Roald Dahl and Robert Harrop

July 19, 2016 10:44 pm Views: 3694

Robert Harrop created this wonderful set of official Roald Dahl figurines based on the illustrations by Quentin Blake in 2003. There are 27 figurines in the collection featuring all of Dahl’s most famous characters with RD01 being Willy Wonka. As with all Harrop figurines they are very accurate and a true portrayal of Blakes illustrations. The Roald Dahl Robert Harrop collection is very collectable and is one of the few collections increasing in value.

Robert Harrop Roald Dahl figurines

RD01 Willy Wonka
RD02 Charlie Bucket
RD03 The BFG

RD01 Willy Wonka

RD02 Charlie Bucket

RD03 The BFG

RD04 Mr Twit
RD05 Mrs Twit
RD06 Matilda

RD04 Mr Twit

RD05 Mrs Twit

RD06 Matilda

RD07 Georges Marvelous Medicine
RD08 Fantastic Mr Fox
RD09 The Grand High Witch

RD07 Georges Marvelous Medicine

RD08 Fantastic Mr Fox

RD09 The Grand High Witch

RD10 The Enormous Crocodile
RD11 The Giraffe, the pelly and me
RD12 Alfie
RD13 James and the Grasshopper
RD14 The magic finger
RD15 Miss Trunchbull

RD13 James and the Grasshopper

RD14 The Magic Finger

RD15 Miss Trunchbull

RD16 Violet Beauregarde
RD17 Grandpa Joe
RD18 Danny the champion of the world
RD19 Badger
RD20 Augustus Gloop
RD21 Boggis
RD22 Bunce
RD23 Bean
RD24 Veruca Salt
RD25 Mike Teavee
RDCP Collection plaque
RDLE1 Dream Catcher/BFG

RD24 Veruca Salt

RD25 Mike Teavee

For more information about Robert Harrop visit https://www.robertharrop.com/

Random Collecting Feature

Introducing The Most Iconic Vintage Jewellery Eras of All Time

So many breathtaking pieces of vintage jewellery continue to circulate today, with the most iconic eras producing timeless jewellery that continue to meet the demands of modern consumers. So, let’s introduce the most iconic vintage jewellery eras of all time and what makes each era so iconic! Georgian Era (1714-1835) The first iconic jewellery era we are going to introduce is the Geogian era, which was named after the four Hanoverian King Georges. The jewellery created between 1714 and 1835 was handcrafted, featuring intricate metal work and complex designs that makes some of these pieces exceptional. Predominantly gold pieces of jewellery with diamonds set in silver were most common. Pieces of Georgian jewellery are largely feminine in design, with the most popular motifs including flowers, hearts, birds and bugs. The advancements in skill from previous eras made the materials and methods embody excellence, although as the era fell awkwardly around the Industrial revolution, they were not quite as advanced as what was seen in the Victorian era. As a result, it is rare to see very fine pieces of jewellery from this era, as only the highest members of society were able to afford such luxury and extravagance. Whilst not many exceptional pieces are still circulating from this era, the ones that are still available are breathtaking. Victorian Era (1835-1900) Moving onto the Victorian era, Queen Victoria was an influential figure who established the different trends for Victorian jewellery, with the finest pieces of jewellery still predominantly being exclusive to the upper classes. Throughout the Victorian era, jewellers were using a much wider variety of gem materials, with diamonds, sapphires and rubies all being discovered and hand crafted to create an entirely new level of jewellery, especially towards the end of the 19th century. Although all gemstones were still being handcrafted, the Industrial revolution was complete and jewellery from the Victorian era was able to take full advantage of this. With parts of jewellery creation beginning to involve mass production, the accessibility of fine jewellery expanded slightly to other classes. The innovation at the time, including electroplating thin layers of metals and metalwork stamping, made production quicker and easier, although some elements of handcrafting were still used, helping to create a unique blend of high quality pieces and a specialist finish that has helped these exceptional pieces of jewellery stand the test of time. Art Deco Era (1915-1935) The majority of the Art Deco era fell after World War I, social change was on the horizon and this heavily influenced jewellery production. Art Deco design represented modernism and fashion, with luxury items on the rise and an anti-traditional elegance was taking over. Wealth and sophistication took over like never before, the innovations in industry and art influenced jewellery, with geometric shapes, streamlined designs and bright gemstones being the predominant features of jewellery from this era. Platinum, a much more durable material, was discovered and favoured across the 20 years of the Art Deco era, where not much gold at all was seen. Large geometric shaped gemstones were set into the platinum, predominantly diamonds, which created bright and beautiful sparkling jewellery that has an undeniable character that is still in high demand today. Jewellery had gone from being a status symbol to pieces of art that continue to defy the passage of time. Retro Era (1935-1950) Moving onto our final iconic era, which is Retro, between 1935 and 1950. As with the Art Deco era, Retro jewellery was strongly influenced by the societal changes that came with the end of World War II. This sparked a new era for all European countries, as economies were growing stronger and the middle class strengthened, again expanding the demand for jewellery. One thing that was commonly seen in the Retro era was convertible jewellery, like necklaces that could be turned into a bracelet with matching earrings. Bold, colourful and extravagant designs were common, but always with intricate details that made this jewellery highly recognisable but also highly technical. As platinum was in short supply following World War II, as it was reserved for military use, gold was preserved by using an alloy with high percentage copper, creating the iconic yellow gold that the Retro era was famous for. Final Thoughts The quality of materials and craftsmanship that went into creating vintage jewellery is simply unparalleled in the times of mass production, which has helped these fantastic pieces to stay in impeccable quality for over 300 years. The fact that vintage jewellery continues to be in such high demand speaks volume about the quality and timelessness of these eras. Related Vintage Jewellery at https://www.berganza.com/ Article by by Daisy Moss
Buttons The World’s Most Popular Collectible Secret!

