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Jumeau Dolls by Pierre-François & Emile Jumeau
Jumeau was a French company, founded in the early 1840s, which designed and manufactured high quality bisque dolls. It was founded by Louis-Desire Belton and Pierre-François Jumeau in the Maison Jumeau of Montreuil-sous-Bois, near Paris, France. While Belton did not remain with the company for long, under Jumeau’s leadership (and later, under the leadership of his son, Emile), the company soon gained a reputation for dolls with beautiful faces and “exquisite” clothing which replicated the popular fashions of the time. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume c1867 – 26″ (66 cm.) Bisque swivel head on kid-edged bisque shoulder plate, perfectly oval-shaped face with appealing plumpness to lower chin, small blue glass enamel inset eyes with darker blue outer rims, dark eyeliner, painted lashes, mauve-blushed eye shadow, feathered brows, shaded nostrils of aquiline nose, closed mouth with well-defined lips enhanced by accent lines, pierced ears pierced into head, blonde mohair wig over cork pate, kid body with shapely torso, gusset-jointed arms, stitch-jointed legs, ice-blue silk antique gown, undergarments, blue kidskin ankle boots, bonnet. Condition: generally excellent, body sturdy and clean. Comments: Pierre-Francois Jumeau, circa 1867, the portrait-like model was likely created for exhibition at the Paris 1867 International Exposition. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. The Jumeau company first emerged as a partnership between Louis-Desire Belton and Pierre-François Jumeau in Paris in the early 1840s. In 1844, Belton and Jumeau presented their dolls at the Paris Exposition (at which they received an honorable mention), but by 1846 Belton’s name was no longer associated with the dolls, and Jumeau was trading in his own right. A bronze medal in the 1849 Paris Exposition followed, as did an appearance at the Great Exhibition in London in 1851, at which the company was awarded a First Place Medal. Through much of this period, the firm sold only their own dolls to wholesalers, although during the 1850s and 1860s, the company moved into selling wax dolls imported from Britain. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume – 30″ (76 cm.) Bisque socket head with very full cheeks and chin, large blue glass paperweight inset eyes with heavy upper eyelids, dark eyeliner, painted lashes, mauve-blushed eye shadow, brush-stroked and feathered brows with decorative glaze, shaded nostrils, closed mouth with outlined and accented lips, dimpled chin, separately modeled pierced ears, blonde human hair over cork pate, French composition and wooden fully jointed plump body with straight wrists. Condition: generally excellent. Marks: 14 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, the wistful-faced Bebe Triste, circa 1884. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. At the Paris expositions and the Great Exhibition in London, Jumeau dolls received their commendations due largely to the quality of the clothing, and no special significance was attached to the dolls themselves. This changed in 1867, when at the Exposition Universelle of that year, the company was awarded a Silver Medal, and “special mention was made of the doll’s heads”. 1867 was also the year that Pierre-François’ son, Emile Jumeau, joined the company. By 1873, when they were awarded a gold medal at the Vienna Exposition, the company was producing their own bisque dolls in their factory in Montreuil. Pictured: Extremely rare and large Pierre Francois portrait Jumeau bisque shoulder head fashion doll – Having the features of a character lady, fixed blue glass eyes, with delicate shading to lids, closed slightly smiling mouth, moulded pierced ears and long blonde mohair wig, swivel head to kid leather body with separate fingers, wearing ivory silk and lace two piece gown, under garments, lace up boots and straw bonnet, 66cm (26in) tall. Image Copyright Bonhams. Although the Jumeau firm had won commendations, very few Jumeau dolls can be securely identified dating before the 1870s. However, by 1877 Emile Jumeau had produced the first Bébés (or dolls in the image of a little girl). With realistic glass eyes and “stylish fashions” produced by costumiers, thousands of Bébé dolls were produced for an international market. Pictured: French Bisque Portrait Bebe by Emile Jumeau – 12″ (30 cm.) Pressed bisque socket head, large grey/blue glass inset eyes known as “wrap-around” with spiral threading and pronounced black pupils, painted lashes, dark eyeliner, rose-blushed eye shadow, feathered brows, accented nostrils and eye corners, closed mouth, outlined lips, pierced ears, blonde mohair wig over cork pate, French composition and wooden eight-loose-ball-jointed body with straight wrists, pretty antique aqua silk costume, undergarments, leather slippers. Condition: generally excellent. Marks: 8/0 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, circa 1878. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. In 1878, the Jumeau company won a Gold Medal at the Exposition Universelle (1878). The award was proudly advertised on the bodies, boxes, shoes and even the dress labels of the dolls. Jumeau won a number of other high awards including the prizes for the best dollmaker at both the Sydney International Exhibition (1879) and Melbourne International Exhibition (1880) in Australia. The dolls were internationally sought after as luxury items and status symbols. The firm also was regarded as an industrial success, with production figures of over three million dolls annually by the mid-1890s. The “Golden Age” of the Jumeau factory lasted for two decades, from the late 1870s to the late 1890s, when the competition from German dolls sent the firm into financial difficulties. The Jumeau dolls from the later 1890s are of more variable quality. German dolls in the 1890s were cheaper than the French, but still well-made and much loved by little girls, even if they were by no means as elegant or graceful in face or costume as the best Jumeau dolls.
