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Many Staffordshire figures made from 1740 to 1900 were produced by small potteries and makers' marks are generally absent. Most Victorian figures (1837 to 1900) were designed to stand on a shelf or mantlepiece and are therefore only modelled and decorated where visible from the front and sides. These are known as 'flatbacks'.
Staffordshire dogs are nowadays collectors’ items. [11] Since the 1720s, spaniels had been produced by pottery factories in Staffordshire. The quality of the modeling and painting of the Staffordshire dogs may differ. [12] As the popularity of the figurines increased towards the end of the 19th century, the quality began to decline. [2]
Animal figurines are figurines that represent animals, either as decorative pieces, toys or collectibles. They are often made of plastic, ceramics, or metal. The earthenware Staffordshire figures of the 18th and 19th centuries were enormously popular, with Staffordshire dog figurines the most popular; these were typically made in pairs.
The Ridgway family was one of the important dynasties manufacturing Staffordshire pottery, with a large number of family members and business names, over a period from the 1790s to the late 20th century. In their heyday in the mid-19th century there were several different potteries run by different branches of the family.
The Staffordshire Potteries is the industrial area encompassing the six towns Burslem, Fenton, Hanley, Longton, Tunstall and Stoke (which is now the city of Stoke-on-Trent) in Staffordshire, England. [1] North Staffordshire became a centre of ceramic production in the early 17th century, [2] due to the local availability of clay, salt, lead and ...
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Those created during the earlier period were intended as a more serious decorative art, often imitating the more expensive imported English Staffordshire potteries figurines such as Staffordshire dog figurines; those during the second period, by contrast, were more typically somewhat jocular. Early chalkware was often hollow and is difficult to ...
Parian ware was utilised mainly for busts and figurines, and occasionally for dishes and small vases, [5] such as might be carved from marble. In 1845, as part of a concerted effort to raise public taste and improve manufactures, the Art Union of London commissioned Copeland to make a series of figures after works by leading contemporary sculptors.
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