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‘El Greco’ painting smashes pre-sale estimate at Bonhams Old Masters Sale

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Slade School of Art Artists Collection Discovered at Unique Auctions

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Norman Rockwell drawings The Runaway and A Man’s Wife

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Painting of Edinburgh Castle for auction at Bonhams annual Scottish sale

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Captain of the Eleven pears soap painting

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Famous Pears Soap Painting Set to Clean Up

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Edvard Munch’s The Scream Become the Highest Priced Artwork Ever

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Girolamo Romanino Christ Carrying the Cross

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Girolamo Romanino picture of Christ Carrying the Cross at auction

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Kate Moss, Brigitte Bardot and Christy Turlington Photographs at Auction

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Sotheby’s Announces First Sale of Fine Classical Chinese Paintings in New York

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Bonhams to Auction Cuneo Image of Golden Arrow Train

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Random Collecting Feature

Kitchenalia – What’s Cooking In The Kitchen?

Kitchenalia are items and utensils associated with the kitchen and are now collected. These kitchenalia items range from Victorian copper jelly moulds and glass rolling pins to 1950s/1960s retro items to Kenwood Chef mixers to modern kitchen classics such as Alessi. Unlike other rooms, the kitchen is much more difficult to personalise. Kitchens, especially those in modern houses, tend to consist of rows of white metal appliances with wooden cupboards above. Pictured: Carlton Ware Sheep Mint Sauce Boat Unlike kitchens found in older houses, or those used by our ancestors (to whom many of our modern gadgets would seem alien), kitchens nowadays are often long and narrow, so it’s difficult to squeeze in a traditional dresser, let alone an old-fashioned cooking range or even an Aga. Many people today enjoy the minimalist, almost sterile look of a modern kitchen, but some of us still crave individuality. So how do we achieve it? If you want your kitchen to acquire a retro look, then there are thousands of items out there to accent your kitchen, from original 50s, 60s (and earlier) items of kitchenware through to streamlined 1970s, 80s, 90s and 2000s classics. With cooking being the in-thing right now, thanks to Jamie Oliver, Gordon Ramsay and co., there has been an upsurge of interest in kitchenalia. However smart a modern glass mixing bowl, plastic jug or non-stick saucepan can be, you can’t beat an earthenware bowl, blue striped Cornishware jug or maybe a seventies’ Poole casserole dish for adding a bit of warmth to your kitchen. Pictured: 1970s Kenwood Chef Some people embrace the collecting fad with a passion – they collect egg cups, or cruet sets or old mugs and display them on shelves to create a focal point – while others concentrate on a few, maybe larger items; an old enamel bread bin or perhaps a colourful enamel kettle. Sometimes, these old kettles and pans aren’t suitable for use on a modern hob, but they can still make a decorative statement. I think some of the most elegant of kitchen items are those long, tall sixties’ and seventies’ coffee pots. Many were ceramic, made by companies such as Meakin and Midwinter, while others were in subtle brushed stainless steel. The Russell Hobbs’ 3008 automatic coffee pot from the 1970s, with its wooden handle and tapered body, is still stylish today, and looks much more chic than a contemporary glass and plastic cafetiere. Other electrical items still sought after for modern kitchens include Kenwood Chef food mixers, Russell Hobbs’ stainless steel kettles and early toasters. Larger items too are collected by some people; I still use a 1960’s electric cooker manufactured by English Electric, and would never swap it for an up-to-date one. The solid doors and large, heavy grill pan are rarely found in modern cookers. Besides, the styling is much more ‘friendly’ than the flat, bland surfaces of today’s cooking appliances. Pictured: 1960s T G Green Roulette Kitchen Jars One traditional item still collected today is Cornishware, especially the blue and white striped variety. Originally made by T. G. Green, many look-a-likes appeared when other companies began copying the design after seeing how popular it had become. Fresh and summery, it is said that it gained its name after being described by a West Country salesman as reminding him of ‘blue Cornish skies and white-crested waves’. The blue and white ware was first introduced in the 1920s, and it became an immediate hit. Older or rare pieces are snapped up by today’s collectors. The company was actually based in Staffordshire, and the T. G. Green brand name is still used. In the 1950s, when British pottery design was becoming more ambitious, many designs were produced to coincide with, or were influenced by, the Festival of Britain. Often they had ‘futuristic’ designs based on atoms, or featured exotic scenes, ballet dancers or even items of furniture, such as the iconic ‘Homemaker’ range by Enid Seeley for Ridgway Poteries, which was sold exclusively through Woolworths. Pictured: 1970s Boscastle Salt Pig Another fad was to have different coloured cups and saucers (most people used cups and saucers back then, rather than mugs). By the 1960s, Midwinter, Portmeirion, Meakin and others were filling the shops with their attractive, dynamic designs. Some were stunning, and of course are the ideal kitchen collectable, as they can be regularly used, although it is best not to put them in the dishwasher, as the pattern might fade. I have a soft spot for those ceramics made by the smaller studios, which often you never hear of unless you happen to see a ‘pottery’ sign as you pass by some narrow country lane. You can often find attractive mugs, jugs and pots which look perfect in a kitchen. In the 1960s and 70s I collected various pieces of ‘kitchen’ pottery, mainly from the West Country. One of my favourites is a painted, unglazed ‘salt pig’ from Boscastle Pottery with a delicate tree design, the shape of which resembles the pots used in kitchens centuries ago. The design technique is known as Mochaware and is created by applying ‘mocha tea’, a mix of oxides, to the wet slip. Sometimes tobacco or coffee are used instead. This results in a staining in the formation of a fern-like pattern, and no two are identical. Another absolute favourite of mine is Tintagel ware, especially the soft pink and green ‘eye’ versions, which I think are just beautiful, and the swirly deep green dragon designs.. Fruit bowls, jam pots, jugs, vases, egg cups and cheese dishes – Tintagel pottery was established in 1948, and is still made in the mystical Cornish village, where rumour has it that King Arthur once roamed. There are also those distinctive cheese dishes and other items with hand drawn characters by Toni Raymond. Toni Raymond ware first appeared in the 1950s, and in the 1960s they acquired Babbacombe Pottery. Also collectable are Szeiler animal face dripping pots, Sylvac face pots and the later attractive line […]
World War 1 Allied Commanders Toby Jugs by Sir Francis Carruthers Gould for Wilkinson