The Universal Appeal of Tea Collecting
For years, drinking tea has been an immensely satisfying ritual, especially for those who pride themselves in being a tea connoisseur. For tea lovers, tea is more than a simple drink after a meal. It is a customary way of communicating culture and style which is why it has expanded in popularity – and many have begun accumulating their own personal supply. So, with that in mind, read on to find our why tea collecting has gained such universal appeal. The background of tea In 1606, the first delivery of tea was shipped from China to Europe. People were fascinated by the aroma and taste that it quickly became a fashionable drink among the wealthy. Of course, a fashionable drink must be enjoyed in style, so teapots, teacups and other beautiful accessories quickly flooded the European market. Our previous article titled, English Teapots – Their Origin and Variety showcases exquisite examples from the eighteenth century. How to start collecting While there is no right or wrong way to collect tea, everyone can certainly start by tasting a variety of tea flavours to discover which ones they enjoy the most. The palatability and perception of the different flavours is a personalised experience, and the same goes for which ones to collect. Collections usually start off with gifts, and then later, as your experience grows and your palate becomes more familiar with flavours that are more palatable to your taste, your collection will grow with flavours of your choosing. Popularity of tea Tea is the most popular drink around the world, especially in Europe and here in the United Kingdom. Gala Bingo’s research on tea in the UK found that 31% of tea drinkers drank five or more cups of tea each day. This is a welcoming stat, especially with recent scientific research showing the many added health benefits of drinking tea. In one article, Today points out that tea may promote a healthy lifestyle, lower blood pressure, and live longer – so, it is no wonder that tea continues to increase in its global appeal. Varieties of tea Nowadays, there are many kinds of tea, and here are some of the most popular varieties: White Tea– Delicate in flavour, very subtle and elegant on the palate. Black Tea- Intense and bold in flavour, and typically malty on the tongue. Green Tea– Moderate in flavour, nutty, vegetal, and usually herbaceous. Oolong Tea– A very intense flavour with a bold roast and variety of notes ranging from milky to sweet and creamy on the palate. Earl Grey Black Tea– Beautiful blend of notes from mellow green teas to refreshing hints of orange and invigorating lime. Lemon Green Envelope Tea– A full range of exquisite aromas with a refreshing lemon hint and zesty green undertones. Storing tea Storing tea requires special care to preserve its unique aroma and freshness. If you don’t, they may dry out and you will end up missing out on the exquisite pleasure each bag potentially offers. Here are some tips on storing your precious tea: Keep them in a dry place– Moisture will destroy tea and cause them to develop mould. Keep them at a consistent temperature– Exposing tea to fluctuating temperatures can cause them to lose quality and flavour. Keep them separate– Teas absorb the flavours of its surrounding, whether it be other teas or BBQ crisps. So it is very important to keep them separate from other food. Tea will always have its global appeal due to its endless health benefits, cultural influences, and social value. And it is certainly never too late to taste this decadence and start your own personal collection.
