A charming and very elegant pair of small figures depicting the young Prince of Wales and Princess Royal riding on ponies.

The Princess sits side-saddle with a whip in her right hand. The Prince sits facing forwards. Both children wear plumed hats, and are modelled atop ornate, gilded rococo bases.

Examples of these figures can be found titled, or without independently modelled limbs. While these two lack titles, they do boast independently modelled elements - the outward legs of the ponies and the children’s arms.

These delightful figures display beautifully and are offered in very good restored condition. There is professional restoration to the ponies’ ears; and a professional, invisible repair across the Prince’s waist.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 186, figs 588 and 589

Height: 7.25”

Date: c. 1845

A very sweet and well made little figure depicting a hunter with a dog.

The hunter, standing by a gate, wears a green jacket with yellow patterned breaches and has a rifle leaning on his right leg. A little russet and white dog stands at his side.

This is a really charming figure with an unusual degree of detail and impressive modelling on display given its size.

It is offered in very good condition with no signs of damage or repair. There is some flaking to the enamels, particularly on the back of the hunter’s jacket.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Second Addendum, p. 163, fig. 1828F

Height: 4.25”

Date: c. 1850

An exceptional and very desirable porcelain figure depicting a dog of indeterminate species, standing in a hangdog attitude with a gilded collar and chain fastened to the ground.

Some iterations of this figure have been attributed to Samuel Alcock and it is entirely possible that this figure is Alcock as well.

This is a superbly well composed and modelled figure, full of lifelike charm and quality. One of the finest canine figures of the period.

It is offered in good condition with a professional repair to the front-left leg and invisible restoration to the tip of the left ear. There is a small, discreet chip to the back of the base (not visible when displayed).

Reference: [Similar figure] A. & N. Harding, Victorian Staffordshire Dogs, p. 104, fig. 2733B

Height: 4”

Date: c. 1840

An exceptionally large and impressive matched pair of figures depicting the Italian revolutionary Giuseppe Garibaldi and the English playwright William Shakespeare, attributed to Sampson Smith.

These figures are among the tallest produced by the Victorian potters.

Each man stands easily, one leg crossed in front of the other, leaning on a tall ornate column. Garibaldi wears a sword on his right hip, and Shakespeare leans his elbow on a pile of books atop the column. The titles of each figure (‘Garibaldi’ and ‘Shakespeare’) are written in gilt cursive script on the bases.

While there may always be some doubt, it is assumed that the two figures form a pair, and that the reason that such disparate historical figures should have been depicted together is that Garibaldi visited Britain in 1864, coinciding with the tricentenary celebration of Shakespeare’s birth.

Both figures present excellently and are in generally good condition. Garibaldi has a lengthy crack running along the line of the press-mould join, but this seems to be relatively stable. Shakespeare has some small, superficial surface chips in places, including the collar, and some discreet firing flaws along the line of the press-mould join. Both figures have a small degree of enamel flaking. Despite the imperfection to Garibaldi, these figures make for a fabulous and very imposing display.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. H574, pl. 2, fig. C280; and pl. 3, fig. 3

Height: 19”

Date: c. 1864

A fabulous figure depicting a sailor with his arm around a woman, made at the time of the Crimean War.

The sailor wears a striped sailor’s shirt, cobalt jacket, and orange necktie. He holds a cap to his head, as though blown by the wind. His girl wears a cobalt jacket, patterned skirt, and a large pink shawl. They are modelled atop a naturalistic base.

This is a lovely presentation of this figure, which is often found sparsely coloured. It is beautifully composed rich textures.

It is offered in very good condition with no damage or loss. Some small flakes to the black enamel have been very discreetly retouched, and there are some sparse flakes to the girl’s skirt.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 240, fig. 846

Height: 9.5”

Date: c. 1854

A charming figure depicting a gentleman and lady standing together under an umbrella.

This is one of a number of figures depicting couples under umbrellas. Some seem to be theatrical in nature and others have been identified as Queen Victoria and Prince Albert, though the characters in this figure bear no resemblance to the royal couple.

This charming and nicely decorated figure is full of charm and character. The lady’s right arm and the gentleman’s right left are independently modelled, as is the umbrella.

The figure is in good restored condition. There is professional restoration to the front of the umbrella and a small chip to one of its corners.

