Imagine sitting down to enjoy a nice drink and whilst taking a sip you look down you are faced with a small frog in your mug. A nice surprise or maybe not! This was the idea behind the Frog Mug which were first produced around 1750 but became very popular during the first quarter of the 19th Century. One theory of how the frog mug came to be made was that a potter who had nearly completed some mugs, had left them to cool overnight. On his return he found a frog sitting at the bottom of one of them. He was so surprised and amused he decided to make a mug with a frog inside based on the idea. They proved so popular the frog mug was created. Most frog mugs feature a frog on the side or on the bottom, and occasionally on the rim. Some frogs have open mouth so when the drink was poured it would also go through the frog’s mouth. There are some examples of larger vessels having multiple frogs and even lizards as well. The earliest frog mugs date to around 1750 and are largely associated with the Sunderland potteries including Brunton & Company (afterwards Moore & C0) who were noted with early examples. One of the most noted potteries for the production of the frog mug was Dixon and Co. Although Sunderland and the north-east were the leading area for the frog mugs, they were also made in the Stafford potteries and the Leeds potteries. The frog mugs created in Sunderland pimarily feature the famous Sunderland lustreware with its pink lustre decorated with black transfer prints often with mottos, phrases and sayings. More popular designs include portrayals of the Wearmouth bridge, Ironbridge and the Crimea. As many of these mugs were used by sailors many had a strong nautical theme and featured sailing ships, the Sailor’s Farewell and the Sailor’s Return. The majority of antique frog mugs made in Sunderland can be bought from around £60 to £200. The main factors affecting price are rarer transfers & motifs and condition. The price of other examples is variable, with great variations in price – from £40 to £1,000. Example pieces and prices have been given in this feature. The frog mug is a quirky, attractive item with great historic interest, and collections can still be created for a modest investment.
The United States was the home of Carnival Glass. It was developed there, and though other countries soon began to produce their own versions, most collectors today begin with American glass as it is the easiest to obtain. A previous article described the manufacture and appearance of this beautiful product, but briefly, it is a living glass – vibrant and bright – which reflects colour rather like spilt oil on water. Although the patterns are formed in a mould, unlike pressed glass Carnival Glass needs a lot of hand- finishing and decorating, and the iridescence (created by adding metallic oxides to the hot glass) means that the finished product doesn’t have that somewhat flat appearance often noticed in pressed glass. Pictured left is a Northwood fruit and flowers electric cable ice blue small bowl. Carnival Glass didn’t really become of interest to collectors until the late 1950s, and consequently the history of many of the early companies is still not fully-researched, so many dates are vague. A trawl through textbooks throws up a variety of dates – it seems that no-one is absolutely certain when the various manufacturers first developed their Carnival Glass products, though it is known that by 1905 the first cheap, iridised glass to rival the expensive Tiffany’s was in production. Pictured right is a Noryhwood Rosette rare green bowl. The Northwood Glass Company was founded by English-born Harry Northwood, son of a talented glass manufacturer. Harry left England to work in America in 1880, when he was twenty years old, and founded his own factory in 1887 in Ohio, before eventually moving to Wheeling, West Virginia. Many people believe that it was Harry who brought the technique of iridisation to the USA, having seen it at his father’s glassworks. By 1908 he was producing a range of iridised glass, using moulds from earlier pressed glass. He began by making a range of marigold Carnival Glass, which he called ‘Golden Iris’. Iris is from the Greek word for rainbow, and Harry thought that this was a good name for a glass which seemed to contain and reflect so many colours. Pictured left is a Northwood grape and cable plate.. Northwood proved to be a very productive factory, introducing designs such as grape and cable, fine cut and rose, beaded cable, wild rose, singing birds, peacock at the fountain, leaf and beads, nippon and rosette. Of all its