Released during the Great War from 1915-1919 was an impressive set of eleven toby jugs based on the Allied Political and Military leaders by Wilkinson after designs and caricatures by Sir Francis Carruthers Gould. Each of the figures holds an item or is an item and has associated words e.g. Lloyd George holds a cannon shell with the words Shell Out on it (full list below). The set is extremely well designed, made and coloured and each molded figure was polychrome enameled and gilded. The features the retailers mark Soane & Smith, who were based in Knightsbridge. Lord Kitchener, holding a jug inscribed ‘Bitter for the KAISER’, 25cm high Admiral Beatty, holding a shell inscribed ‘Dread Nought’, 26.5cm high Field Marshall Haig, seated upon a tank, titled ‘Push and Go’ to the base, 27cm high Admiral Jellicoe, holding a jug inscribed ‘Hell Fire Jack’, 26cm high Marshall Joffre, holding a shell inscribed ’75mm Ce Que Joffre’, 25.5cm high Lord French, holding a jug inscribed ‘French Pour Les Francais’, 26cm high Lloyd George, holding a shell titled ‘Shell Out!’, 25cm high Marshall Foch holding a champagne bottle inscribed ‘Au Diable Le Kaiser’, 31.5cm high General Botha, holding a jug inscribed ‘Loyalty’, 26.5cm high Woodrow Wilson, with an aeroplane on his lap, the base inscribed ‘Welcome! Uncle Sam’, 27cm high King George V, holding a globe, the base inscribed ‘Pro Patria’, 30cm high A fabulous and rare set not often seen for sale as a full set.
An Introduction to Collecting Antique Opera Glasses

