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The popularity of Queen Victoria's reign spawned hundreds of examples of the Queen and Prince Albert and all their large family.Princes and Princesses were shown on horses and on goats or rams.If the figure is dirty, stand it in a plastic bowl of warm soapy water and use a small sponge or soft toothbrush to clean the crevices. On every table stood figures, animals, vases, and other ornaments produced in the thousands by the Staffordshire potteries.Taking care not to get water inside the figure through the air escape hole in the back. A combination of the right clays, inventive potters such as Josiah Wedgwood and available labour, often children, made the Staffordshire district in the centre of the china industry.Most of the Victorian-era Staffordshire figures were painted overglaze; colours were applied after the first white glazing, enabling the piece to be fired at lower temperatures and allowing a wider range of colours.Popular characters from literature (Uncle Tom, Macbeth, Romeo and Juliet) were identified on the base, as were political figures of the day (often the only way we remember them).But it was the colourful production of painted and glazed Staffordshire pottery figures that captivated Victorians on both sides of the Atlantic.
Some figures were so complicated they required three moulds to complete.
I don't think there could have been any Staffordshire collectors in the room at the time as I got them rather cheaply.
Flatback figures as they are known were made without decoration on the back, as they were usually placed against a wall or chimneybreast in Victorian houses, to add some colour.
Other pattern names are those accepted and used by dealers and collectors, or have appeared in publications.
Many of the lesser known patterns have been given names by FOB members or the Bulletin editor of the time.
Figures of gods and goddesses, examples drawn from literature, famous political and military men and above all, representations of royalty, all found homes in England and America.