Clarice Cliff Teddy Bear Bookends
Clarice Cliff is well known for her range of colourful pottery but she was also responsible for other items such as the Clarice Cliff Teddy Bear Bookends. The Teddy Bear bookends date from the 1930s and were sold in pairs and show a teddy bear sitting holding on to plinth with their legs in the air. The bears wear a ribbon collar and sport a fine bow. The bookends were produced in variations including differing colours of the bears, the ribbon & bows and most importantly the plinth. Patterns on plinths include Sunburst, Black Umbrella, and Blue W. A white bear and green bow are the most common set. Wedgwood re-issued the Clarice Cliff Teddy Bear bookends in a centenary limited edition of 150. The Bizarre bookends show the bears in the popular white form with green ribbon and bow. Clarice Cliff related A look at Clarice Cliff Clarice Cliff Cottage Bookends Clarice Cliff Bizarre Grotesque Masks by Ron Birks
Happy Days and The Fonz Collectibles
With the forthcoming TCM Hollywood Cool auction at Bonhams and the sale of items associated with Happy Days and The Fonz (one of the most merchandised characters of the 1970s), we thought we would take a look at some of collectibles released over the years based on the Happy Days series and characters. Happy Days was an American sitcom television series portraying an idealistic vision of life in the 1950s and early 1960s Milwaukee, Wisconsin. Happy Days was created by by Garry Marshall and was one of the most successful of the 1970s running on the ABC network from January 15 1974 to July 19 1984. A total of 255 half-hour episodes were made spanning 11 seasons. Initially focused on the character Richie Cunningham played by Ron Howard, his family and friends and all their experiences it was a moderate ratings success but began to falter during its second season. The show took a change of direction and began emphasizing comedy and after spotlighting the previously minor character of Fonzie, a “cool” biker and high school dropout the show never looked back and became the number-one program in television in 1976–1977. The show was a hit internationally especially in the UK. The main cast included: Henry Winkler (Arthur ‘The Fonz’ Fonzarelli), Tom Bosley (Howard Cunningham), Marion Ross (Marion Cunningham), Ron Howard (Richie Cunningham), Erin Moran (Joanie Cunningham), Anson Williams (Warren ‘Potsie’ Weber), Donny Most (Ralph Malph) and Chachi (Scott Baio). The Fonz – Fonzie became one of the most merchandised characters of the 1970s Arthur Fonzarelli, a.k.a. The Fonz or Fonzie – Initially a minor character, he was a hugely popular breakout character and was made a series regular. Fonzarelli’s “Fonzie” nickname and comeback phrase, “Sit on it,” were created by the show’s producer, Bob Brunner. Known for being especially cool and for his catchphrases “(H)eyyyy!” and “Whoa!” His coolness gave him special powers, such as making machinery (such as Arnold’s jukebox and other vending machines, electric lights, and car engines) function by pounding on them with his fist, or getting the attention of girls by snapping his fingers. His parents abandoned him as a child and his grandmother raised him from the age of four. (Source: Wikipedia) The Mego Happy Days carded 8″ action figures also included Richie, Potsy and Ralph. Mego also released Fonzie’s Jalopy so the gang were able to drive around. Tuscany Studios created a chalkware The Fonz figure. We are not too sure on the likeness but it is a very rare and unusual item to have. More Happy Days Collectibles Funko released five Funko Pop! models in June 2021 which included: 1124 Fonzie, 1125 Richie, 1126 Arnold, 1127 Joanie and 1128 Chachi. Did you know? Happy Days spawned a number of spin-off TV series including Laverne & Shirley, Joanie Loves Chachi and Mork & Mindy. Related Mork and Mindy Collectibles
Antique Bisque Dolls
Antique Bisque Dolls – Years ago, the dream of most doll collectors was to be able to afford an antique doll – a doll made from bisque china with glass eyes and a jointed wood or composition body. We used to sigh over pictures in magazines and drool at doll fairs. Then, not so long ago, something happened; prices came tumbling down and doll collectors discovered that their dream really could come true. Now is the perfect time to buy antique dolls, before prices begin to rise again – and rise they will, because however lovely reproduction dolls, vinyl babies or modern collectors’ teens might be, they are not old and do not have that special air of mystery which only an antique doll can bestow. Pictured: An Antique Bisque Doll by Walther & Sohn 125.10 doll Bisque is an unglazed porcelain; it’s matt instead of shiny, hence the ‘biscuit’ finish and so it gives a natural look to the face of a doll. Before the advent of plastics, dolls’ faces would be made from carved wood, composition, papier mache, wax or bisque. Although these substances all had their advantages, bisque was not only the most durable, it