a lady and a bird’s wings and tail, she’s got the body of a lion. And just to make sure that she’s fancy enough for you, her tail is also a whistle! Well, well…that’s handy. She was made between 1780 and 1790 at the Burslem Factory in Staffordshire.  

Figure of the Day: The Death of Munrow, 1830

The Death of Munrow
Staffordshire, 1830
The Victoria & Albert Museum

Though rather naïve in its modeling, this ceramic sculpture depicts a serious subject--the death of Lieutenant Hugh Monro (Munrow), a young British army officer serving in India, who was mauled by a tiger while picnicking on a hunting trip in 1792. 
Monro's gruesome death is thought to have been the inspiration for the creation of the automaton and mechanical organ called “Tippoo's Tiger” which is one of the V&A's most popular exhibits.  “Tippoo's Tiger” was created for the Indian ruler Tipu Sultan, who was said to have loathed the British so deeply that he commissioned the piece showing the dominance of India over Britain. 
This ceramic Staffordshire group from 1830 mirrors the design of the famed automaton, causing one to conclude that the modeler must have seen images of Tippoos Tiger which was a popular theme for engravings.  


Here, Monro reclines at the feet of the tiger, wholly unaware of his fate.  Monro was  molded from a model for a standing figure of a military hero.  The piece is brightly enameled and labeled as, “THE DEATH OF MUNROW.”  

Object of the Day, Museum Edition: An Ironstone Staffordshire "Punch & Judy" Mug, 1975

The Victoria & Albert Museum 

A transfer print of Mr. Punch's vocal puppet bride, the ever-lovely Judy graces this ironstone pottery mug which was manufactured in Staffordshire as one of a set of six mugs featuring the Punch and Judy characters of Mr. Punch, Judy, Dog Toby, the Crocodile ("who is going to eat you"), Joey the Clown and the Constable. 

Staffordshire Potteries specialized in producing utilitarian home-goods in the 1970s--among them: plates, bowls and mugs of ironstone pottery.   This sort of pottery was a durable, porcelain-like ceramic developed in the Staffordshire potteries area during the early 19th century, making it particularly suitable for mass production. 

According to our chums at the Victoria & Albert Museum, "The term 'ironstone' was patented by Charles James Mason, who issued wares with the backstamp 'Mason's Ironstone China'."

Made in 1975, this ironstone pottery mug is printed with a pink and orange image of Judy holding her baby and a bright bunch of flowers.  The baby is punctuated with a speech bubble inscribed: "Boo-Hoo."  

The base of the mug is imprinted with a mark in black ink: 

Staffordshire Potteries Ltd. Ironstone. Made in England

And the impressed mark:

MADE IN ENGLAND

The Victoria & Albert Museum

Sculpture of the Day: A Staffordshire Figural Group of Queen Victoria and Prince Albert, 1840-1850

Figural Group
Staffordshire, 1840-1850
The Victoria & Albert Museum

As we’ve seen, the very first Staffordshire figures depicted Queen Victoria and Prince Albert. The two continued to be popular subjects throughout the manufacturing of such figures, and these are the figures which claim the highest prices today.


Here, we see a figural group of a man and woman who are meant to represent Queen Victoria and Prince Albert as they would have been seen taking a stroll in Hyde Park. The figures are lead-glazed earthenware and date to about 1840-1850.

Figure of the Day: Billy Waters, 1823-1830

Billy Waters
1823-1830
Staffordshire Porcelain Factory
The Victoria & Albert Museum

In the early Nineteenth Century, it has been recorded that several Britons of African descent worked as street entertainers. These men were well-known throughout London, garnering good reputations for their remarkable talents and many charms. Perhaps the most famous of these was Billy Waters who, among with several of his counterparts, has been immortalized in British art and literature.

Billy Waters had served in the British navy, and, while in service lost a leg. While he received a Navy pension, it wasn’t enough to maintain his family in their home in the London parish of St. Giles. In order to pay all of the family bills, Waters turned to working as a busker. He became quite well-known—immediately identifiable for his peg-leg and feathered hat. He was famously sketched by George Cruikshank who also brought us some of the earliest drawings of Mr. Punch. Waters usually performed outside the Drury Lane Theatre, paying his violin to entertain the posh of London coming and going to the fashionable shows. Waters’ dog, his constant companion, is said to have held a hat in his mouth, entreating passersby to deposit coins in it. He was sketched outside the Drury Lane by Cruikshank who had the drawing published in Pierce Egan’s “Life in London” in 1821.

“Life in London” was transformed into a monumental operatic piece by W.T. Moncrieff. The show opened at the Adelphi Theatre in 1821 with Billy Waters as a character. Sadly, Waters received nothing from being represented in the extravaganza and was given no extra publicity for having his life immortalized on the stage. Had he been compensated for the use of his name and likeness, he might not have died two years later at the age of 45 in a workhouse. Shortly before his death, at least, he was recognized by his fellow buskers and declared “The King of the Beggars.”

Somehow, greater fame found Waters after his death. This Staffordshire figure depicts the Beggar King with his familiar costume. He’s playing his violin while waving his wooden leg in the air. Waters ever-present and loyal canine companion is depicted at his side—holding the hat. The figure was made between 1823 and 1830. 

