To see this issue online, click here - Pascoe & Company

Winter 2013 

Inside... 

Royal Doulton 

Icons

FRONT COVER 

St George HN4371 

Modeled by A. Maslankowski 

2001 Height: 17 in 

Limited edition of 50

Connoisseur 

Winter 2013 

Contents 

Royal DOulton Figurines .......................................................... 3 

Royal Doulton Animals ..............................................................42 

Doulton Lambeth Art Pottery................................................49 

Doulton Burslem Art Pottery ................................................64 

Royal Doulton Kingsware ........................................................78 

Royal Doulton Loving Cups .....................................................93 

Royal Doulton Character & Toby Jugs .............................98 

Jack Point HN91 

Modeled by C.J. Noke 

1920 Height: 17 ½ in 

by Pascoe & Company

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Pascoe Sales Directory 

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- 2 - 

W e l c o m e 

W 

elcome to Pascoe to our and first Company’s 2013 issue new Connoisseur of Connoisseur catalog. which Our aim has is 

to been show you published the finest selection in conjunction of ceramic with art, antiques the and 27th collectibles Annual 

currently Florida in Ceramic our inventory. Art Show. Pascoe and This Company year is we proud are to celebrating represent the the top 

luxury Centenary brands of in European Royal Doulton pottery and Figurines porcelain with – Royal an Doulton, exhibition Moorcroft, of the 

Royal most Crown iconic Derby designs and from Lladró the - together last hundred with ceramic years. art Louise and figurines Irvine’s by 

independent presentation studios honors past the and present, creativity including of Doulton’s Ardmore, Charles most remarkable 

Vyse, Peggy 

Davies, sculptors the Dennis and the Chinaworks talented and painters Andrew Hull. who We worked are also with delighted them. to 

present Waterford Crystal from Ireland, in particular some stunning 

commemorative We recently acquired and prestige the pieces incredible which Phil have White very limited collection distribution. of Royal 

Doulton Kingsware, Loving Cups and Character Jugs. The late Phil 

Louise White Irvine, spent our many resident years British putting ceramic together art expert, one has of the world’s most 

introduced comprehensive each of collections our collecting in themes these and three provided categories. This is the 

fascinating largest Kingsware background collection information that on we the have featured purchased in our 44 

artists year history and their and work. many Topical rare events, and including tempting Queen pieces are featured here. 

Elizabeth’s Diamond Jubilee and Prince William’s first 

wedding Many of anniversary, the unique are pieces celebrated in this on issue page of 42. Connoisseur will make their 

debut at the 27 

We hope you will enjoy our new style publication. 

th Annual Florida Ceramic Art Show. This event is the 

biggest Royal Doulton event in America. We look forward to seeing 

many of you there this year. If you can’t make the show, please join 

our on-line centenary celebrations at www.pascoeandcompany.com 

W 

Ed Pascoe 

COPYRIGHT NOTICE 

All rights reserved 

Copyright © 2013 Pascoe and Company 

Photographs © Pascoe and Company 2013 

Text © Louise Irvine 2013 

Pascoe and Company • 1871 NW North River Drive • Miami, Florida 33125 

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publication are copyright and are used 

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Pascoe and Company is not 

responsible for typographical or 

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Edited by Ed Pascoe & Louise Irvine 

Photographs by Steve Wilkinson 

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ROYAL DOULTON ICONS 

Queen Mary & King George V at Royal Doulton, 1913 by Roger Clarke 

Figurines - Prestige to Miniatures 

This year marks the centenary of Royal Doulton’s HN 

collection of figurines, an ideal occasion to celebrate 

some of the most prestigious pieces produced during the 

last hundred years. To commemorate this major milestone 

in Doulton’s history, ten new miniature icons have been 

chosen for the HN collection. The tribute set honors the 

creativity of Doulton’s most remarkable sculptors and the 

talented painters who worked with them. The tradition of 

miniaturizing Doulton’s most popular figurines dates back 

to the 1920s so the history of the entire HN collection can 

now be represented in a couple of cabinets. At the other 

end of the scale, Royal Doulton artists have a history of 

producing monumental prestige pieces designed to steal 

the show at international exhibitions. 

Royal Doulton’s HN collection evolved from years of 

collaboration between a select group of British sculptors 

and Charles Noke, who became art director at the 

Burslem Pottery following his successful figurines launch 

in 1913. Noke was an experienced modeler, having 

trained at the Worcester Pottery, and initially he worked 

in an ivory ‘Vellum’ body, which was fashionable in the 

1890s. However, he envisioned a new style of colorful 

china figurines for the new century and experimented 

with successful artists in stone, bronze and other media. 

The First Icon 

Searching for sculptors to assist with his revival of 

Staffordshire figurines, Noke visited the Royal Academy 

exhibitions in London. A statue of Elizabeth Fry by 

Charles Vyse was one of the first pieces to be remodeled 

for the ceramic medium. Noke followed Vyse’s career 

with interest as he had trained with Doulton before 

winning a scholarship to the Royal College of Art. Vyse 

only modeled three figures for the new collection but 

one of them became the first Royal Doulton icon, thanks 

to the endorsement of Queen Mary. When Her Majesty 

toured the Burslem Pottery in April 1913, she singled out 

Vyse’s figurine of a little boy in his nightgown, exclaiming 

’Isn’t he a darling’. Because of this royal ‘christening’, he 

was named Darling and given the number HN1. Initially 

decorated in the soft pastel ‘Copenhagen Blue’, Darling 

was later issued in five colorways as an 8 inch figurine 

and two colorways as a 5 ½ inch model. Now he has been 

immortalized in miniature at 3 ¾ inches for the Icons 

collection. 

The HN Artists 

The HN numbering system was managed by Harry Nixon 

who was in charge of the figure-painting department in 

the early years. Most models were painted in a variety 

Royal Doulton Promotional Brochure 1930 

Pascoe & Company - 3 -

of color schemes and each new decorative treatment was 

assigned an HN pattern number. According to the HN 

record books, production was limited to three figures a 

week during the first four years. Darling HN1 was a clear 

favorite with 148 being produced compared to just 9 of 

Noke’s Arab (See page 12). Only a few painters worked 

part-time on the figurine collection. Harry Nixon also 

helped Charles Noke develop Sung, Chang and Chinese 

Jade wares, which often bear his monogram. Harry Allen 

built his reputation as a painter of birds and landscapes, 

dividing his time between the figure-painting department 

and the decoration of Titanian vases (See page 71). 

Harry Tittensor was an exceptional modeler and painter, 

responsible for striking figurines such as The Geisha. (See 

pages 11 & 13) 

The Jester 

Charles Noke was the chief contributor to the early HN 

collection, re-working many subjects that he had modeled 

in the ivory Vellum body during the 1890s. He enjoyed 

the theater and most of his early subjects were inspired 

by popular stage productions in the late 19th century. 

Shakespearean jesters inspired Noke’s lifetime fascination 

with the dichotomy of the theatrical clown. Noke’s Jesters 

took on a whole new appearance with the launch of 

the colorful HN collection. The Doulton figure painters 

reveled in the motley array of checks, stripes and diamond 

patterns of the traditional fool’s costume. More than 20 

different color variations have been recorded for the first 

two models of the Jester, starting with HN45 and HN45A. 

A miniature Jester, modeled by Robert Tabbenor, was first 

produced for members of the Royal Doulton International 

Collectors Club in 1990 and a new tribute miniature has 

now been launched in the Icons collection. 

One of Noke’s favorite jesters was Jack Point, the lovesick 

fool from Gilbert and Sullivan’s Yeoman of the Guard. 

Noke’s first portrait of the broken-hearted clown (HN91) 

stands a heroic 16 inches tall. Launched in 1918, it was 

made in six colorways over the years. In 1952, Jack Point 

- 4 - 

was revived in a striking blue and red heraldic tunic for 

Royal Doulton’s new Prestige collection and was produced 

until 2009, when it was replaced briefly by a small limited 

edition version, modeled by Shane Ridge. 

Royal Icons 

Noke also modeled the kings whom the jesters entertained. 

Inspired by theatrical productions of the monarch’s lives, 

he introduced majestic portraits of King Charles I and King 

Henry VIII. His study of An Old King HN358 appears to 

be based on costume designs for King Duncan in Henry 

Irving’s production of Macbeth. The 1920s versions of all 

these royal portraits are virtually impossible to find but 

they were revisited later. In 1933, a new portrait of Henry 

VIII HN1792 had the honor of being Noke’s first limited 

edition figure. 

