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Collecting Articles and Features

Welcome to the WCN Collecting Articles and Features Channel dedicated to all things related to collecting, antiques, pottery, vintage toys, dolls, teddy bears, memorabilia, books, comics, figurines and everything else collectable. Our aim is to provide collectors with information on all aspects of antiques and collecting, from identifying and valuing antiques, to tips on starting and growing a collection, and to featured collectible histories.

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Collecting Articles and Features

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Doll Decades 1910 -1919: Bolsheviks, Battles And Brassieres

A decade of tragedy; in the space of a few short years, almost ten million young men died on the battlefields of Europe, with 200,000 losing their lives on the fields of Flanders. Yet it was also a decade of triumph and creativity. Pictured right: Ernst Heubach 1910 bisque When King Edward VIII died in 1910, he was succeeded by his son George V and his wife. George’s elder brother had died of pneumonia in 1891, and so George not only took over as heir to the throne, he also appropriated his brother’s fiancée, Princess Victoria Mary of Teck. It seems to have been a happy marriage and by the time they were crowned in Westminster Abbey in 1911, they had six children, amongst them the future George VI, father of our present Queen Elizabeth. George V and Queen Mary (as she was now known) reigned for twenty-six years. Not long after Edward died, the skies were illuminated by a bright light when Halley’s comet made a spectacular reappearance. At one point the earth actually passed through its tail, causing the press to weave sensational tales of cyanide poisoning as the tail contained a poisonous gas. Naturally, it was a false alarm, though some people maintained it was a bad omen, nodding with satisfaction a few years later after two major disasters of the decade – the ‘Great War’ and the sinking of HMS Titanic – seemed to have proved them right. HMS Titanic was launched with great ceremony on 1911, but just a year later struck an iceberg on her maiden voyage and sunk with a loss of 1502 lives. Pictured left: Vectis Effanbee Miss Coquette 1912 During the earliest years of the decade, beautiful German dolls filled the toy shops. Manufacturers such as Simon & Halbig, Schoenau & Hoffmeister, Heubach and Armand Marseille produced vast numbers of bisque china dolls, often finely painted and exquisitely dressed. The Germans had cornered the market at this time, their faster production methods and flair for business gradually squeezing out the French dolls, but when the war started, there were importation restrictions on their goods, including dolls and toys, which meant British and ‘friendly’ countries needed to fill the breach. Pictured right: Vectis WW1 AM Sailor with medals Half-dolls were beginning to be popular during this decade, often referred to as ‘tea-cosy dolls’ or ‘pin cushion dolls’. Some of them were very delicate, made by famous porcelain manufacturers, and they topped items such as cakes, brushes, pin cushions, powder puffs and tea-cosies. In 1913 Mary Phelps Jacob, an American socialite, constructed the first brassiere from two silk hankies and some ribbon, to wear under a sheer evening gown. At last women could discard their restricting whale-boned corsets (though not without a fight by many shocked ladies). That same year, the zip fastener appeared, honed to perfection from a much earlier invention, as well as the crossword puzzle, which at last gave people something to do during their coffee break. And in 1915 a character was dreamed up by Johnny Gruelle, who would bring pleasure to generations of children – Raggedy Ann. Pictured left: Japanese Bisque Doll 1910 The assassination of the Austrian Archduke Ferdinand and his pregnant wife in Sarajevo 1914 was the trigger for hostilities to start. Young men rushed to sign up to fight, all believing it would be a bit of ‘harmless sport’ and be over by Christmas. It wasn’t, of course, and as those fresh-faced youths faced the horrors of the war trenches, their women folk back home had to take over the mens’ jobs in factories, banks, farms and businesses. They were also marshalled to act as auxiliary workers in the armed forces, so freeing the men-folk to fight at the front. The majority of the women had never worked before, and this was an unknown freedom. Not long after the end of the war, women over thirty were given the vote for which the suffragette movement had long been campaigning. The gap in the market due to the hostilities with Germany was swiftly filled by Japan who sent bisque and celluloid dolls to Britain. The majority of these dolls were crudely made of a coarse white bisque. Many little girls enjoyed assembling collections of the smaller dolls which were sold cheaply in toyshops and newsagents. Sometimes the dolls were made completely of bisque, but often their bodies were cloth. These unsophisticated Japanese dolls have a charm of their own, though some of their dolls were very fine and beautifully painted. Pictured right: Deans Rag Dolls Various patriotic dolls, often