There’s something about opera glasses that just captures our imaginations. Maybe it’s the way they conjure up images of elegant ladies and dashing gentlemen attending the opera in centuries past. Or maybe it’s their delicate beauty, with their intricate designs and colorful enameling. Whatever it is, there’s no doubt that opera glasses are a fascinating collectible item. In our introduction to collecting antique opera glasses we take a look at some of the wonderful enamel, mother of pearl and hand painted opera glass designs along with some realised auction prices. Opera glasses are small binoculars that were once used by theatregoers to get a better view of the stage. They were compact and allowed low level magnification so the viewer could see the details of an actors face or other aspects of the stage performance more clearly. A Short History of Opera Glasses Forms of opera glasses have been around for centuries, and their history is as rich and fascinating as the glasses themselves. Opera glasses were first used in France in the early 1700s, when they were known as “lorgnettes.” These early opera glasses were simply two lenses mounted on a handle, which was held up to the eye in order to magnify the stage. The style opera glasses that became the main designs of the 19th century developed from binoculars being developed in Holland in the early 17th century and Galileo’s telescope shortly after. In fact opera glasses are Galilean binoculars with a central focusing system. Although glasses for viewing were being used for some time they were not actually referenced as opera glasses until the mid-18th century and these simple small telescopic monoculars or spyglasses. In 1823 the first binocular opera glasses appeared. They were simply two telescopes, each requiring independent focusing, affixed together with a bridge. A short time after a center focus wheel was developed, allowing the focusing of both telescopes simultaneously. Who Invented Opera Glasses? Jacques LeMaire is credited with the invention of the opera glass, and his design had a profound impact on the development of this popular collectors item. Prior to LeMaires design, opera glasses were little more than simple refracting lenses mounted in metal frames. LeMaire, an accomplished optician, created a sophisticated system of double convex lenses that allowed for much greater magnification. His design quickly became the standard for opera glasses, and it remains the basis for most modern designs. Today, antique opera glasses are highly sought-after by collectors, and LeMaires name is still associated with quality and craftsmanship. Styles of Opera Glasses Once there was a standard format, they became very popular and an essential item for the theatregoer. They began to develop in a variety of different and elaborate styles, and a number of manufacturers began making them with the majority of the most elaborate designs being made in Paris such as LeMaire and in the early 20th century Cartier. Most opera glasses had a metal bridge and frame often of gilt brass, and sometimes silver or gold. With the body being the focus of design being worked on by enamellers, goldsmiths, painters and decorators. Opera glasses became the must have fashion accessory of the late 19th century. Related A Lemaire Opera Glasses Price Guide
Crown & Cyphers on British Uniform Buttons

In the UK, government land is known as crown land. Anything belonging to the government is called crown property, and if you are prosecuted in the courts, you are prosecuted by the crown. So the crown is more than just a symbol of Royalty in the UK – it represents the state, the country and the Queen. There are a lot of different crowns on the buttons and badges of the armed forces and other uniformed government employees, so I am going to tell you what little I know about them. The Queen Victoria’s crown 1837-1901, (R49*). This isn’t strictly Victoria’s crown because it was used by most of the monarchs before her, but it is associated with her more than anybody else. Its’ proper name is St. Edward’s crown. The Hertfordshire Yeomanry (R 387) and The Royal Canadian Regiment (Smylie F111*) both still wear Victoria’s crown on their buttons to this day. The Royal Canadian Regiment is allowed to wear it as an honour for the services they gave in WW1. On January 1, 1901 the Irish Guards were formed. They all paraded wearing their badges and buttons with Victoria’s crown on them. Then on the 22nd of January she died, and they all had to be replaced. These buttons and badges are very rare, I have never seen any. The King’s crown, 1901-1952, (R59). Known to the Edwardian soldier as “Teddie’s hat,” it is the Imperial state crown that was made for Queen Victoria when she became Empress of India. She did not like the St. Edward’s crown and always found it too heavy to wear on state occasions, (no she didn’t wear it when she was doing the house work either). After her death, the Kings were depicted wearing it on coins, etc., and it was used on buttons and badges, so it became known as the King’s crown.The Queen’s crown, 1952 onwards, (R44). Now we are back to St. Edward’s Crown. * The numbers referenced here are from Howard Ripley’s Buttons of the British Army, and Eric Smiley’s Buttons of the Canadian Militia.Other Crowns The Green Howards, (R233), Alexandra the Princess of Wales’ own Yorkshire Regiment. This crown is a coronet. It is Danish, because Princess Alexandra was a Danish Princess who married the Prince of Wales. In 1902 he became Edward the Seventh.The Rifle Brigade (R567) and The Leicestershire Yeomanry Cavalry (R341), Prince Alberts Own. Albert’s crown is the Guelphic crown. Prince Albert was a German, and this crown is the crown of the Dukes of the House of Hanover, of which he was a member, as were the British Royal family. Victoria and Albert both had the surname, Sax-Coburg-Gotha, and they were first cousins, as are the Queen and Prince Phillip (they like to keep it in the family). The Yorks and Lancsaster Regiment, (R284). This is a Ducal crown because the Regiment is named after two Dukes (the Duke of Lancaster is the Queen). If the tiger has its’ head up, the button is Victorian. If the head is down, it is post Victoria, because the tiger was depicted with its’ head down in mourning for Queen Victoria. The Duke of Cornwalls Light Infantry (R249) has the same crown. The Somerset Light Infantry (R224). This is a Mural crown. Mural crowns were Garlands given to the first R oman soldiers to scale the walls of a besieged city. As you can see, the crown is made to look like masonry work. This crown is worn because during the Afghan wars, 1838-1842, the Somerset Light Infantry were besieged in the City of Jellalabab (as were the Russians 100 years later – we won). During the seige, the commanding officer ordered everthing metal (including buttons) to be melted down to make musket balls. They wore Jellalabab on their badges and buttons until 1959.The Queens Royal Regiment (R203). This is the crown of the Royal Navy, and is worn because the Queen’s Regiment fought as marines in a naval battle. The Royal Green Jackets fought as marines during the battle of Copenhagen, in April 1802, when Nelson gave the Danish navy a lesson in naval tactics. Unfortunately, the Danish navy couldn’t put this lesson into practice because Nelson destroyed the Danish fleet in the process. Royal Cyphers Every King or Queen has their own cypher, which is displayed on certain buttons and badges, notably the Royal Engineers. (R66) Queen Victoria 1855-1901 (R67) Edward the Seventh 1901-1910 (R70) George the Fifth 1910-1936 (R69) Edward the Eighth 1936 (R68) George the Sixth 1936-1952 (R71) Queen Elizabeth the Second (R 402 & 403) This cypher is also worn by Norfolk Imperial Yeomanry. The Grenadier Guards have the Royal cypher and the cypher reversed on their buttons. (R75) Queen Victoria 1855-1901 (R76) Edward the Seventh 1901-1910 (R77) George the Fifth 1910-1936 (R78) Edward the Eighth 1936 (R79) George the Sixth 1936-1952 (R80) Elizabeth the Second 1952. Prince Charles will be known as George the Seventh when he becomes King. (R376) The Honourable Artillery Compnay wear the same buttons as the Grenadier Guards but theirs are white metal and the Grenadiers Guards are brass because the H.A.C. are volunteers. Personal cyphers The Wiltshire Regiment, The Duke of Edinburghs own, (R280). This button has the cypher of one of Queen Victoria’s sons, Alfred Duke of Edinburgh who died in 1950. This button was worn until 1956 when Prince Philip became Duke of Edinburgh and his cypher has been worn since. (R281) The Second King Edwards Gurkha Rifles (R570) has the cypher ERI. This stands for Edwardus Regina Emporatum, which is latin for Edward the King Emperor. The Rifle Brigade, Prince Alberts Own (R567). This is Prince Albert’s cypher. The Green Howards (R233) has the cypher of Alexandra on it. This is an “A” within a “Cross” and is known as the Danebrog. When the Britiish army went to France in WW1 the Green Howards cap badge got the nickname of the Eiffel Tower because of the shape of this cap badge. The […]
Wade and Disney – The Wade Hat Box Series