Reference: Possibly unrecorded

Height: 7”

Date: c. 1845

A very fine and striking pair of large whippets reclining on ornate cobalt bases, fashioned as quill holders.

Both dogs are beautifully modelled with an independent front leg crossed over the other. The bases are circled by gilt bands, which are somewhat faded.

This pair is in excellent condition with no loss - only some fading to the gilt bands and some light flaking of facial enamels.

Reference: A. & N. Harding, Victorian Staffordshire Dogs, p. 80, figs 2635 and 2636

Height: 5”

Length: 7.5”

Date: c. 1860

A fabulous arbour group depicting a man and woman embracing while another man looks on. The figure’s title - ‘RIVAL’ - is written in black raised serif capitals on the base.

Several versions of this figure (at least seven) have been recorded. This one is the most common. It is thought that the figure relates to the R. B. Sheridan comedy The Rival, though it may simply be a melodramatic reinterpretation.

This figure is in excellent original condition - a very good, clean example.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 327, fig. 1201

Height: 10”

Date: c 1860

A very fine and rare pair of figures depicting children standing next to ponies.

This fabulous pair has, in the past, been identified as the Prince of Wales and the Princess Royal, but this seems very unlikely. They bear the stylistic hallmarks of the Alpha Factory.

A remarkably well made pair, these figures boast vibrant colours, careful modelling (including independently modelled outer legs for the ponies and left leg for the male figure), and a thick, healthy glaze.

Both figures are in excellent condition. There is a very faint, shallow hairline around the front-right leg of the male’s pony and a tiny patch of wear to the back-left leg of the female’s pony.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book Three, p. 58, figs a592 and a593

Height: 6.75”

Date: c. 1845

An appealing and well coloured titled equestrian figure depicting Prince Albert on horseback.

Albert wears a cobalt military jacket, epaulettes, a plumed hat, and a white and gilt sash. He rides a brown horse atop a naturalistic green, yellow, and brown base. Beneath the base, the title ‘Albert’ is written in cursive gilt script.

This figure pairs with a Queen Victoria on horseback titled ‘Queen’. This pair was produced in great numbers but whereas most are relatively sparsely coloured, this example is well coloured and rather more appealing.

The figure is in excellent original condition with some light enamel flaking to the greens and browns of the base.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 172, fig. 501

Height: 9.75”

Date: c. 1850s

A fabulous, rare and very fine unrecorded figure depicting a female musician.

The musician leans on a column and wears an elaborate, theatrical costume - possibly of oriental form - with green cape, cobalt jacket, white and gilt bodice, beautifully patterned skirt, pink bloomers, red plumed turban, and strapped on shoes. She holds two circular instruments which are strapped to her hands. It is not clear to me what sort of instrument this is, but they may be a kind of handheld cymbal.

The modelling and decoration of this figure is superb, particularly the unusual but vibrant decoration of the skirt. The right left and both arms are independently modelled. There is excellent texture to the modelled clothing as well.

A chip to the nose has been filled and partially concealed. It is not unnoticeable but it helps somewhat to balance the appearance of the figure, which displays very well. There is some flaking to the right shoe.

Reference: Possibly unrecorded

Height: 8”

Date: c. 1850s

A handsome later 19th century figure depicting a vendor standing by a mule laden with brooms.

This figure - titled ‘Beesums’ - pairs with a figure of a female vendor and mule titled ‘Sand’.

A beesum was a broom fashioned from twigs. Vendors would travel the counties selling yellow sand and brooms to workers' and peasants' wives. Most people lived in houses with flagstone floors which accumulated a lot of dirt and grease, and to polish their floors they would liberally scatter coarse sand, 'walk it in' for a few days, and then sweep up the sand with a beesum. Sand vendors were known to cry 'sanyello' (yellow sand) as they went about their trade.

This figure presents well and is in very good condition with no damage or repair. There is some flaking to the dark, glossy enamels and there is fading to the reflective, brassy gilt typical of the period.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book Three, p. 202, fig. a2177

Height: 8.5”

Date: c. 1880

Provenance: Collection of Mr and Mrs J. L. Prentice, Buckinghamshire; and the collection of the late H. A. B. Turner, author of A Collector’s Guide to Staffordshire Pottery Figures.

A rare figure depicting Prince Albert.

Albert wears a cobalt jacket, peach-coloured waistcoat, pink trousers, and gilt bowtie. He holds an open book in his right hand, and holds his left hand on his breast. He is modelled on a woody-textured base and backdrop.