You see them every day. They fasten your shirt together, hold your pants up, and maybe make a fashion statement on your new sweater. Buttons! Almost everyone has some buttons stashed away in a box or jar. They can be plain and simple, or truly elegant works of art. Due to our natural hoarding instincts, buttons find their way into nooks and crannies in our homes. It is time for them to step up and take their rightful place as a popular collectible. History of Buttons Buttons have been in use for hundreds of years. In very early times, clothing was fastened with ties or pins, but gradually toggles and buttons as we know them came to be in use. Many ancient burials have included buttons or button-like objects. In the Early and Middle Bronze Age, large buttons were primarily used to fasten cloaks. By the 13th century, buttons were widely in use, mainly as decoration. As most clothing of that time period was closed with lacing or hooks, garments didn’t use buttons as methods of closing on a regular basis until the last half of the 16th century. Most of the buttons from this time period were small, but over the next century or so they became larger and very ornate, often using precious metals and jewels. During the 17th and 18th Century, most buttons were worn by men. By the 18th century, buttons were becoming larger, and had even more elaborate designs. Buttons continued to make a fashion statement and the button-making industry hit such a high standard that the period from 1830-1850 has become known as the Golden Age. As mass production techniques progressed, and new synthetic materials were developed, the general standard declined. From 1860 on, women have been the main consumers of “novelty” buttons. A button is officially an object that can be used to fasten garments, with either a shank (usually a loop) on the back used to sew the button to the clothing, or with holes in the center to allow thread to pass through the body of the button. Design of Buttons Buttons have been made from almost every material found in nature or created by man. Metals are one of the most popular materials, including everything from iron to gold. Another popular material used in button making is mother of pearl, or shell of any kind. Bone, ivory, cloth, glass, stone, cinnabar, horn, antler, leather, papiér maché, ceramic, celluloid, Bakelite, and wood, plus any combination of these, have been used to fashion these miniature works of art. One of the most interesting and misrepresented materials used in buttons is jet. This is a naturally occurring mineral, with a carbon base. It is lightweight and fragile, so surviving examples are very hard to come by. Queen Victoria started a fashion in 1861 by wearing black jet buttons to mourn the death of her husband Albert. Since jet was such a rare and expensive mineral, black glass came to be substituted by the rest of the population for their mourning attire. Consequently, black glass buttons are still very common today, but are often mislabeled as “jet” buttons. Adding to the confusion were a number of companies that made black glass buttons and marketed them as “French Jet.” One way to test whether that black button you found is jet or glass is by giving it the floating test. Glass buttons will sink to the bottom in a glass of water, but the lightweight jet buttons will float. Fashion of Buttons Throughout the years, the decorations on buttons have reflected both the fashion and passions of the time. Nearly everything has been pictured on a button. Animals are one of the most popular subjects, along with plant life and objects like belt buckles and hats. Some buttons are shaped like the item they portray, and are known as “realistics” for their realistic appearance. Others simply had the design engraved, stamped, painted or enameled on the surface of a conventionally shaped button. Many of the antique buttons feature very detailed paintings in miniature. A rare and very unusual type of button is called a “habitat.” These have a metal back, with a dome shaped glass cap. But what makes them special is what is UNDER the glass. These buttons include dried plant and animal material, usually arranged to create a natural looking scene. Sometimes whole insects were used. Because of their age, and lack of preservation techniques used in the past, these buttons are rarely seen, and often in poor condition. A good quality habitat button will often sell for several hundred dollars. People and their many activities is another popular subject. Architectural objects like buildings, bridges and monuments also decorated many buttons. Political candidates, opera stars, and fairy tales are richly represented, and are favorites with collectors. Some buttons even portray risqué subjects. Buttons produced for George Washington’s inauguration are some of the most sought-after buttons in the United States. Uniform buttons fall into a special category all their own. Most of us automatically think of the military when we think of uniforms, but there are an amazing variety of uniforms in our society. Both Police and Fire Departments have their own buttons, often with the name of the city stamped on the front. Bus lines, airlines, shipping lines, city or state employees, hotels, railroads, banks, and even schools have their own unique buttons. A related field is Livery buttons. These buttons were worn by servants in large households, usually in England, and had the family’s coat of arms or crest on it. There are many collectibles related to buttons. It is not unusual to find a button collector that also hunts out belt buckles, cuff links and studs, buttonhooks, netsuke, or bridle rosettes. These are another way to add variety to your collection. Passion One advantage button collecting has over many other collectibles is that many of them are very reasonably priced. They can range in price from a few cents for […]
Leslie Harradine and Royal Doulton

