Category Archives: Displays

Doulton Lambeth’s pâte-sur-pâte technique.

A chance finding of the vase below inspired me to do a quick résumé of this once popular technique. Literally translated it means paste on paste, this type of ware was produced between 1878 and ca. 1906.

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This type of ware was favoured by Florence Barlow who painted her birds and also Eliza Simmance who used it to highlight her flower designs.

An unusual technique and pieces of this ware are relatively scarce. Here is the base I the vase above with Edith Lupton’s initials and a series of clear markings including a date.

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Royal Doulton’s ‘K’ series

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The ‘K’ series began in 1931 with the introduction of 12 dogs and 1 cat. In total there are 39 subjects in this series. There are 18 breeds of dogs, one cat (Lucky K12), penguins, birds and finally a trio of hares!
The penguins are perennial favourites amongst collectors and the 11 birds are all particularly rare as they were introduced in 1940 and withdrawn by 1946.
Whilst the designers if the majority are unknown, the popular penguins can be attributed to Peggy Davies.
The ‘K’ dogs in particular can readily be found mounted on calendars and ashtrays, although pen holders and pipe holders have turned up.
This range offers collectors a real cross section of Doulton animals to collect and the discerning eye will readily distinguish between an early and a late model.
Happy hunting!

‘New Lamps for Old’ – Royal Doulton’s figure lamps

‘New Lamps for Old’ so begins Doulton’s own advertising for these lamps. Particular to the 1920’s, 1930’s and possibly into the 1950’s these lamps often cause a little confusion amongst collectors who come across often long forgotten figures still attached to these charming lamp bases.

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Sweet & Twenty mounted as a lamp and also as she featured in a catalogue from 1935.

As early as the 1920’s Doulton introduced their by then world famous figures mounted on lamp bases as yet another way to sell this most popular series. Diversity is perhaps the byword for these lamps…no two appear to be the same. The most popular I can find is a lamp with a square base mounted with the ever popular Victorian Lady. If you are lucky enough to find one that has never been removed from the base, you may find one of Doulton’s original paper labels underneath.

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An advert for lamps from 1934.

The style of lamp base, just like the figure itself, is given a number preceded with an L for lamp. There were at least 10 different styles of base, some of which appear to have been used for particular figures. Lamp 6 seems to have been used exclusively for Clothilde, whilst number 8 was used for Cerise and number 10 for the Hinged Parasol. The bases were made of wood – with either a mohogany, oak or ebonised finish – or alabaster. I have one base in my collection that is made from wood used to create Westminster brigde.

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A catalogue page from 1930 showing the Parson’s Daughter as a lamp with matching shade.

The shades too were a work of art in their own right. Tassles, cascading shades, hand finished detailing….all can be expected when you discover one of these lamps. Of course the shades are perhaps the most fragile part of these lamps and the majority have perished over the years. However, if someone has preserved the frame their are specialist lamp shade coverers out these who will re-vitalise these now sad skeleton shades.

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An elaborately refurbished shade.

The prices of these complete lamps were often three times the price of the figure alone, yet they were obviously popular as they do turn up. When they do they often need refurbishing as the electric cables should be replaced. This is a relatively easy practice but you need to know what you are doing.

The enduring popularity of these lamps is perhaps best explained by Doulton themselves who advertised these lamps as “enhancing the beauty of colour and the refinement of the models” and that “nothing could be more suitable for a wedding present, for which they are now in great demand”.

All of the Doulton figure catalogues of this period state that any of the figures advertised could be mouted as lamps with “shades in suitable colours.”

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To finish, a personal favourite of mine. Marietta fitted with a shade with tassles to match her costume. Although a little faded it evokes the 1930’s deco style perfectly. This lamp was exhibited at the V&A Doulton Story exhibition in 1978.

Royal Doulton’s wigged ladies (and gents too!)

We all know that Royal Doulton is famous for it’s bonneted ladies, but there is another theme that is popular amongst collectors, namely ladies with powdered white wigs.

English history is the source of many figures in the HN range and as with all figures so-called artistic license was used in abundance. Figure collectors the world over very often focus on one or two areas to focus their collecting and the Regency period offers collectors some of the best examples of Royal Doulton figures.

The Regency period in English history is a difficult period to date precisely and when one recalls the towering powdered wigs and cumbersome, elaborate dresses, we are actually thinking of the late Georgian and early Regency Periods. Royal Doulton has paid homage to this period on several occasions since A Lady of Georgian Period HN41 in 1914. Leslie Harradine was one of its greatest champions and his first figure from this period in English History is Tête à Tête HN799 which portrays a gentleman in typically long coat with wide cuffs, powdered wig and heeled shoes. The lady whose attention he is so assiduously seeking is sat wearing a powdered wig and low cut, elaborate dress. The obvious French name of the group, together with the costume, confirm that this and several later pieces were actually based on the French Regency Period.