designs, grape and cable was the most popular, and at one time could be obtained in over seventy shapes of dishes, vases, plates and bowls. Other companies, noting the popularity, copied the designs, which seemed to be quite a common practice at the time. Harry Northwood also introduced some lovely pastel carnival glass, which came in delicate shades of ice blue, ice green and white. Today, the pastels are highly sought after but are quite rare. White is perhaps the easiest to find and is very pretty with a delicate pearly sheen. Later, in 1915, a range of iridised custard glass appeared. This opaque and cream coloured glass has a pastel iridescent overlay, and is now very rare, commanding high prices. Most Carnival Glass is unmarked, but the Northwood company regularly marked their products with a letter ‘N’ in a circle, which makes them easily identifiable even by novice collectors. For a round ten years the Company was at the forefront of the Carnival Glass industry, but then, sadly, Harry contracted a fatal disease. He died in 1918, and without him the company seemed to lose direction, finally foundering to a halt in 1925. Harry Northwood at one time leased the Dugan Glass Company (when under a different name), and was related to Thomas Dugan, one of the managers. When Harry left, the name was changed to Dugan, and in 1910 the company began to produce Carnival Glass, often using old Northwood moulds. Normally it marked its pieces with a ‘D’ set inside a diamond shape, which is probably why, in 1913, it again changed its name, this time to the Diamond Glass Company. Based in Indiana Pennsylvania, Dugan was responsible for many wonderful pieces of iridescent glass with opalescent edges, using patterns such as fan, cherry, apple blossom twigs, butterfly and tulip, farmyard, fishnet, starfish stippled, pastel swans, raindrops and heavy grape. This company continued production right up until 1931, when the factory was destroyed by a disastrous fire. Pictured right is a Dugan grape delight amethyst rosebowl. The Imperial Glass Company, Ohio, was set up in the early 1900s, though the iridised glass didn’t appear till 1910 . Before then, it made pressed glass tumblers, water sets, cruets, pickle trays and other items of table ware. When the company finally introduced its range of Carnival Glass, it was an instant success and huge quantities were manufactured. It was so prolific in its output that most collectors today have some Imperial pieces in their collections. This company decided to specialise in geometric designs rather than the naturalistic patterns favoured by many of the other Carnival Glass companies, and it continued to produce items of practical use as opposed to the more decorative glassware which Northwood, Dugan, Fenton and Millersburg preferred. Pictured right is an Imperial grape marigold tumbler. Imperial experimented with many types of glass, often producing unusual base glass colours such as clambroth (a pale ginger-ale) and smoke (light blue-grey). They also managed to achieve an exceptionally brilliant iridescence on their wares, while their purple glass was a very deep, rich shade which no other manufacturer could accomplish. Much of their work resembles the Bohemian glass of the same period. At the time it was apparently quite common for a complete workshop group to decide to emigrate, and Imperial employed many Bohemian German-speaking workers who brought their expertise and ideas with them. The Company also produced a tremendous amount of marigold Carnival Glass, the commonest colour, and so one of the most affordable. Pictured left is an Imperial heavy grape one-handled dish. Glass from Imperial was sold […]
Mary Blair was a celebrated artist and designer who played a pivotal role in shaping the look of Disney animation in the 1950s. She was responsible for designing some of the most iconic scenes in films like “Cinderella”, “Peter Pan” and “Alice in Wonderland.” for over two decades. However, her most iconic work is undoubtedly the design of It’s A Small World at Disneyland. In 1963, she was asked to create a design for a new attraction at Disneyland called “It’s A Small World.” The attraction would feature animatronic dolls from around the world, singing a song with the same name. The ride, which debuted at the 1964 New York World’s Fair, was an instant hit with its charming depiction of children from around the world singing and celebrating their diversity. The ride was eventually moved to Disneyland in Anaheim and finally opened on May 28, 1966. Blair’s bold use of color and geometric patterns helped to create