Over the years, I have come across fewer than a dozen early Staffordshire figures with flat unpainted backs. The small figure group below is typical.
What might its purpose be? At just inches 3.4" tall, it is too small and light to function as a support (book-end style), so maybe it was intended to be purely decorative. But why so narrow? Was this so it could fit on a mantel or small shelf? I think not. After all, very many small figures are narrow enough to suit that purpose. Was it to economize by not painting the back? Again, I think not. This example was not done on the cheap, and costly gilding has been applied to her hair tie.
To add to my frustration, I am clueless as to the source or significance of the subjects portrayed in most of these little figures. In the case of the example shown above, I have noted it applied as a motif on an enamel-painted dove cote (Staffordshire Figures 1780-1840, vol. 3, fig. 113.1; People, Passions, Pastimes & Pleasures, page 260) and on this money box, which is transfer-printed beneath "Indian Sports 38".
To add to my frustration, I am clueless as to the source or significance of the subjects portrayed in most of these little figures. In the case of the example shown above, I have noted it applied as a motif on an enamel-painted dove cote (Staffordshire Figures 1780-1840, vol. 3, fig. 113.1; People, Passions, Pastimes & Pleasures, page 260) and on this money box, which is transfer-printed beneath "Indian Sports 38".
Then there is this similarly styled flat-backed figure on the same petite scale.
I am not sure, but I wonder if the print alongside, Infancy Sporting with Love, 1675-1730, after Anthony van Dyck is its design inspiration.
I really don't think the two figure groups shown above were designed as a companion twosome. Rather, I think they were two of several putti-type models on the same lines.
The figure group below is yet another in the same spirit, and again its subject, design source, and purpose remain a mystery. Like the first example shown here, it too is found on an enamel-painted dovecote in a private collection.
The tiny figure bound to a tree below, on the other hand, is refreshingly different in that we know the subject. This is Cupid, as signified by the arrows at his feet, and he is most probably bound to a tree as punishment for his frequent misdeed. Again, I have not located the design source, so there is still work to be done here.
I have noted two examples of the Cupid-bound-to-a-tree figure re, one being on a base painted only with a line around it (Staffordshire Figures 1780-1840, vol. 4).
I have seen only one other flat-backed figure with putti, and I regret not photographing it. If you have it, or any other examples in your collection, please share with me.
I have seen only one other flat-backed figure with putti, and I regret not photographing it. If you have it, or any other examples in your collection, please share with me.