Arabian Nights 

Similar transformations can be seen with the Arab HN33, 

Noke’s brooding portrait of Shakespeare’s Othello which 

was his first major sculpture for the HN collection in 

1913. The Arab was re-named The Moor in 1929 and was 

George Robey as Chu Chin 

Chow, inspiration for One of 

the Forty 

King Duncan from Macbeth, 

the inspiration for the Old King 

Pascoe & Company

produced in ten colorways until 2000. It was also 

reincarnated in flambé glazes and was remodeled in a 

smaller size by Alan Maslankowski in 2005. 

Exotic Arabian characters were Noke’s chief contribution 

to the HN collection and reflected popular interest in the 

Middle East on the stage and silver screen. Stimulated by 

Chu Chin Chow, a musical version of Ali Baba and the 

Forty Thieves, Harry Tittensor modeled the One of the 

Forty collection. Royal Doulton’s first miniature figurines 

Princess Badoura by Edmund Dulac 

were included in this collection in 1921. The vogue 

for Orientalism reached its peak in the 1920s with the 

exploits of Lawrence of Arabia. Many years later Alan 

Maslankowski depicted Lawrence riding a camel into 

battle to commemorate the heroism of the British army 

officer in the Arab Revolt against Ottoman Turkish rule. 

After Alan’s untimely death in 2006, Lawrence of Arabia 

was re-modeled in a smaller size HN5247 by his friend 

and colleague Shane Ridge. 

Princess Badoura 

The stories from the Arabian Nights were exquisitely 

illustrated by Edmund Dulac in the early 1900s and 

influenced many early Doulton figures. One of the most 

enchanting tales recounts the romance of Princess Badoura, 

the most beautiful woman in the world, who travels to her 

wedding in great splendor on the back of an elephant. This 

magnificent scene inspired a figure of the princess on her 

wedding day by Harry Stanton, a teacher at the Burslem 

School of Art, near Doulton’s Nile Street factory. Stanton 

worked closely with Doulton artist Harry Tittensor to create 

the sculpture of Princess Badoura which was first shown at 

the 1924 British Empire Exhibition at Wembley, London. 

Many years later this spectacular statue was chosen as the 

centerpiece of Royal Doulton’s new Prestige Collection 

Prestige Artist Dan Smith painting Princess Badoura 

when it was launched in 1952. Standing an impressive 

20 inches high, Princess Badoura HN2081, was the most 

expensive piece offered in the Doulton catalog and was 

made to special order for nearly 40 years. A new colorway 

of Princess Badoura was devised in 1996 and a small, 

limited edition version was modeled by Robert Tabbenor 

in 2001. This year a miniature version is being launched to 

celebrate the centenary of the HN collection. 


Iconic Dickens Characters 

Charles Dickens was Noke’s favorite author. To hear him 

talking about the characters was to feel he had met them 

in the flesh, rather than on the pages of a book. In the 

early 1920s, he worked with Doulton’s Lambeth modeler, 

Leslie Harradine, to create Royal Doulton’s first collection 

of miniature figures. Sixteen little bone china Dickens 

characters were introduced to the HN collection in 1922 

and they were renumbered as part of the new M series in 

1932. The collection was rounded off to 18 models in 1939 

and to 24 in 1949. A limited edition portrait of Dickens 

himself was commissioned by Pascoe & Company to 

complete the collection in 1994. The Dickens miniatures 

remained in production until 1983 and over the years 

there have been variations in ceramic bodies, size and 

back-stamps which affect their value. 

Charles Dickens Miniature Collection 

Art Deco Icons 

Leslie Harradine began working for Doulton’s Burslem 

studio in 1920 and he helped bring about the ‘renaissance 

of Staffordshire figure-making’ acclaimed by critics at 

the British Industries Fairs of the Art Deco era. Many of 

Harradine’s early figurines wear the emancipated fashions 

of the Jazz age. Hair was bobbed or cut in the boyish Eton 

crop and there was a drastic shortening of skirts exposing 

the legs as never before. Lounging pajamas became 

popular for informal resort wear, as worn by Lido Lady, 

and sun bathing at the seaside became a fashionable 

leisure activity. Influenced by American fashion, young 

- 6 - 

women like the Sunshine Girl abandoned their mother’s 

voluminous bathing dresses and sported figure-hugging 

swim suits with natty stripes and polka dots. Since its 

launch in 1929, the Sunshine Girl has become one of 

the most desirable Doulton figurines and became iconic 

as the cover girl for the 2nd edition of Royal Doulton 

Figures. Now she has been commemorated in miniature 

as HN5650. 

Nude studies were considered acceptable in the 1920s 

and Harradine responded with a series of nubile young 

ladies, artistically draped with exotic fabrics, including 

The Bather. Interestingly, this liberated attitude only lasted 

for a few years. In the 1930s a black swimming costume 

was painted on to cover her modesty. Fantasy postcards of 

scantily dressed women metamorphosed into butterflies 

were popular during the 1920s and inspired costumes for 

the masquerade balls of the period. 

The popularity of Harradine’s Art Deco style figurines 

prompted Royal Doulton to expand their painting 

department from three to ten artists by 1927. Some of the 

new figurine artists enjoyed long careers painting plates 

and vases with fruit and flowers. They strove to create 

the same subtle color effects on the figurines by repeated 

paintings and firings, which caused the enamel colours to 

fuse in the glaze, an effect unique to Doulton at the time. 

1920s Railway Poster, 

inspiration for the 

Sunshine Girl 


Darling 

L-R: HN1985, HN4140 

HN1, HN1371, HN3613, 

Modeled by C. Vyse 

1913 Height: 7 ½ in 

Sentimental Pierrot HN36 


1914 Height: 5 ¼ in 

Sentimental Pierrot HN307 



Royal Doulton Figurines 

Darling HN5648 

2013 Height: 3 ¾ in 

Limited edition of 2,500 

NEW MINI ICON 



- 8 - 

Henry VIII HN1792 


1933 Height: 11 ½ in 

Limited edition of 200 

The Old King HN2134 


1954 Height: 10 ¾ in 

Lord Olivier as Richard III HN2881 

Modeled by E.J. Griffiths 

1985 Height: 11 ½ in 


Alfred the Great HN3821 

Modeled by D.V. Tootle 



Jester HN55 


1916 Height: 10 ¼ in 

Jester HN3335 & Colorway 


1980 Height: 10 ¼ in 

Made for the Royal 

Order of Jesters 

Jester HN45A 


1915 Height: 10 ¼ in 

Jester 

L-R: HN5649 & HN45 



NEW MINI ICON 




- 10 - 

Lawrence of Arabia HN5247 

Modeled by A. Maslanowski 



Princess Badoura HN5651 



NEW MINI ICON 

Princess Badoura HN4179 

Colorway 

Modeled by H. Stanton 



Spook HN1218 & Titanian HN50 

Modeled by H. Tittensor 

1916 Height: 3 ¾ & 7 in 

Japanese Fan HN399 



Geisha HN634 


1924 Height: 10 ¾ in 




- 12 - 

Alchemist HN1259 

Modeled by L. Harradine 

1927 Height: 11 ½ in 

Bluebeard HN2105 



An Arab HN33 


1913 Height: 16 ½ in 


The Moghul HN5208 

Modeled by R. Tabbenor 

Painted by D. Capewell 

2008 Height: 11 ¾ in 


One of the Forty 

L-R: HN667 & HN664 


1924 Height: 6 ½ & 7 in 

One of the Forty 

L-R: #423E, HN666, HN665 XL 


1924 Height: 3, 7 & 9 ½ in 




- 14 - 

Fat Boy 

L-R: M44 & HN555 



Pecksniff 

L-R: M43 & HN2098 



Mr Micawber 

L-R: M42 & HN2097 




Mr Pickwick 

L-R: M41 & HN2099 



Sairey Gamp 

L-R: M46 & HN2100 



Uriah Heep 

L-R: M45 & HN2101 






- 16 - 

Bather HN1708 



Bather HN579 



Lido Lady HN1220 




Babette HN1423 



Sunshine Girl HN5650 



NEW MINI ICON 

Swimmer HN1270 




Sunshine Girl HN1348 





- 18 - 

Lady Jester HN1222 



Harlequinade HN711 



Pierrette HN644 



Mask HN657 




Pierrette 

L-R: #498 & HN643 


1924 Height: 3 ½ & 6 ¾ in 

Butterfly HN719 



Folly HN1335 



Harlequinade Masked HN769 





Pretty Ladies 

Pretty ladies in crinoline dresses and poke bonnets were 

perhaps Leslie Harradine’s most important contribution 

to the HN collection. His Victorian Lady, first introduced 

in 1925, was so well received that she was produced in 

15 colorways followed by 3 miniature versions, making 

her one of Harradine’s most iconic pretty ladies. The 

standard size for Harradine’s pretty ladies settled around 8 

inches but smaller sizes of classic designs were produced 

in the 1930s, notably Sweet and Twenty. Collecting 

miniatures became popular in the 1920s and culminated 

in the launch of the M series of pretty ladies, measuring 

just 4 inches tall. The detailing is exceptional with tiny 

flower baskets ¾ inch wide and parasols less than an 

inch long. The M series was retired in 1945 and most 

models are now hard to find today. Miniature figures 

were revived in 1988 with a tiny version of Top o’ the Hill 

and many more classic pretty lady designs by Harradine 

and Peggy Davies followed in the HN collection. 

