In addition to the figures shown here, I have placed other figures with collectors who have made me aware of their needs. If you need a specific figure, contact me.

A hauntingly beautiful and apparently unique pearlware figure of a cherub seated upon a drum, presenting something of a mystery in both iconography and attribution. The drum, the flag draped across his leg, and what appear to be weapons of war at his feet strongly suggest an allegorical representation of Peace. The figure once held an object—now lost—that likely reinforced this symbolism.

Features suggest an Enoch Wood attribution, but a firm attribution cannot be made. It is worth noting that later Victorian potters, most notably Thomas Parr, reused some of Wood’s molds. Around 1860, Parr produced a related figure of Peace (holding a dove aloft), apparently derived from the same mold as this figure, and he paired it with a companion figure symbolizing War.

Enameled pearlware, Staffordshire, circa 1810. Height: 6½ inches. Small enamel touch-ups to the chest; fingertips restored; object in hands lost. 

​An exceptionally rare Staffordshire pottery spill vase, likely unique, portraying a shepherd tending his flock. Painted entirely in underglaze oxides, the scene captures a charming, naïve simplicity that is utterly beguiling. Circa 1805, height 7.3 inches. 

This shaggily friendly yet ferocious Staffordshire pottery lion, posed with his paw upon a ball, exudes the distinctive charm associated with early nineteenth-century animal figures. Attributed to Obadiah Sherratt, the model displays hallmark Sherratt attributes. Note the expressive modeling and the bold enamel decoration. Circa 1825, height 6 inches. Tail restored; otherwise in fine original condition. ​

Oh, how sweet she is! A charming figure of a girl gently holding her cockerel, rendered in the soft, delicate enamels characteristic of earlier Staffordshire. Enamel-painted pearlware, Staffordshire, circa 1800. Height 4 ¾ inches. No restoration. 
​Illustrated in Schkolne, Staffordshire Figures 1780-1840, vol. 1, fig. 114.16
A small and refined figure of Fortitude, portrayed as a stately woman embodying moral strength and resilience. The helmet she wears alludes to her occasional depiction as a warrior, while the broken column at her side symbolizes steadfast endurance in the face of adversity. The book in her hand likely represents wisdom, reinforcing the allegorical theme.

Figures of Fortitude are typically modeled on a large scale, making this petite example particularly rare; only one other example of this small model is recorded. Finely detailed in polychrome enamels over a pearlware glaze.

Staffordshire, circa 1815.
Height: 6 inches.

Reference Staffordshire Figures 1780–1840, vol. 4, fig. 172.8.
The renowned potter Ralph Wood fashioned this handsome enameled pearlware Bagpiper circa 1790. The reverse of the base is impressed “21,” his recorded model number, and the title is painted in a script characteristic of Wood’s workshop. 
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A classic Ralph Wood figure, offered in fine unrestored condition. Illustrated in Schkolne, Staffordshire Figures 1780–1840, vol. I, fig. 26.196. Height 8½ inches.
A particularly attractive figure emblematic of Charity, traditionally modeled with attendant children to signify benevolence and maternal care. The distinctive gray base is characteristic of a group of figures that appear to originate from the same unidentified pottery and are collectively known as the “Gray Base Group” (see Schkolne, Staffordshire Figures 1780–1840, vol. I, p. 41). 
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As is typical of this Gray Base figures, the enameling and glaze are of notably fine quality—bright, well-fired, and carefully applied. Enameled pearlware, Staffordshire, circa 1825. Height 8¾ inches. No restoration.
An engaging and symbolic watch holder modeled as Father Time, depicted in traditional form as an elderly, bearded man in flowing robes, seated in contemplation. He rests against a longcase clock the body of which is designed to house a gentleman’s pocket watch—transforming the object, when fitted, into the family’s working timepiece.

Father Time, emblem of mortality and the inexorable passage of the hours, sits deep in thought, while a sweet cherub—personifying Innocence—crowns the composition above. The group is impressed TIME. The finely executed vermicular decoration on the base is a feature consistently associated with figures of superior quality. Enameled pearlware, Staffordshire, circa 1815. Height: 8⅝ inches. 
A delightful early figure of Ceres, the Goddess of Plenty, shown holding her attributes—a sheaf of wheat and a sickle—symbols of abundance and the harvest. Richly glazed and delicately enameled earthenware, Staffordshire, circa 1800. Height 6-⅞ inches. 
An outstanding pair of early figures portraying Elijah and the Widow of Zarephath, modeled with a vitality and refinement that set them decisively apart from later interpretations of the subject.
Attributed to the short-lived partnership of Thomas Lakin and John Ellison Poole (1791–1796), this pair exemplifies the best work associated with that brief but important collaboration. While Staffordshire potters returned to this Biblical narrative repeatedly over ensuing decades, few examples approach the vigor of modeling and expressive character seen here. The enameling remains remarkably fresh, a testament to both the quality of execution and careful preservation over some 250 years.
Superb representations of their subject, and the finest pair I have recorded in more than five decades of collecting.
Enameled pearlware, Staffordshire, circa 1795. Height: 9½ inches.
An exquisitely sweet small figure of a girl holding a flower basket, flanked by bocage and standing on a base enriched with blue scroll decoration. Enameled pearlware, Staffordshire, circa 1828. Height 3-¾ inches. In original condition, with a very fine hairline at the back of the base, visible only on close scrutiny. 
​A fine early figure representing Summer, impressed beneath SUMMER and a crowned G, the mark of David Wilson. The Neale–Wilson pottery was the first Staffordshire manufacturer to depict the Seasons in figural form, and this charming survivor dates to around 1790. It is delicately enameled in the soft, luminous colors typical of the late eighteenth century, giving the figure a gentle freshness and grace. No restoration, with only the most minimal and entirely appropriate age-related wear. Height: 5-1/4 inches. 
Cupid stands gracefully on a plinth, cradling doves—the timeless symbols of peace. Though often attributed to Neale, this charming figure was likely made by Enoch Wood or another Staffordshire potter in the late 18th century. Enamel-painted pearlware, Staffordshire, circa 1790. Height 7 inches. Repaired to dove wings and at ankles.