a playful and inviting atmosphere that has become synonymous with the ride. Inspired by folk art from around the world, Blair created a cheerful and colorful space that has delighted millions of guests over the years. She used a lot of primary colours and geometric shapes in her designs and she was greatly influenced by folk art from Mexico and Central America. With its playful representation of different cultures, It’s A Small World is a fitting tribute to Mary Blair’s imaginative style. “Blair’s synthesis of world architecture in a single setting creates a sparkling subtlety promoting unity and harmony among different cultures”. (John Canemaker, The Art and Flair of Mary Blair). The It’s A Small World ride was was later replicated at the Magic Kingdom in Walt Disney World Resort as well as Tokyo Disneyland, Disneyland Paris and Hong Kong Disneyland. There is no t’s A Small World ride at Shanghai Disneyland. Mary Blair’s It’s A Small World Murals at Disney’s Contemporary Resort The striking It’s A Small World murals at Disney Contemporary Resort in the Grand Canyon Concourse dominate the whole area. The murals reflect the name Grand Canyon concourse and show a stylized version of the Grand Canyon with scenery, flowers, animal and people. They have been at Disney’s Contemporary Resort since it opened on 1971. The mural is one of the most iconic pieces of art in all of the Disney Parks. Mary Blair’s Legacy to Disney Imagineers In addition to her work on “It’s A Small World”, Mary Blair also contributed to the design of other well-known theme park attractions, including “The Enchanted Tiki Room” and ” Pirates of the Caribbean”. her playful and colorful style can be seen in each of these iconic rides, and she is considered one of the most influential designers in the history of theme park design. The final product was a colorful and whimsical display that has become one of the most beloved attractions at Disney parks around the world. Mary Blair’s contributions to Disney are still evident today, and her legacy continues to inspire artists and engineers who work on new attractions. Related Disneyana.co.uk
Mustard has been around as a condiment for over two thousand years but the first mustard pots appeared in the early 18th century when mustard started to be used in a mixture paste with spices and vinegar. This created a need for specialised pots to be used as container for the selling of mustard by grocers and for use on the dining table. Mustard pots popularity as collectables has grown in recent years. Many people enjoy collecting mustard pots because they are relatively easy to find and many are fairly inexpensive. Plus, they make a great addition to any kitchen décor! The feature also look at some examples along with auction prices and price guide. Mustard pots come in a variety of shapes and sizes, and can be found made from different materials including earthenware, stoneware, porcelain and glass. Some are very ornate, while others are more plain. Those offered at grocers were larger than those used on the dining table, and are some of the earliest forms of commercial packaging often being branded such as Colmans. The mustard pots for the dining table were smaller, with many being made of silver or silver plate in the shape of a drum or boat, with an inner liner where the mustard would reside. The liner was often Bristol Blue. The silver and silver plate example are often elaborate with fretting and piercing. The pots would come with a matching mustard spoon and later might often some as part of a complete condiment set. If you’re thinking about starting a mustard pot collection, there are a few things you should know. First, it’s important to research the different types of mustard pots available. This will help you narrow down your choices and find the pots that best suit your taste. Once you’ve decided on the type of mustard pot you’d like to collect, it’s time to start shopping! Antique stores, garage sales, and online auction sites are all great places to find mustard pots. Just be sure to inspect the pot carefully before making a purchase, as some may be in poor condition. Finally, it’s important to properly care for your mustard pots. Store them in a cool, dry place. With a little bit of love and attention, your mustard pots will last for many years to come! Related Exhibits at the National Mustard Museum
Bengo collectables have become increasingly sought after by those of us who, as children, followed his simple, hand-drawn adventures
The forms were practical and classical, the lines were clean, and the colours were vibrant.