Dancers of the World Collection by Peggy Davies 1970s 

- 20 - 

Royal Doulton are now focused on miniatures once again 

with the launch of the new Icons collection. 

Dancing Stars 

As a child, Peggy Davies had aspirations to be a ballet 

dancer but in her career she pursued her artistic talents. 

She took every opportunity to attend the ballet in London 

and made sketches of the pirouetting ballerinas during the 

performances, which she used as references for her figurine 

models. Dancers from her favorite ballets Coppelia, La 

Sylphide and Giselle were exquisitely portrayed in porcelain 

during the 1950s. Peggy also modeled the notorious 

Salome doing the dance of the seven veils. According to 

the Bible, her seductive power over King Herod led to the 

death of John the Baptist. Peggy was disappointed when 

her Salome tableau did not go into production during her 

lifetime. However, it was released as a posthumous tribute 

to Peggy in 1990. 


Assembling Columbine by Doug Tootle 

Peggy’s love of dance extended to traditional folk dances 

and in 1977 she launched her limited edition Dancers 

of the World collection. The twelve dancers wear the 

folk costumes of their respective countries, meticulously 

researched in every detail. A new semi-matt glaze was 

used to show the fine detail to perfection, notably the 

finger movements of each dance. This velvety glaze 

effect was the initiative of the new Director of Sculpture, 

Eric Griffiths. His early training as a portrait painter soon 

became evident in his choice of famous people, notably 

Soldiers of the Revolution promotional watercolor 

several members of the British royal family. One of Eric’s 

first figurines for the HN collection in 1974 portrays 

the haughty Mantilla poised for a flamenco dance. This 

dramatic figurine was chosen to commemorate Expo ‘92 

in Seville and the intricate lace work on her costume was 

painted entirely by hand for the occasion. A miniature 

version of Mantilla has now joined the Icons Collection. 

Eric Griffiths modeling Lord Olivier as Richard III 

Royal Doulton Sculpture Studio 

During the 1970s, several young modelers worked at 

the newly formed Doulton Sculpture Studio under the 

supervision of Eric Griffiths. Douglas Tootle had been 

teaching at the Burslem School of Art before joining Royal 

Doulton and his pretty lady figurines became very popular. 

His masterpiece sculptures of Harlequin and Columbine 

from the Commedia del Arte joined the Prestige collection 

in 1982 and were decorated in different colorways ten 

years later. Now Doug’s dancing Columbine has the honor 

of being a miniature Icon. 

Peter Gee’s modeling talents were first spotted in 1973 

and he began training in the Doulton Sculpture Studio. 

During his career he created the celebrated Gainsborough 

and Reynolds collections and many pretty ladies including 

Amy, the first Figurine of the Year in 1991. His personal 

favorite figurine is his flamboyant figurine of Isadora. 

American born, this acclaimed dancer anticipated modern 

choreography in the early 1900s with her evocative nymphlike 

movements. Peter took his inspiration from the Art 


Deco style butterfly dancers after seeing Harradine’s early 

figurines. A new colorway, entitled Celeste was a special 

commission in 1992 and is hard to find today with such a 

short production period. Isadora now makes a dramatic 

entrance into the miniatures Icons collection. 

Doug Tootle at work on the Harlequin & Columbine figures 

Alan Maslankowski began his Doulton career as a trainee 

modeler in 1968 when Peggy was working on her most 

prestigious designs. He had a precocious talent for 

modeling animals, which he had been creating out of 

plasticine from a young age. One of his party tricks was 

to take a small lump of clay and put it behind his back. 

Within minutes, and without looking, he’d created a little 

animal model. Alan’s Nemean Lion battling with the 

mythical hero Hercules is one of the most powerful pieces 

in Doulton’s prestige collection and a personal favorite of 

his studio colleague, Shane Ridge. No doubt Alan referred 

back to Charles Noke’s striking studies of lions stalking on 

rocky crags. Like the Prestige figures, these were made 

to order by Doulton’s most talented artists for nearly 40 

years. (See page 41) 

- 22 - 

Equestrian Heroes 

Doulton’s first equestrian subject for the HN collection 

was St George, modeled by Stanley Thorogood, a teacher 

at the Burslem School of Art. He modeled several large 

ceramic figures of medieval knights and his St George on 

horseback was adapted by Doulton in 1920. This stately 

statue of England’s patron saint proved to be a popular 

subject and was made in four recorded HN versions plus 

some experimental colorways. 

Over the years, the legend of St George has inspired 

other Doulton modelers, including Peggy Davies and 

Bill Harper who both portrayed him as a valiant dragonslayer. 

In contrast, Alan Maslankowski depicted the saint 

as the quintessential Christian soldier on a white horse. 

During the first Crusade against the Saracens in the 11th century, knights claimed that Saint George appeared at 

key moments in battle to protect them and he became the 

patron saint of soldiers. 

It is almost as if St. George has dismounted in Shane Ridge’s 

brilliant Knight of the Crusade HN5371 which was the 

last Prestige figure made by Doulton in England in 2009. 

Shane joined Doulton as a tableware modeler in 1987 

but his flair for figurative sculpture led to some interesting 

work for the HN collection. He produced smaller versions 

of iconic prestige figures, such as Jack Point HN5372 and 

Lawrence of Arabia HN5247. Now a miniature version of 

Shane’s Knight of the Crusade has been produced to mark 

his contribution to the HN collection. 

Peggy Davies Masterpieces 

One of the world’s most spectacular equestrian pageants 

can be seen every summer in the ancient walled city of 

Siena in Italy. Following a procession of medieval warriors, 

bare back riders race around the Campo for the coveted 

prize of the Palio, a symbolic silk banner. Peggy Davies 

traveled to Siena to witness this exhilarating event and she 

absorbed so much of the atmosphere of this dramatic day 

that The Palio is considered one of her masterpieces. Her 


Indian Brave sketches by Peggy Davies 

design was a challenge to the Doulton mold-makers who 

had to produce a horse standing squarely on four slender 

legs as opposed to the earlier tournament horses where 

the weight of the model is supported by flowing drapery 

in the kiln firings. The intricate decoration is shown to 

advantage by Doulton’s new velvety matt glaze which was 

perfected in the 1960s. The Palio was launched in 1971 

in a limited edition of 500 but less than 100 were made. 

Peggy’s other great equestrian figure depicts an Indian 

Brave which was introduced in 1967 in a limited edition 

of 500. Peggy studied books about the Sioux tribe for 

authentic details of the warrior’s costume. However the 

Royal figurines by Eric Griffiths & Alan Maslankowski 

figure was actually modeled on a Potteries lad from the 

local youth club. When it was known that Peggy was 

seeking a model, all the brawny young hopefuls assembled, 

flexing their muscles. Much to their disappointment, Peggy 

chose the leanest of them all, arguing that there would be 

no spare flesh on an Indian. 

Alan Maslankowski Masterpieces 

Alan Maslankowski first demonstrated his outstanding 

skills as an equestrian sculptor with his Charge of the Light 

Brigade in 1995. He had an extraordinary command of clay 

and captured the drama of war so effectively that the ‘Death 

or Glory’ cry of the trooper can almost be heard as man 

and horse charge into battle with fear and adrenalin clear 

in their eyes. The Charge of the Light Brigade proved so 

successful that Alan modeled the subject again in a smaller 

size. Alan contributed two more equally impressive battle 

scenes to the HN collection. Intrepid soldiers brandish their 

swords on rearing warhorses in Alexander the Great and 

Henry V at Agincourt. Alan took more than three months 

to model King Henry, studying original archive sources and 

two rousing film versions of Shakespeare’s famous play to 

create his triumphant sculpture. A miniature version has 

just been launched acknowledging Alan’s outstanding 

legacy to the HN collection. 



