Category Archives: Figure Articles

Royal Doulton’s figure surveys.

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A table of figures of which only a fraction were eventually produced.

Prototypes and colourways have been the subject of previous articles, but I thought you all might like to see these few pictures I have come across of figure evaluation events. Typically these occurred in the US and Canada during the 1960’s-80’s.

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Another display featuring a wonderful red colourway of Sweet Seventeen that turned up at the Doulton museum sale in London.

At first security at such events appears to have been lax with figures ‘escaping’ during their travels, but as time went on Doulton began to appreciate what value these survey pieces had and storage even at the factory improved greatly. Indeed, Doulton ‘sat’ on prototypes for many years, sometimes decades as with the figure Elizabeth HN2465 from 1970 that was only out into production in 1990 or the handful of Mary Nicoll ladies such as Lesley that appeared many years after their original production. You can see some of these figures in the pictures shown here on this page.

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A young collector casts their vote for their favourites.

The majority of prototypes that turn up appear to be from the 1940’s onwards, indicating that the majority of models produced before this time were put into production – the length of production indicating popularity. Yet, earlier prototypes do turn up and whilst I have heard people say that all Harradine’s models went into production, this is not the case as even his models faced heavy scrutiny after 1940 and began not to go into production but would face market surveys.

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Not the best illustration but a lovely colourway of a favourite prototype by Mary Nicoll from 1971, titled ‘Smith minor’ right at the front of the picture. A figure of a young boy off to school sat on his trunk and holding his cricket bat.

Perhaps you have a survey figure in your collection? If so we would love to hear from you and why not post a picture to our Facebook page ‘Doulton Collectors Club’!

Doulton artist profile – Edwin (Tim) Leigh.

A chance finding of this early colourway from 1968 encouraged me to do a little more research into her painter, Edwin Leigh, more usually known as Tim Leigh. His monogram however, remained EL.

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Above and below, two views of the colourway.

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Tim began working at Doultons in 1928 and was still touring the world on their behalf promoting their wares and the artistry and skill of Doulton’s craftsmen and women, when this picture was taken of him during this demonstration in Australia in 1979.

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During his many decades of service, I found that by 1955 Tim was already in charge of the junior male figure painters.
A quick look through my collection I found several favourites painted by him including Celia, Miss Demure, Fleurette, Clemency and Sweet Anne to name but a few.
This great talent lives on in the many figures painted by him around the world. To finish here is his full signature on the base of the colourway above, rather than his usual cypher.

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The base of the above colourway also showing the model number 2063 that helps us date it to the late 1960’s.

Reflections: the source of Harradine’s popular figure Phyllis.

As you know it is a real interest of mine to research where figures derive their inspiration. Those who have read my book ‘Reflections’ with Jocelyn, will have seen the section on the illustrator Jennie Harbour.

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Very little is known about the illustrator but her work can be found on Tuck’s postcards as well as in many editions of deco books from the time. Her illustrations remain popular today around the world and framed, vintage prints can sell for a fair sum.

Back to Phyllis, as you can see she has been expertly interpreted from Jennie Harbour’s illustration ‘Sweet Nell’ by Harradine. Here she is as HN1486, although the most readily found version is HN1420 as it was clearly the most popular colourway. I have always felt that she makes the perfect partner to Dolly Vardon save for the base on Phyllis. Perhaps there is a version if Phyllis out there without a base. As we know modifications were frequent on these early figures, and we looked at how a stepped vase was added to Harradine’s Helen some time ago.

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Royal Doulton’s dreamy yellow and orange figures.

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We all normally associate bright reds, blues and greens with Doulton figures, however, there were a small group of early figures that fit into the peachy, yellow-orange bracket as you can see above.

The majority of these figures have HN numbers around 1500, indeed the colourway of Sweet Anne pictured actually carries the HN number 1529, an HN number we associate with the colourway of A Victorian Lady – also pictured above. This group of ladies are typically finished with green accessories; usually a gorgeous hue of green to compliment the yellowy orange colouring. The wonderful thing about these ladies is the depth of the colouring involved – a real forte of the Doulton painters of the time who would re-fire the colours multiple times to achieve the desired effect.

This demure band of ladies are all colour co-ordinated, yet, there are others we can add to this dreamy crowd. Here is a colourway of Pauline in orange.

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Perhaps you too own figures that belong to this group. If so why not share them via our facebook page ‘Doulton Collectors Club’. We look forward to welcoming you!

A look back at the enduringly popular Flower Seller’s Children.

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A close up of the skilfully painted children’s faces.

This delightful study was the concept of Leslie Harradine in 1921 during his first year of supplying models to Doulton’s studios in Burslem. Harradine had been apprenticed to Doulton in Lambeth in the early years of the 20th Century but factory life he found unbearable and so broke loose from these confines. He continued to supply models to Lambeth’s studios until his departure for Canada. This early time in Harradine’s association with Doulton we have covered already in the three part article on his life.

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HN1206 1926-1943

Upon his return Charles Noke, Burslem’s art director, tried every enticement to attract Harradine to move to the Potteries but to no avail. A compromise was of course reached whereby he would supply models to Burslem, something that continued for many decades.
This early group by Harradine was available in 5 different colourways and one HN1342 was produced until 1993. Whilst not classed as a prestige piece the painting that can be found on these pieces is stunning as I am sure you will agree.
Harradine’s inspiration for this piece apparently came during an evening out in London, whereupon he saw such a scene and sketched it upon his shirt sleeve. A romantic story for a sentimental group.
The enduring charm of this study meant that a collectors plate and more recently a miniature version of this group HN4807 was introduced in 2005.

Royal Doulton’s Fairies

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A catalogue page from 1930.