Rachel Bishop holds the distinction of being only the fourth head of the Moorcroft design department over a period that extends almost 100 years, ever since William Moorcroft set up his own pottery after departing from the Burslem firm of James Macintyre and Company in 1913. Rachel can to a certain extent thank her late grandmother for the position she now holds as it was she who, in early 1992, brought to her attention the vacancies advertised by Moorcroft for people ‘who could paint and draw’. Her employment with the pottery was not immediate as her initial interview with the then co-owner Hugh Edwards, although impressive, was primarily for the position of painter and not designer. Rachel was rejected but both parties agreed to keep in contact. Hugh well remembers this first meeting and how he was keen for the then fellow owner Richard Dennis to cast his expert eye over her portfolio. It was obvious to both of them that they were dealing with a modern day disciple of William Morris that combined an undeniable creative talent with a maturity well beyond her 22 years. At that time the design leader was Richard’s wife Sally Tuffin, who as one half of ‘Foale and Tuffin’ had already established herself as one of the UK’s most important fashion designers during the ‘Swinging Sixties’. However in December 1992 both Richard and Sally parted company with Moorcroft and decided to concentrate their efforts into their Dennis China Works. Hugh Edwards and wife Maureen now found themselves with the unexpected problem of being without a resident designer with a company that was at last showing real signs of growth. It should be remembered that seven years earlier Hugh and Richard, together with their respective partners, had rescued the then failing company from certain closure, albeit at the eleventh hour. Hugh was however mindful of his meeting with Rachel and arranged for yet another meeting, the outcome of which was that Rachel Bishop was appointed as the company’s senior designer, a position she retains to the present day. In 1997 the company celebrated the centenary of William Moorcroft’s appointment as designer for James Macintyre and Company, and the then present day design team had expanded to include eight members headed by Rachel. Today this same design team has been rationalised to four with further design work regularly being offered by several of the company’s painters and tubeliners. Within three years of arriving at the Sandbach Road works and the launch of her Tigris range, Moorcroft’s turnover had doubled and the new head of design was recognised as the primary impetus for this welcome growth. I was made aware of this new talent in 1993 after contacting Hugh Edwards to supply a Moorcroft pot to be featured with other examples of contemporary design on a TV programme with which I was involved being made by Anglia TV in Norwich. I can still remember opening the huge cardboard box on the studio set and unwrapping the most wonderful vase labelled ‘Oberon’. The floral composition was in total harmony with the chosen form and decorated with colourful glazes that hinted at Tiffany stained glass – I was in short beguiled by the jewel-like qualities of this remarkable vase and needed to own it. I now do! I was quick to contact Hugh in an attempt to glean as much information as possible regarding Miss Bishop in order to wax lyrical about this exciting new discovery. Eighteen years later and Rachel’s contribution to W.Moorcroft PLC continues, albeit for the past year health problems have prevented her working. Her style is often instantly recognisable by her devoted collectors with its inspiration frequently rooted in the design ethos preached by her mentor – William Moorcroft. Her portfolio today encompasses an extensive range of subject matter that depends way beyond her fascination with stylised and exotic flora. Her 2008 New Forest Collection consisted of fifteen individual designs, each then representing a year since her arrival at Moorcroft and illustrated well her ability to offer a wide variety of designs in subject choice and her instinctive use of colour to great effect. Her decision to accept the challenge of creating fifteen designs around this central theme was quite calculated, or to put it into her own words; ‘Every design in this collection is named after places scattered throughout the New Forest. In my mind’s eye I can see them all as if yesterday was today. I grew up in this historic and beautiful area and happily for me my mother and father still live there. Over the years the New Forest has provided me with a continual stream of inspiration. Throughout my childhood I would go out walking and literally absorb both images and emotions wherever I went. Sometimes those images evolved into a design and, perhaps more rarely, others were destined to emerge years later to challenge me for a second time.’ The collection is indeed a journey into a region populated by wild peacocks, colourful butterflies, bountiful rhododendrons and gently flowing rivers. And yet my personal favourite is a black and white study of sinuous fish set against turbulent waters. Titled ‘Ober Water’, the playful fish are set in habitat that begins as a gravel stream that wends its way to the Lymington River. There again, fish and frogs do feature regularly on the few Moorcroft pots in my own collection and I realise that it is only a matter of time and excess income before either the vase or the matching plaque end up with yours truly. Her best seller, launched in 2006, however, features everyone’s favourite insect amongst delicate blue flora adapted on to a range of shapes. ‘Fly away home’, as the title suggests, sees the introduction of numerous Ladybirds amongst exotic agapanthus flowers whilst set against bold reserves of creamy white that helps provide a relatively contemporary overall effect. In 2011 Rachel has once again adopted the mantle of William Moorcroft and introduced ‘Florian Flame’, a […]
Arctophiles who like Disney animations can have great fun building a collection based entirely around Disney bears, as Kathy Martin reveals When you think of the number of animals Disney have immortalised in their animations over the years, it’s surprising how rarely bears have been featured. Pictured right: Steiff Winnie the Pooh, 20 inches, made in 2004 exclusively for the UK and USA in a limited edition of 3,500 After all, the bear – in its teddy form – is the world’s favourite soft toy animal so you’d expect a canny merchandiser like Disney to have a whole galaxy of bear characters to tempt us with. Perhaps their reticence stems from the fact that since 1961 they have owned the film and licencing rights to Winne the Pooh, the ultimate A-list bear, and it’s hard for any other bruin to compete with him in the popularity stakes. Disney certainly show no reticence when it comes to making the most of Pooh – in their own stores he is sold in numerous different guises while the world’s leading toy manufacturers compete for the right to produce their versions under licence. The result is that fans of Pooh can build a hugely varied and interesting collection, especially if they are prepared to seek out vintage examples. Pictured right: Baloo, Steiff, 2003 In 1966 Merrythought’s catalogue included a fully jointed 10-inch mohair Pooh as well as a 24-inch ‘Showpiece’ version and a Pooh nightdress case. The following year he was back as a 9-inch ‘Chime’ toy which had arms but not legs, and also as a ‘Pooh in Bed’ pyjama or nightdress sachet. More modern interpretations of Pooh have come from Gabrielle Designs, Gund, Golden Bear, Steiff, Canterbury Bears, Dean’s and Hermann Teddy Original amongst others, and there’s every reason to suppose that further names will be added to the list as Disney strive to satisfy the public’s seemingly insatiable appetite for all things Pooh. However, anyone wanting to add one of Steiff’s gorgeous versions of Pooh to their collection should hurry because no more will be made after 31st March 2007. There is no denying that Winnie the Pooh is ‘Top Bear’ in the Disney empire but there are other bears to be found if one is prepared to search for them. For example, from the 2003 movie Brother Bear, there are two really delightful bear characters called Koda and Kenai. Following the release of the film, beautiful soft toy versions of these two could be found in Dis ney Stores and they made a reappearance in 2006 when the follow up, Brother Bear 2, was released on DVD. Although Koda and Kenai are supposed to look more like real bears than teddies, they have the cute faces and super-soft plush necessary to make them very appealing to children. Pictured right: Canterbury Bears Pooh and friends, made under licence for Japan in 2006 Another ‘real’ bear from the Disney stable is Baloo, the laid back, fun loving bear who shows young Mowgli how to survive in the jungle in Disney’s 1967 hit movie, The Jungle Book. Soft toy versions of Baloo have been produced since the 1960s, and two of the most successful came from Steiff. The first Steiff Baloo was produced shortly after the release of The Jungle Book as part of a set that included the other main characters from film. Complete sets occasionally turn up at auction and are subject to fierce bidding – it’s not unusual to have to pay £700 or £800 for them. Then in 2003 Steff returned to Baloo as part of their Disney Showcase Collection, creating a very attractive limited edition version which was made from mohair and measured 33cm high. These are quite easy to get hold of today – specialist retailers occasionally still have them in