This figure was made in two sizes and pairs with a figure of Queen Victoria, although the stark differences between the two sizes of Victoria figures give rise to some speculation that one size may depict a different subject.

The figure presents very well. There is a chip to the (viewer’s) right side of the base from which some superficial hairline cracks emanate and some of the black enamels have been retouched.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 169, fig. 477

Height: 8.75”

Date: c. 1840

A rare and well coloured equestrian figure depicting Queen Victoria riding a horse.

The Queen wears a cobalt coat, cobalt skirt with a gilded foliate pattern, a white hat with green scarf, and pink gloves. She sits side-saddle on a brown horse wearing an elaborate saddle cloth with its foreleg raised.

The figure pairs with a figure of Prince Albert on horseback. I have the pair to this figure but it is in a state of significant disrepair and is, therefore, not offered on this website, though I am happy to offer it free of charge on an ‘as found’ basis to the buyer of this figure if they wish.

This pair ranks among the better and more desirable equestrian Victoria and Albert figures. It is full of charm and very well composed and decorated.

The figure is in excellent condition. There is a stress hairline around the base of the horse’s tail but it does not seem to have broken. There are two tiny nibbles to the horse’s mane between the ears.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. A146, pl. 37, fig. 99

Height: 8”

Date: c. 1845

A large pair of late 19th century figures depicting a fisherman and fishwife, each carrying a net and basket of fish.

The figures present well when displayed. The fisherman has a large crack emanating from the underside of the base about four inches up the side of the figure, and then laterally about two inches across the back. The fishwife is in excellent condition with a small superficial flaw beneath one foot. The brassy gilt has failed on both figures.

Reference: Possibly unrecorded

Height: 13.5”

Date: c. 1880

A very large, rare, and well modelled titled figure depicting the poet Lord Byron.

Byron stands wearing Grecian dress on an ornate Neoclassical style plinth. He holds something in his left hand - possibly a bag of some kind. The title of the figure - ‘BYRON’ - is picked out very precisely in raised serif gilt capitals (although much of the gilt has faded).

The figure is simply decorated - largely in white with gilt highlights - but with excellent colour and depth to the face and hair, and overglaze black accentuating the bag and boots. The figure boasts a thick, syrupy, blue-tinged gilt which has pooled in the figure’s well moulded creases.

The figure is in very good condition with no damage or loss. The overglaze black of both boots and bag has been retouched, reasonably discreetly. There are some original firing flaws but none which detract from the figure’s appeal.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. H576, pl. 7, fig. 19

Height: 16.5”

Date: c. 1860

A very appealing figure, possibly attributable to the Alpha Factory, depicting the character Giaffier from a dramatisation of Lord Byron’s The Bride of Abydos.

The Bride of Abydos was dramatised in 1818 (five years after Byron wrote the poem) by William Diamond and it was a popular production during the first half of the 19th century. The role of Giaffier was originally performed by an actor by the name of H. Johnston and it is possible that this figure was produced according to an 1824 theatrical portrait of Johnston in character. However, the costume is markedly different and it is generally thought to be more likely that the actor portrayed in the figure is Mr Barton who played the role at Astley’s Circus in 1847 (which would fit with the age of the figure).

This colourful and intricate figure displays excellently and is in good - though imperfect - condition. A firing flaw runs laterally across the base and a few inches up the back of the figure (not visible from the front). There are other discreet firing flaws such as across Barton’s neck. The orange of the turban has been retouched.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. E432, pl. 26, fig. 57

Height: 8”

Date: c. 1847

Provenance: The Alan D. Sturrock Collection

A rare and very unusual early pearlware figure depicting a castle with many turrets fashioned as a spill vase.

The castle is decorated in the round, the same on each side. It is canary yellow with brown windows, brown doors, and red brick steps. The brick texture of the castle walls is very nicely modelled. Each turret is topped with square bricks.

The number ‘60’ is painted on the bottom of the base. An old label affixed to the underside says: ‘Example of this castle, impressed mark ‘Dixon Austin’ at Bowes Museum. Cat. No. X 3574’.

The figure presents well but most of the squares atop the turrets have been restored. There are some nibbles to both the original and replaced squares. Chips to the red brick steps have been overpainted to conceal the loss, and some of the enamel windows have been retouched. Therefore, this very fragile castle is offered as found with repair and restoration - a lovely display but not in original condition.

