The history of Royal Doulton Figurines
Tricia Clemens

Top O' The Hill
Of all the products derived from the potter’s artistry, ingenuity and craftsmanship, none has had a more universal and continuous appeal than the figurine. No decorative china item enjoys more popularity or is more sought after than the Royal Doulton figurine.

Staffordshire figurines can be dated since the early 18th century. From that time a variety of figurines of both salt-glazed stoneware and dark and light coloured earthenware emerged. Subjects ranged from animal models to sporting figures, politicians, and soldiers and often embraced mythological and literary themes.

Henry Doulton’s close involvement with the Lambeth School of Art during the 1860’s led to a move from the production of industrial ceramics to the development of decorative wares. Henry Doulton was determined that each artist be given the greatest possible scope for individual expression and, in particular, George Tinworth was destined to become the creator of the first generation of Royal Doulton figurines. Tinworth created a range of small figures in salt-glazed stoneware, encompassing children and whimsical studies of mice, frogs and other creatures which parodied human situations. Henry Doulton expanded his interests into the sphere of fine earthenware at the Nile Street factory in Burslem, under the art direction of Charles Noke.

Noke’s talent as a modeller and the figurines he created on large vases were widely acclaimed at the Chicago World Exhibition in 1893. In addition, a few free-standing figurines were modelled by Noke at this time. These included JACKPOINT, MOORISH MINSTREL and SHYLOCK and many models which ranged from 8 to 20 inches in height. Instead of being made in the usual china or earthenware body, they were made in an ivory porcelain and decorated in pale sheens. These early Noke figurines were probably too large and too expensive to have a widespread appeal, and their pale decoration did not compare favourably to the rich, colourful enamelling of the popular French and German figurines.

Moment In Time
In 1909, Charles Noke realized that a revival of original and simpler styled figurines were more appropriate for the new century. He began to invite well-known sculptors into the Burslem Studios to discuss their interest in modelling figures in the ceramic medium. This resulted in a new range of figurines by the end of 1912. These models were held back from public exhibition and sale until after the visit of King George V and Queen Mary in April 1913. At the time of the Royal visit, the little figure now known as DARLING, modelled by Charles Vyse, had been named BEDTIME. The Queen, singling it out, took it in her hands and exclaimed, "Isn’t he a darling!". The figurine has since been known as DARLING and was given the number HN1 when this system of numbering was introduced.

Several new sculptors contributed to the range between 1914 and 1921 and a nucleus of figurine painters specializing in this craft was formed. Restricted marketing opportunities during WW1 resulted in slow public response to the new models. During the 1920’s, a greater emphasis was placed on achieving subtle colour effects with repeated paintings and firings. The special way in which the colours were fused into the glaze was the first time that enamel colours had ever been used this way and was unique to Royal Doulton.

Although the studios were extended in the mid 1930’s, there were still only 27 figurine painters. During the 1920’s, Leslie Harradine, in cooperation with Charles Noke, was the modeller who took advantage of the unlimited variety of forms and poses of the porcelain figure. What began was one of the most successful collaborations between the sculptor and the studio in the history of figure-making, one which was to continue for nearly 40 years.

Leslie Harradine developed a gift for suggesting movement – wind blown outdoor ladies and flouncing indoor damsels. THE OLD BALLOON SELLER, FLOWER SELLER’s CHILDREN and TOP O’ THE HILL are but a few of the many Harradine figurines which had gone into production by the 1930’s. It is a great tribute to his flair for creating timeless models, that so many of his designs are still in production today.

Autum Days
Since that time, there has come forth from the Nile Street Studios, a procession of exquisitely modelled and decorative figurines. In addition, the talents of prolific modellers such as Peggy Davies, Mary Nicoll, Pauline Parsons, Alan Maslankowski, Robert Tabbenor and others have provided exciting new directions for Royal Doulton figurines. The figurine collection continues to grow to meet collector demand – new models are introduced based on established and well-loved themes – crinoline ladies, children and literature. Others represent a dynamic new design philosophy – Images and Sentiments for example. This new generation of talented artists will ensure the successful evolution of Royal Doulton figurines for many years to come.

Royal Doulton Figurine Production Modelling

Under the direction of a Director of Art and Design, a team of figure sculptors works from England or on a freelance basis from their own studio. The figure collection offers challenges to the design team who are in constant search of new looks. Each new piece must be able to be manufactured to the highest possible standard. Constant research into manufacturing techniques offers new design opportunities. In 2004 figurine production was moved from England to a factory in Thailand. This factory employs 2200 artists who paint and decorate Pretty Ladies with exquisite detail.

Once the idea for a new model has been finalized, the sculptor will work on a small clay model called a maquette. If this trial model is selected, a full-scale figure known as a clay will be made. It takes between 10-15 days on average to complete the master model. From here the approved master model is sent to the factory in Thailand, to the next stage - mouldmaking.