- 24 - 

Polly Peachum 

L-R: M22, HN549 & M23 



Tête-a-Tête 

L-R: HN1236 & HN799 




Doris Keene HN90 (black) & Rosamund 

L-R: HN1551, M32 & HN1497 



Sweet and Twenty 

L-R: HN1589 & HN1549 






- 26 - 

Veronica 

L-R: HN1915, HN1943 & M70 



Pantalettes 

L-R: M31 & HN1362 



Paisley Shawl 

L-R: M3 & HN1914 




Patricia 

L-R: M28, HN1567 & M8 



June 

L-R: M71 & HN1691 



Priscilla 

L-R: M13 & HN1559 






- 28 - 

Victorian Lady 

L-R: M25, HN727 & M2 



Chloe 

L-R: M29, HN1498 & M10 




Sweet Anne 

L-R: M6, HN1701 & M5 



Janet 

L-R: HN1916, HN1652 & M69 






- 30 - 

Ballerina HN2116 

Modeled by P. Davies 


Giselle HN2139 



Coppelia HN2115 



Giselle, the Forest Glade HN2140 




Romeo and Juliet HN4057 




Gypsy Dance HN2157 



Polka HN5652 



NEW MINI ICON 


Polka HN2156 





- 32 - 

Salome HN3267 




Mantilla 

L-R: HN3192 & HN2712 


1974 Height: 11 ½ in 

Mantilla HN5653 



NEW MINI ICON 


Celeste HN3322 

& Isadora HN2938 

Modeled by P. Gee 


Peacock HN4846 

Modeled by V. Annand 



Holly Blue HN4847 

Modeled by V. Annand 



Isadora HN5655 



NEW MINI ICON 




- 34 - 

Columbine HN5654 



NEW MINI ICON 

Harlequin HN2737 


1982 Height: 12 ½ in 

Aria HN4504 

Venetian Masquerade 

Modeled by S. Ridge 

2005 Height: 11 ¾ in 

Columbine HN2738 


1982 Height: 12 ½ in 


Chiquita HN5133 

Rio Carnival 


2007 Height: 12 ¾ in 

Bonita HN5132 

Rio Carnival 






- 36 - 

Europa and the Bull HN2828 

Modeled by R. Jefferson 

1985 Height: 10 ¼ in 


Lady Godiva HN4641 


2004 Height: 13 ¾ in 


Europa and the Bull HN95 

Colorway 

Modeled by E. W. Light 







St George HN386 Colorway 

Modeled by S. Thorogood 



Modeled by S. Thorogood 


Richard the Lionheart HN3675 

Modeled by P. Parsons 



Knight of the Crusades HN5657 



NEW MINI ICON 



- 38 - 

Captain, 2 nd New York Regiment HN2755 




Private, Rhode Island Regiment HN2759 


1977 Height: 11 ¾ in 


Corporal, 1 st New Hampshire Regiment 

HN2780 




Private, 3 rd North Carolina Regiment 

HN2754 





Trail of Tears Prototype 

Flambé Plaque 

c.2000 Diameter: 10 ½ in 

Indian Brave HN2376 







- 40 - 

Henry V HN5656 



NEW MINI ICON 

Palio HN2428 


1971 Height: 17 ½ in 


Charge of Light Brigade HN4486 





Lion on a Rock HN2641 


1952 Length: 18 in 

Hercules HN4561 


2003 Height: 16 ¼ in 




Royal Doulton Animals 

- 42 - 

Chinese Jade Rhinoceros 

Modeled by C. J. Noke 

c.1930 Length: 6 ½ in 

Leopard on Rock HN2638 




ROYAL DOULTON ANIMALS 

Making Royal Doulton Animals & Figurines 1913 

When Charles Noke launched his HN collection of 

figurines in 1913, he reserved numbers HN100-299 for 

animal models so this year also marks the Centenary of 

Royal Doulton animals. HN100 was allocated to the Fox in 

Hunting Dress and HN101 to the Rabbit in Morning Dress 

featured on page 47. These animals acting as humans 

were typical of Noke’s work and look back to the tradition 

established by George Tinworth and Mark V. Marshall at 

the Lambeth Studio. (See page 53) 

Noke’s animals often have human attitudes and 

expressions whether they wear clothes or not. This 

interest in anthropomorphic creatures was inspired by 

popular books of the Victorian era, such as Carroll’s Alice’s 

Adventures in Wonderland and Charles Darwin’s Origin 

of the Species. Noke’s character Ape with Book endorses 

Darwin’s theory that humans are descended from apes. 

Noke began modeling these comical creatures in the early 

1900s and his Pedlar Wolf was given the number HN7 

before he decided to separate animals into their own HN 

sequence. 

Fox in Hunting Dress HN100 

Experimental Glazes 

Many of Noke’s early animals were modeled especially 

for the new flambé glaze effect. Launched at the St Louis 

exhibition of 1904, this fiery red Oriental glaze was widely 

used for decorating figurative sculptures. As well as the 

monochrome flambé glaze, Noke also experimented with 

other Oriental glazes for his animal models including Sung, 

Chang and Chinese Jade, named after the much revered 

Chinese stone. Flambé production and experimentation 

continued at Royal Doulton for over a century. Serious 

collectors enjoy finding unique glaze effects and rare 

prototypes, such as the Black Panther painted by prestige 

artist Dan Smith and the End of the Trail plaque, inspired 

by Frasier’s famous sculpture of a Cherokee Indian on the 

‘Trail of Tears’. 

Smoking Ape illustrated by Ernest Griset 


Bunnykins 

In 1934, Royal Doulton launched a new collection of 

Bunnykins nursery ware featuring a family of dressed 

rabbits with human attributes. Figurines of the 

Bunnykins family joined the collection in 1939 but 

production was interrupted by the outbreak of war. 

A Bunnykins breakfast set, complete with tea service 

and egg cup was also launched in 1939 but is equally 

hard to find today because of limited production. 

Jack the Bulldog DD007 

British Bulldogs 

World War Two inspired models of the symbolic 

British Bulldog draped in the Union Jack. This 

patriotic animal was made in three sizes and became 

a Royal Doulton icon during the 1940s and 50s. 

- 44 - 

Winston Churchill’s uncanny resemblance to the bulldog 

was exploited by Noke’s models of cigar-smoking bulldogs 

wearing a Derby hat or Trinity Cap. These humorous 

bulldogs were only made for a year in 1941 and are 

extremely rare today. (See below) Royal Doulton’s new 

version of the Union Jack bulldog became a film star in 

the recent James Bond movie Skyfall where he sits on the 

desk of M. He quickly became a hot desk accessory and 

stocks sold out around the world. Now he is back with a 

new back-stamp DD007 (for Doulton Dog) and comes in 

a special Skyfall box. 

Prestige Animals 

In 1940, at the end of his life, Charles Noke was working 

on some models of wild cats. His large versions of a 

lion, tiger and leopard stalking on rocks joined the HN 

collection posthumously in 1952. These impressive pieces 

were painted by Royal Doulton’s most talented painters 

in the prestige department and were made to order for 

over 30 years. The Prestige Animal collection launch of 

1952 also included a fox, two drakes, a penguin, a polar 

bear and an elephant, all of which paid tribute to Noke’s 

remarkable legacy as an animal sculptor. 

Bulldog with Trinity Cap D6183 Height: 2 ¾ in, 1941 Bulldog with Derby Hat D6180 Height: 3 in, 1941 


Black Panther Prototype 

Painted by D. Smith 

c.2000 Length 17 ½ 

Bull Flambé 

#612 

c.1928 Length: 7 in 




- 46 - 

Mary Bunnykins D6002 


Reggie Bunnykins D6025 


Billie Bunnykins D6001 


Farmer Bunnykins D6003 


Mother Bunnykins D6004 



Granny Owl HN173 



Toucan with Tails HN208 



Bunnykins Egg Cup, Teapot & Creamer 


Rabbit in Morning Dress 

HN101 



Character Ape with Book 

HN972 






- 48 - 

Collie flambé 

#47 


Bulldog flambé 

#122 


Alsatian flambé 

#527 


Terrier flambé 

#78 



Doulton Lambeth Art Pottery 

Henry Doulton at the Lambeth Pottery illustrated by Gordon Nicoll 

It is nearly 200 years since Doulton’s London pottery 

was established on Lambeth High Street in 1815. 