made from cloth, appeared during the war years, dressed in uniforms such as a ‘Tommy Atkins’ figure to represent a soldier. Sometimes a mother would dress a bisque doll for her child in a replica of her father’s uniform, as a reminder while Dad was fighting at the front. Britain tried to emulate the unavailable bisque German beauties but with little success, with manufacturers such as Goss making various china-headed dolls. Goss dolls were quite pricey, and once the war ended and German dolls were imported again, Goss ceased production. In 1917, the Russian Revolution had led to the abdication of the Tsar, Nicholas II. Refused refuge in Britain, he was murdered by the Bolsheviks six months later, along with his wife and children, as symbols of the old Russia. Over the years, several women have claimed to be Anastasia, the youngest child, who was rumoured to have survived the shooting. Other notable events included the invention of traffic lights in 1911 and parachutes in 1912. In 1919 speedy breakfasts were achieved by the creation of the pop-up toaster. Three years before, the first Women’s Institute in Britain was established in North Wales, while young girls were able to emulate their Boy Scout brothers in 1910 when the Girl Guides’ Association was founded by Sir Robert Baden-Powell. Six years later, he completed the hat-trick by founding the Cubs for younger boys. All in all, this was […]
Philippe Starck The Designer of Our Time

One of the most prolific designers of the 20th/21st Century has to be French born Philippe Starck. His design achievements include an eclectic mix of everyday domestic items, lighting and furniture to more flamboyant interior design projects, making him an industrial design genius often referred to as “The Designer of Our Time.” Pictured left: Phillipe Starck’s Juicy Saliff designed for Alessi. Born in Paris on 18th January 1949, Starck’s passion for design started as a child. His father Andre Starck worked as an aeroplane designer and Philippe spent much of his childhood underneath his father’s drawing board dismantling objects and then putting them back together again in the form of complex machinery. He studied at the Ecole Nissim de Camondo School in Paris until 1968 when he set up his first business producing inflatable products. He then took the position as Art Director for Pierre Cardin in America but later returned to France and embarked on his first interior design projects by fitting out the Paris nightclubs “La Main Blueue” (1976) and Les “Bains-Douches” (1979). The company “Starck Product” was founded in 1979 and the project that was to launch Starck’s career to International success was when he was asked by President Francois Mitterand in 1982 to renovate his private apartments in the Elysee Palace. Pictured right: A set of four Victoria Ghost side chairs modern, designed by Philippe Starck for Kartell. Sold for $525 at Bonhams, May 2012. Image Copyright Bonhams. From then on Starck worked on numerous design projects that included the Café Costes, the Paris Eurostar Terminal and the Penninsula Hotel restaurant in Hong Kong. He created everything from the furniture to the design of the rooms themselves, one of his most talked about projects being the exclusive Sanderson Hotel in London where there are 150 Starck designed rooms. His creative touch is evident throughout the hotel where the design element used is “fun” and everything about this hotel screams enjoyment especially in the trendy “Long Bar” which features a row of Starck’s “eye” bar chairs. Pictured left: Dr. Skud, Fly Swatter designed by Phillipe Starck for Alessie and bearing his likeness. His design skills do not stop at interior projects and during the 1980s and 1990s he produced some innovative domestic designs for many companies, including a range of luggage for Samsonite, furniture for Kartell and lighting for Flos. From a collectors point of view it was whilst working for the Italian Design Company Alessi that Starck produced some of his most iconic work. He began workingfor Alberto Alessi in 1986, creating everything from a toothpick to a fly swatter but the most famous visually recognised product that he produced was the futuristic silver Juicy Salif in 1990. This iconic lemon squeezer was made of aluminium casting and resembles a rather strange looking spaceship. So much so, that it was used in the film Men In Black starring Will Smith as an actual space ship with aliens leaving it. Other products that have become sought after by Starck for Alessi include the Cactus Ashtray made of bakelite in 1990 and the Dr Kiss toothbrush set designed in 1998. Alessi is the perfect place to start if you want to collect Stark pieces, as it is affordable for most pockets. Prices begin for as little as £13.99 for the toothbrush to £145 for a Dede Door stop; £12 for the “Dr Kleen” toothpick to £180 for a “Max le Chinois Colander”. It also a great point for learning about Starck and his designs, you can get a feel for his products before investing more money into his higher top of the range designs, such as the furniture and lighting. Pictured right: Philippe Starck for Daum, ‘The Curiosity’, a pair of glass vases 1988 – engraved 25/34 Daum Starck height 15cm x