The figures on this page have sold.  I have placed figures not shown here with collectors who have made me aware of their needs. If a specific figure is on your "wish list," let me know.
This fine Staffordshire pottery figure of a woman reading, her cat at her side, is notable for its unusual hoop bocage.  It bears the ribbon mark of the potter John Walton on the reverse. In fine condition with restoration to only a few bocage tips. Made in Staffordshire circa 1820, height 6 inches.

Literature. For a similar figure, see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 1, 25.16
This charming pair of Staffordshire pottery mice is the only pair recorded. Enamel-painted pearlware, made in Staffordshire circa 1820, length about 3 inches.

Literature. For other mice, see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 3, page 175.
A stunning pair of rare pearlware flower vases, each flanked by a gardener and decorated in a combination of enamel colors and colored glazes. Staffordshire, circa 1790. Height 8½ inches maximum.

Comparable examples include a pair with colored glazes in the collection of Winterthur Museum. An unpainted creamware pair at Temple Newsam House and a sparsely decorated pair in the Victoria and Albert Museum are said to have been made at the Leeds Pottery. 
​Roman mythology tells that the twin brothers Romulus and Remus were abandoned at birth and suckled by a she-wolf, ensuring their survival. When they later sought to found a city, they consulted the gods. Romulus observed a greater number of vultures than Remus, a sign that the gods favored him, and he chose the site on which the city of Rome was founded.

This group is attributed to Obadiah Sherratt and is decorated in enamel colors over a pearlware body. Made in Staffordshire, circa 1830. Height 9 inches. 
A proud and fearsome lion, posed with a raised paw on a ball and standing on an oblong green base with a marbled border.

Attributed to Obadiah Sherratt, the figure displays the lively charm characteristic of his work.

Enameled pearlware, Staffordshire, circa 1820. Height 5½ inches, width 6 inches. In fine original condition with no restoration.
A very attractive Staffordshire pottery deer standing before a bocage, confidently attributed to the potter Obadiah Sherratt and exhibiting his characteristic charm. Decorated in enamel colors, Staffordshire, circa 1828. Height 7½ inches. No restoration. 
A charming Staffordshire pearlware group of a goat and her tiny kid, posed before an attractive bocage. Finely enameled, it was made circa 1825 and stands 6 inches high. Horns restored. 
An enchanting petite bust of Cybele, the Earth Mother of Phrygia, whose cult spread throughout ancient Greece and Rome. In art, she is often shown with lions, and here a lion skin is draped around her neck.

Enameled pearlware, made in Staffordshire circa 1810, height 6¼ inches. Minor historical wear to the enamel on the socle and an old chip to one side.
A delightful English cottage with avines on the roof and two sheep resting contentedly in front alongside two oversized flower. This charming small treasure captures the rustic appeal of the English countryside. Enameled pearlware, Staffordshire, circa 1820. Height 3-3/4 inches.
Literature. For this cottage, see Myrna Schkolne Staffordshire Figures 1780-1840, vol. 4, fig. 149.4.
This charming thatched cottage would make a delightful addition to any real estate portfolio—and an eye-catching addition to a collection of early Staffordshire pottery. 
Beautifully modeled in enamel-painted pearlware, it is flat and unpainted on the reverse,  intended for display on a shelf or against a wall.
​
Staffordshire cottages of this sort are uncommon, and most, like this one, are known from only one recorded example. Made in Staffordshire circa 1820. Width 3¼ inches.
​In excellent condition with no repairs or restorations. 

Literature: For this cottage, see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 4, fig. 149.1.
A must for every gardener, this serene figure portrays Pomona, the ancient Roman goddess of fruitful abundance, guardian of orchards, fruit trees, and gardens.

This fine enameled pearlware figure was made by the legendary potter Obadiah Sherratt and displays multiple distinctive Sherratt attributes. Staffordshire, circa 1820. Height 7-3/4 inches. No repairs or restoration. 

Literature:  Illustrated in Myrna Schkolne, Staffordshire Figures 1780–1840, vol. 4, fig. 171.21.
An early enamel-painted Staffordshire pottery figure of a sparsely clad putto holding a flower basket. The uncommon title "BASKET BOY" is impressed on the base. 