For collectors of Royal Doulton, Leslie Harradine is a well known name having designed some of the most famous and iconic Doulton figures including the Balloon Seller, Scotties, Sunshine Girl and the popular Dickens Series. He was prolific and modelled figures for Doulton from the late 1920s to the 1950s, as well as initially designing vases for the Lambeth Art Studios. His first figure for Doulton was Contentment with model number HN389. In 1929 he created another model Contentment featuring a Mother and Child sleeping (model HN1323). Although known as Leslie Harradine he was born Arthur Leslie Harradine in Lambeth to parents Charles Percy and Jessie Harradine (nee Tealby) in 1887. He first joined the Doulton Lambeth studio as an apprentice in 1902 working under George Tinworth, whilst at the same time studying at the Camberwell School of Arts. He initially worked in the studios on vases and Toby jugs, but his main interest was in clay sculpture and the design of free standing figures. His designs came to the attention of Charles Noke who was Art Director at the time but as he was not able to model figures as much as he wanted or to start his own factory he actually left Doulton in 1912 to start a farm with his brother Percy in Canada. Farming proved difficult, but when possible Leslie continued to create and paint models from clay. In 1916 Leslie and his brother Percy left Canada for the Great War. He was injured and whilst in hospital he met his future wife Edith Denton whom he married in 1917, and the following year became a father to his first child Jessie. Leslie and his family moved back to England in 1918 with the intention of opening a studio in London. Shortly after his return Charles Noke offered Leslie a job as a figure designer at the Burslem. However, the position was refused but eventually he agreed to work on a freelance basis and in 1920 his Royal Doulton figure entitled Contentment was released. Harradine modelled and created figures for Royal Doulton on a freelance basis for over forty years. He had a way of working peculiar to him and probably only allowed because of his undeniable talent and genius – he would decide what to model and when to send those models in to the factory at Burslem, sometimes up to three at a time, on a monthly basis. It is said that the other designers and painters would all gather round eagerly when his monthly shipment was unpacked to see what he had “come up with this time”. Many iconic and popular models were created, as well as series of models including those already mentioned earlier in the feature the Balloon Seller, Scotties, Sunshine Girl and the popular Dickens Series but also figures from his rendition of The Beggars Opera, and the famous and slightly risque models of The Bather. Many of Harradine’s models stayed in production for many years but some only for a year or two. These models are often the rarest and sometimes the most valuable. Harradine’s last model for Doulton was The Beggar with a model number HN2175 and was released in 1956 and was produced until 1962. Arthur ‘Leslie’ Harradine died on 6 December 1965, in Gibraltar at age 78, leaving an amazing legacy of models and designs that makes him one of the world’s finest modellers. Related George Tinworth – The Greatest Doulton Lambeth Designer
Make Mine a Guinness – Guinness Collectables and Guinness Collecting