Blocking to Production Mould

The clay model is now marked up by the blockmaker usually involving consultation with the modeller. The clay figure will be marked in indelible pencil into several sections indicating how many separate moulds will be needed for production. The blockmaker then uses a scalpel to dissect the clay model. Arms, legs, head, body and dress will be removed to cast in separate moulds. The average Pretty Lady with lots of detail requires 21 separate pieces to make.

X-mas Day 2005
A master or block mould will be formed from plaster. When the master moulds are dry they are taken to the casting department where a caster will test the mould by casting and assembling the figure. If it passes the test, a blue rubber cast is made of it. This is known as a case. From this case, hundreds of working plaster moulds will be made.

Mould to Decoration

The working plaster moulds are taken to the factory floor where a caster joins the various pieces needed to form the figure. The moulds are assembled and bound tightly with rubber bands.

The figure is made by pouring liquid clay slip into an opening in the base of the mould. The recipe for bone china figurines is 25% china clay, 25% cornish stone and 50% calcined bone ash. These ingredients are blended in water to form a liquid. Character figures are made of fine china as they do not need the same translucent quality. This slip is carefully measured into each mould. The porous mould absorbs the water from the slip until all the inner surfaces are lined with a coating of set clay. The slip remains in the mould for a controlled time to ensure the cast pieces are the correct thickness and strength. Excess slip is poured away, moulds are opened and pieces removed. The pieces are joined together by a process called "sticking up". The experienced assemblers stick up the figure using liquid slip.

The assembled figure is then fettled or smoothed to remove excess clay and ensure smooth joins. The figure dries slowly for up to four days to allow surplus water to evaporate. To avoid cracking in the kiln the inside and outside of the figure have to equally dry before firing. Small columns of china clay will be used as supports as needed to hold up hat brims, raised hands, etc.

Happy Birthday 2005
First or biscuit fire is at temperature of 1250 degrees C. Figures shrink by 12.5% in this firing so any flowers, etc. must be added before this firing to shrink in proportion. Now the figure is fused together in a Biscuit state - dull, matte surface. For pretty lady figures, the figure will be dipped into liquid glaze. After firing at 1050 degrees c., the pieces emerge with a sparkling coat of glass which has bonded to the china body.

Decorating

From the matte or glazed stage the figure passes to the hands of the figure painters. Figures are decorated by hand using a variety of methods. The end result will dictate which technique will be used. For instance, an even rich base colour can best be applied by a fine spray rather than a paint brush. This technique is called aerographing. A wooden peg is placed in the hole of the figure to keep it steady while applying the decoration.

Paints used by the artists are specially prepared metal-based ceramic pigments which are mixed with the aromatic aniseed oil, fat oil, glycerine and turps. An intimate knowledge of the ceramic paints is required as many colours react differently to firing temperatures. Tones of colour are built up layer on layer which may require 6 or 7 firings. Dark colours such as red are difficult to achieve (accounting for price difference). If raw red pigment were applied straight onto the figure and fired the result would be a dirty grey. To achieve a bright, strong red such as the recently retired figurine TOP O' THE HILL, the colour orange is applied first and fired. The pink is painted on and the figure fired again.

For character figures such as THE OLD BALLOON SELLER, they are decorated under-glaze. On the biscuit surface, the item is decorated, glazed and then re-fired. The colour absorbing into the biscuit body gives these figures a true realistic look.

Faces of Royal Doulton figures are decorated by hand and re-fired. Other decorating techniques include the use of lithographs to provide realistic detail such as the spell in the book held by The Wizard figure or to duplicate a popular dinnerware pattern (Sweet Lilac – Lilac Lane Platinum). Research and design continue to experiment with new decorative techniques such as ivory coloured slip for head and arms etc. to maintain the high standard of quality of these figures.

For Your Mother
Flower-Making

At the factory a small number of highly skilled craftspeople are responsible for all floral decoration of the figure range. Flowermakers still use the same techniques since the Second World War. Every petal, leaf and stamen is individually made and assembled. Because of the hand-craftsmanship, no two figures will ever have the exact same flowers. Flowers and leaves are modelled from specially formulated clay that will withstand delicate manipulation and high temperature firing. To prevent the clay from sticking to her fingers the flowermaker keeps her hands moist with olive oil. Roses are the most popular flower on Royal Doulton figures.

Figurine Names

Figurines are named several ways. Research is conducted to find the most popular Western names using birth registries. Names are also suggested and submitted by collectors and are then forwarded on to the UK Marketing Department for consideration. It is a difficult task to name figurines!

Some names given to figures are inspired by holidays, for example, Christmas Day, Baby’s First Christmas and Happy Holidays. Other generic figurine names in the figurine collection are based on special occasions such as Mother’s Day and Valentines Day and other general gift giving occasions. For example, Special Wishes, Special Occasion, Happy Birthday, Specially for You, Special Celebration, Thank You and A Moment in Time (2005 Canadian Exclusive). Figures are also named based on themes or activities, Midnight Premiere and Autumn Days are two examples of this.

For further product information please contact: Tricia Clemens, The Royal Doulton Company Canada 416 430 6921 tclemens@royaldoulton.ca