width 55cm. Sold for £1,560 at Bonhams, London, April 2007. Image Copyright Bonhams. Although Starck’s Alessi designs are affordable and fun he is better renowned for modernist contemporary designs in furniture, and working with the Kartell Company has allowed Starck to produce some of the most innovative and creative styles to date. The Eros Swivel Armchair designed in 2001 is the epiphany of modern design with its die-cast aluminium frame and polycarbonate seat, whilst the much-celebrated Louis Ghost Chair proves that traditional antique furniture designs can be revisited and adapted perfectly to fit into our modern lives. If you decide to buy a good example of Starck’s work for Kartell be careful because designs such as the Eros chair are being copied. The only way to recognise the copies is that they are made fractionally smaller than an original Starck design and of course are being sold much cheaper. An authentic Eros would cost around £260 so try and buy from someone that is a legitimate Starck retailer and can tell you about the history of the chair. Pictured left: Flos Bedside Gun Table lamp designed by Phillipe Starck. Aside from the domestic utilities and furniture Starck also designs items for the Flos lighting company, with one of the most controversial pieces being in 2005 when he created a hard-hitting gun lamp range. Amongst the designs were a “Beretta” pistol, “AK 47 Kalashnikov” and M16 rifle which were in the form of a floor lamp. Starck’s inspiration for these lamp designs were taken from the media pictures of Saddam Hussein’s gold-plated gun, which was recovered when America and its allies attacked Iraq. Each gun is coated in gold leaf and is paired up with a black lampshade, which signifies death. Small crosses line the inner portion of the shade reminding us that the next passing could be our own! As you can image this did not bode well when launched in Milan as some people took the belief that Starck was glorifying gun crime but in fact he was creating a memorial for those killed for political progress. Whatever your opinion on this lamp, it’s a must have item for a Starck collector. Not all of Starck’s […]
Tunbridge Ware history, design and price guide

Tunbridge Wells is located in Kent about 40 miles south-east of London, and situated in a pleasantly wooded district. In the seventeenth century, before many fine trees were cut down to provide fuel for iron-smelting, there was so much timber that woodwork became the town’s staple industry. For over two hundred years, local makers specialised in this distinctive wooden ware which has become known as Tunbridge Ware. The rise and fall of this craft was linked to tourism, developing techniques and eventually changing public tastes. A special kind of Tunbridgeware had undoubtedly been made in the neighbourhood for many years before the mention of it by Celia Fiennes, who gave an account of a visit to the place during the reign of William and Mary in her famous book Through England on a Side Saddle. She says she saw “all sorts of curious wooden ware which this place is noted for.” Another observant diarist, Fanny Burney, also noted, in 1789, that the Tunbridge ware shops were a feature of the town. A street market formed one of its attractions, and here the crowd of fashionable idlers used to buy gifts for members of their families who had remained at home. Such gifts were known as “Fairings ” and consisted of toys and dainty pieces of bric-a-brac from local workshops. Celia Fiennes mentions that the Tunbridge woodwork of her day was “delicate, neat and thin ware of both white and Lignum Vitae wood.” The first Tunbridge wares were undecorated but in the second half of the 1700s more decoration appeared. Some were painted in colours on a whitewood background or painted in black to imitate oriental styles. Print decorated wares also emerged in the 1800s, often showing views of Tunbridge Wells and other local attractions. The district possessed a number of very skilful woodworkers and cabinet-makers, and it was one of these, a certain William Burrows, who devised an ingenious method of decorating wooden articles with a species of mosaic. He founded a factory and saleroom at Gibraltar Cottage , where he began to turn out specimens of his improved Tunbridge ware. Mosaic, of course, means a picture or design created by the fitting together of hundreds of pieces of marble, wood, or other suitable material. Each separate fragment had to be laboriously fitted into its place until the picture was completed. Even then only one mosaic resulted from days of toil. To get over this difficulty Burrows hit on the scheme of assembling a number of thin strips of appropriately coloured woods into a block, about twelve to eighteen inches deep, so that their ends made up the desired scene or pattern. Bound, and glued under pressure, the strips were finally formed into one compact whole. A circular saw was next employed to shave off wafer-thin slices from across the block, and each of these layers now became a veneer which could easily be glued to the article it was to decorate. The final stage consisted of hand polishing, a process that called for much experience. In time the quality of the ware declined, polishing