These sprightly, mythical creatures of many a folklore were immortalised by the great Leslie Harradine for the HN collection in 1930, but interest in all things ‘fairy’ had reached a fever pitch a decade before with the so-called Cottingley fairies; a series of 5 photographs of fairies taken by two young cousins and heralded by Arthur Conan Doyle (author of the Sherlock Holmes stories) as evidence of their existence. Alas the cousins would admit eventually that all but the fifth was faked and that, it has been suggested, was probably the result of a double exposure by the young girls.

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Doulton produced at least 7 different figures of fairies from standing with wings, to perched on toadstools to simply hiding in the undergrowth. Each is a charming study of childhood and many were available with differing flowers and even different colourways during their short production in the 1930’s. Certainly the second and sixth versions are the same child as ‘Boy on Pig’ HN1369 attributed to CJ Noke rather than Harradine. There are a further 6 fairies listed but which did not go into production.

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Doulton’s Fairies HN1396 and HN1375 were even modelled after the fairy illustrations of Cicely Mary Barker that remain popular to this day.

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A display of these figures really is magical, however, tracking them down is just as elusive as finding the real thing…or so it seems!

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Finally a Fairy that has fluttered down on to my desk….

What is in a name? Royal Doulton’s ‘The Rocking Horse’.

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The Rocking Horse HN2072.
This particular figure I am sure you will agree is charming and belongs to a small group of rare Harradine figures produced for a very short period post WWII. The only reason I can see for this figure’s short production (1951-3) is that its production was too costly at a time of rationalisation within the Burslem factory.
The inspiration for this figure is undoubtedly the film ‘The Rocking Horse Winner’ from 1949, where a young boy discovers he can predict race winners by rocking his rocking horse!

A look back at Harradine’s Lady Clare.

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The official Lady Clare HN1465.

This unusual figure had a relatively short production run from 1931-37 and examples rarely turn up. She takes her inspiration from this Jennie Harbour picture titled ‘My Ladye’ from her ‘Victorian’ series for Raphael Tuck the card manufacturers. As you can see the original Harradine model has a base with a foot protruding from under her skirt, just like the original picture. This makes her 1.5cms taller than the production model.

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A prototype of Lady Clare pictured with her inspiration.

As well as HN1465 there is another colourway of Lady Clare that has emerged and there appear to be a handful of examples of this colour scheme in collections around the world.

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Two versions of Lady Clare; a colourway and a prototype.

Perhaps you also have variations of early figures? If do why not share with our ‘Doulton Collectors Club’ page on Facebook?

For the love of Chloe!

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L-R are HN’s 1479, 1470, 1498, 1765 and 1956 (missing HN1476).

Many of you will be familiar with the more frequently found versions of this popular Harradine damsel Chloe, HN1470 and HN1765, but at the time of her production she was such a popular figure that there were 6 different full size versions of her and a further 3 miniature models.

If you refer to the ‘bible’ for figure collectors “Royal Doulton Figures” you will see that 5 of the six are illustrated, the one missing being HN1956, but illustrated here. However, there is another missing colourway. As some of you may have noticed, what is labelled HN1476 in the book is actually a pre-war version of HN1765 – I know this as I bought the figure labelled as 1476 at the first Doulton museum sale.

The three M versions of Chloe.

HN1765 was clearly the most popular colourway and production was resumed after WWII. These later models are easily distinguishable as the bouquet is less detailed and indeed smaller, plus the base typically only bares her name as there was no longer a need for her HN number as she was the only Chloe in production at this point. Mistakes do happen and we must remember that the original book was put together using actual figures found at that time.

In my experience and as I have previously mentioned the ‘by 1949’ could really be shortened to ‘by 1944′ as production seems to have been halted for all but the absolutely most popular figures before 1944. This small group includes Paisley Shawl HN1392, the Old Balloon Seller, Biddy Penny Farthing, the Orange Lady and the perennial favourites in red of Autumn Breezes and Top o’ the hill. Production of these appears to have stopped in 1944 before resuming full post war production in 1947.

M version of Chloe in her original box and packaging from 1932.

Chloe proved such as popular figure that examples can be found mounted on lamps as below and miniature versions adorn pin trays, calendars and pen holders produced in the 1930’s.
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Chloe on original lamp base with replacement shade.

An A-Z of Collection Royal Doulton – the Beggar’s Opera series.

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Original poster for the opera.

Leslie Harradine as well as establishing a new standard in figure modelling in the early 1920’s, was also responsible for the first set of figures, The Beggar’s Opera Series, inspired by the theatre. Harradine’s figures all closely resemble the costume designs Claude Lovatt Fraser the designer for the revival of this piece at Hammersmith in 1920, as you can see from these pictures in the article.

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Harradine’s The Beggar and the original sketch for the stage costume.

Once made up Lovat’s costumes were thrown to the studio floor and walked on, had paint thrown on them, and where necessary as with the Beggar’s costume, were then slashed and dirtied. He reasoned that the characters from the play were from 18th Century London low life and spent much of their time in jail.

Here is the original Captain Macheath figure compared with the original theatre poster and Lovat Fraser’s design.

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Again the original design and the Doulton figure Captain Macheath.

This first series of figures set the tone for future sets by teaming a popular English theme together with an emerging Doulton house style of decoration.

The series proved a huge success and in Doulton’s first official publicity catalogue after WWII, they themselves lament the withdrawal of this popular set! The main female character Polly Peachum is also immortalised in a miniature version, and incidentally more colour variations of this one miniature figure exist than any other!

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Two versions of Polly Peachum against her original costume design. Incidentally the curtsying Polly was at first called Polly Curtsey.

Whether you collect just individual characters from this series or the whole set, they make an eye-catching display!

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A favourite colourway of mine for Polly Peachum.