Peggy Davies is often credited as taking over the mantle of figure modelling from Leslie Harradine, but in labelling her as such we miss a quintessential part of her, namely her love of life. It is this love of life that epitomises so many of her figures and when considering what makes a classic Peggy Davies figure we must really consider the time when the piece was modelled, as her style changed dramatically over the years. In part this change can be explained as personal but it can also be accounted for by the restrictions that were placed on her by the managers of Royal Doulton over their years of association, as they strove to create an instantly recognisable house style. Many collectors can instantly recognise a Harradine figure from one of Peggy’s, and some say that she lacks the skill of Harradine. However, I would simply argue that she worked in a different time, not only in relation to the fashions of that time but also the strict restrictions placed upon her regarding, for example, the number of parts a figure could have.

Peggy’s first introductions to the HN range really did follow on in Harradine’s footsteps as can be seen by her Bernice HN2071, however her style was to quickly evolve as she brought a simplicity of line and form to the HN collection. Her Gay Morning HN2135 really illustrates this point perfectly. Peggy also planned her figures so it is no surprise to find pairs of figures entering the range, take for example Delphine HN2136 and Lilac Time HN2137.

The prolific output from Peggy means that collectors very often have to specialise when it comes to her figures and whilst there are some obvious themes such as character studies and child figures, other themes have emerged directly from the styles of figures typical of her. Consider dancing ladies, a particular favourite amongst collectors and two of the most popular being Alexandra HN2398 and Elaine HN2791. Both unique in their modelling they display perfectly together and one can add to the

display with the many other dancing ladies she created.

Movement was something Peggy was particularly famed for and some prime examples of this as Jacqueline HN2333 and Melissa HN2467, both of whom are perfectly poised whilst their skirts twirl around them. Fashion too was an important part of Peggy’s work and her historical models are credited as being true to life. Similarly her ladies of fashion such as Julia HN2706 or Jane HN2806, both holding their summer parasols, we can imagine in any Victorian summer garden. The garden suggests another theme, where many of Peggy’s models can be pictured. Consider Camellia HN2222 holding her flower or Elyse HN2791 reclining in the shade on a hot summer’s day.

‘Readers’ as they are termed are another phenomenon directly created by Peggy who lovingly modelled many figures either holding or reading books. Her Solitude HN2810 is seen quietly reclining, engrossed by her book. This theme can be added to by figures from other modellers both past and present.

Dewars

A large number of Doulton containers were made for Dewars (John Dewar and Sons) of Perth, Scotland. Dewars used Doulton’s stoneware vessels extensively for advertising purposes and many of Doulton’s Kingsware designs were exclusive to Dewars, although some were adapted for use with other firms.

Apparently the Doulton contract with Dewars stated that there would be no increase in price to Dewars during the issue of a design even over many years, which explains why later examples of Kingsware flasks have the Dewars name stamped on the base rather than picked out in applied lettering on the reverse of the flask. 

Here is an interesting pin dish for Dewars, which could be claimed after collecting tokens from the purchase of their products!

When you visit major cities around the world the chances are that you will come across something Doulton. There are lists published by collectors of all the many places around the world you can visit to see architectural Doulton. Living in London, I am lucky that there are many places to visit on the door step so to speak; from the façade of the great department store Harrods, to the interior tiles of its food halls, to the clock above the main entrance to Selfridges, to the remaining Doulton factory building in Vauxhall that I pass on the train going into Waterloo.

These are just the tip of the iceberg as Doulton’s of Lambeth had its own architectural department which flourished in the early 20th Century. Alas many places have inevitably disappeared but there are still plenty to visit. 

Even when Doulton was known as Doulton & Watts at the beginning of the 19th Century, advertising items were already being produced in the form of containers with either impressed names of manufacturer, the items they contained or else simply bearing a paper label advertising their contents. These early containers held everything from caviar to ginger beer to ink, and a wide variety of things in between. In the early 20th Century the names of the companies or contents therein would often be simply impressed on the base of the item or else incorporated artistically into the design of the piece. It is recorded that over 100 firms used Doultonstoneware to advertise their whiskey, beer and mineral waters.

