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What are you waiting for?
Check out even more articles and pictures on our facebook page!!
Simply search Facebook for the ‘Doulton Collectors Club’ and ask to join, then you can ask questions a view a variety of material from around the world!!!
What are you waiting for?
Here we have a colourway of Katharine, one not illustrated in the 1994 figures book and hitherto not recorded.
I believe this to be HN793 given the description in the aforementioned book. The piece has an impressed model number date of ‘9.23’ for September 1923.
The piece was originally introduced in 1916 but any examples of her are hard to find. She was of course modelled by the great C. J. Noke, Art director at Doulton’s Burslem factory.
A great find and thank you for sharing. Another undiscovered colourway can be ticked off the list! Here are some pictures of Katharine for you to see her in all her glory.
I have recently been asked for advice from Karyn and Gordon Harvey on the figure below from their collection, purchased recently and something they hope is a prototype. Here are the pictures they sent in.
My initial thoughts were that it was clearly a Peggy Davies figure; note the style of the head and the hair and also the detailed modelling. At this time I think she really was trying to imitate Harradine, before developing her own individual style. The head and hair are very reminicent to her figures The Leisure Hour and also Promenade. One give away to any unknown figure is always the face – I once heard that only after 10 years in the figure department would a painter be allowed to paint faces! Here we can see a very typical Doulton face of the 1950’s. Then we look at the base, and whilst there is a Doulton stamp – this cannot be taken in isolation to say for definite that it is a Doulton figure. However, here you can clearly see an impressed model number. Alas the shape books and design books are no longer available for us to consult, but through my own research I have put together a numbering sequence which leads me to believe that the model dates from the early 1950’s, and specificially to ca. 1953 and I am confident in saying that it is a Doulton piece.
Many prototypes from this time appear to be the work of Peggy Davies, a time when Doulton themselves were trying to rationalise production but also manage the cost effective production of their famous figures. No doubt this particular piece was deemed too expensive to reproduce due to the detailed modelling.
Earlier prototypes and colourways often carry the artist who painted them’s initials. In my experience there are two names which crop up time and again here, and they are RB for Reginald Brown and HA for Harry Allen. This practice seems to have stopped in the 1950’s however when the painter’s initials began to be omitted.
In recent times I have noticed a whole hoard of so-called colourways and prototypes coming on to the market – and all I can do is re-iterate my belief that it is always best to buy from a reputable dealer as we would all hate to loose out on a fake!
My thanks to Karyn and Gordon Harvey for their pictures.
Leslie Harradine – Part 1 The early Lambeth years
Much has been written about Leslie Harradine over the decades since the resurgence of interest in Doulton art wares.

Above: A rare glimpse into Harradine’s life with his 3rd wife.
Arthur Leslie Harradine was born in 1887 in Clapham, London, the son of a solicitor. In 1902 at the age of 15 he began an apprenticeship at Doulton as a learner modeller under the tutelage of George Tinworth and John Broad, although he also assisted Mark Marshall and Frank Pope at this time too. He would late remark about his experiences at this point in his life that he wished ‘he (Tinworth) would give up those dreary religious plaques and concentrate on mice and frogs’. Perhaps providing us with a clue not only into his own artistic preferences but also into his personal beliefs too.
During this early training Harradine attended evening classes at Camberwell School of Art under Albert Toft, who ironically would provide the model W. S. Penley as Charley’s Aunt HN35 to what would become the HN collection, that Harradine himself would influence so dramatically only a few years later.
In 1908 suffering from the confines of factory life, Harradine left Doulton at the end of his apprenticeship and unexpectedly set up as a poultry farmer in Hertfordshire with his brother Percy. Naturally he set up a studio there and continued the link with Doulton by sending in over eighty different models for them to reproduce as slip cast art ware. The list of items sent varied from figure groups to vases to child figures. These early piece demonstrated perfectly his ability to interpret people from all walks of life and all cultures.