Disney and the Wade Hat Box Series Wade and Disney are two of the hottest collectable names around – so a combination of both makes for something really special. In 1955, Walt Disney’s Film Lady and the Tramp was released and was a tremendous success, combining an appealing story, enchanting animation, and songs by Peggy Lee, one of the greatest singers of the era. It was no wonder that Wade approached Disney for permission to use the character designs for a new series of porcelain figurines. In the Film Lady was given as a Christmas gift hidden in a hat box, and so each model was similarly packaged in a small, round, striped cardboard box. Naturally, the series was called ‘Hat Box’. The first four figurines were released in 1956 and retailed at 2/11d (30p) each. This set, all from Lady and the Tramp, included the two title characters, plus Jock the scottie and Trusty the bloodhound. They were nicely modeled and painted, and stood around one and a half to two inches tall. In this early set, Jock wasn’t wearing his familiar tartan coat, but later he was given a blue coat which was subsequently changed to green. The characters proved popular and over the next few years more figurines from Lady and the Tramp appeared in the shops. Eventually the set included Scamp the naughty puppy, as well as Peg, Dachie, Toughy and Bons, all dogs from the film. Also available were those two evil Siamese cats, Si and Am, Si in particular looking really sinister as he revealed his sharp feline toothypegs. Characters from other films were produced too. Favourites such as Bambi and his Friends Thumper the bunny and Flower the skunk as well as Pegasus the little winged horse from Fantasia and Dumbo the elephant with the over-large ears, all appeared as china figures in the Hat Box series. In the early 1960s Wade introduced ten new figurines, and the price rose to 3/6d (33p). Because this last set had a short production run, many are now extremely rare, and some are commanding prices of a hundred pounds or so, which seems a lot of money for a two inch high figure. The characters included dogs from 101 Dalmatians – Rolly, Lucky and the Colonel – and also the cat, Sergeart Tibs. But it is The Sword in the Stone set that contains the most highly-prized figurines of all – Merlin the Wizard in his alter-egos of caterpillar, turtle or hare, as well as Madam Mim the hen, Archimedes the owl, and the Girl Squirrel. Just a couple of years later, the Wade Hat Box series was discontinued. Merlin as a turtle is now the most wanted, and most difficult to obtain, Hat Box figurine. Sixteen years later Wade must have had second thoughts, because they reissued seven of the original figures – Lady, Jock, Scamp, Peg, Dachie – now called Dachsie – Bambi and Thumper. Tramp was also reissued, but this was a new version, seated instead of standing, and didn’t seem to capture the charisma and impudence of the original street-wise dog. Also the modeling on this new figure wasn’t as fine, and it was smaller, out of proportion with the others In the set. The original standing Tramp is now becoming quite scarce, because the long lanky legs are delicate and so are easily broken. The other designs remained the same, apart from slight colour variations which are difficult to distinguish unless you can compare both versions side by side. For instances Peg’s fringe was beige in the new model and yellow in the original, while Scamp’s ears were now pink inside instead of mauve. Thumper’s flower changed from dark to light orange, Bambi’s eyes from dark to light brown and Jock’s mouth from purple to pink. Wade also released four models from The Fox and the Hound. These were Big Mama the owl, Tod the fox, and Copper and Chief, two of the dogs. Some of these models came in small round boxes made from plastic. The others were in cardboard boxes brightly decorated with Disney characters. Now the series was just referred to as ‘Disneys’. Today, prices very greatly for Hat Box and Disneys figurines, but the more common ones such as Lady, Peg or Bambi are around £15-£20. As a follow-on from the first Hat Box series, Wade produced a series of extra large Disney characters, similar to the smaller models’ except for Jock, who was standing instead of sitting, and Lady and Tramp who now both sat. These models were around five inches tall, and became known as ‘Blow-ups’ amongst collectors. They’re very collectable, some of them changing hands for two hundred pounds or more.
Collecting Pinky and Perky