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Tête à Tête.

The Courtier HN1338 was the next figure in this style to be introduced and is seen here in his wig and elaborate costume including lace collars, heeled boots and lace tops on his boot hose.

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The Courtier.

Other figures soon followed including Eugene HN1521 and Lisette HN1524 both seen here in outfits again more reminiscent of the time of Louis XVI of France with their gowns looped up and both holding a fan. Two further French inspired figures followed swiftly as collectors clamoured for this style of figure. Camille HN1586 and Fleurette HN1587 are very much in this style, although Camille is actually based on a Stanislaus Longley picture from the 1930’s.

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Camille.

Harradine’s Regency HN1752 is very much true to its name and is a precise reflection of her time, with her stylish riding outfit, riding crop and tricorn hat. In the same year, 1936, The Court Shoemaker HN 1755 was introduced. Whilst the focus of the figure is undoubtedly the lady, we get an accurate glimpse of a servant’s attire in the shoemaker, with his simplified costume.

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In the immediate post-war years after 1945 Peggy Davies again presented two figures in this style, namely Hermione HN2068 and Georgiana HN2093, both of whom are elaborate in style and expertly researched and executed as all of Peggy’s figures were. A final piece to mention here is Promenade HN2076. The sheer complexity of this figure must have made this piece particularly difficult to produce and this no doubt accounts for its scarcity today. Once more Peggy’s research is second to none and both figures are presented in costumes from ca. 1700 taken directly from fashion illustrations.

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Promenade.

On first glance themes amongst the many figures introduced over the last century are not always apparent, but rest assured others do run through the HN collection and they provide an excellent basis on which to form a collection or even a display.

As always, thank you to Seaway China for the use of their pictures!

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What is in a name? Doulton’s love of Patricia!

On the back of a reader’s response on the Doulton Collectors Club Facebook page, I thought it timely to look at how figures are named and also look at one of Doulton’s most famous ladies and how she was produced in a variety of guises over the years!

It is often impossible to determine how a figure came to be named, especially the early ones unless the figure is modelled in the likeness of her namesake such as Pavlova, who if course was named after the famous ballerina Anna Pavlova. The majority we must assume were named because theirs was a popular name, or else after a family member of a Doulton employee or a worker in the factory… today we can but guess. In more recent times Doulton even ran competitions to find appropriate names for figures.

Even after a figure is named, it can be re-named according to tastes, for example The Young a Widow who was swiftly re-named The Young Mother. A further example is the scaled down version of the early figure Doris Keane who became Rosamund. In my own collection I have an Erminie from the M series which is actually titled Christopher to the base, a figure I naturally had to keep.

Patricia HN1414 modelled by the legendary Leslie Harradine, was first produced in 1930 and three other colourways were added to the range in 1931 and 1933. Her precise date of withdrawal is unknown but in the ultimate reference book, Royal Doulton Figures, it is given as ‘by1949’. My own personal research leads me to put a date of ‘by 1944’ as a more realistic date.

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My personal favourite colourways of Patricia!

As well as the opportunity to collect this large size, Doulton introduced a miniature version in  1932 with  M7 to compliment her larger counterpart. These original M figures were sold in suitably deco boxes like the one here.

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Patricia M7 in her original box.

These two sizes were really identical in certain colourways as you can see below.

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Patricia M28 and HN1431.

These miniature M Doulton figures can be found mounted on a variety of things from calendars to bookends.

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A typical Doulton bookend with Patricia M28.

Naturally fakes do appear and Patricia is no exception to the rule.

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A pair of fake Particia bookends.

Opportunities to collect Patricia are endless. Here are two contemporary sets of playing cards, both featuring an image of Patricia HN1431. The ones in the blue box were issued by the Financial Times, whilst the other box was retailed in Regent Street, London.

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Two sets of playing cards featuring Patricia.

Patricia has remained a popular name for Doulton figures and other versions have been introduced over the succeeding years.

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Patricia HN3365

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Patricia HN3907

Patricia HN565

Patricia HN5665

A final thought is that most figure collectors start collecting because of the name of the piece, either to commemorate or celebrate great events in their lives – what a perfect way to collect?

© Christopher Evans 2014

A celebration of Doulton’s Jackdaw of Rheims seriesware pattern

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The cover of an early pictoral edition of the poem.

Doulton’s seriesware pattern the Jackdaw of Rheims is of course based on the Victorian poem by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham, and his verse is famous for its wit and heroic tales. Of the many Ingoldsby legends this is perhaps his most popular and so it is no surprise that Doulton chose to base a seriesware pattern upon this story.