Henry Doulton established an Art Studio which rose to 

prominence in the 1870s and introduced a new style 

of art pottery for discerning collectors. The first Doulton 

artists came from the local school of art and learned to 

decorate salt-glazed stoneware vases with applied and 

incised motifs. By the 1880s more than 300 artists, mostly 

young women, were employed at Lambeth decorating 

Stoneware vases and painting Faience plaques and tiles 

in all the fashionable Victorian styles. Leading artists and 

assistants were all credited for their work and their initials 

were incised on the base together with the Doulton 

Lambeth trademark. 

Who was Who at Lambeth? 

George Tinworth was the first artist to work for Henry 

Doulton at the Lambeth Pottery. The son of a wheelwright, 

Tinworth grew up in an impoverished family with a deep 

Christian faith. The bible was his daily text and inspired 

his ‘sermons in terracotta’, monumental modeled panels 

which were widely used in churches and public buildings. 

Alongside his biblical subjects, Tinworth decorated 

stoneware jugs and vases with spiralling foliate tendrils, 

copious beading and floral bosses working swiftly in the 

soft clay. (See page 54) 

As relaxation from his major commissions, Tinworth 

amused himself by modeling groups of mice engaged 

in popular Victorian pursuits. Apparently his studio was 

invaded by mice and he imagined the new residents 

in human situations. Many of the mice groups are 

autobiographical, like the Sculptor, and were presented to 

Sir Henry Doulton as conversation pieces to entertain his 

dinner guests. 

Tinworth also enjoyed modeling children although he and 

his wife were not blessed with a family. His most famous 

child studies are the Merry Musicians, a series of little boys 

playing more than 40 different instruments. There are a 

variety of poses, expressions and hats to collect and more 

than 100 have been recorded. 

George Tinworth at work 

Hannah Barlow was the first lady artist to be employed 

at the Lambeth Studio in 1871, together with her brother 

Arthur. Two years later she was joined by her sister, 

Florence, and for a short time in the 1880s another sister 

Lucy worked at the studio. Hannah excelled in designs 

of animals, incised swiftly into the stoneware clay while 

it was still moist. On occasion she partnered with Frank 

Butler, who produced interesting frames and borders for 

her designs like the looped strap-work rim on the Stags 

vase. (See page 55) 


Florence Barlow preferred to study birds and she came to 

an arrangement with her sister that Hannah would portray 

animals and she would concentrate on bird designs. 

Typically she worked with raised slip in the pâte-sur-pâte 

style but occasionally she outlined her bird designs in the 

trailed slip tube-lining technique. (See page 55) 

Emily E. Stormer joined the Lambeth Studio in 1877 and 

was much influenced by Arthur Barlow and Frank Butler. 

In her first year at the studio she modeled this amazing 

bowl depicting children flying on the backs of geese. For 

the interior decoration she was assisted by Emma Martin. 

(See page 57) 

Nelson Commemoratives 1905 

Frank Butler was deaf and virtually dumb but 

communicated through his art. He worked for nearly 

40 years at the Lambeth Studio and his style progressed 

with changing fashions, from simple incised and beaded 

- 50 - 

Watercolor by Ada Dennis 

foliate designs of the early 1870s to more complex carved 

and interlacing motifs of the 1880s. He had a taste for the 

bizarre as can be seen in the moon flask decorated with 

face masks. (See page 60) 

John Broad was renowned for his versatility as a modeler, 

designer and decorator at the Lambeth Studio for 45 years. 

In the 1870s, he designed vases with high relief decoration 

of birds, animals and figurative scenes such as the Perseus 

and Andromeda vase, illustrated on page 127 of the 

Doulton Lambeth Wares. Broad was also responsible for 

most of the relief-figured scenes used on sporting wares, 

motto jugs and commemoratives, most notably the Nelson 

collection made to commemorate the centenary of the 

Battle of Trafalgar in 1905. 

Ada Dennis specialized in painting charming children in 

an under-glaze decorating technique called Faience. She 

designed vases and tiles in the 1880s and early 90s, often 

assisted by Josephine Durtnall. Ada Dennis also enjoyed 

working on Doulton’s Carrara Ware, matt glazed white 

stoneware which resembled the famous Italian marble. 

Examples are rare as production was very limited in the 

late 1880s and early 1900s. (See page 62) 

Margaret Thompson was a designer and children’s book 

illustrator who was introduced to the Lambeth Studio 


around 1900. She specialized in painting beautiful 

maidens and fairies in the fashionable art nouveau style of 

the time. She was also responsible for designing tile panels 

depicting nursery rhymes and fairy tales for children’s 

hospital wards in the early 1900s. (See page 62) 

The Procession illustrated by Margaret Thompson 1900 

Silicon Ware 

No doubt John Broad was responsible for the relief 

decorations on Silicon Ware, a matt stoneware body which 

was introduced in the 1880s. The natural clay color was 

a light brown but it was often infused with colored stains 

to make it blue or black, similar to Wedgwood’s famous 

Jasper Ware. Black Silicon Ware was used to simulate the 

leather of Cromwellian black jacks, complete with seams 

and stitching and sometimes textured impressions of real 

leather. Some of the most dramatic black Silicon Ware 

features relief-modeled figures of a Tudor Banquet, Royalist 

Cavaliers and Egyptian tomb paintings. The Gambling 

Devil tyg is one of the rarest designs to be discovered in 

this technique. Black Silicon Ware was considered most 

suitable for the studies of Victorian gentlemen and was 

used for smoking accessories, including novel matchstands 

in the form of an owl and a leather boot. Many 

were embellished with silver mounts for the luxury market 

and sold through retailers like George Betjemann & Sons. 

Marqueterie Ware 

This unusual variegated ware was patented by Henry 

Doulton and Lambeth Art Director Wilton P. Rix in 1887 

and took its name from inlaid work in furniture. It was 

achieved by layering slices of different coloured clays into 

a compressed block to produce a mosaic type pattern 

when a cross section was taken. Different patterns could be 

produced by kneading the clay to create a marbled effect 

similar to the old Staffordshire agate wares. The thin leaves 

of patterned clay were used to make some very complex 

designs including shell, fish and trumpet shaped vases 

and various tea wares. Marqueterie designs were often 

combined with painted, gilded and modeled ornament 

by leading studio artists, such as Ada Dennis. Production 

costs were very high and Marqueterie was only made until 

around 1906. Because of the fragile nature of the body not 

many pieces survive today. 

Marqueterie Ware publicity photo 

c. 1890 and Marqueterie Ware 

Tazza. Height: 5 in. 