The City of Dublin is often referred to as the heart and soul of Ireland, and within the heart of the City itself is Ireland’s number one visitor attraction – The Guinness Storehouse. Opened in November 2000, it has to date, attracted over 3 million visitors including myself on a recent trip to the emerald isle. The huge structure is breath taking and the in-depth knowledge that I gained from just one day at the Storehouse is second to none, so I highly recommend a visit, especially if you are an avid collector of Guinness memorabilia or if not, purely to soak up the history of a brewery which began more than 250 years ago. Born in 1725, Arthur Guinness was familiar with the duties of running a brewery as he often helped the workers on this family estate brew the beer, so when on 31st December 1759 Arthur signed a 9,000 year lease at an annual rent of £45 for a disused brewery in Dublin, he was well aware of the business ahead of him. Determined to make the brewery work he began by brewing a strong black beer made from roast barley called “porter,” worldwide, today, this drink is known as “Guinness.” The first shipment was exported to England on a sailing vessel and proved a success but by 1775 the Dublin Corporation Sheriff tried to cut off the water supply where the Brewery drew its free water. Defending his right, Arthur threatened the authorities with a pickaxe and they left well alone. Arthur died in 1803, aged 78 leaving behind a large personal fortune of £23,000 and a flourishing business, which was then taken over by his son, Arthur Guinness II. From 1833 Guinness has been the largest brewery in Ireland, and now in 2006, 5 million glasses of the black stuff is enjoyed in over 150 countries around the globe each day. This is largely due to the successful growth of the Brewery’s business, which from the end of the 19th Century through to the 20th Century employed between 3,500 and 4,500 people at any one time. Throughout history the brewery had family members directly involved and the influence that the Guinness family had on Dublin is evident throughout. Benjamin Lee Guinness took over from Arthur Guinness II after his death and later became Lord Mayor of Dublin along with being elected for the Parliament of Dublin City in 1865. After Benjamin’s death in 1868, Edward Cecil Guinness took the reins and was to be the first Lord Iveagh. He was also responsible for establishing the Guinness Trust, which later became known as the Iveagh Trust and provided homes for the poor in both Dublin and London. After Benjamin’s death in 1927 Arthur Edward Guinness took over and was then followed by Rupert Edward Guinness who was the 2nd Lord Iveagh. It was under Rupert that the first official advertising campaign for Guinness was launched. The final family member to be directly involved with the running of the Brewery was Benjamin Guinness who passed away in 1992. Today, the brewery is owned by Diageo, the world’s leading premium drinks company who also boast Baileys, Smirnoff and Johnnie Walker Whisky amongst others in their drinks portfolio. With such an impressive history it made sense to open a visitors centre that paid homage to the Guinness Dynasty. So in November 2000 The Guinness Storehouse was officially opened on the site of the original brewery. This impressive seven storey high building was the first steel framed building created in the Chicago Style in the British Isles. A H Hignett carried out the architecture and the steelwork was supplied by Sir William Arroll. Taking over 3 years to complete this £30million visitor experience has been designed so that people can take a journey through the past, present and future of the world’s most famous beer. Aside from the fact that you can spend the day discovering the ingredients, process, craft, time and passion that goes into making each individual pint, you can also relax in the lavish Gravity Bar with your free pint, which is situated above the roof and from the outside is seen as the head of a pint of Guinness. This is the highest bar in Ireland and has 360 degrees panoramic views across Dublin – an experience not to be missed. There is also an impressive array of advertising collectables on show in the Storehouse, covering everything from vintage bottles and mugs to the more modern Carlton Ware figurines. Amongst the display is the original Harp, which today is the registered trademark of Guinness. Made in 1702 by Cormac O’Kelly of Ballynascreen it was adopted by Guinness in 1862 and is their signature piece appearing on everything from the bottle labels to merchandise. During my visit I was lucky enough to meet with Claire Hackett, an archivist at the Storehouse whose job involves documenting all the Official Guinness merchandise that has been produced from 1930 onwards in Ireland (the UK and overseas marked is archived in Scotland). Although the earlier items were more point of sale pieces such as showcards, the range did expand and by the 1950s items were made to target wholesalers and licensed trade. It wasn’t until the 1980s when Guinness started to produce merchandise for customers as well. Claire explained to me that the Storehouse is used as a vehicle to show the home of Guinness and has many of the earlier collectables available on show. She also told me that the archive system is readily available to the public, so if you come across a piece of Guinness memorabilia and are not sure where it dates to, the archivists can help you find it, date it and recommend organisations such as the Guinness Collectors Club for valuations. “It is normally figurines, key rings and cufflinks that turn up and are very popular but the most unusual item I have ever come across is a hair brush that is shaped like […]
Swarovski Limited Edition Disney Princesses