Pinky and Perky were two adorable puppet characters that first appeared on the BBC in 1957. The two puppets starred in their own show which at its peak had a television audience of 15 million. In this Collecting Pinky and Perky feature, we take a brief look at how the puppets were created and explore some of the Pinky and Perky collectibles and Pinky and Perky merchandise over the years. (Click to view current Pinky and Perky auctions on ebay). The creation of Pinky and Perky In 1948, Jan and Vlasta Dalibor were living in London as Czech immigrants. Jan was a painter and sculptor and Vlasta an actress. Vlasta suggested that Jan created some pig puppets. Drawing inspiration from their homeland’s traditional puppetry, and where pigs were a symbol of good luck in Czechoslovakia, they created two pig characters initially called Pinky and Porky. The piglet puppets were party of a puppet show that appeared in the Summer Season ay Heysham. The show and the puppets Pinky and Porky were discovered by Margaret Potter, the wife of producer Trevor Hill. There was an issue around the name Porky and eventually, it was Margaret who renamed Porky to Perky. So the duo became Pinky and Perky. The show itself was set at their own fictional TV station “PPC TV” where they would sing, dance and perform comedy sketches usually with a human host. Actor John Slater worked with them as a straight man for many years, enduring soakings from water pistols and similar pranks. Other human companions included Roger Moffat, Jimmy Thompson, Bryan Burdon and Fred Emney. The Pinky and Perky look and Sound Pinky and Perky looked exactly the same with Pinky sporting red clothes and Perky wearing blue. However, as the show was made in black and white, to differentiate the two, Perky would often wear hat. Pinky and Perky enjoyed a very successful recording career releasing a number of records. They used their high-pitched voices to lip-sync along with contemporary pop music. Pinky and Perky spoke and sang in high-pitched voices, created by re-playing original voice recordings at twice the original recorded speed; the vocals were sung by Mike Sammes while the backing track was played at half normal speed. Pinky and Perky and The Beatles Pinky and Perky also traveled overseas and had some success in the USA appearing on The Ed Sullivan show six times. In 1964 Pinky and Perky actually shared were on the same show as The Beatles, where they performed “You Must Have Been a Beautiful Baby” and “Speedy Gonzalez”. The Pinky and Perky Show had various other puppets including a parody of The Beatles called The Beakles. These were an Avian looking band with Beatles style haircuts. Other puppets in the show included Topo Gigio. The show ran from 1957 to 1968 on the BBC and the moved to ITV from 1968-1972. A CGI Pinky and Perky show was released in 2008. The pair have had a influence on modern culture and have been referenced in TV shows such as The Good Life, The Goodies and Call the Midwife. For many people of a certain age, Pinky and Perky is a reminder of their childhood and a symbol of British culture. Pinky and Perky collectibles and Pinky and Perky merchandise In addition to their starring roles on television and their legendary music career, Pinky and Perky have also appeared on countless pieces of merchandise and collectibles over the years. From t-shirts and coffee mugs to lunch boxes and puppets, there’s no shortage of ways to show your love for these beloved characters.
The Unique and Creative Art of the The House of Rayne