Reference: Myrna Schkolne, Staffordshire Figures 1780 - 1840: Volume Four, p. 67, fig. 149.24

Height: 5”

Date: c. 1825

An exceptionally fine, large and desirable figure depicting the Scottish poet Robert Burns.

Burns stands with book in his right hand which rests on a tree stump. He holds a hat in his left hand. He wears a cobalt jacket, pink breeches, yellow and magenta striped waistcoat, and a plaid around his shoulders. Thistles grow up the side of the trunk. The title of the figure - ROBt BURNS’ - is written in stylised raised black capitals on the irregularly shaped base.

The figure makes for a very impressive display and is probably the best titled Burns portrait figure recorded. It is offered in very good condition with only a very small superficial chip to the corner of the plaid by Burns’ left hand. There is a chip to the base (viewer’s right) but this is under the slip and glaze so is a modelling error rather than post-production damage.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 35, fig. 57

Height: 13”

Date: c. 1860s

A charming and very rare group figure depicting John Anderson and his wife, the subjects of Robert Burns’ poem John Anderson, My Jo.

This figure is part of a rare series of Alpha Factory figures depicting John Anderson and his wife at various stages of life. Another example - depicting John Anderson alone - is listed elsewhere on this site.

The figure presents very well and is in good restored condition. There is reasonably good restoration to the wife’s right arm. There are some firing flaws to the top of the wife’s hat. Otherwise, the figure is excellent.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book Three, p. 81, fig. a974A

Height: 6”

Date: c. 1845

A very desirable pair of equestrian figures of Crimean War interest depicting Omar Pasha and Abdul Mejid, Sultan of the Ottoman Empire, in the more popular larger size.

This pair (titled ‘OMER PACHA’ [sic] and ‘THE SULTAN’) depict the two characters in military garb, with scabbarded swords, riding grey horses. They form part of a series of Crimean General figures which include a pair of Marshal Arnaud and Lord Raglan.

Omar Pasha (or ‘Omer’) was an Ottoman field marshal and governor who became the primary strategic commander of Ottoman troops throughout the Crimean War, ultimately enjoying success at Oltenița, Cetate, and Eupatoria. He was known as a firm disciplinarian but enjoyed a great deal of respect among his men and contemporaries.

Abdul Mejid I (or ‘Abdülmecid’) succeeded his father Mahmud II to become the thirty-first Sultan of the Ottoman Empire in 1839. Mild mannered and a noted reformer, Abdul Mejid (who had received a European education and spoke fluent French) forged alliances with the major powers of Western Europe - specifically the United Kingdom and France - and ruled as Sultan throughout the Crimean War until his sudden death from tuberculosis in 1861 at the age of only 38.

These figures are well made and highly sought after by Crimean War figure collectors.

While displaying well and being impressive examples of equestrian figures, there are some flaws to note. Omar Pasha’s neck has been repaired and concealed - the concealment is reasonably subtle but as the concealment is over cobalt it is noticeable under bright light. The Sultan’s neck has also been repaired and concealed in the same way, and superficial slip-deep hairline cracks emanating from the repair have also been concealed. The top of his hat has been restored. There is a discreet, stable hairline round the horse’s left foreleg. There are two insignificant firing flaws and a small chip (visible only side-on) on the base.

Please look carefully at the images for a sense of the flaws of these figures. They display well, are a good match, and the concealments, though imperfect, are not glaringly obvious except at close inspection.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. C285, pl. figs 166 and 167

Height: 11”

Date: c. 1854

Provenance: The Kirkland Tellwright Collection

A large, well coloured and very striking figure depicting a well dressed young lady with a whip in her left hand. This figure is typically said to depict Diana Vernon, Frank’s beautiful, fox-hunting love-interest in Sir Walter Scott’s Rob Roy.

This figure is attributed to the Alpha Factory and is one of the largest figures they are known to have produced.

The identity of this figure has not always been known and various theories have included the actress Louisa Nisbett as Constance in Sheridan Knowles' The Love Chase, and a figure based on a character (possibly Argilla) from Donizetti's opera La Zingara.