The first Swarovski Limited Edition Disney Princess was Cinderella and was released in 2015. Each year since Swaroski have released a limited edition annual edition Disney Princess. The series has proved very popular with the early editions rising in value on the secondary market. Cinderella was followed in 2016 by Elsa from Frozen, in 2017 Belle from Beauty and the Beast, in 2018 by Rapunzel from Tangled and in 2019 by Snow White. The combination of Swarovski design, Disney icons and colour has made a stunning series of crystal models. 2015 Cinderella 2016 Elsa 2017 Belle 2018 Rapunzel 2019 Snow White 2021 Ariel 2022 Jasmine Swarovski Disney Limited Edition Princess 2015 Cinderella Cinderella is a tribute to Disney’s new Cinderella movie released in 2015 and the model showcases Swarovski’s expert craftsmanship and depicts Cinderella dancing in a sparkling blue and clear crystal outfit. The model originally retailed for £349 and is now being seen on auction sites at over £2,000. Swarovski Disney Limited Edition Princess 2016 Elsa Swarovski Disney Limited Edition Princess 2017 Belle Swarovski Disney Limited Edition Princess 2018 Rapunzel Swarovski Disney Limited Edition Princess 2019 Snow White
Space 1999 Collectables and Space 1999 Toys

Space 1999 remains a cult classic and we take a look at some of the Space 1999 collectables, Space 1999 merchandise and Space 1999 toys that have appeared over the years.
Collecting Elvis Presley Memorabilia

Elvis Aaron Presley was born on January 8, 1935 in Tupelo, Mississippi. He died aged 42 on August 16, 1977 but during his short life and since his death he has become one of the most well known cultural icons of modern times.
Collecting the Witch – Bewitched Collectibles & Bewitched Merchandise