- 52 - 

Merry Musician Tambourine 

Modeled by G. Tinworth 

c.1900 Height: 5 in 

Merry Musician Trumpet 


c. 1900 Height: 4 ½ in 

Merry Musician Accordian Vase 


c.1900 Height: 4 ½ in 

Merry Musician Horn 


c.1900 Height: 5 ¾ in 

Merry Musician Bells 



Merry Musician Cello 




Schoolboard 


c.1885 Height: 4 ¼ in 

Waning of the Honeymoon 

Modeled by M.V. Marshall 


Conjurers 




Sculptor 





- 54 - 

Four Handled Stoneware Vase 

Decorated by G. Tinworth 

1874 Height: 17 ½ in 


Stags Stoneware Vase 

Designed by H. B. Barlow & F. A. Butler 

1903 Height: 13 ½ in 

Parakeets Vase 

Designed by F. E. Barlow 





- 56 - 

Cockatoos Jardinière 

Designed by F. E. Barlow & F. A. Butler 

c.1885 Diameter: 12 in 

Right: Detail of one of the four panels 


Boys Riding Geese Bowl 

Modeled by E.E. Stormer & E. Martin 

1887 Height: 11 ½ in 

Below: Detail of the interior 




- 58 - 

Leather Ware Motto Tyg 


Leather Ware Boot & Drum 

Match Holders 


Boot made for George 

Betjemann & Sons 

Owl Silicon Ware Match Holder 


Made for George Betjemann & Sons 

Leather Ware Blackjack 


Owl Silicon Ware Jug 



Egyptian Silicon Ware Jug 

Rd No121031 


Tudors Silicon Ware Jug 

X4364 

1899 Height 7 in 

Devil Silicon Ware Tyg 

X1904 


Cavaliers Silicon Ware Jug 

X1104 





- 60 - 

Bizarre Faces Moon Flask 

Designed by F. A. Butler 


Perseus & Andromeda Vase 

Modeled by J. Broad 

1873 Height: 10 ¼ in 

Reverse of Vase 


Marqueterie Ware Fish Bowl 

c.1890 Length: 8 ½ in 

Marqueterie Ware Gilded Vase 


Marqueterie Ware Teapot 

c.1890 Length: 8 in 

Marqueterie Ware Vase 

Painted by A. Dennis & J. Durtnall 





- 62 - 

Carrara Ware Vase 


c. 1890 Height: 6 ½ in 

Cherub & Butterflies Faience Tile 



Fairies Faience Vase 

Designed by M. Thompson 



Nelson Miniature Jug 


Nelson Jug 

Doulton & Watts 


Smoking Imp Stoneware Tobacco Jar 

X7132 


Miniature Jars & Bottles Tobacco Jar 

X2478 



Nelson Hat Match Holder 



Doulton Burslem ART POTTERY 

The Burslem Decorating Studio illustrated by Roger Clarke 

Sir Henry Doulton repeated the success of his Lambeth 

Pottery when he acquired another pottery in Burslem, Stokeon-Trent. 

Recognizing that the most discerning American 

customers liked fine translucent china, he built a new china 

works in 1884. His Burslem Studio specialized in lavishly 

gilded vases and sets of fish, game and dessert plates which 

were all hand-painted by his most talented artists. One of 

the great advantages of working at Doulton’s Burslem Studio 

was that each artist could specialize in his own distinctive 

style. As a result, painters and modelers flocked to Henry 

Doulton’s new enterprise at Nile Street ‘not for the money, 

but for the freedom and the promise’. The most talented 

were often requested to paint special commissions for 

America’s most prestigious stores, such as Tiffany’s of New 

York. 

Exceptional pieces from the Burslem studio were shown at 

the Chicago exhibition of 1893, Paris in 1900 and St Louis 

in 1904, where they won the lion’s share of the awards. A 

new recruit, Charles Noke, modeled new styles of vases 

and created beautiful glaze effects for the translucent 

body, Luscian, Lactolian and Titanian. Demand for these 

prestige porcelains continued apace until the economic 

slump of the late 1920s when many of the skilled artists 

turned their talents to decorating the first Doulton figures, 

hence the supreme quality of these early designs. 

- 64 - 

WHO WAS WHO AT BURSLEM? 

Charles Noke joined Doulton’s Burslem Studio from 

the Worcester factory in 1889 and started by modeling 

exhibition vases to steal the show at the Chicago World Fair 

in 1893. For the Paris Exposition of 1900, he modeled an 

elaborate urn in the fashionable art nouveau style, which was 

decorated with colored slips to create a slightly raised effect 

on the bone china ground. This ‘New Art’ technique was 

perfected by Art Director John Slater and called Lactolian 

from the Latin for ‘milky’ because of the muted pastel shades 

of powder blue and olive green. (See page 67) 

Charles Hinley was responsible for the very rare pate-sur- 

pate style vase produced in the 1890s. French for ‘paste 

upon paste’, the technique combines painting and modeling 

to create a cameo-like effect. Hinley learned the technique 

whilst working for Solon at Minton and apparently trained 

other Doulton artists. However very few examples of 

Doulton pate-sur-pate survive. (See page 70) 

Joseph Hancock at work 

Samuel Wilson was one of the first recruits at the Burslem 

Studio in 1880, having been lured from Mintons by John 

Slater. He was a talented painter of animals and landscapes 

naturalistic style, as with the Scottish scene of pheasants. 

(See page 74) 


John Hewitt worked for Minton, Copeland and Wedgwood 

before joining the Burslem Studio around 1885. He was an 

accomplished painter of figure subjects, mostly in classical 

style, as can be seen in the charming vase portraying a 

mother and child. (See page 68) 

Arthur Eaton became a talented painter of animals, birds 

and pastoral scenes, having started training in 1889, 

aged 14. He excelled at slip painting, as can be seen in 

the beautiful bird designs on a Chinese Imperial yellow 

ground. He worked with Charles Noke on the decoration 

of Sung Wares and was a key figure in the development of 

Kingsware. (See pages 76 & 77) 

Joseph Hancock began his career at the age of 14 in 1890. 

He was apprenticed to Doulton’s training department where 

senior artists taught youngsters the art of china painting. 

Hancock spent nearly 40 years with the company and is 

especially well known for his painting of fish, game birds 

and animals in their natural surroundings. (See page 74) 

Walter Nunn painted figurative scenes, favouring historical 

subjects and characters. He began his career at Doulton’s 

Lambeth Pottery painting tile panels before moving to 

Burslem around 1890. He worked closely with Charles 

Noke on the development of Holbein and Rembrandt 

Wares. (See page 76) 

Enoch Piper worked for the Coalport factory for almost 

40 years before joining Doulton in 1892. He made his 

reputation as a heraldic artist but his signature is also found 

occasionally on scenes of game birds in landscapes. (See 

page 74) 

Charles Beresford Hopkins worked intermittently at the 

Burslem Studio between 1893 and 1922. He was known as 

the McWhirter of the Potteries’ because his landscape style 

was similar to the work of the 19th century Scottish artist. 

(See page 74) 

Harry Allen began his career in 1900 at the age of 14, 

supplementing his studies in the evenings at the Burslem 

School of Art. He became one of Doulton’s most versatile 

artists and spent 50 years with the company. One day he 

could be painting birds on Titanian Ware and the next, 

exotic Middle Eastern scenes with camels in the desert. 

Allen was one of the first artists to decorate figurines in the 

HN collection and from 1925 onwards he spent most of his 

time in this department, specialising in face painting. (See 

page 75) 

Rembrandt Ware publicity photo 

Harry Tittensor was apprenticed to Doulton in 1900 and 

soon became one of their most gifted artists. He worked 

quickly and could soon master any technique and style, 

equally skilled at painting delicate Titanian wares or the 

more rugged Rembrandt wares. He played an important part 

in the development of Royal Doulton figurines with Charles 

Noke. (See page 71) 


John Hugh Plant had spent many years as a landscape painter 

at Coalport and Wedgwood before joining Doulton in 

1902. His subject matter ranged from castles and cathedrals 

in rural British countryside to views of Italian cities, such as 

Venice. His architectural paintings were of a very high order 

as can be seen in the romantic ruins of Tintern Abbey on the 

borders of Wales and England. (See page 73) 

Thomas Morton had achieved a high reputation as a gilder 

at Copeland and Minton before joining Doulton’s Burslem 

Studio in his late 50s in 1905. His raised paste gold work 

was held in very high esteem in the industry. (See 70) 

Sydney Tushingham studied at the Burslem Art School and 

in 1905 won a National Scholarship to the Royal College of 

Art in London. He worked for a while as a china painter at 

the Burslem Studio while establishing his career as a society 

portrait artist. Later, he became a teacher of engraving and 

exhibited his etchings widely at the Royal Academy and 

elsewhere. (See page 68) 

- 66 - 

George White was the pre-eminent painter of figurative 

subjects and portraits at the Burslem Studio from 1885 

until 1912. He was responsible for decorating many of the 

major exhibition vases and produced special commissions 

for illustrious clients. His exquisite scenes were often titled 

on the base, as with Luna and The Dove. (See page 69) 

A. Dix remains a mystery artist as there are no records of 

his career in the Royal Doulton Archives. His signature is 

found on vases and plates decorated with beautiful maidens 

which were produced in Herbert Betteley’s studio in the 

early 1900s.(See page 68) 

John Hughes was mentioned in Charles Noke’s notebook 

when he was appointed Art Director in 1914. He worked 

under Robert Allen and Herbert Betteley and his signature is 

found on cabinet plates featuring castles made for retailers 

such as the Lovington Brothers. 