also allowed artists to portray the human face in a beautiful way. A doll made completely from bisque would prove expensive, so most had bisque heads attached to bodies and limbs made of composition, leather, wood or fabric stuffed with woodwool. Pictured: An Antique Bisque Doll by Heubach 300 doll French doll makers made exceptionally beautiful dolls, though they tended to be exceedingly expensive as they were so labour intensive. These dolls, by makers such as Juneau and Bru, were dressed in top quality high fashion garments, and even today most are out of the reach of the average collector. However, German makers also made dolls and soon grew to dominate the industry as they were skilled in mass production. Consequently, they produced dolls in their thousands, far more cheaply than the French factories could manage. The vast majority of old dolls that beginner-collectors are likely to come across will be German, but just because they are cheaper, it doesn’t mean that they are less beautiful. Many German dolls are very pretty indeed, and usually they are incised on the back of the neck with the maker’s name, mark, initials or a number, so from that information and a bit of research you can find the factory and the date the doll was first produced. Pictured: An Antique Bisque Doll by Armand Marseille 390 doll The most prolific of the German companies was that owned by Armand Marseille, who, despite his French-seeming name, was German. Often it is an Armand Marseille doll that a novice collector will buy as their first old bisque doll, because they are so easily found and can be bought from around £100–£150 depending on condition. Pictured: An Antique Bisque Doll by Kammer & Reinhardt 133 doll One of the most popular and easy to find dolls are the Armand Marseille 390 girls, which have pretty faces and glass eyes. These are usually mounted on a wooden ball-jointed body, which means that you can pose the doll gracefully on display. With these 390s, as with all bisque dolls, it is amazing how dolls from the same mould look so different, due to the handpainting of their faces, which varies the colouring, thickness of lashes and shape of mouth. Also, eye and hair colours/styles influence the doll’s appearance. This is why a 390 is a good doll to start off with – there is so much choice, because these dolls were developed in the early 1900s and remained in production till 1938, and so there are thousands around. Other Armand Marseille moulds to look out for include the character toddler 990, the character girl 327 and the 370 girl. All these dolls should be available in ‘played with’ condition for under £300 – with dolls, obviously price depends on condition, and a much-played with doll with broken fingers and a scant wig will be far less than an almost perfect doll. Another Armand Marseille doll which the collector will easily find is the ‘My Dream Baby’. My Dream Baby swept Britain and the Continent during the mid- 1920s, when baby dolls came into vogue, and had a sweet face with either an open or a closed mouth. Today, the closed mouth babies sell for a slightly higher price, as more of the open mouth type were produced, but even so should comfortably fit into the £300 price range. As with the 390 girls, the appearance of these babies varies enormously depending on the painting, the body type, the eye size and the size of the doll (they range from tiny babies just a few inches high to very large babies often used as shop window display models). Of course, there are many other types of affordable German dolls, such as some marked ‘Heubach Koppelsdorf’. Ernst Heubach was a brother-in-law of Armand Marseille, and his company produced very attractive dolls, often with a rather flushed appearance. Other makers of bisque dolls that might be found by collectors include Simon & Halbig, Kestner, Schoenau & Hoffmeister, Kammer & Reinhardt, Alt. Beck & Gottschalk and Schuetzmeister & Quendt. It should be possible to buy the more common models by these makers at a reasonable price, though naturally the rare, more desirable moulds will always fetch a premium. The best advice is to familiarise yourself with the various kinds of dolls and makers by reading books on the subject. Some of these books are in the form of price guides, so will help you discover the models that you can afford. Recently, there has been something of a price slump with some of the antique bisques, so if you find one which appeals, now is the time to buy because prices are bound to rise. Wherever possible, it’s best to buy a doll that you have already seen and handled, rather than one which is advertised on […]
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
William de Morgan at the Ashmolean Museum Oxford