Bewitched has been voted one of the top 50 shows of all time and we take a look at some of the Bewitched collectibles, Bewitched merchandise and Bewitched toys that have appeared over the years. We also look at how Bewitched was a show that also tackled issues such as feminism and racism, and its influence on modern culture. The Concept of Bewitched TV Show The Bewitched TV series follows the adventures of Samantha Stephens, a young witch who is married to a mortal man named Darrin. The couple live in the suburbs with their two children, Tabitha (first appearing in 1966) and Adam (first appearing in 1969). Throughout the series, Samantha struggles to keep her magical powers hidden from her family and friends, as she knows that Darrin does not approve of witchcraft. However, her well-meaning meddling often leads to hilarious hijinks and chaos. For eight seasons, from 1964 to 1972, The Bewitched TV series charmed audiences with its mix of comedy and fantasy, making it one of the most beloved shows of its era. The Characters The series starred Elizabeth Montgomery as Samantha Stephens, a young witch who marrying a mortal, Darrin Stephens (played by Dick York and later Dick Sargent), and tries to lead the life of a typical suburban housewife. The show also featured Agnes Moorehead as Endora, Samantha’s Mother; David White as Larry Tate, Darrin’s boss; Alice Pearce (later Sandra Gould) as Gladys Kravitz, the nosy neighbor; Bernard Fox as Dr. Bombay, the witch doctor; Erin Murphy as Tabitha Stephens, the couple’s daughter; Mervyn Eddys as Sam Francis “Sam” Blake, Darrin’s advertising agency partner; and Paul Lynde as Uncle Arthur. How the Show was Created Bewitched was created by screenwriter Sol Saks (1910–2011). While the concept of a witch living among mortals was not new (I Married a Witch, anyone?), the show’s creator Sal Saks drew heavily from this influence when creating Bewitched. This film, which was released in 1942, tells the story of a young witch who Falls in love with a mortal man and tries to live a normal life. Another influence for the creation of the show was the play and film Bell, Book and Candle, which tells the story of a witch who falls in love with a mortal man. Sol Saks received credit as the creator of the show; he wrote the pilot of Bewitched but was not involved with the show after the pilot. The show’s depiction of women and minorities The Bewitched TV series was revolutionary for its depiction of women. In a time when most television shows portrayed women as homemakers and wives, Bewitched showed women as independent and capable. The show’s main character, Samantha, was a working woman who used her magical powers to make her life easier. She was also a mother, but she was never shown struggling to balance work and family life. Instead, she was always shown as competent and able to handle whatever came her way. The show’s depiction of women as strong and independent paved the way for future generations of television shows that would show women in a more positive light. In 1963 Betty Friedan published The Feminine Mystique and in 1964 published a two-part essay Television and the Feminine Mystique for TV Guide. Endora, in the show uses Friedan language and concepts to criticise the role of women as just housewives. Elizabeth Montgomery said that the Episode Sisters at Heart was her favourite. It was very important episode that tackled racism head on and show inter-racial frienships as positive. The episode is equally imporessive as it was written by 26 African-American students from a tenth grade English class at Jefferson High School. Sisters at Heart – The narrative follows Lisa Wilson, an African-American girl, as she visits her friend Tabitha Stephens, a white girl. Meanwhile, Tabitha’s father Darrin Stephens, who works at an advertising agency, fails to land a million-dollar account with toy company owner Mr. Brockway because Mr. Brockway is racist and incorrectly believes Darrin to be married to Lisa’s mother Dorothy. In an attempt to convince Mr. Brockway to overcome his bigotry, Darrin’s wife Samantha, who is a witch, casts a spell on Mr. Brockway so he sees everyone, including himself, as having black skin. Bewitched collectibles and merchandise over the years Bewitched was very popular finishing as the second-rated show in America during its debut season in 1964, and staying in the top ten for its first three seasons, and ranking in eleventh place for both seasons four and five. The show continues to be seen throughout the world in syndication and on recorded media. As a result, there was a lot of merchandise marketed around the show. Some of the most popular items were coloring books, cookie jars, mugs, lunch boxes, comic books, board games, jigsaw puzzles dolls, and dolls / action figures. One of the most popular Bewitched collectibles is the doll that was made by Ideal in the 1965. The doll was based on the character of Samantha Stephens and depicted her in a red dress, with a red witch’s hat and with a broomstick. It was promoted as Samantha as portrayed by Elizabeth Montgomery THE BEWITCHED POSING DOLL … star of the the ABC hit TV show BEWITCHED. Boxed examples are valued at $1,500 to $2,000. There is another doll from the series that is even more collectible the ‘ Tabitha The Bewitched Baby ‘ doll. The Tabitha The Bewitched Baby doll can sell from $2,000 to $3,000. The box is very cute and features Samantha, Darrin and Endora peering down on baby Tabitha. Games based on the series include Bewitched by Game Gems and The Bewitched Stymie Card Game from Milton Bradley. Funko POP! have released two dolls based of Samantha and Endora. Related ‘Bewitched’ broke ground 45 years ago on USA Today
Moorcroft Pottery