was replaced by the use of varnish, which was easily chipped or scratched. The drawing from which the craftsman made up the design was divide up like a Berlin woolwork pattern. The method, of course, required extreme skill, particularly in selecting and arranging the various wood strips in the correct colours to take their particular places in the design, but once the block had been assembled and the layers of veneer cut from across it , the rest was simple to a trained cabinet-maker. An immense variety of woods, British and foreign, were used , and in only one case was the natural colour tampered with white holly was stained with Tunbridge mineral water to give it a unique shade of grey. Green was obtained from fallen oak branches stained by a fungus which imparted a rich shade of the required colour. William Burrows had a brother, Humphrey, who also began to make the ware at Jordan House, and the story goes that one of their apprentices left his employment and made known its mysteries to one George Wise, a cabinet-maker living in the neigh bouring town of Tonbridge, who later started a rival firm which continued in his family until the death of another George Wise in 1876. Their factory was situated on the bank of the river near the Great Bridge. The manufacture of mosaic ware was also adopted by Messrs. Fenner and Nye, a firm of woodworkers founded in 1720, at their factory on Mount Ephraim. Later Edmund Nye carried on alone, until his business was finally acquired by Alderman Thomas Barton in 1863. Tunbridge ware’s popularity grew over the 1800s and it was even favoured by the young Princess Victoria. Local makers drew lots to present Princess Victoria with a single example piece of their artistry. A work table described as ‘veneered with party-coloured woods from every part of the globe’ and ‘lined with gold tufted satin’ was given to the royal visitor. Tunbridge ware at the Great Exhibition of 1851 At the Great Exhibition of 1851 Tunbridge ware was represented by three major manufacturers: Edmund Nye, Robert Russell and Henry Hollamby. Edmund Nye exhibits included an elaborate “Marine Table,” a wonderful mosaic of a sailing ship at sea consisting of 110,800 pieces of wood. Besides this masterpiece there was a book stand decorated with the representation of an Indian butterfly which, with the pattern surrounding it, was made from 11,000 pieces of English and foreign wood. Also there was a superb workbox decorated with a view of the ruins of Bayham Abbey. This was made of 15 ,000 pieces. Tunbridge ware could be had in a variety of objects. Tables, tea caddies, rulers, workboxes, holders , fruit or bread baskets, candlesticks, chess tables, pencil boxes, stationery cabinets, and pin trays were but a few of the many items decorated with wood mosaic. At first the designs were of a simple type and were often geometrical, such […]
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.
Wade & Faust Lang

Most Wade collectors know the name of Faust Lang. They know that there were a number of figurines made before the Second World War, which now cost a small fortune, that were modelled by Faust Lang. They know that to discover an authentic Wade Faust Lang figure in perfect condition at a reasonable price would be a great ‘find.’ So just who was Faust Lang and what is so special about his figures? To see a figurine modelled by Faust Lang answers the second question as his models are so full of life and movement and always so very detailed. Unlike any other modeller who worked for Wade, Faust Lang modelled his figurines in wood, sometimes taking many weeks to complete a commission. In fact he never actually worked for Wade but was commissioned by them to produce his masterpieces. Faust Emanuel Lang was a Bavarian, born in Oberammergau in 1887, the son of Andreas Lang, a local wood carver.The beautiful town of Oberammergau is in southern Germany and probably best known for its Passion Play held there every ten years in commemoration of the town being delivered from a plague which decimated Europe in 1632. Both Faust and his father were players in the spectacular at various times but woodcarving was in their blood and it was in this that Faust excelled. In 1911 Faust married an English girl from Brtistol, two years his junior. They had met two years earlier when she was travelling through Europe with her mother and sister in a horse drawn caravan on an adventurous holiday. After their marriage Faust and Una spent the next twenty-two idyllic years together in Oberammergau and it was there that their only child, a son was born in 1925. During the 1st World War which started in 1914, Faust was a medical orderly in the German army and when he came home in 1918 the years were very hard with food shortages and rampant inflation. Faust was a keen sportsman and proficient skier whose relay team won a bronze medal at the first modern Winter Olympics held in Garmisch-Partenkirchen in 1922. In the uncertain times of Germany in the 1930s and probably with the memories of the 1st World War still fresh in their minds, the family decided to move to England in 1934. They initially lived in Mawgan Porth near Newquay in North Cornwall moving to St Ives in 1950. Faust Lang became a