Three examples of Harradine’s early work for Lambeth
With the outbreak of World War I in 1914 Doulton’s art ware production was curtailed and so Harradine decided to emigrate to Canada with his brother, where they acquired 4000 acres of farming land in Saskatchewan. The open spaces suited both brothers and Harradine continued to model pieces but alas could not fire them. In 1916 the brothers enlisted into a Canadian regiment, Lord Strathcona’s Horse Regiment and saw action in France. Leslie had three horses shot from under him and unfortunately the last fell on him, injuring his leg, resulting in his being ‘invalided out’ after long spells in hospitals convalescing.
Two of Harradine’s large size Dickens figures made at Lambeth
By the end of the war family life had added a new dimension to his bohemian life. With a wife and a daughter, with two more daughters to follow, Harradine became a freelance artist to support his young family; continuing to do models for Doulton’s Lambeth works.
Mr Micawber made at Lambeth. The brown glazed version is much more unusual, although perhaps less popular than the usual white glazed figure
And so the first chapter of Harradine’s association with Doulton comes to a close. In the next we will look at how new links were established with Doulton at Burselm and the great influence he made on the HN collection for Doulton.
Some of the most frequent questions I am asked revolve around key dates for Doulton or Royal Doulton as they became.
Over the next period I intend to set out what I consider to be the key dates for first of all the Burslem factory and thereafter the Lambeth factory. So here goes…
Part 1: 1780-1899
1780 A Nile St. Pottery was established
1878 Doulton and Pinder Bourne began a partnership. At this time Pinder Bourne had a workforce of ca. 160
1878 ‘Corolian’ introduced
1880 ‘Cobalt Blue’ introduced
1882 The pottery became Doulton & Co.
1882 John Slater was appointed Art Director for Burslem
‘Hispano Moresque’ introduced
John Bailey became the General Manager
1884 Fine china body introduced
1889 A workforce of 1200 is recorded
1889 ‘Photographic ware’ introduced
C. J. Noke joined Doulton & Co.
‘Seriesware’ introduced
1890 ‘Spanishware’, ‘Chiné’, ‘Lustre’, ‘Tapestry’ and ‘Blue Figures/Children’ all introduced
1893 Noke’s ‘Vellum figures’ introduced
1895 Royle’s Patent used
1895 Advertising wares introduced
‘Holbein’ introduced
1896 ‘Luscian’ introduced
1897 Princess Louise gave a Doulton dessert service to Queen Victoria
1898 ‘Kingsware’ introduced
‘Rembrandt’ introduced
1899 ‘Lactolian’ introduced
In the next part we will cover the next 20 years of the 20th Century, that proved so pivotal to the success of the Burslem venture and shape the products we associate with Doulton to this day.
I thought you might all like to see this extra montage of the Queen’s visit to Royal Doulton at Burslem in 1949, when still Princess Elizabeth. Of particular interest is some Seriesware inspired by Brangwyn ware and also the decorating of figures from this period and a comprehensive display of them! Well worth a look!
http://www.britishpathe.com/video/princess-elizabeth-visits-the-potteries/query/Doulton
This original illustration is by the popular illustrator Jennie Harbour and clearly is the source for Tittensor’s Lady and Blackamoor. Interestingly this example spotted at the Seaway China/Whitley event in Detroit 2009, is modelled as a powder bowl and the base separates from the rest to provide a place for the powder and puff! The colouring of HN375 is identical to that of HN374, but the former indicates that it is modelled as a powder bowl.
Illustration by Jennie Harbour ‘Powder and Patches’.
And here is the rare Lady and Blackamoor HN375 to compare to the original.
I thought it would be of interest to collectors to see this colourway of Harry Tittensor’s Pretty Lady originally introduced in 1920 together with the inspiration for this special lady. This particular colourway, just discovered, is exceptional and really evokes the textile patterns of the original ilustration, which are so typical of this time when there was a revival in such romanticism and also pre-raphaelite art.
The rare Pretty Lady and Artur Rackham’s “Wendy”. Below is a rear view of the Doulton figure that really does show how true to the original illustration, Doulton have tried to be.
Many thanks to Harvey’s Collectables for the pictures of Pretty Lady.
A treat for fellow figure collectors is this early version of Easter Day by Leslie Harradine, modelled after a still of Vivienne Leigh in ‘Gone with the Wind’ from 1938 when the actress played Scarlet O’Hara. The actual version of this figure that went into production in 1945 was accurate in almost every detail to the photograph that has previously been listed here!