William Moorcroft might be said to have been born in the right place at the right time, with the benefit of an incredible ability to master all the skills needed to ensure that his business prospered no matter what the economic climate of the times. He was born in Burslem in 1872 and educated at Longport Hall School prior to becoming a student at the Burslem School of Art. His considerable artistic talent led to a move to London where, in 1896, he studied at the National Art Training School, later renamed The Royal College of Art. Young William made good use of his time in the capital by deciding to make an extensive study of both ancient and relatively contemporary ceramics displayed in the British Museum and the South Kensington Museum. We recognise the latter today as the Victoria and Albert Museum. The following year he was awarded his Art Master’s certificate which would normally attract most students towards a career teaching art. However our Mr Moorcroft had set his sights on becoming a potter and, as the fates would have it, was offered the position of designer by the china and earthenware manufacturers James Macintyre and Company of the Washington works in Burslem. He wasn’t slow to see the god sent opportunity and showed no hesitation in eagerly accepted the vacant situation. The pottery made all manner of both relatively mundane utilitarian and decorative ware including artist’s palettes, door furniture and art pottery, alongside insulators and switchgear for the emerging electrics industry. In 1893 the company had enlisted the services of Harry Barnard, the well-respected designer and modeller formerly employed at Doulton’s Lambeth studio, in a bid to introduce art pottery into their repertoire. He was given the task of developing a range of ware that made use of a pate sur pate type of decoration that involved the building up of layers of slip in low relief. The method of decoration had already been well established and perfected at the nearby Stoke factory of Minton and Co. by the former Sevres decorator Louis Solon. James Macintyre decided to name their new designs “Gesso Faience”, but regrettably for Barnard it failed to excite would-be buyers and he eventually moved down the hill to Josiah Wedgwood’s Etruria factory where he continued to develop slip decoration whilst his career underwent a renaissance. Moorcroft’s earliest designs were registered in 1898 and made use of under glaze cobalt blue complemented with iron red on glaze and gilt decoration that enhanced his new and inventive shapes, being retailed under the trade name of “Aurelian Ware”. William’s obvious childhood passion for nature and flora is evident in his treatment and choice of formalised repeated designs, which show a real synergy with the then all-important mentor of many a young art student–William Morris. Undeterred by the failure of “Gesso Ware” Moorcroft recognised the potential offered by slip-trailed decoration and set about producing Arts and Crafts’ inspired floral decoration married to imaginative organic forms. As a result his “Florian Ware”, launched in 1898, established William Moorcroft as the most exciting designer in British ceramics, able to produce in quantity contemporary designs that managed to embrace the traditional Arts and Crafts hand produced ethic. This ethic was promoted initially by Morris and later by the various Guilds that had sprung up in both Britain and the United States of America. As far as Messer’s Macintyre were concerned the most important outcome was that they had struck gold with young Moorcroft and found a highly distinctive art pottery that generated good income. William’s fertile imagination offered a regular flow of quite oftenbreathtaking designs over the next fifteen years that were not entirely limited to all things floral. In 1902 William had produced a design featuring Japanese ornamental Carp specifically for the London retailer, Osler. The firm soon became synonymous with a distinctive palette painted in tones of blue and mauve within slip trailed outlines; such vases carried a “Hesperian Ware” back stamp with other subject matter including Butterflies. That same year that saw the introduction of the first landscape design composed of a frieze of tall trees set amongst an undulating countryside and adapted to fit a variety of vases and dishes of differing size. Eventually labelled “Hazledene” the design proved especially popular through the premier retail outlet of Liberty and Co. William’s friendship with Arthur Lasenby Liberty was eventually to prove of significant importance in 1913 when Macintyre and Co. decided to concentrate upon the lucrative electrical fittings market. With space at their Washington pottery at a premium they decided to close down their art pottery concern and part company with William Moorcroft. It is a matter of debate amongst present day Moorcroft authorities as to whether or not the two parties came to an amicable separation that saw William building his own ‘state of the art’ factory in nearby Sandbach Road, Cobridge, interestingly aided and abetted by the Liberty and Co. connection. New patterns were quickly introduced including utilitarian tableware using a porcellaneous body similar to that used by Macintyre in their electrical output and referred to initially as Blue Porcelain. The speckled blue tableware was a much-needed success that soon became synonymous with Liberty and Co.’s New Tudor Tearooms where it was known as “Moorcroft Blue”. The advent of the First World War led to an increase in export trade allied with government commissions to produce shaving mugs and hospital inhalers for the war effort, thereby allowing William to retain much of his workforce. However, it was in the post war years that he was able to consolidate his position and develop his reputation for producing richly coloured wares that continued to draw upon floral, fruit and landscape inspiration. Unquestionably the most successful design of the interwar years has to be his “Pomegranate” pattern, having been initially introduced in1910. The earliest examples display distinct buff reserves that by the 1920s had given way to deep cobalt blue, and the commercial success of the company […]
Greetings from Holly, Sarah & Betsey