British citizen in 1938. In 1938 Faust Lang met a certain Harry Adams, a Scotsman on holiday in Mawgan Porth who had a connection with Wade. Adams recommended Faust to the company who commissioned him to carve a series of what were to become amongst the most beautiful and prestigious figurines ever produced by Wade. The figures were finished in the ‘Copenhagen’ style. With the coming of the Second World War in September 1939, all giftware production was halted at the Wade factories and Faust Lang’s short but productive connection ended. In fact he had already completed a small bust of the thirties actress and singer Gracie Fields which although blocked and samples had been made, never went into production.Faust Lang joined the thriving artist’s colony in St Ives in 1950 and spent the rest of his life in England. He died in 1973 and is buried in St Ives. For more details and images please visit CS Collectables
Collecting Vintage Handbags

Some say “Diamonds are a girl’s best friend” but in my case it is not the diamonds that make me shine but the handbag that I am carrying. There are so many to choose from so do you opt for a modern designer Gucci or a vintage 50s Llewellyn. The choice is entirely up to you but I do know that if you are holding a vintage bag you will definitely stand out from the crowd. Pictured: An original Llewyln 1950s Lucite Beehive Handbag with studded metal bees £300 – £450.00/$500-$750 Bags date as far back to when they were made of skin and used as a container for food and flints but from these extremely humble beginnings have progressed to become must-have fashion accessories that every woman adores. Handbags became an important part of status and substance in the early part of the 19th century but it is the innovative and colourful designs of the 20th century that made these items what they are today. Pictured: A 1960s plastic daisy bag similar to the Mary Quant Daisy. £80/$140 The Metal Mesh Bags were introduction towards the end of the 19th century but really came into their own in the 1920s as the perfect accessory for the “Flapper” girl. These bags had screen printed brightly coloured designs and the most well known are bags by American company “Whiting and Davis” which are all signed on the clasps; they reach as much as £150 on the secondary market today. Another well known and sought after designer of mesh bags in the 1930s was Mandalian, a Turkish designer who lived in the USA. The influence for his designs came from the patterns that you find on Turkish rugs and so are always brightly coloured, expect to pay £120 to £150 for a Mandalian design. Mesh bags made a revival in the 1950s but this particular decade became the most innovative for handbag design. Introducing new materials such as Lucite, the new box bags were popular, fun and modern. American designers such as Llewellyn and Willardy are the epiphany of 1950s design and so are always highly sought after by collectors. Pictured: An irredescent 1950s Llewelyn Lucite Hanbag – £130/$200 One of the rarest handbags from this decade has to be the “Beehive” by Llewellyn in 1951. It has a beehive shaped base with carved lid which has gilded metal bees on top, there are many beehive variations of this particular handbag but this is the original, thus commanding as much as £200 to £300 if you manage get your hands on one. Other popular bags in the fifties were made of raffia or wood, all highly decorated with beads, shells, or sequins and the Poodle motif was extremely popular. Post war design in bags became quirky with matching clip on umbrellas and even a battery operated light that enabled ladies to see into their bags even during the darkest of evenings. Pictured: Plastic American beehive style bags 1950s – £40 each/$70 each. Moving into the swinging Sixties plastic bags became all the range, the material PVC typified the era heavily influenced by Pop art and Op Art. Clothes designers such as Mary Quant and Biba opened their fashion boutiques and it became essential to team a dress and shoes up with a matching handbag, known as the “Total Look”. The daisy was also a popular design as it was the Quant logo and hard plastic bags appeared with all kind of daisy designs in different guises. Italian designer, Emilio Pucci, appealed to the wealthier woman of this decade with his psychedelic patterns and although he is better known for his clothes design he also produced some wonderful ladies handbags in the same swirly, kaleidoscope of colourful material but these do have a premium price attached. However, there is no need to part with large amounts of money to purchase handbags with psychedelic designs as the hippy generation towards the end of the sixties were particularly associated with this pattern and good examples can be found for as little at £50 to £80. Handbags are a woman’s must have accessory and with so much choice it is difficult to make a decision. Look for good makers names, innovative designs and shapes that ensure individuality. The most enticing thing about buying vintage bags are that these items are useable and instead of just admiring them in a cabinet use them and I guarantee you someone will want to know where you bought that bag? VINTAGE HANDBAGS FACT FILE Smell inside a Lucite 50’s bag before buying, if there is a strong chemical smell do not buy because this means that it is in the process of deteriorating. Store Lucite bags away from direct sunlight and extreme heat. Shortage of leather after WW2 forced manufacturers such as Gucci to use cane handles on bags. Look for original labels and makers marks. All well made designer handbags are signed. The more innovative the design the more sought after the bag. Check for cracks and faults especially on Lucite bags. Watch out for fake designer such as “2.55” Chanel bag, the market in the 1980s and 1990s were flooded with copies of this design. The Bolide Bag in 1923 was the first bag in history to feature a zipper. Related Vintage Handbags Vintage Handbags at Auction