If you are a fan of the works of William de Morgan, then a visit to the Ashmolean Museum in Oxford should be on your itinerary. The De Morgan Foundation has on semi-permanent loan, since 2017, a fine collection of William de Morgan works. The display includes tiles, dishes, and vases, and works from different periods and factories. Below are some images from the collection. William de Morgan Related Ashmolean Museum, Oxford – https://www.ashmolean.org/ De Morgan Collection – https://www.demorgan.org.uk/ William De Morgan – the Arts & Crafts Pioneer William De Morgan Price Guide
Beauty Skin and Petalskin
Readers who were children during the 1950s may well have fond memories of a very rare type of doll – the Beauty Skin. Made by Pedigree, these lovely dolls were certainly not rare at the time. On the contrary they were very popular, especially with young children, because they were so soft and cuddly. Sadly, though, the dolls had a fault – they tended to disintegrate after a few years of play. Pedigree Beauty Skin dolls first appeared in the late 1940s, and were popular until the mid-1950s. They came in four sizes, but the smallest had a rubber head, unlike the hard plastic of the larger sizes. These rubber-headed dolls were 9” high, while the hard plastic headed versions were 14”, 16” and 20”. Although their heads were hard plastic, their bodies were made from a soft thin rubbery latex material and their limbs were of a similar substance, stuffed with kapok. They had pretty faces, often with flirty eyes, and most had moulded hair. Gradually, after lots of loving and cuddles, the latex would split or turn brittle, and the kapok would emerge, leaving a split and empty arm. Eventually, the dolls would be so damaged that they would be thrown away, which is why they are so rare today. Some people tried to stop the splits with sticking plaster, but this was a disastrous thing to do, because once stuck to the latex it could never be removed. It would turn grubby and unsightly. Sadly some owners of the dolls still resort to this method of stopping the kapok emerging, today, but it is not recommended. If you are lucky enough to own one of these dolls, but it has split, then the best thing to do is to place a soft garment on the doll – cardigan or leggings, depending on where the split is – and then handle it as little as possible. Just leave it alone, and hope that it doesn’t get worse. At the time, Pedigree recommended that talcum powder should be rubbed in to the latex, but I am wary of this treatment, unless the doll is actually sticky, as it could dry out the latex even more. Sun, warmth and the rigours of handling played havoc with that delicate skin, and modern central heating dries them out, too. (Most people in the fifties didn’t have to worry about central heating; they made do with a coal fire downstairs and cold bedrooms!) I called my first Beauty Skin baby Jeannie, and loved her very much, but eventually she was so damaged, I couldn’t play with her. So when I was asked what I would like for Christmas – I must have been about six – I asked for another soft doll, just like Jeannie. I found Isabelle on Christmas morning wearing a white satin dress, lying in a little blue-draped metal crib. I loved Isabelle dearly, and I had her for many years, even though her right arm slowly, but completely, disintegrated. I used to take her on holiday with me, and she rode in my doll’s pram. Eventually the day came when my mother decided I was ‘too big’ for dolls, and so most of my babies had to go. Isabelle had to be put into the dustbin – no-one would want a doll with a perished arm – though Mum kindly offered to do it for me, knowing how much I loved that doll. When I started collecting dolls, I searched everywhere for a Beauty Skin, and kept a lookout at all the doll fairs, but no luck. Then one day, about six years ago, my daughter and I visited our local Collectors’ Centre. Suddenly I saw her pick up a doll from a table, and turn to me in triumph. She had found me a Pedigree Beauty Skin! Apart from one tiny crack in the rubber skin on the palm of one hand, she was perfect, and was the first one I had seen since my beloved Isabelle was thrown in the dustbin all those years ago. She is slightly larger than my original Isabelle, and her face is a little different, but her fingers, her toes, the way her moulded hair is shaped into little curls around her forehead, are just as I remembered. My Beauty Skin wears her original white satin-edged cotton romper suit, and takes pride of place in my doll cabinet. Now, though, she normally has a light cotton dress and jacket placed over the top of her romper, just to ensure that when she is handled no damage can get to her skin. A couple of years later, my daughter came hurrying over to me at a doll fair, to say she had found another, smaller, Beauty Skin! This one was just 9” high, and was immaculate, with a soft head, rather than the hard plastic head of the larger-sized Beauty Skin babies. Still boxed and wearing her blue dress, bonnet and socks, she must have been ex-shop stock. Then, recently, I came across yet another large Beauty Skin. This one, although not in such perfect condition as our other doll, is, I believe, unplayed with, but poor storage has caused her to disintegrate on one thigh. However the facial colouring is wonderful, with cheeks as pink as the day they were painted. She is 16” tall, wears her original lilac and pink romper suit and lacy net socks, and comes with her box and even the delightful letter which Pedigree gave to all the new young ‘mothers’ of Beauty Skin babies. This delightful ‘hand-written’ letter reads: ‘My Dearest Mummy, I love you, I hope that you will love me too. Be careful not to let me fall, I am a Baby – after all! To keep me always fresh and sweet, Just sponge me over, top to feet, Then gently dry and powder me, And I’ll be clean as clean can be,. I’m ready Mummy Dear for fun, And go to sleep […]