Most of us have heard of Holly Hobbie, but perhaps Sarah Kay and Betsey Clark are slightly less familiar. All three artists specialised in drawing greetings cards, lending their names to the characters they drew, which were later issued in doll form. The Betsey Clark character is an old-fashioned miss, quite distinctive with her pointed, elfin-type face, teardrop-shaped eyes, high forehead and wispy blonde hair caught up with a thin ribbon into a bunch on top of her head. Pictured right: Betsey Clark doll She is a poor waif, with patches on her clothes and oversize shoes. This adorable child was created by her namesake, Betsey Clark, who lived in Amarillo, Texas. Betsey showed early promise for art and design, winning awards for drawing while still a child. In the early 1960s she began work at Hallmark cards, producing greetings card designs which depicted her so-called Whimsical Waifs. These soon caught the public’s imagination. Later, various dolls featuring her characters appeared, to the delight of both children and adults. Additionally, the German company of Goebel were commissioned by Hallmark to produce a series of Betsey Clark figurines for collectors. According to a collector’s site on the internet, Betsey proclaimed that she loved to ‘work off in a little bitty corner, with the drapes pulled around me’. She died in 1987, but her enchanting characters live on. A range of Betsey Clark dolls was issued by Knickerbocker in the 1970s. Amongst them was an 8″ tall vinyl-headed, soft-bodied girl, dressed in a pretty pale blue outfit of patterned dress and striped apron. Her apron bore two patches. The pale colouring of the dolls’ features and clothing reflected the delicate hues in Betsey Clark’s illustrations, and the attractive box featured a picket fence, topped with a robin, with the Betsey doll standing behind. A verse on the box read, ‘Betsey’s the very best kind of a friend, whenever you need her, she has time to spend. You can tell her your troubles when something goes wrong, and wherever you go, she likes going along! She can make you smile brightly when you’re feeling glum, when you tell her your secrets, she’ll keep every one! She can make almost anything more fun to do, and she’s coming to stay and have fun times with you!’ Betsey was also available as a small all-vinyl doll and as a rag doll, while in 1985 a delightful 6″ porcelain collector’s doll was created. Betsey Clark dolls seem more difficult to obtain here in Britain than those of Sarah Kay and Holly Hobbie, which is a shame as they are very cute with their wistful faces and large, sad eyes. Artist Sarah Kay seems to be something of a recluse. Apparently, she shuns all publicity, preferring to talk through her delightful portrayals of little girls in old-fashioned summer dresses and mob caps. Often confused with Holly Hobbie, Sarah Kay’s creations tend to wear clothes featuring spotted fabrics, while Holly Hobbie uses patchwork and small floral prints. Pictured left: Sarah Kay doll She lives in Australia, and trained at art college before joining an advertising agency. When her daughter Allison became very ill, Sarah needed something to soothe her worries, and began to work on a series of drawings featuring carefree children in an idyllic, old-fashioned country setting, gaining her inspiration from her own childhood, spent on her grandparents farm. The drawings were noticed by the Valentine Greetings Card Company, and were produced as popular cards and stationery. Pedigree decided to manufacture dolls based on the little girls in the drawings, producing a range during the late 1970s and early 1980s. Some of the most delightful had vinyl faces with round, painted eyes and softly coloured lips. A few freckles were scattered across the bridge of the nose. Pictured right: Sarah Kay Pedigree doll Sweet Thoughts These dolls had rooted hair and soft bodies, and stood 13″ tall. They had names such as Gentleness, Tenderness, Sweet Love, Sweetness, Cheerfulness, Happiness, Joy, Affection, Kindness and Sweet Thoughts, and each wore a different colour or pattern; for instance, Gentleness wore mainly green, Tenderness blue, Sweet Love red and so on. Several versions were available including rag dolls in assorted sizes, and Pedigree also marketed a nightdress case, shaped like a Sarah Kay doll, under the Burbank name. Sometimes the dolls wore bonnets or mob-caps, while others had straw hats. In their 1979 catalogue, Pedigree proclaimed, ‘The most beautiful rag dolls ever. High quality material. Detailed replicas of world famous greetings cards.’ The House of Anri, founded and maintained by the Riffeser family over several generations, is famed for its creative range of wooden figurines, which are made at St. Christina, located in the Dolomite mountains of South Tyrol, Italy. Amongst their products are ornamental models of Sarah Kay characters. These delightful pieces are hand-carved from Alpine maple and are extremely popular. Several kinds of Sarah Kay jointed wooden dolls have also been carved, including Martha, a sweet little girl, 14″ tall, made in a limited edition of 750. She has the trademark freckles across her nose, and is dressed in a typical Sarah Kay outfit of cotton frock and bonnet. As you might expect, these painted, wooden creations are expensive, but they are extremely beautiful and collectable. Most famous of the three designers is Holly Hobbie. During the 1960s, people became intrigued by her designs featuring a little girl, facing sideways, dressed in a long patc hwork frock, with a large bonnet totally obscuring her face. This pose tended to create an urge to see the expression which lurked beneath the brim. Grannies, especially, adored this nostalgia theme, imagining it was their granddaughter lurking under that floppy bonnet, and the whole concept happily coincided with the fashionable look of the day – long, floaty dresses, small prints, Laura Ashley, country style, femininity and pastel shades. Pictured left: 1975 Knickerbcoker Holly Hobbie doll Holly Hobbie created her designs for the American Greetings Card Company for many years, featuring children in […]