Collecting Polly Pocket

Polly Pocket & Polly Pocket Collectables by Susan Brewer (follow Sue on Twitter @bunnypussflunge) Small children love small items; they get enormous pleasure from a tiny doll hidden inside a walnut shell or a matchbox filled with beads. Obviously, the smallest toys aren’t suitable for a baby, but as soon as they get past the ‘toys in mouth’ stage, they seem to revel in the miniature. This was something Beatrix Potter understood very well, and why she insisted that when her famous Peter Rabbit series of books were first published in the early 1900s, they were of a size to fit the hands of a small child. They have been published that size ever since. So, when a gentleman called Chris Wiggs had the bright idea of turning a powder compact into a doll’s house for his daughter’s tiny doll to play in, success was almost guaranteed. It was the 1980s, a time when dozens of new and exciting girls’ toys were flooding the market – Strawberry Shortcake, My Little Pony, Flower Fairies and Care Bears, to name but a few. Even so, when Chris showed the toy to Bluebird Toys of Swindon, they snapped up the idea and, despite all the competition, it soon proved a hit. Polly Pocket compacts were neat, tidy toys, and girls loved them. The compacts were small and secretive, and as well as containing a tiny doll they were moulded inside as room settings, with staircases, furniture and other items. Although there was hardly enough room inside for the tiny doll to breathe, there was plenty of room for a child’s imagination. The compacts were hinged, just like a powder compact, and came in a variety of colourful shapes, including circular, square, shell, heart and oblong. The original Polly Pocket dolls were very small – around an inch high – but they were beautifully made, with hinged waists so they could fold when the compact lid was closed. When opened, each compact revealed extremely well planned interiors with every scrap of space utilised. The interior of the lift-up lid would be a house, for instance, while the base was a garden with moulded paths, flowers and ponds or paths and often a small revolving turntable so that the tiny Polly could move or dance. She could also be fitted into various holes in the mouldings. Frequently other characters or animals were included as well. All the detail was amazing, and to a child, almost miraculous. Even the exterior moulding was impressive; the plastic was smooth and rounded and was pleasant to hold. Picking up an unfamiliar, closed Polly Pocket compact was an adventure, there was a feeling of anticipation and, on opening, an air of wonder. Some of the specials, such as the Christmas versions with their sparkly interiors, were beautiful. Parents liked the toys too, because they were the perfect toy for children to take on a journey. They were small enough to fit inside a pocket or bag, and as the dolls stored neatly inside the compact, there was little chance of losing pieces. As more and more of the toys were made, children became spoilt for choice, and it wasn’t long before there was a Polly Pocket to suit every occasion, or so it seemed. In addition to the little houses, Polly Pocket compacts could also be obtained containing such delights as a Studio Flat, Hair Salon, Movie Star’s House, Winter Chalet, Parisienne Hotel, Dance Studio, Pet Shop and many, many more. In 1993, the Gamleys chain of toy shops were advertising an extra large play set, called Polly’s Dream World. They stated ‘The dream house has two wings that open out to reveal lots of beautiful rooms. In Polly’s dream world there are so many secret places to visit and exciting things to do. It’s everything you ever dreamed of for Polly!’ At the time this set cost £24.99, over five times more than the average Polly Pocket compact price of £4.99, and, like many other Polly Pockets, is beginning to be quite sought after today. Eventually over 350 different compact sets were produced. The toys continued to be made throughout the following decade, but in the late 1990s Mattel, who had taken over production from Bluebird, decided to redesign them. They made Polly larger, bringing out different designs and larger play sets – although she is still imaginative, she seems to have lost much of that miniature magic which charmed little girls during the late 1980s and for most of the 1990s. However, the larger dolls are more realistic with ‘real’ hair rather than the moulded hair of the Bluebird dolls, and also have removable clothing. Mattel still make some small types, such as the recent ‘Polly Wheels’ – tiny cars containing a 1.5 inch high jointed-at-the-waist doll – though these items are not as small as the originals. Running alongside Polly Pocket were the Polly Pocket Walt Disney compacts, which were also made by Bluebird. They were called the Tiny Collection but were invariably referred to as ‘Polly Pocket Disneys’. These themed play sets, made to resemble scenes from Disney films, were charming, and contained minute Disney characters. Some of the sets were in compacts, just like the original Polly Pockets, but many were slightly larger and shaped like buildings, the outside decorated like a house so it was an attractive item in own right, lacking the plainness of the compacts. Some sets were even larger, though the scale was just the same, with the characteristic little characters. For instance, the thatched Snow White cottage was delightful, and it even lit up. Snow White and the seven dwarves were included, and the cottage could be closed up with the characters inside. Some of these larger play sets came with their own compacts, which could be played with separately. Amongst the Walt Disney films which appeared in the Tiny Collection were Bambi, The Little Mermaid, 101 Dalmatians, Hunchback of Notre Dame, Pocahontas, Cinderella, Alice In Wonderland, Beauty and the […]
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 the Master Mind game

Master Mind (sometimes Mastermind) is a classic strategy game that has been around for decades. The game was invented in 1970 by Mordecai Meirowitz, a Israeli-American engineer. Meirowitz was inspired by an old Chinese game called Bulls and Cows, which is thought to date back to the 12th century. He created Master Mind as a more challenging and engaging version of Bulls and Cows. In its first decade of production over 30 million copies were sold. We take a look at the history of the game and some of the variations made over the years. The object of the game is to correctly guess the sequence of colored pegs used by your opponent. The first player to do so wins the game. Over the years, Master Mind has been released in many variations including Royale Mastermind, Grand Mastermind, Super Mastermind, Word Mastermind, Mini Mastermind and even an Electronic Mastermind. The games varied in a number of ways including the number of colours and versions for more than two people. Junior version were also released including Mastermind for Kids featuring a Jungle Animal theme. Who were the couple of the box of Master Mind box The Master Mind box cover design is iconic and is probably one of the most recognisable of all time. The photo features a mysterious, beautiful Asian lady standing next to bearded man wearing a suit. The pair are in front of what appears to be a glass topped table, so there reflection appears at the bottom of the box. Is the man a rich, powerful Master Mind challenging people from the cover to crack his code? Is the lady an expert gazing at us with a condescending look questioning our expertise? Or were they in fact Bill Woodward, the owner of a chain of Leicester hair salons, and Celia Fung a computer science student at the University of Leicester. They were both approached off the street for the campaign and the result is the iconic image we all associate with the Mastermind game. Bill Woodward was to appear in many of the covers of the later versions of the game. The game was released internationally and the cover did vary in other countries with other people used, but the lady standing and man sitting remained constant for many of these releases. The Disney Master Mind There was even a Walt Disney Master Mind created by Invicta Games in 1978. It uses Disney characters instead of colours. The cover features a castle with Disney characters including Mickey Mouse, Donald Duck, Goofy, Pinnochio and Geppetto. Once again Bill Woodward is on the cover sitting in a chair and beckoning the Disney posse. In this cover he is a less mysterious and wear a light grey suit. In this version we have to Help Mickey and his friends escape from the magic castle in the sky Disney Master Mind valuation / price guide A fine to near mint version in box £20-£30 / $24-$36 Today, it remains one of the most popular strategy games in the world. Thanks to its simple yet intriguing gameplay, Master Mind is a timeless classic that will continue to be enjoyed for years to come. Related Cunning and Logic: The International Imagery of ‘Mastermind’ The Mysterious Origins of Mastermind, the Codebreaking Board Game
The World War II Posters of Abram Games