WCN has been a fan of artist Colin Rayne for some time and in this feature we take a look at his varied and unique artefacts. Colin’s work ranges from traditional oil and watercolour paintings to incredible clocks, from sculpture to kinetic art, and from glass sculpture to large scale commissions. Colin Rayne was interested in art from an early age winning prizes for art at school and he was frequently encouraged to copy ‘old master’ paintings. After school, Rayne served an apprenticeship in his father’s dental equipment manufacturing company Norman Rayne Ltd which gave him experience in precision and cinematograph engineering which would serve him well in his creation and design of kinetic art and clocks. Hence, ‘a seemingly unusual alliance’ of the arts and sciences, forms the basis of Rayne’s prolific and uniquely creative and prolific artistic life. Colin had a number of successful exhibitions in London and led to many notable commissions. Early on in the mid 1960’s when Harold Wilson was premiere, London’s Post Office Tower was erected close to Norman Rayne Ltd where Colin was studying design drawing. Colin created an Illuminated Scale Model (1″:30′) of the building with rotating restaurant for the advertising department of P.O. Telecommunications. The resulting publicity, which included a live six minute interview on BBC TV, greatly encouraged him to work independently. In 1983 he was elected a Member of The British Horological Institute and was invited to display two pieces of work in London’s Goldsmiths Hall in 1987. At WCN we believe that the combination of Colin’s art, innovation and engineering are portrayed best in his clocks and kinetic art. One of Colin’s most impressive pieces is the Stonehenge clock. Stonehenge 2000 – Neolithic Time The wall mounted sculpture recreates the most ancient relics of the Stonehenge monument, showing the stones as they would probably have looked when first built. An Arc of twelve ‘Sarcen’ stones in acrylic, light individually, to indicate the ‘hour’, and an ‘Oval’ of acrylic ‘lintel’ stones divided into sixty, indicate the minute. Time showing: 9.23. The inner rings and the ‘Altar’ stone are cut from ‘Spotted Dolerite’ from the Presilli Hills of Wales. (The same location from which the actual monument’s stone was obtained). The clock’s circuitry is based upon 4.193mhz crystal, subdivided into minutes and hours. The 72 LEDs are driven from serial shaft registers; – ‘CMOS’ logic is used. The Stonehenge Horlogical Sculpture is available at £7,500. Colin’s recent works include The Ancient of Days by William Blake inspired by a 10” x 8” print forbook illustration is one of eight, all slightly different. Colin says of the piece “I hope that Blake would be flattered by my tribute to him, were he with us today, and that my followers will find it of interest, and offer some stimulating thought!” In 1983 Rayne moved from London to Brighton and in 2000 created a private gallery The House of Rayne, close to the South Downs which has on display a permanent show of approximately 100 artefacts. For more information including a virtual tour of the gallery visit TheHouseofRayne.co.uk and remember to see the kinetic art page which is of particular interest. The gallery can also be contacted by phone UK + 44.7870125991 and by email to [email protected]
Jessie Tait Designs for Midwinter Pottery

Post-war ceramics arrived in an explosion of style and colour, creating contemporary ‘new look’ that is so desirable among collectors today. One of the most innovative potteries was Midwinter Pottery, largely due to one of its most celebrated designers – Jessie Tait. She was the only full time in-house designer to work for Midwinter, and her simple yet stunning designs are keenly appreciated by collectors. Her early 1950s designs such as the black and white Festival, Zambesi, Red Domino and Toadstool are among her most well known. Her later 1960s designs such as Mexicana and Spanish Garden are much easier to find and collect. Her style was often detailed and geometric, making an effective transition to transfer printed wares. Jessie Tait was in Stoke-on-Trent in 1928 – 14 January 2010 and studied at the Burslem School of Art. She first worked as a junior designer to Charlotte Rhead, and then as designer for the Midwinter Pottery between 1946 and 1974. The Midwinter Pottery was taken over by J. & G. Meakin in 1968, and again by Wedgwood in 1970. She moved from Midwinter to Johnson Brothers, another part of the Wedgwood group, and retired in the early 1990s. More Designs Related Charlotte Rhead Pottery Jessie Tait designs on ebay Jessie Tait at Catawiki auctions
Quirky Post War Wade