Lactolian Ware Exhibition Urn 

Designed by C.J Noke 

1900 Height: 14 ¾ in 

Doulton Burslem Art Pottery 



- 68 - 

Fairy Plate 

Painted by S. Tushingham 

c.1900 Diameter: 9 in 

Maidens Vase HB7124 

Painted by A. Dix 


Mother & Child Vase 

Painted by J. Hewitt 

Reverse: Poppies by 

D. Dewsberry 



Luna Vase RA1822 

Painted by G. White 


The Dove Vase 

Painted by G. White 





- 70 - 

Portrait Vase 

Painted by S. Tushingham 


Pate-sur-Pate Vase 

Attributed to C. Hinley 


Titanian with Raised Gold Vase 

Painted by T. Morton 


Night Heron Titanian Vase 

Painted by H. Allen 



Omar Khayyam Vases 

Painted by H. Tittensor 

1917 Height: 11 ¼ in & 11 ½ in 

Inscription on base 

Inscription on base 




- 72 - 

Linlithgow Castle Plate 

Painted by J. Hughes 

1917 Diameter: 10 ½ in 

Made for Lovington Bros 

Herstmonceaux Castle Plate 




Harlech Castle Plate 




Dunolly Castle Plate 





Tintern Abbey 

Painted by J. H. Plant 

c. 1910 Height: 9 ½ in 

Bamburgh & Kilchum Castles Vases 

Pair HB5549A 

Painted by J. H. Plant 





- 74 - 

Cattle Vase 

Painted by C. Beresford Hopkins 

c. 1905 Height: 9 ¼ in 

Girl with Calves Vase 

Painted by J. Hancock 


Pheasants Vase 

Painted by S. Wilson 


Hunter with Turkeys Vase 

RA5961 

Painted by E. Piper 



Arab on Donkey Vase 



Arabs on Camels Vases RA5954 



Arab on Camels Vase 






- 76 - 

Bird Vase 

Painted by A. Eaton 


Cavalier Holbein Ware Vase 

Painted by W. Nunn 


Storks Vase 



Francis Drake Holbein Ware Vase 

Painted by W. Nunn 



Nelson Kingsware Flask 

Rd.No. 649343 

Made for Dewars 


Horatio Viscount Nelson 

Rembrandt Ware Vase 


1929 Height: 13 ¾ in 

Admiral Lord Nelson Loving Cup 

Modeled by C.J. Noke & H. Fenton 

1935 Height: 10 ½ in 



KING OF COLLECTIBLES 

Pascoe & Company has acquired the incredible Phil White 

collection of Royal Doulton Kingsware, Loving Cups and 

Character Jugs. The late Phil White spent many years 

putting together one of the world’s most comprehensive 

collections in these three categories. Collectors lucky 

enough to visit his beautiful home admired his luxurious 

study, which was lined floor to ceiling with dark teal 

shelves displaying his prized possessions. We pay tribute 

to the White collection by featuring some of the highlights. 

Kingsware catalog page 

KINGSWARE 

It is many years since Pascoe & Company has had such an 

amazing collection of Kingsware and Queensware. As well 

as the well-known whisky flasks, Phil White also liked to 

collect all the different shapes available in the Kingsware 

body. His outstanding collection included vases, smoking 

accessories, jugs, tankards and table-wares decorated with 

a wide variety of subject matter. 

- 78 - 

King’s Ware, as it was first known, was perfected by 

Charles Noke in the late 1890s. For some years Noke had 

been experimenting with sepia tones for slip-decorated 

wares which he named Holbein and Rembrandt after the 

old master painters. (See page 77). However, the ingenious 

new decorating technique that he developed for Kingsware 

made it economically viable for larger scale production. 

Instead of the traditional method of hand-painting on the 

surface of a vase, the interiors of the plaster molds were 

painted in light colored slips (liquid clay). Dark brown 

slip was then poured into the molds and fused with the 

painting to create an effective design in relief. Collectors 

enjoy the rich color variations that occur with the mingling 

of the slips from a dark treacle brown to a greenish hue. 

Whisky Galore 

Kingsware became one of Doulton’s most lucrative 

products when Noke was commissioned to design whisky 

flasks for famous distillers, such as Dewars of Perth, and 

these are avidly collected today. Each year at Christmas 

time distillers would order new containers to be sold with 

their blended whiskies. Dickens characters conjured up 

the spirit of the festive season and Scottish subjects were 

often chosen to reflect the origin of the flask contents. 

Other popular themes included the traditional British field 

sports of hunting, shooting and fishing. Swashbuckling 

heroes and characters from literature were subjects dear 

to Noke’s heart and they were inspiration for Kingsware as 

well as his Series Ware and figurative designs. 

The tavern trade led to many other drinking and smoking 

accessories, including tobacco jars, ashtrays, barrels, 

tankards and toby jugs. As a figurative artist, Noke liked 

to incorporate modeling into his designs. Some of his 

flasks incorporate modeled heads and some are full figures 

fashioned into bottle form, as with the rare Bacchus flask. 

Noke used the Kingsware body for two toby jugs in 1910. 

His commission to model McCallum’s Highlander logo led 

him to revive the face jug tradition and the launch of his 

famous character jug and toby collection in 1934. 


Gifts for Gentlemen 

In addition to the whisky advertising flasks, Kingsware 

designs were also produced for the luxury gift market. Silver 

mounts were often added in the early 1900s by retailers, 

such as Maples & Company and George Betjemann & Sons 

of London. Often these prestigious cabinet makers and 

furniture retailers were exclusive distributors of Kingsware 

requisites for gentlemen’s studies, for instance the pipe 

tobacco jar is marked G.B & Sons. Maples advertised 

the Fisherman Kingsware collection in 1905 as ‘suitable 

presents for a man.’ 

Kingsware Artists 

Arthur Eaton was one of the leading artists in the slip 

painting department which produced Kingsware, Holbein 

and Rembrandt wares. (See page 77) In 1927, young Fred 

Moore joined as an assistant and learned how to pipe 

the raised lettering on to the Kingsware to create titles or 

quotes, a bit like icing a cake. Such were the orders for 

Kingsware whisky flasks in the 1930s that more decorators 

joined the slip painting department and extra hands were 

brought in from other studios. The demand for Kingsware 

continued until the late 1930s at which point artists like 

Eaton and Moore turned their attention to Flambé wares. 

Kingsware whiskey flasks in a bar display 

Queensware Elizabeth I Jug 1936 Height: 6 ½ in. 

Queensware 

Queensware was made by the same process as Kingsware 

but with an ivory slip body. The muted color scheme was 

not as popular making Queensware designs harder to find 

today. At first glance, it is sometimes difficult for collectors 

to distinguish Queensware from the typical under-glaze 

airbrushed decoration employed by Doulton for similar 

subjects in the 1930s. This is often described as ‘Air Brush 

Brown’ and is generally crisper in color and definition. 


Tobies & Character Jugs 

Phil White was also passionate about collecting character 

and toby jugs and their derivatives. He focused mainly on 

the large size jugs, unless the subject did not exist in that 

size, such as all the Football Supporters. Over the years, 

he acquired many rare colorways, prototypes and model 

variations and a selection is shown here. 

Model Variations 

During World War Two, modifications were made to 

several of the first character jugs by Harry Fenton. The face 

of his first subject Granny was re-modeled and acquired a 

prominent front tooth. The original version is now known 

as the Toothless Granny and is hard to find today as it was 

only made for 5 years. 

In 1942, the Doulton pattern books recorded a character jug 

described as Crikey/Pearly King. These ‘pearly’ characters 

were painted in different colors during the 1940s, starting 

with the most decorative Pearly Boy in a blue coat with 

colored buttons. The pearl buttons were removed from 

the model to make the painting process simpler and plain 

old ‘Arry was introduced in 1947. His companion ‘Arriet 

originally had a brighter costume with a lime green feather 

in her hat, which is now known as the Pearly Girl. 

Fenton’s first portrait of Sir Francis Drake was introduced 

in 1940 but within a year he had re-modeled the English 

mariner with a wide-brimmed hat. The first version 

is now known as the Hatless Drake and is one of the 

most desirable character jugs because of its very limited 

production period. The Cavalier was modeled after Frans 

Hals famous painting of ‘The Laughing Cavalier’ and 

originally had a goatee beard. This was shaved off in 1950 

along with alterations to the ruff. Not surprisingly, keen 

collectors seek out the early version. 