Most people know about World War II because of the movies. They’ve seen the footage of planes flying and bombs being dropped, and they know that it was a devastating time for many people. But what about the artists who created the propaganda posters? Their work is often overshadowed by the events themselves, but it’s just as important. Abram Games was one of those artists. He was born in London in 1914, and he started his career as a graphic designer in the 1930s. His work began to gain attention during World War II, when he designed posters for the British government. Abram Games would go on to design for six decades but in this feature we look at his work during World War II and how his work is still being collected and discussed today. Who was Abram Games and what did he do during World War II? Abram Games was a British graphic designer who is best known for his work during World War II. He created a series of propaganda posters that were designed to boost morale and encourage people to support the war effort. Games was born in London in 1914 to Latvian / Russian Jewish parents. He studied at the Saint Martin’s School of Art in London for a short period but left after a couple of terms. He went to work at Askew-Young in London between 1932 and 1936 and after began working as a freelance graphic designer. He won and was highly placed in a couple of poster competitions and feature on him in the influential journal Art and Industry in 1937 led to several high-profile commissions. Games was conscripted into the British Army during World War Two. He served until 1941, when he was hired by the War Office’s Public Relations Department to create a recruiting poster for the Royal Armoured Corps. In 1942 he entered service as an Official War Poster Artist, the only person to have this title, and is claimed to have produced over 100 during his tenure. What kind of style did his posters have, and why were they so effective? The World War II posters of Abram Games were widely considered to be some of the most effective propaganda of the time. Games’ posters were characterized by their bold, graphic style and their ability to communicate a message simply and clearly. The simplicity of the design helped to capture attention, and the message was straightforward and easy to understand. Games’ posters were highly effective at communicating a message to a wide audience, and they played an important role in raising morale during the war years. During the war his posters encouraged people to avoid gossip, avoid waste, give blood, buy war bonds, handle weapons and ammunition properly, and maintain fighting fitness. What were some of the most famous posters that he created during the war? He was first commissioned to produce a Auxiliary Territorial Service recruitment poster, which eventually became known as the blonde bombshell. Games wanted to subvert the rather dreary ATS image, but the authorities were concerned that his glamorous concept would entice young women to join up for “wrong reasons,” so it was quickly taken down and image replaced with poster depicting a serving member of the ATS. He would design two further posters the seocn of which was criticized by Winston Churchill as being too “Soviet”. The third appeared in 1943 employing a statuesque yet sober style which met with the official seal of approval. The Second World War was a time of incredible tension and anxiety, and nowhere was this more apparent than in the posters produced by the British government. One of the most prolific and revered poster artists of the time was Abram Games, who produced dozens of posters that were both striking and effective. Two of his most famous posters were “Keep a Guard on What You Say” (1941) and “Your Talk May Kill Your Comrades” and “Talk Kills.” (1942) These posters conveyed a powerful message about the need for caution and secrecy during wartime, and they helped to raise public awareness about the dangers of careless talk. Today, these posters are regarded as some of the most iconic images of the Second World War, and they continue to serve as a reminder of the power of propaganda. The theme of caution continued in the He Talked…They Died (1943) part of the Careless Talk campaign. Other series included Horse play with weapons may end like this… (1942), Grow Your Own Food (1942) and Your Britain – Fight for It Now (1943) commissioned by The Army Bureau of Current Affairs, ABCA. Frank Newbould had also been commissioned along with Games, for the Your Britain – Fight for It Now campaign, and the two men had very contrasting styles – Newbould produced rural images similar to the pre-war travel posters and Games presented a set of three Modernist buildings that had been built to address poverty, disease and deprivation. One of these designs was actually removed once again by Winston Churchill. Later campaigns included Salute the Soldier Save More Lend More (1944) on behalf of the National Savings Committee NSC, a government body that encouraged people to save money that could then be used by the state to fund budget deficits and finance the war effort. Inspired by his Jewish heritage and a love of his country, and informed by his socialist ideals and his first-hand experiences as a soldier, Abram used his art to make an important contribution to the war effort. After the war, Games continued to work as a graphic designer, creating iconic logos for companies such as Shell and United Nations. He died in 1996 at the age of 82. Related Abram Games at the V&A Collections Estate of Abram Games web site Abram Games and the power of the poster A brief history of The Festival of Britain and Memorabilia created for the Festival

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Collecting the Master Mind game

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