This rather special little figure has no repairs or restorations. Minor flaking to the green enamel (also on the reverse of the bocage, image available) and a tiny chip on one leaf tip. Made in Staffordshire circa 1820. Height 5-1/4 inches. 

References: Formerly with Andrew Dando.  For this figure see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 4, fig. 197.48.
This charming cottage, a lovely piece of real estate to add to any collection, stands alongside a leafy bocage tree fashioned in a manner suggestive of a Hall attribution. Height 3-3/4 inches.

References. Formerly with John Howard.  Exhibited at the Mint Museum of Art, Mirth & Mayhem: Staffordshire Figures 1810 -1835, Nov.206-April 2007.  Illustrated in ​Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 2, figure 149.4
This figure of a flower vendor in Turkish attire is known from only a single recorded example, making it exceptionally rare. It is also notable for its remarkable bocage, quite unlike that on any other figure. Made in Staffordshire, circa 1820, height 6-7/8 inches. Minor professional restoration to three bocage tips and a small base chip. 

 Literature: For this figure group see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 2, fig. 32.2.
This expressive Staffordshire figure portrays a greyhound, a breed long admired for its velvety coat, elegant form, and soulful eyes. The animal is modeled with a naturalistic grace that reflects the enduring appeal of early Staffordshire pottery.
 
The purpose of the unusual structural element behind the dog remains uncertain. Clearly intended to support or contain an additional object now missing, it is unlikely to have held a traditional ceramic bocage. More plausibly, the fitting may once have supported a detachable metal vase or similar ornamental attachment.
 
Enameled pearlware, made in Staffordshire circa 1815, 6-1/2 inches across. Restoration to the dogs ears only. 

Literature: For this figure see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 3, fig. 120.66. 
​In mythology, Diana was the goddess of the hunt and the moon, and she personified chastity. This figure portrays her wearing a crescent moon atop her head and carrying a bow and quiver. Enameled pearlware, made in Staffordshire circa 1825, height 11 inches.  Restoration is confined to the left bocage frond. 
​
Literature: For this figure see Myrna Schkolne, Staffordshire Figures 1780-1840, vol. 4, fig. 169.7
A particularly fine Staffordshire pottery figure of a reclining greyhound, set upon a base decorated in a vermicular pattern. This type of decoration is often associated with finely executed figures and may suggest the work of a single accomplished painter.

Enameled pearlware, Staffordshire, circa 1810. Length 6 inches. In excellent original condition with no repairs or restoration. 

Literature. Illustrated in Schkolne, Staffordshire Figures 1780–1840, vol. 3, fig. 120.71
​An important bust of Lieutenant General Sir John Moore, celebrated for his distinguished military service during the American Revolutionary War. In 1779, Moore commanded British forces defending Castine, Maine, successfully resisting the American Penobscot Expedition, one of the most disastrous naval campaigns in early American history. His later military career and death at the Battle of Corunna in 1809 secured his place among Britain’s most admired soldiers. This finely modeled portrait bust displays a strong and sensitive likeness of Moore. Made in Staffordshire circa 1805, it is decorated in enamel colors on a pearlware glaze. Height 10.1 inches. In excellent original condition with no restoration. 

References: A similar bust is in the collection of the Wisbech & Fenland Museum. For this bust, see Schkolne, Staffordshire Figures 1780–1840, vol. 4, fig. 200.93.

​This regal King of the Beasts is the most charming of Staffordshire lions. The reverse is impressed with the mark of the potter John Walton.

Enameled pearlware, made in Staffordshire circa 1825. Height 5-1/2 inches. Restoration to two bocage tips. $850.
The Widow of Zarephath, posed gracefully beside her barrel of oil, a serene and lovely biblical figure of timeless appeal. This early model portrays a subject that remained popular for decades, yet it possesses a quiet beauty and sensitivity lacking in later interpretations. Enameled pearlware, Staffordshire, circa 1800. Height 9 inches. Touch-up to enamels on one sleeve. 
​An impressive watch holder, richly decorated in brilliant enamel colors. Designed to accommodate a pocket watch, it provided an affordable and attractive clock for an early nineteenth-century home. The group is surmounted by figures of Romulus and Remus.