The figure presents well but it should be noted that the top of the whip is lost, and a rough attempt to conceal the loss with black paint is visible. Flaking to the skirt, hair, and orange sash has been retouched, as has flaking to the exposed black shoe, black buttons, and black hem. Despite its imperfections, the figure makes for an attractive and impressive display.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. E473, pl. 131, fig. 268

Height: 12.5”

Date: c. 1848

Provenance: The Kirkland Tellwright Collection

A good looking heavy earthenware figure depicting two men sitting at a barrel reading a newspaper announcing the outbreak of war.

The first versions of this figure were produced in 1854 at the outbreak of the Crimean War, and the word ‘War’ is typically visible on the paper the pipe-smoking man is reading.

Pugh posits that this figure was reproduced and reissued throughout the 19th century whenever war was declared. This figure certain seems to be later than the 1850s and dates to the later part of the 19th century.

The figure is in excellent original condition with no damage or loss. There are some spots of flaking to the pipe-smoking man’s shoes.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875L: Book Three, p. 74, fig. A 927 (original Crimean version)

Height: 8.5”

Date: Later 19th century

A very fine and impressive titled figure attributed to the Alpha Factory depicting the English author, poet, and Chartist Eliza Cook.

Cook wears a cobalt bodice with an open neck, a pink jacket with large lapels, a long plaid skirt, and a hairband. She holds a black book in her right hand, and holds her skirt with her left. She stands on a round base. The title of the figure - ‘ELIZA COOK’ - is written on the base in impressed gilt serif capitals, flanked with gilt motifs.

Cook was noted for her support of political freedom for women and her belief in self-improvement through education, which she called 'Levelling Up'. She was associated with political radicalism, occasionally writing poetry and letters in Weekly Dispatch and other radical magazines. She supported the repeal of the Corn Laws. She was an outspoken opponent of child labour (what was heavily exploited in the Staffordshire potteries) and is counted among numerous radicals, reformists, and religious leaders who opposed child labour and received flattering depictions in figure form.

She was also known at the time for her 'boyish' hairstyle and 'manly' features (which the potters have not taken pains to capture) and for wearing jackets with large lapels which exposed her shirt and ruffles which was considered a masculine style (which the potters have captured more successfully).

The figure is in very good condition with no loss. There is some flaking to the overglaze black of the book (which is patchy) and a small rub to the tip of the nose. Most notably, there is are accumulations of kiln debris in the glaze in several places, particularly the face and base.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. H577, pl. 10, p. 36

Height: 10”

Date: c. 1849

Provenance: The Kirkland Tellwright Collection

A fascinating and superb porcelain figure depicting a well-dressed man sitting on a rocky, flower-covered base, with an open book resting in his hat. This figure may be the work of the Dudson Factory but I cannot state this as fact.

This intriguing and beautifully made figure seems to be unrecorded, and I cannot find an identification. The man may be at prayer (implying the book is the Bible), but this is not clear.

The decoration of this figure is really lovely - a cobalt jacket with vivid gilt highlights in the manner of the Dudson Factory, green breeches, a white and gilt striped shirt, clumps of shredded clay moss and flowers. The inclusion of an upturned brimmed hat with gilt trim supporting an open book is a lovely touch of character.

The major part of the figure is offered in excellent original condition, but it should be noted that some of the very delicate flower petals are lost or broken. Despite this, this very rare and interesting figure displays beautifully.

Reference: Possibly unrecorded

Height: 5”

Date: c. 1830

A fabulous porcelain inkwell depicting a dog - perhaps a spaniel - with a slain rabbit or hare under its front paws.

The scene is depicted on a green rococo base with a gilt band. The recumbent russet and white dog is superbly modelled with wonderful details to its tail, legs, and coat. There is a mirror-image pair for this figure.

This figure is in excellent original condition with no damage, loss, or repair. There is some light flaking to the green enamel and some of the dog’s russet spots. There is rubbing to the gilt.

Reference: Possibly unrecorded

Height: 3.5”

Length: 4.5”

Date: c. 1860

A lovely little figure believed to depict Louis Napoleon III standing with Eugénie, Empress of France, and the infant Prince Imperial.

The figure might be mistaken for one depicting Queen Victoria, Prince Albert, and the Princess Royal but it is generally accepted that this is the French Royal family.

The figure is nicely coloured and makes for a vibrant display. It is a relatively scarce and interesting figure of French royalty.