We all know the Whimsies and other small ornaments produced by Wade, but during the fifties, sixties and seventies, the company also issued a huge range of unusual, often downright eccentric products, very much of their time. Pipe Rests, for example – when was the last time you saw someone smoking a pipe? Yet even in the seventies, it was a very manly occupation, especially amongst older men, whose idea of comfort was to sit by the fire, dressed in a baggy knitted cardigan, corduroy slacks and a pair of comfy slippers, pipe in hand. Wade made a series of pipe rests, each decorated with a china dog, and they continued to be made until the early1980s. Presumably, they were deemed ‘manly’ at the time, but nowadays, the pipe rests just look quaint. They are becoming harder to find as collectors begin to home in on nostalgia. Each light-green pipe rest consisted of a circular base approximately 3 inches in diameter, and the pipe fitted neatly into the hollow of the base with the stem resting in a groove. The dogs included a Cairn, Alsatian, Red Setter, Yorkshire Terrier and a Corgi. The Yorkie and Corgi seem to be more difficult to find than the other four in the set.Dogs must have been very popular then, as another range produced by Wade at the same time also featured dogs, with just one token cat. This range were little dishes known as pin-trays, and were in the shape of dog baskets, each containing a puppy. Although most of these are easy to find, there are a couple which are rarer, and collectors will probably need to pay around £20 for these if they want to complete the set. The cat, though, often turns up. In all there were eleven baskets, glazed in muted shades of brown and beige, measuring 3 x 2 inches. Puppy breeds included were the young of the dogs on the Pipe Rests, and each can be found either standing or lying. The colouration depended on the breed; honey, dark brown, red-brown or grey and brown, and the features were highlighted in brown. Each little dog was well-detailed – often, these Wade models aren’t appreciated until closely examined. The cat – a light brown tabby, 2 inches high, seems to tower over the puppies. His basket is a rich chocolate brown rather than the beige/grey of the dogs. He sits bolt upright, and sometimes has startling green eyes, though frequently they are pale. A cat also features in one of the most beautiful dishes which Wade has ever produced. This little hanging plaque/dish, first issued on the late 1950s, measures just over 3 inches across, and portrays a pointed, Siamese-type face, large blue side-glancing eyes and a benign expression. The realistically moulded fur follows the contours of the face. Wade collectors easily recognise the unmistakable, high-gloss glaze in a mix of blue and beige, which featured on so many pieces from this era. The items gleam when they are polished with a soft cloth, and are a joy. It seems fashionable to look down on fifties and sixties Wade at the moment, but some of these pieces are stunning, in both design and colouring. A companion piece to the cat face dish was the Pekinese dog dish, using the same colourway. Other dishes include an attractive angel fish and a bloater, again using this glaze, while, continuing the seaside theme, the Starfish pin tray is a pretty and easily found item. This six-armed creature has intricate details in the modelling. The striking blue/beige finish was used to great effect on many Wade items, many of which today’s collectors think of as classic pieces, and which are still very affordable. This colouring is eye-catching yet subtle. One of my favourite pieces is the neat and compact Crab Box, a particularly tactile item. Measuring just under 4 inches across, this little box is in two halves, with the crab’s shell lifting off to reveal a trinket dish beneath. The legs of the crab tuck neatly at the sides with two large pincers at the front, while the shell is beautifully moulded with spots and bumps, recreating the pitted texture of a crab. Crab Boxes sell today for around £20 – an absolute bargain for such a well-designed item! Other Wade trinket boxes include the Hedgehog Dish and the Treasure Chest, both in a honey/brown glaze. The Hedgehog’s spiny back lifts off disclosing a shallow tray beneath, while the Chest is a more conventional square box. Expect to pay £20 for the Hedgehog and £10 for the more easily obtained Treasure Chest. One of the easiest quirky items to find is the ubiquitous Viking Ship, which also utilises the blue/beige glaze. This is another Wade classic piece and seems to turn up everywhere. Consequently it is often treated with disdain, yet the modelling on this graceful ship is exceptional; it has a dragon’s head at one end, a dragon’s tail at the other, and a row of six circular shields decorating the hull, with the planking clearly marked out. There are even moulded waves. The ship measures 7 inches from prow to stern and can be also be found in deep-brown patterned with either blue or green. Originally, the Viking Ship was sold as a vase, but it is just perfect as a small ornament. First issued in 1959, it was withdrawn in 1965, and reissued during the 1970s. Vases featured prominently in Wade’s range of products, amongst them, as you might expect, several unusual ones – for instance, not many companies would have thought to issue a small posy vase bearing a figurine of a chimpanzee! The vase is shaped like a green tree trunk, with a 2 inch high dark grey chimp, in a typical scratching-under-the-arm type pose, standing to one side. In similar vein is the Koala Posy Vase which has a 1 inch beige black-nosed koala perched rather uncomfortably on a small branch.The vase itself is just an […]
The Studio Pottery of Lucie Rie