Some firms such as Dewars favoured Doulton vessels for such a long period that you can find examples of stoneware and also items produced at Doulton’s factory in Burslem, the heart of the Potteries. Doulton’s famous Kingsware was a perennial favourite of Dewars and Doulton created many individual flasks for them, which today are highly collectable. 

The advertising wares produced by Doulton in Burslem have an equally interesting history and perhaps chart the last chapters in the production of advertising wares as the fashions for such items evolved further. The Edwardian style biscuit casket for Huntley & Palmer from 1905 looks incongruous next to items produced in the 1930’s and 1940’s that have much simpler lines and decoration reflective of this period. 

All industries had items produced by Doulton to advertise themselves from ash trays, to jugs, to match strikers, to wall plaques and a whole host of other advertising items. Perhaps one of the most fiercely fought after fields in advertising wares today are those that Doulton produced for themselves! Once again jugs, vases, ash trays and the like can be tracked down featuring the Doulton emblem as its principal feature. 

The advertising figures produced by Doulton have long captured collectors’ imaginations and famous groups such as the Yardley’s figure is a straight adaptation of the same image featured in their advertising. Other more unusual figures include the Grossmiths’ perfume girl ‘Tsang Ihang’ and ‘Steve’ produced for the road builders Wettern, Beadle & Bristow in the UK in 1923. 

We seem to have written much over the years about Doulton’s Faience wares, so will try not to dwell on what we have already covered.

As many will remember when Faience first began production at Lambeth they didn’t have their own production facilities for the blank ware so Doulton’s other factory in Burslem was tasked with sending down blanks to be decorated and then fired at others’ factories in Lambeth, prior to Doulton swiftly constructing their own kilns capable of firing faience art wares and production facility for the blank ware

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Illustrated is a wonderful faience charger by John H. McLennan, perhaps Doulton’s most famous portrait artist on the faience medium. You will note from the catalogue description by Lion and Unicorn that the blank charger bears a Pinder Bourne mark, which readers will know is the factory in Burslem that Sir Henry Doulton bought into in 1877 before taking it over solely in 1882. It is therefore not surprising given the date of Faience art ware being introduced in 1873, McLennan’s start with the firm in 1877 and the use of a Pinder Bourne blank of 1881 all to marry up within a few years of one another.

McLennan was active between 1877-1910 and his style was heavily influenced by the art nouveau movement. He was a designer and painter of Faience vases, plaques, wall panels and single tiles. His work was presented at many of the great International Exhibitions Doulton exhibited at and his work favoured by Royalty the world over – even the last Russian Tsar had examples of his work.

It will be no surprise that his tile panels exist today and even the legendary Great Ormond Street Children’s Hospital in London has examples of tile panels by this great artist.

For a similar example of his work see Doulton Lambeth Wares by Eyles and Irvine p.13 from the legendary Billings Collection.

This rare figure is based on the great Russian ballerina Anna Pavlova in her most famous role as the Dying Swan in La Cygne. In the early 20c Pavlova travelled the world popularising classical ballet. Although re-issued after the star’s death in 1931, examples remain extremely hard to find. This particular example is titled The Swan Dance (Pavlova) an interesting alternative to the usual title simply ‘Pavlova’ or the rarer ‘Swan Song’.

Although famed for popularising classical ballet, Pavlova also appeared in music halls as a solo artist, reaching a very wide public at the time. Many of you will have guessed that her popularity reached the southern hemisphere too, where in Australia and New Zealand they created the popular Pavlova desert named after her!

This example will be auctioned by Adam Partridge Auctions at 2pm on Wednesday 10thSeptember at their Macclesfield saleroom, here is a link to the website

https://www.adampartridge.co.uk

The lot description reads:

CHARLES J NOKE FOR ROYAL DOULTON; an exceptionally rare figurine , “The Swan Dance (Pavlova)” HN487 Potted by Doulton & Co, handwritten in black, green Doulton backstamp, with light blue wash over tutu, exceptionally well painted face (21-38) 4 1/4″, impressed date 6.23.