The figure is offered in fair, complete condition. There is some rubbing to Napoleon’s nose and chin and two long firing flaw hairlines running horizontally across the figure from the (viewer’s) right at Napoleon’s ankle level. This same firing flaw appears on the back. It culminates in a shallow, discreet chip on the hem of the Empress’ skirt. It does not seem the be the result of damage, and the hairline is entirely stable, and relatively discreet. There are some negligible nibbles to the base. Nevertheless, this imperfection is reflected in the figure’s price.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 217, fig. 747

Height: 8.25”

Date: c. 1856

A charming and very well modelled porcelain figure depicting a seated elderly woman, possibly Nell, the wife of Jobson the cobbler who were central characters in the 1731 ballad farce The Devil to Pay or, The Wives Metamorphos'd.

Productions of the farce were frequently revived, including a Covent Garden production as late as 1828. The two appear in an illustration in a children’s book in 1825.

Figures of the two were made throughout the 19th century and into the 20th too. Such figures are hugely common, most of them late and decidedly unappealing. Certain early examples are recorded and, when presented well, can be thoroughly charming. This example is a porcelain figure from what we might term ‘the transitional period’, probably dating to the late 1820s or early 1830s. The modelling is fine and delicate, the finish clean, and the decoration rich and tasteful with ample gilt elements. A lovely, quality little figure.

Nell is offered in excellent original condition with no loss or restoration. There are two original firing flaws on the (viewer’s) left side of the base, one to the back, and one in the form of a small superficial hole on the cap. There is some superficial, negligible rubbing to the gilt in places.

A label affixed to the hollow base identified the figure as ‘Rockingham’ but this is certainly incorrect. Earlier and rather grander Rockingham versions are recorded but have little in common with this figure.

Reference: Possibly unrecorded

Height: 4”

Date: c. 1830

A fabulous and beautifully composed figure made by the Alpha Factory depicting a woman sitting in a chair being embraced by a child who is standing on a table.

For many years, this figure was assumed to be Queen Victoria and the Princess Royal, and this is certainly possible. In later years, new theories have emerged. The Hardings, in their Second Addendum, speculate that this figure pairs with an Alpha Figure of a seated male (which is generally accepted to be Robert Burns, though the Hardings refute this), but this theory is highly improbable and the Burns identification is almost certainly correct. More recently, an Alpha Factory specialist has identified an 1852 work by George Baxter, printed by Le Blond & Co., titled Constancy which seems to have been the inspiration for this figure (the figure being a near-perfect mirror image of the print, and 1852 being a viable date for this figure, it being a later work of the Alpha Factory). This theory is highly compelling.

This exceptionally elegant and beautiful figure is offered in lovely repaired condition. A firing flaw on the left side of the woman’s neck has developed into a break which has been professionally repaired and the break filled and stabilised (leaving no texture to the crack or missing material). The result is unusually discreet but the neck has not been repainted. A thoroughly responsible and sympathetic repair with no effort to artificially conceal the imperfection. The rest of the figure is in superb condition.

Reference: A. & N. Harding, Victorian Staffordshire Figures 1835 - 1875: Book One, p. 180, fig. 550

Height: 7”

Date: c. 1852

A large, imposing, and very desirable white and gilt figure depicting Founding Father of the United States, Benjamin Franklin.

Franklin stands with a hat under his left arm and a manuscript in his right. He wears a long coat, patterned waistcoat, and patterned breeches. He stands on a lightly textured white base circled by a gilt band.

The Staffordshire potters produced several very similar figures of Benjamin Franklin, all drawn from the same source material and most likely intended for the American market. Many of these figures are erroneously titled ‘Washington’ or ‘General Washington’ - a misapprehension which clearly spread around the various pot banks which produced these Franklin figures.

Most figures of this form seem to have been produced in the 1850s, but a later colourful version is recorded as having been produced by the Kent-Parr Factory in the 1870s. The style and gilt of this figure suggests a date in the 1860s, but this is difficult to narrow down.

The figure displays well and is in fair condition. The gilding is in good order. There are some small, superficial, fairly discreet chips in places - to the jacket, the manuscript, the base, and the hat. The tip of the nose is restored but it blends in relatively well with the paler flesh tone of the centre of the face.

Reference: P. D. Gordon Pugh, Staffordshire Portrait Figures, p. B224, pl. 23, fig. 70 [or similar]

Height: 15”

Date: c. 1860

Provenance: The Kirkland Tellwright Collection