The Studio Pottery of Lucie Rie – Lucie Rie was a British-Austrian potter and one of the most influential ceramic artists of the 20th century. She was born in Vienna in 1902 and moved to London in 1938. After World War II, she established herself as a leading figure in the British studio pottery movement. She worked as an artist until her death in 1995. Rie’s work has been exhibited in major museums all over the world, including the Tate Gallery in London, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London. Rie’s elegant, minimalist style was greatly influenced by modernist movements such as Bauhaus and De Stijl. Rie’s pots are instantly recognizable for their simple forms and are characterized by clean lines, simple forms, and muted colors. And yet, despite their simplicity, they are also incredibly complex and unique. Her work has rapidly increased in value over the last decade. Most of us will no longer be able to afford one of her pots, but there still might be some undiscovered works to be found. Phillips New York sold a footed bowl for $180,000 (£136,800) in July 2020. Collectors may still be able to afford her buttons which she designed in glass and ceramic. Rie’s Early Life and Work Lucie Rie was born Lucie Gomperz in Vienna, Austria on March 16, 1902. Lucie showed an early interest in art and studied at the Kunstgewerbeschule, or School of Arts and Crafts when she was 18 years old. She studied studied pottery under Michael Powolny, the founder of the Wiener Keramik workshop (later part of the Wiener Werkstätte) in Vienna, and was also mentored by under Josef Hoffmann, an avant-garde architect and designer who was a leading figure in the Viennese art scene. Hoffmann’s modernist principles had a profound impact on Rie’s work. In 1924, she began working for Wiener Werksstatten (Vienna Workshops), a company that produced handmade objects using traditional craft techniques and in 1925 she opened her own workshop. She would exhibit and win prizes at the Brussels International Exposition in 1935, the Milan Triennial in 1936, and the Paris International Exposition in 1937 where she displayed 70 pots as part of the Hoffman designed the Austrian Pavilion. In 1938, Rie fled Austria for London to escape the Nazi occupation. Around this time she split from Hans Rie (whom she had married in Vienna in 1926) and her marriage was dissolved in 1940. During and after the war, to make ends meet, she made ceramic buttons and jewellery and employed Hans Coper to help her fire her buttons and jewellery. Hans Coper was to study under Heber Mathews as well as learning from Lucie. They would exhibit together and Hans Coper would become a partner at the pottery. He remained their until 1958. Lucie Rie buttons have become very collectable and also gave her another avenue of sales in the fashion industry. Interest in Rie’s buttons was rekindled in 1984 when Issey Miyake met Rie. She gave him a large collection of her unused buttons which he used as the basis of 1989 Autumn/Winter Collection. Another avid collector of Rie’s buttons was couturier and collector Anthony Shaw. Two outfits designed by Shaw for gallerist Anita Besson in 1992 and adorned with Rie’s buttons have recently been added to the exhibition. After the war ended, Rie began experimenting with new glazes and firing techniques. Rie’s work was greatly influenced by Japanese aesthetics. In particular, she was inspired by the work of Shoji Hamada and Kanjiro Kawa. She also started producing stoneware pots decorated with vivid abstract patterns. In 1951, Rie participated in “Objects for Use: Handmade by Craftsmen,” an exhibition organized by lived-in modernist architect Robert Adamson at the Smallest Gallery in Mayfair, London. The show was a huge success and brought Rie widespread recognition. Over the next few years, she exhibited her work extensively both in Britain and abroad. In 1955, she was awarded the Parallel Award at the São Paulo Biennale.” In 1962, Rie became one of the first artists to be appointed as a Commander of the Order of the British Empire (CBE). The rich variety of Rie’s creativity was further expressed through her application of previously unseen glazes – vivid yellows, pinks, greens and blues. The 60s and 70s were a particularly exciting period of colour experimentation and development. She painted the glazes directly onto the wet clay before completing the work with a single firing, with the permutations enhancing the possibilities for surface and colour. (Messenger) Lucie Rie marks – Lucie Rie’s Vienna Period designs are normally painted to base L. R. G. with the word WIEN below. The L. R. G. refers to her initials and maiden name Lucie Rie Gomperz. Her later works are embossed to base with her famous LR motif. The Lucie Rie Footed Bowl One of Lucie Rie’s most iconic pieces is the turned footed bowl. These were hand-thrown vessels of simplified forms featuring sgraffito surfaces, and a wide variety of colorful glazes with many featuring manganese rims or bands. Rie continued to produce ceramics until her retirement in 1987. She died on April 21st 1995 at her home in London at the age of 92. Today, Lucie Rie is considered one of the most influential ceramic artists of the 20th century. Her work can be found in major museums all over the world, including the Metropolitan Museum of Art in New York, The British Museum in London, and The National Museum of Modern Art in Tokyo.” Related Lucie Rie masterwork to be auctioned by Jane Messenger Lucie Rie Ceramics And Buttons At York Art Gallery feature from The Decorative Arts Society