- 80 - 

Busts 

The same sculptural skills exercised in the creation of 

character jugs were used occasionally for portrait busts 

in Royal Doulton’s HN collection. During the 1930s, four 

busts of Dickens characters were available mounted on 

wooden bookends and these are very rare today. Another 

early bust features Cavander’s Major advertising Army Club 

cigarettes from the mid-1920s. (See page 100) 

When Eric Griffiths became Director of Doulton’s 

Sculpture Studio in 1974, he revived the idea of ceramic 

busts. A portrait artist by profession, Griffiths was used 

to sculpting busts and encouraged his team to explore 

appropriate subject matter. Douglas Tootle modeled two 

busts of Mounties to commemorate the Centennial of 

the Canadian Mounted Police in 1973 and the pair was 

launched in a edition of 1,500. Originally the busts had 

been conceived in a larger size, two inches taller that 

the production models. The prototypes from the Doulton 

archives were in the Phil White collection and are now 

offered for sale. (See page 100) 

Advertisement for Army Club Cigarettes 1920s 


George Robey & Charlie Chaplin illustrated by Alick P. F. Ritchie 

Toby Jugs 

In addition to focusing on faces for the Character Jug 

collection, Charles Noke was also fascinated by the 

traditional Staffordshire toby jug showing the entire figure. 

He started by modeling a traditional Huntsman and Squire 

with a Kingsware glaze (see page 82) in 1919. The same 

year he launched his portrait of Charlie Chaplin, the silent 

movie star. A similar style was used for the toby jug of 

George Robey, the English music hall comedian, who 

visited Royal Doulton’s Burslem factory in 1925. Both 

portraits were based on the artwork of Alick P. F. Ritchie 

whose celebrity caricatures were published in Vanity Fair 

magazine. His signature ALICK P.F.R sc is incised on the 

base of the George Robey toby jug. 

The Lure of Loving Cups 

Phil White responded to the lure of loving cups and had 

every one in his collection. Loving cups and jugs were 

Royal Doulton’s very first limited editions and represent 

the peak of Charles Noke’s achievements as Art Director. 

They were produced in very small editions of 300 to 

1,000, which is why they are so difficult to find today. The 

unique number of the loving cup or jug appears on the 

base, which is usually equally decorative with appropriate 

motifs or symbols. 

Loving cups are large ornamental vessels with two handles 

which were passed around at banquets for communal 

toasting and drinking. Long after they became obsolete 

at the table, they were used to commemorate significant 

events. Charles Noke revived the idea at Royal Doulton in 

the 1930s, producing an impressive range of loving cups 

and jugs to mark important anniversaries. 

Noke also used these handsome vessels to depict other 

subjects dear to his heart, in particular the writings of 

Dickens and Shakespeare and tales of popular heroes. 

Many characters had been featured previously in the 

figure and jug ranges and so collectors often display them 

together. 

NEW CHARACTER JUGS BOOK 

Steve Mullins of the American Toby Jug Museum 

has just published a supplement to his original 

book on Royal Doulton Character Jugs. All of his 

new discoveries, including prototypes, colorways 

and model variations are illustrated in this new 

publication. With 64 pages and more than 300 

photographs, it is a fascinating book for jug 

collectors. Signed copies are available now from 

Pascoe & Company. 


Royal Doulton Kingsware 

- 82 - 

McCallum Character Jug 


Squire Toby Jug 


Huntsman Toby Jug 


Coachman Flask 

1908 Height: 10 ½ in 


Dick Turpin Flask 


Watchman Flasks Large & Mini 

Rd.No. 436947 

1904 Height: 8 in & 3 ¾ in 


Bacchus Flask 

c. 1905 Height: 8 ½ in 

Watchman Tall Flasks Large & Mini 

Rd.No.436948 

1904 Height: 10 in & 4 ¼ in 




- 84 - 

Fagin Kingsware Flask 


Mr Pickwick Flask 

Air Brush Brown 


Mr Micawber-the Ever Expectant Flask 

1938 Height: 7 in Limited Edition of 3,000 

Made for Hudson’s Bay Company 

Bill Sykes Kingsware Flask 

Rd.No. 453403 


Mr Pickwick Kingsware Flask 


Mr Micawber Kingsware Flask 




Mr Pickwick Dickens Queensware Flask 


Made for H & A Dickens 

Tony Weller D5706 

Air Brush Brown Flask 


Pickwick’s Toast Tobacco Jar 



Dickens Kingsware Jug D2847 



Tony Weller Kingsware Flask 



Pickwick’s Toast 

Air Brush Brown Flask 





- 86 - 

Mr & Mrs Micawber Teapot 

D5068 


Dame Tea Caddy D2695 


Mr Pickwick & Sam Weller Teapot 

D4350 


Darby & Joan Royles Patent Teapot 

D2870 


Dame- the Cup that Cheers Teapot 

D1099 


Dr Johnson Teapot 



One of the Forty Ashtray 


Tam O’Shanter Flask 

Rd.No.589109 


Made for Greenlees 

Witch Vase #6841 & #6842 



Wizard Vase #6859 



Alchemist Clock 

Rd.No.435890 





- 88 - 

Golfers Kingsware Flask 



Golfers Kingsware Tankard D4973 


Golfers Kingsware Tobacco Jar D4973 



Golfers Kingsware Jug D4973 


Golfers Queensware Tankard D5716 


Golfers Kingsware Match Stand D4973 



Hooked Flask 

Rd.No.641908 



Gillie & the Fisherman Flask 


Made for Bulloch Lade 

Fisherman Tyg 


Fisherman Flask 


Admiral of the Fleet 

Rd.No.660262 

1918 Height: 7½ in 


Huntsman Fox Flask 

c. 1910 Height: 6 ¾ in 


Fisherman Ashtray 




- 90 - 

Tavern Vase 


John Barleycorn Flask 


Jolly Good Fellow Flask 



Tavern Vase 


Dr Johnson Loving Cup D1287 



Parson Drinking Leather style Jug 



Leather Bottle Flask 


Kingsware Tavern Barrel 


Churchwarden Flask 

Rd.No. 486689 



Pipe Tobacco Jar 

Rd.No.547962 





- 92 - 

Beefeater Flask 

Rd.No.527012 



Richard Arkwright Flask 

Rd.No. 471183 


State Governor Flask 

Rd.No.588110 



Captain Phillip Flask 

Date 1938 Height: 7 ¼ in 


Crusader Flask 



Uncle Sam Flask 

Rd.No. 504994 




Prince of Wales HN1217 



Health Unto His Majesty Loving Cup 

Airbrush Brown 


Edward VIII Coronation Loving Cup 




Kingsware Health Unto 

His Majesty Flask 


Royal Doulton Loving Cups 



- 94 - 

Pied Piper Vases #6857 


Wandering Minstrel Loving Cup 



Pied Piper Prestige Jug 




Jester in the Stocks Jug D4966 


Jester Vase #6851 



Huntsman HN1226 


1927-1938 Height: 8 ¾ in 

Huntsman Loving Cup D2769 


Master of the Foxhounds 

Presentation Jug 



John Peel Loving Cup 



Limited Edition of 500 


Hunting Fox Tobacco Jar 


Huntsman HN1815 




- 96 - 

Charles Dickens Presentation Jug 


1936 Height: 10 ½ in 


Dickens Queensware Jug D5708 


Tony Weller M47 & HN684 


1924 Height: 10 ½ in 

Dickens Airbrush Jug D5708 



Shakespeare HN3633 

Designed by R. Tabbenor 

1994 Height: 11 ¾ in 


Long John Silver HN2204 

Commissioned by M. Nicoll 

1957-1965 Height: 9 in 

William Shakespeare Prestige Jug 


1933 Height 10 ¾ in 


Treasure Island Presentation Jug 





Shakespeare HN5129 

Designed by R. Tabbenor 

2007 Height: 11 ¾ in 



Royal Doulton Character & Toby Jugs 

- 98 - 

Charlie Chaplin Toby Jug 

Rd. No.668948 

Modeled by C.J Noke 


George Robey Toby Jug 

Modeled by C.J Noke 

1925 Height: 10 ½ in 


Hatless Drake D6115 

Modeled by H. Fenton 


Regular version right 

Toothless Granny Large D5521 




Pearly Boy Large 



‘Arry version right 

Cavalier with Goatee D6114 







- 100 - 

Army Club Bust 

Promoting Cavendar’s Cigarettes 


1873 Mountie XL Prototype 

Bust HN2547 


1973 Height: 11 ½ in 

Regular version below 

Mr Pickwick Bookend 

HN1623 



1973 Mountie XL Prototype 

Bust HN2555 


1973 Height: 10 ½ in 

Regular version below 

Sairey Gamp Bookend 

HN1625 




BACK COVER 

Lactolian Ware Exhibition Urn 

Designed by C.J Noke 

1900 Height: 14 ¾ in

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