This stunning object is in fine original condition with no restoration.
 
Note that the front and back of the lower section of the watch holder appear to have been made from identical molds, but the reverse includes a ceramic watch face that closes the hole intended for a watch on the front.

​Measures in inches 11-1/2 by 8-1/2 by 5.  ​
THE DEATH OF MUNROW, an iconic Staffordshire pottery group attributed to Obadiah Sherratt, circa 1830, the title inscribed on two oval tablets. It portrays the death of Lieutenant Munrow in 1792 in the jaws of a tiger. News of the well-connected youth’s demise took six months to reach Britain in a letter carried by sea. It shocked the public to the core, so much so that figures portraying the event were commercially viable forty years later. Length 13-1/4 inches. 

​This group tops every collector’s wish list. Similar examples are in important private and institutional collections, including the Metropolitan Museum of Art and the Victoria and Albert Museum.
A refined and engaging Staffordshire pottery figure group of a shoemaker and lady, depicting a shoemaker attentively fitting a lady’s shoe before a leafy bocage. The composition captures a moment of genteel interaction, while the lively enamel palette—remarkably well preserved—enhances both figures and their setting.

Attributed to the Patriotic Group pottery, this piece dates to circa 1820 and stands 9½ inches high. Two bocage tips have been restored; otherwise, the condition is fine. 
​
For comparable examples, see Staffordshire Figures 1780–1840, Volume 1, chapter 29.  
A sportsman enjoying a day’s hunt stands beside his faithful dog, ever ready to assist in the field. Impressed WALTON on the reverse, the mark of the notable potter John Walton.

Decorated in enamel colors, this pearlware bocage figure was made in Staffordshire circa 1825 and stands 5-1/2 inches high. Restoration to two bocage fronds and some restoration to the dog. 
A Staffordshire pottery spill vase featuring three small sheep resting contentedly before a tree, the trunk formed as the spill holder.

The prominent four-petaled flowers adorning the base support attribution to Enoch Wood.

Enameled pearlware, Staffordshire, circa 1820. Height and width each 6 inches. Restoration confined to two branches of the spill vase and a break at the top of the central spill. ​
An impressive enamel-painted pottery bust portraying John Jervis, 1st Earl of St Vincent, one of the great figures of the British navy.  Made at the celebrated Herculaneum Pottery in Liverpool circa 1800 and clearly impressed “HERCULANEUM POTTERY” on the reverse.

Jervis entered the Royal Navy at the age of thirteen and rose to become First Lord of the Admiralty. A brilliant strategist and administrator, he transformed Britain’s Mediterranean fleet into a disciplined and formidable naval force. The young Horatio Nelson benefited greatly from his mentorship. Height 8.9 inches. Professional restoration to tip of nose and minor base chip. 

Formerly with John Howard. Illustrated in Staffordshire Figures 1780–1840, vol. 4, fig. 200.98
This gentleman with a smile on his face and clutching a large book under his arm is likely a Sunday School teacher with the Bible, which was the principal tool for teaching reading in the period. A rare figure. Enamel-painted pearlware, Staffordshire, circa 1825. Height 7 inches. No restoration. 
This engaging Staffordshire pottery group commemorates the passage of the New Marriage Act of 1823, legislation that relaxed certain requirements for marriage while curbing the practice of frivolous annulments.

The plaque bears a charmingly naive and misspelled inscription that captures contemporary social commentary with humor and immediacy: “The New Marreg [sic] Act. John Frill & Ann Boke Aged 21. That is right says the parson Amen says the clark.” 

​Enameled pearlware, Staffordshire, circa 1825. Height 7 inches. Restoration to one bocage frond. 

Illustrated in Schkolne, Staffordshire Figures 1780–1840, Vol. 4, fig. 139.30.

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. 
​
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). 
​
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.