stock and they frequently turn up on internet auction sites. Expect to pay around £140. For those on a tight budgets, charming plush versions of Baloo can be found inexpensively on the secondary market. For example, a 12-inch Baloo made in Sri Lanka for The Disney Store was purchased for less than a pound in a charity shop. In good, clean condition it makes a worthwhile addition to any Disney bear collection, as do the small beanie-type toys which are also easy to find. Phil Harris, the voice actor who played the part of Baloo in The Jungle Book, took the part of another bear in the Disney version of Robin Hood. Released in 1973, the film portrayed all the main characters as animals and it was decided that the outsized Little John should be a bear. Although it had its good points, the film was not a massive success and as a result merchandise is less widely available than that associated with big hits like The Jungle Book. Nevertheless, if you search (particularly on internet stores and auction sites) it is possible to buy Little John plush toys, plastic figurines, pin badges and so on. Prices range from £2 to £15. Pictured left: Plush version of Kenai from Brother Bear There have been successful Disney bears on the small screen, too. Notable amongst these are the Gummi Bears which starred in their own television series from the middle of the 1980s through to the early 1990s. There were seven main characters – Zuffi, Grammi, Gruffi, Tummi, Sunni, Cubbi and Gusto – all of which were produced in soft toy form. They rarely cost more than two or three pounds on the secondary market. Although the show came to an end in 1991, it may be familiar to youngsters of today thanks to re-runs on satellite and cable TV. Perhaps the most remarkable thing about the Gummi Bears is that the idea for the show came from the Gummi Bear sweets; we’re all familiar with characters such as the Milky Bar Kid, the Milcha cow or the Lindt bunny that have been created specifically to promote confectionery but there can’t be too many instances of […]
Sunderland lustre (luster and lusterware in North America) is a general name given to a type of pottery with a pink lustre glaze made by a number of potteries in the 19th century including Leeds, Newcastle, Liverpool, Bristol and Swansea but principally and most famously by a number of potteries in the Sunderland and Wear area. The wares produced are also called Sunderland pink, pink lustre and even purple lustre. The ‘colour was originally derived from and tin powdered compound known as purple or cassius’ 1. Adding lustre to pottery was not a new method and examples of the lustring technique can be seen in wares from the middle east in the 9th and 10th century. Wedgwood used the technique on their Moonlight Lustre from 1805 to 1815 and later on their famous Fairyland lustre pieces in the 1920s. According to Michael Gibson 2 and The Sunderland Site 3 there were 16 potteries in Sunderland of which 7 are known to have produced lustrewares. These seven potteries also produced items under multiple names and include: Garrison Pottery; Dixon & Co; Dixon Phillips & Co; Dixon & Austin; Anthony Scott & Co.; Anthony Scott & Sons; Ball, William; Dawson, John; Dawson & Co.; Dawson’s Pottery; Dawson’s Low Ford Pottery; Thomas Dawson & Co.; Deptford Pottery; Dixon & Co.; Dixon Austin & Co.; Dixon, Austin, Phillips & Co.; Dixon, Phillips & Co.; Dixon, Robert; Garrison Pottery; Hylton Pot Works; Maling, William (the Maling Pottery was established at North Hylton, near Sunderland, in 1762 but moved to the Newcastle area in 1817); Messrs. Dawson & Co.; S. Moore & Co.; Moore’s Pottery; North Hylton Pottery; Olde Sanders Low Ford Pottery; Phillips & Co.; Scott Brothers & Co.; Scott’s Pottery; Snowball, Thomas; Southwick Pottery; The Sunderland Pottery; Thomas Snowball’s High Southwick Pottery;and the Wear Pottery. Many Sunderland lustre pieces are often difficult to attribute as they were unmarked. The pink lustre was that associated with Sunderland was added to many gift items such jugs, mugs, chamber pots, and wall plaques and often decorated with black transfer prints. A large number of items were commerorative wares and gifts for sailors and featured many repeated scenes including: the Wearmouth bridge, Ironbridge, symbols of Freemansonry, the Sailor’s Farewell and the Sailor’s Return, and countless sailing ships. Other items with lustre include watch-stands, rolling-pins, puzzle-jugs, frog mugs and carpet bowls. Sunderland Lustre and Pottery Reference 1 Collecting for Pleasure China introduced by Tony Curtis 2 19th Century Lustreware by Michael Gibson 3 The Sunderland Site – a really excellent web reference on the industrial history of Sunderland with a number of pages devoted to Sunderland Pottery. Collecting Frog Mugs – A Nice Surprise!