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A page from a Doulton catalogue advertising this story ca. 1906.

The story starts with a scene at the Cardinal’s Court in Rheims, where a stately feast is taking place, thereafter the cardinal’s ring mysteriously disappears, a fearsome curse is then placed by him on the unknown thief, it’s terrible effect is seen upon the poor jackdaw and finally the jackdaw’s return to favour are vividly described for us.

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A pair of early sugar bowls.

These colourful incidents provide the inspiration for Doulton’s series and lend themselves so well to pictorial illustration as can be seen. First introduced in 1906 there are typically an array of scenes and shapes to collect.

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Three views of a large fruit bowl including the inscription around the inside edge of the bowl.

Today this seriesware pattern remains amongst the most sought after and more unusual shapes and scenes can make a considerable dent in the wallet.

Doulton described the series as a”Keramic Edition” of this famous tale and so it is, with sections of the verse used as part if the illustrations.

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Royal Doulton Flambé – the King of Egyptian commemoratives

Royal Doulton always followed the mantra of offering something for everyone and this certainly rings true when you consider the variety of wares produced over the last 100 years to commemorate Egypt’s great history.

From seriesware such as Tutenkhamen’s Treasures series, to handpainted desert scene pieces, to Flambé pieces, to figures ….. here once again there is something for everyone.

As a child I remember being fascinated by all things Egyptian – a study whilst at school, a trip to museums with grandparents…all fuelled this mania. This mania gripped the world in the early 1920’s with the discovery of this now world famous tomb and Doulton was at the front of the queue to produce commemorative pieces for this event.

One of the most striking series Doulton produced is the Flambé range of wares, featuring  pyramids, the sphinx and numerous other desert scenes. Here are a selection of pieces for you to enjoy!

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A striking 14″ vase with a variety of scenes from Cairo.

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The same vase on the left, together with two variations of Egyptian scenes to suit the shapes of their respective vases.

Doulton’s Titanian ware

There were two great Doulton art factories in the 1920’s, with others factories both in the UK and in Europe too where more utilitarian goods such as Doulton drainpipes and sanitaryware were produced.

In Burslem, where figure production had been revived, Doulton’s Art Director, C. J. Noke was simultaneously keen to establish and indeed re-discover many of the ancient Chinese transmutation glazes of yesteryear. He had already re-discovered, introduced to the public in 1904 at the St. Louis Exhibition and by the 1920’s firmly established the world famous Doulton Flambé glazes but Noke together with his team of assistants continued experimenting with glazes and bodies so that today we have other glaze wares including Chang, Chinese Jade and of course Titanian to collect.

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The diversity of Titanianwares from handpainted, to glaze, to seriesware.

The unique Titanian glaze uses a titanium oxide which results in a bluey colour and pieces of Titanian ware can vary from white to dark blue glazes.

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An unusual Titanian vase illustrating the varied colour of this glaze.

It was often used as the background to Doulton’s fine porcelain wares that were painted with typically birds but also oriental figures and flowers by leading artists including Harry Allen, F. Henri and Harry Tittensor.

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A charming Titanian vase and owl, handpainted.

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A group of desireable, floral Titanian vases.

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A typical Titanian vase signed F. Allen.

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A tall Titanian vase with a Bird of Paradise design.

Doulton’s seriesware was also in some instances given a Titanian glaze including the Sunset with Poplars range and of course the Tutankhamen set commemorating the opening of the Egyptian King’s tomb in the early 1920’s.

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A Titanian lidded sugar commemorationg the opening of Tutankhamen’s tomb.

Figures too were given the Titanian treatment and three of the rarest figures today are commonly found in Titanian when they occasionally do turn up, namely the Australian and New Zealand Digger figures and their British counterpart Blighty – all issued at the end of the first world war.

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The rare Blighty in a Titanian glaze.

The body of Titanian pieces can vary immensely from an egg-shell like porcelain to a heavy earthenware. This diversity in body is reflected in the price range for these wares, but this in turn allows varied scope for collectors today.

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Here is a heavily gilden earthenware Titanian rose bowl.

My own particular tastes when it comes to Titanian are for the unusual shapes and glaze effects rather than the handpainted items. The Titanian glaze was introduced in 1915 and in production until ca.1930  and so pieces of Titanian ware can be found if you have a keen eye or if you have a dealer onside who will search these pieces out.

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A catalogue page from 1924 illustrating the types of pieces that appeal to me.

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A group of interesting shaped Titanian vases.

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Above and below a lustred Titanian dish with butterfly.

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As always, if you have pieces in your collections please share via our Doulton Collectors Club facebook page!