Initially this website will cover the period of Royal Doulton figures introduced before 1960 and will examine artistic techniques used in figurine painting. We offer an accurate database that gives you the facility to identify the artist associated with a particular monogram.

We encourage users to contribute by offering any new data that may be of value to all Royal Doulton enthusiasts.

It is approximately 40 years since we heard the infamous message ‘we can train monkeys to paint these figurines’ – and I believe that the legacy of these words from Royal Doulton management is clear for all to see. The pure genius of Leslie Harradine and the artistic skills and foresight of Charles John Noke are now a memory of a glorious bygone age at Nile Street, Burslem – and I am tempted to reflect on how these pioneers would have reacted to such comments aimed at their designs. This misguided judgement was strongly refuted by the artists of the day and what followed was the predicted demise of the ‘true art’ period of Royal Doulton figurine painting.

And it is the words “When I walked through the factory gates I felt as though I was somebody”, voiced by Jim Mountford, a figure painter who is sadly no longer with us, that convey and amplify the disappointment shown by many.

There was also an unforseen consequence that had materialised – I have listened to many comments from buyers in the USA and the UK criticising the standard of the period that followed – and sadly, many remaining highly capable artists were subjected to this label.

When I began work at the company in 1960 it was, at the time, the proudest day of my life, and I take this opportunity to bring to public knowledge the artistic abilities of Royal Doulton artists past and present, and perhaps from such reference a catalyst may materialise for the continuing resurrection of the pottery industry in North Staffordshire, towards it’s former glory. For although the factory has been demolished there is still enough artistic influence – Moorcroft, Wedgewood, Aynsleys and Spode factories are all still standing and many of the artists are still producing for smaller potters. I urge all to utilise these ‘potential teachers’ while the skills are still with us.



A: To enlighten all of the artistic quality of Royal Doulton figurines produced before and during the period of my employment with the company - and to inform of the true artistic abilities and skills of the artists trained under the old time honoured system of apprenticeship – a system which was later abandoned by the company.

B: To offer a platform which will enable all of the artists and their families to realise how much respect and appreciation of their work exists throughout the world.

I am most grateful to all of my friends and colleagues for their kind contributions, in the form of documents and photographs, to the development of this website.

I am also particularly thankful to staff at The Sentinel, our local newspaper, who have been extremely helpful and supportive of this project.