Sculpture of the Day: The Prince and Princess, 1845-1850

Princess Victoria and Prince Edward
Staffordshire, 1845-1850
The Victoria & Albert Museum

Staffordshire figures often depicted popular people of the era. As we know, when these figures were first produced in 1840, the first subjects were Queen Victoria and Prince Albert, so it’s only fitting that their children would also find themselves to be the subjects of these colorful porcelain sculptures.

Here we see a figure group of lead-glazed earthenware depicting Edward, Prince of Wales and his sister, Victoria, the Princess Royal—the first two children of the Queen and her consort. The Princess Victoria was the first born and was heiress presumptive to throne until the birth of her brother who, being male, took precedent in his place in the line of accession—later becoming King Edward VII.

Princess Victoria is riding in a carriage drawn by a horse on which the Prince ridden by the Prince. The oblong base is decorated by a scrolled front picked out in gilding, and inscribed “PRINCE AND PRINCESS” in black.

Figure of the Day: Conquer or Die, 1830

Conquer or Die
Staffordshire, England
C. 1830
The Victoria & Albert Museum

This Staffordshire figure group of lead-glazed earthenware is adorned with enamel colors. The group of a man and a woman appear to be fighting over a pair of breeches. They stand in front of a fireplace with a large clock above. Plaques on either side of the seen read: “Conquer or Die” and “Who shall ware the breches (sic).”

This novelty piece refers to a familiar theme which was especially common in English and Dutch comic art as well as the theatre of the day…or, even, this day. 

Figure of the Day: Gaffeir, the Pasha of Abydos, 1850

Mr. Barton as Gaffeir, the Pasha of Abydos
Staffordshire, 1847-50
The Victoria & Albert Museum

Earthenware flatbacks and figurines for mantelpiece decoration first came to be produced in Staffordshire in the late 1830s with the earliest models depicting Queen Victoria and Prince Albert. As these figures rose in fashion, other subjects were depicted ranging from the political to the theatrical.

This figure from Staffordshire represents the actor, “Mr. Barton” who played the moustachioed “Gaffeir, the Pasha of Abydos,” in “The Bride of Abydos” at Astley's Circus in 1847. Based on Byron’s 1813 poem, the play was adapted for the stage William Dimond and it was first performed at Drury Lane Theatre in 1818.

Figure of the Day: The Duke of York in Staffordshire Porcelain, 1810-20

Bust of Prince Frederick, Duke of York and Earl of Ulster
Staffordshire, 1810-1820
The Victoria & Albert Museum

Made in Staffordshire, England, between 1810-1820, this bust of lead-glazed Earthenware depicts the Duke of York and is marked as such. This piece pre-dates the flatback pieces which made Staffordshire porcelain famous.

At this time, the Duke of York was Prince Frederick of the House of Hanover who was also styled as the Earl of Ulster.

The Art of Play: A Child's Chafing Dish, 1912-1918

Chafing Dish
1912-1918
Staffordshire
The Victoria & Albert Museum

Teddy bears had become very popular very quickly at the beginning of the 20th century.  Not only were the actual bears themselves all the rage, but depictions of teddy bears began to appear on a variety of objects.

Of great interest to many was the idea of bears behaving like humans.  This was a popular theme for many a drawing, and such images began to adorn all sorts of items—both for adults and children. 

Here’s one such item designed for a child.

On this dish, we see images of bears performing various sporting activities including cricket, football, skating and golf. It’s a chafing dish--when filled with hot water, the metal base kept the child's food warm.  Seems like a recipe for scaling to me.  But, what do I know?  Other such dishes showed bears dressed in suits and gowns for an elegant  ball.

The dish was made in Staffordshire between 1912 and 1918 by John Aynsley & Sons Ltd.  

Object of the Day, Museum Edition: Henry V Trying on the Crown, 1847

Henry V Trying on the Crown
Staffordshire, 1847
The Victoria  Albert Museum

"Flatbacks," as they are known for the shape of their backs, and Earthenware figurines for mantelpiece decoration by Staffordshire became popular in the mid-1830s. We’ve looked at the earliest datable figures by Staffordshire—those of Queen Victoria—and we’ve seen that until about 1905 many figures were produced of popular people and scenes representing a wide variety of subjects. 

This figure dates to 1847 and depicts Henry V trying on the crown. This, obviously, is meant to mimic a scene of Henry V from the play which bears his name. According to the V&A, “Although the play Henry V was staged in the early 19th century, by Macready in 1819 and Kean in 1830 and 1839, who both starred as the King, we do not know if this figurine represents any specific actor.”

Clearly, however, the figure is modeled on an engraving which itself was based on a painting that had been displayed at the Westminster Hall in 1847. The painting was John Calcott Horsley's painting Henry V and showed the moment when the Prince of Wales, believing the King to be Dead, takes the crown from the cushion and places it on his head.

Of course, much drama ensued. However, this quiet figurine exists simply to look lovely and does a fine job of it.

Figure of the Day: Samson and the Lion, 1860

Samson and the Lion
Staffordshire Group, circa 1860
The Victoria & Albert Museum

Painted with enamel colors, this Staffordshire figure group of a lion tamer may depict Samson forcing open the jaws of a lion. Made circa 1860, this molded lead-glazed earthenware flat-back was just one of many popular scenes produced by the Staffordshire factory.