Those Delightful Staffordshire Figures

By Robert Reed

As seen in The Antique Shoppe Newspaper, October 2008 

      Like a story for children, Staffordshire figures came from a long time ago. And in a place far away.

      Staffordshire pottery was first crafted centuries ago. The ware derived its name from a particularly small but significant region of England. There prolific potters crafted all manner of pottery ware, including a rich assortment of figures.

      Many historians suggest that no other potters in the world---during any period---produced a greater variety of wares. Their agate, tortoise-shell, black basalt, slip-ware, and jasper ware were profound for generations.

      While the Staffordshire potteries were operational as early as the 17th century, generally their prominence was more specifically identified with the 18th and 19th centuries.

      In fact it is Staffordshire figures crafted during the 1800s that will be a major exhibition at the prestigious Mint Museums in Charlotte, North Carolina later this year and into next year.

      Around 1810, Staffordshire’s skilled figure potters discarded earlier classical design influences according to museum authorities, and instead looked at their surroundings for inspiration.

      In the next 25 years, “they potted remarkably detailed clay vignettes of everyday life that divulge a wealth of astonishing information about those days,” noted a Mint Museums representative. “Delving into the events depicted in even seemingly mundane Staffordshire figures of this period never fails to surprise, as each tells an amazing story.”

      And while some vary, various famous potters labored there in the Staffordshire region. The identity of most potters there is unknown. Further, because of so many small and seemingly obscure potteries, many of the potteries are unknown as well.

      Geographically the Staffordshire region of production was relatively small. It was roughly about ten miles long and three to five miles wide in an area halfway between Liverpool and London. Despite the size it had many small towns. Among them were Burslem, Cobridge, Etruia, Fenton, Hanley, Longport, Stroke-on-Trent, and Tunstall. In all these places and a few other nearby locations potters flourished.

      “The isolated position of the Staffordshire potters kept him comparatively free from outside influences,” once observed Harold Bond author of An Encyclopedia of Antiques, “and enabled him to develop his stronger, if somewhat ruder, personality.”

      Initially the figures themselves had an odd appearance. The eyes of the figures, for example, were little more than simple dark brown dots. The result was an odd and staring expression on each face. Gradually however the figures became more naturalistic and life like. Eventually molds were made of the better images.

      Historian Warren Cox credited the “playful spirit of Staffordshire potters...for figures displaying exuberant humor, invention and a childlike simplicity that was most appealing.” Writing in The Book of Pottery and Porcelain, Cox adds however that the figures were seldom exaggerations. Instead they were, “living art portraying characters just as they were in small towns; musicians, gamekeepers, soldiers, and others.”

      Earlier from the 1740s through the 1780s the demand for delightful Staffordshire figures had increased as steadily as had the technology. Using a white clay mixed with heated and crumbling flint the potters were able to refine a material which could withstand much higher kiln temperatures. At higher temperatures the ware became thinner yet harder.

      Much of the process was credited to John Astbury, and in fact when further decorated with metallic oxides it was sometimes known as Astburyware. However there were others including Thomas Whieldon who continued to refine and refresh mixing coloring procedure. Whieldon offered a thin ware with a mainly brown to blue glaze. Accounts suggest that one of Whieldon’s chief assistants was 24-year-old Josiah Wedgwood who went on to become a pottery legend himself. Additionally John Wood expanded on some of the polished Whieldon techniques allowing him to decorate with glazes which had previously been limited only to green, yellow, blue or purple.

      Once varied color could be applied relatively freely, the Staffordshire figures were even more radiant. “The most remarkable thing about these (Staffordshire) figures was the bold, bright use of high temperature colors applied under glaze,” comments Rachael Feild in The McDonald Guide to Pottery and Porcelain. “Though still limited to those metallic oxides that would stand up to the heat necessary to fuse the glaze to the body... the technique of applying enamel colors came into increasing use...”

      Feild and others suggest at some point there were three groups of Staffordshire figures. The first group would be the use of light-colored earthenware with a limited range of colors applied under a glaze. The second group of figures would be those that were a far wider and brighter range of colors that were available to be applied over the glaze. Lastly would be the figures based on earlier molds but where various other colors were added.

      Many of the seated groups of Staffordshire figures were eventually know as pew groups. They term was derived from the bench or church-like pew where the figures were seated. Initially the pew groups might involve lover and sweetheart upon a bench made of white clay and decorated with dark brown. Sometimes the pairs might simply be two elderly people, or two friends. Of course two people could also be standing on small plots of grass, on flower bedecked locations, or simply beneath a tree.

      Sometimes the obscure figures came with pets.“Typical animal subjects included figures of dogs,” according to Lucilla Watson author of Understanding Antiques. There also were more exotic animals like lions and tigers as well.

      On occasion  the Staffordshire potters could  also fashion their figures to resemble famous British personalities ultimately including Queen Victoria and Prince Albert.

      Throughout the 19th century the potteries of Staffordshire continued to provide vast amounts of fine earthenware of porcelain to a wider and wider market in Europe and the United States.

      Some treasured Staffordshire pieces, the private collection of Myrna and Benzoin Schkolne, are being assembled for display at the Mint Museums. Titled Mirth and Mayhem the exhibition of Staffordshire figures from the early 19th century will run from November 18 of this year through April 28 of 2007 in Charlotte, North Carolina.

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