It was at the beginning of the reign of Queen Victoria that the Staffordshire potters first produced their characteristic portrait pottery. The young Queen and her family inspired enough pottery models to suggest an important collection in themselves. Pictured right: c1840s Staffordshire figures of Queen Victoria and Albert on horseback. Image from Richard Gardner Antiques. (Richard Gardner Antiques have an excellent selection of Staffordshire Pottery – click to visit) It is clear that these pieces originated in diverse factories although it is proving difficult to pinpoint the whereabouts of manufacture. There are no trademarks to guide us, nor are there old catalogues nor appropriate advertisements extant. A collector will recognise affinities in manufacture and can group the figures accordingly, but only two or three factories have been traced with any certainty. However, we hope to show that perhaps a more important way of classifying the portrait figures is to group them chronologically and by profession. Many of the pieces which we can attribute to the 1840’s show a porcelainous character. They tend to be smaller and more highly coloured than the later ones and are sometimes made in the round. In fact, it is not until a decade later that we consistently find the characteristic flat-back earthenware. The 1850’s were the halcyon days for the potter and his customers, and Crimean time pottery is Victorian Staffordshire pottery at its finest. The Queen comes first in time and importance in the royal list. A model labelled “Victoria,” in the possession of Mr. R. Shockledge, in which she holds orb and sceptre, might well have been made at the time of her coronation. Very soon, and romantically, appear portraits of Prince Albert as well. Both the Queen and her husband occur in numerous forms : standing, sitting, enthroned and also mounted on horseback. Frequently, these pieces were not labelled, but where they are named the inscription is usually ” Queen ” and ” Albert ” or, very rarely, ” Queen Victoria ” and Prince Albert.” We do not know of any piece entitled “Prince Consort ” and if any were made at the time of his death they needed no label. A large model of the Queen, made about 1870 and paired with the Prince of Wales, has the inscription ” Queen of England.” This model was used again, with a fuller inscription, both at her Jubilee in 1887 and her Diamond Jubilee ten years later. The figure became progressively debased in form. As the children arrived the potters became busier than ever. Charming pieces show the Queen seated, both with Prince Albert and alone, holding the infant Princess Royal in her arms. A tiny crown appears on the child’s long clothes. The pieces portraying the royal parents and children mount up like the photographs in a family album. Over and over again the little Princess Royal and Prince of Wales appear, separately with their toys and also playing together in their pony carriage or in one of their fancy boats. Pairs show them riding their goats and their ponies. It was some time before we could recognise these royal children apart and then we realized, of course, that although he too wears a skirt the little Prince always bestrides his steed whilst his royal sister rides side-saddle. From one factory comes a delightful series of the Queen and her husband at play with their children, even teaching them to ride. The royal residences are represented in this portrait cavalcade by Balmoral and Windsor Castle. As the children grow older the Prince of Wales becomes the favourite and there are figures showing him at every stage. Sometimes he is paired with his younger brother, Prince Alfred the sailor. A fine piece, which must have been made about the time of their betrothal in 1858, shows the Princess Royal and Prince Frederick William of Prussia together; and a handsome equestrian pair was made on their marriage. Then come numerous groups and pairs entitled ” Prince and Princess : ” the Prince of Wales and his bride to be, Princess Alexandra. There is a rare and very fine pair, presumably dating from their marriage in the early seventies, of Prince Alfred the first Duke of Edinburgh and the Czar’s only daughter. Most of the sons and daughters of the Queen, and their wives and husbands, are known to have been portrayed. Nor were the heads of foreign royal houses forgotten. At the time we started our collection we found just one figure of a living member of the royal family: Queen Mary shown as ” Princess May,” at the time of her betrothal to the Duke of Clarence of whom a figure also was made. The lively market for royal figures did not exclude numerous other persons from the potters’ lists. Popular politicians were in demand and it is not surprising demand and it is not surprising that numerous figures were made of Peel and Cobden, probably in 1846 at the time of the repeal of the Corn Laws. In fact, a standing figure of Peel has an additional figure of Peel has an additional inscription ” Repeal of the Corn Law.” A seated figure of Cobden shows him with sheaf of corn and orator’s scroll and there is a splendid equestrian figure of Sir Robert Peel made at the time of his death in 1850. A still rarer figure of Peel has his name inscribed on the pillar and an unusual circular base. Pictured right: Staffordshire Pottery figure of Richard Cobden MP (1804-1865). Full-length Staffordshire figure of Richard Cobden, standing, bare-headed. Right hand on his hip, left holding a paper against his leg; a pedestal behind it. (1804-52) M.P. 1841-65. He and John Bright were the principal agitators for the repeal of the Corn Laws. Image part of the National Trust Inventory Number 709134. Visit https://www.nationaltrustimages.org.uk/ for more details. There are at least eleven different models of the national hero, Wellington. They show him first as a soldier, then as an elder statesmen […]