The Who at 50 – Records & Collectables
The Who celebrate 50 years of rock in 2014 and we take a look at their history, impact and most importantly for us their collectables. The Who are an English rock band that formed in 1964. Their best known line-up consisted of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century and are one of the world’s best-selling bands. Pictured left: The Who My Generation LP 1965 on the Brunswick label. Mono 1st Press. In mint condition this record can sell for around £300. This actual LP sold on ebay for £283 in Nov 2014. The Who developed from an earlier group, the Detours, before stabilising around a line-up of Daltrey, Townshend, Entwistle and Moon. After releasing a single as the High Numbers, the group established themselves as part of the mod movement and featured auto-destructive art by destroying guitars and drums on stage. Pictured right: The Who A concert poster THE WHO in A Two-Hour Non Stop Concert To Include Tommy, London Coliseum, Sunday, 14th December, 1969. Sold for £1,000 at Christies, London in June 2010. They achieved recognition in the UK after their first single as the Who, “I Can’t Explain”, reached the top ten. A string of successful singles followed, including “My Generation”, “Substitute” and “Happy Jack”. Although initially regarded as a singles act, they also found success with the albums My Generation and A Quick One. In 1967, they achieved success in the US after performing at the Monterey Pop Festival, and with the top ten single “I Can See for Miles”. They released The Who Sell Out at the end of the year, and spent much of 1968 touring. Pictured left: Pete Townshend / The Who: A cherry red Gibson SG Special guitar, serial number 884484 stamped 2, circa late 1967, owned and used by Pete Townshend in the early 1970s – early 1980s; the double cutaway body in cherry red finish, mahogany neck, Grover machine heads, 22 fret bound fingerboard with dot inlays, two P90 pickups, four rotary controls, selector switch, metal bridge, black pickguard bound in white, tailpiece removed; original Gibson contour hardshell case with scarlet plush lining; accompanied by a letter signed by Townshend detailing the provenance. Sold for £37,500 inc premium at Bonhams, Knightsbridge, June 2014. The group’s fourth album, 1969’s rock opera Tommy, was a major commercial and critical success. Subsequent live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live At Leeds, transformed the Who’s reputation from a hit-singles band into a respected rock act. With their success came increased pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned in favour of 1971’s Who’s Next. Pictured right: A rare Quadrophenia film poster, 1980, large format for the Italian release of the film starring Phil Daniels, Leslie Ash and Sting, directed by Franc Roddam, 140 x 100cm, framed and glazed. Sold for £525 inc premium at Bonhams, Goodwood , July 2013. The group subsequently released Quadrophenia (1973) and The Who by Numbers (1975), oversaw the film adaptation of Tommy and toured to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in August 1978 was overshadowed by the death of Moon on 7 September. Pictured left: The Who David Bailey Live Aid – A black and white limited edition photograph of The Who by David Bailey, 1985, signed by the photographer and on the verso in black felt pen by Roger Daltrey, Pete Townshend, John Entwistle and Kenny Jones, additionally signed in pencil by the photographer, dated 85 and numbered 1/3. Sold for £960 at Christies, London in May 2006. Kenney Jones, formerly of the Small Faces and the Faces, replaced Moon and the group resumed touring. A film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright were released in 1979. The group continued recording, releasing Face Dances in 1981 and It’s Hard the following year, before breaking up. They occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and for a tour of Quadrophenia in 1996. Pictured left: The Who – A very rare concert poster Uxbridge Blues And Folk Festival, 19th June, 1965, artists include The Who, Marianne Faithfull, John Mayall, The Birds, Long John Baldry, Spencer Davis, Zoot Money, and others — 29x40in. (75×101.6cm.) Sold for £9,375 at Christies, London in June 2010. The Who resumed regular touring in 1999, with drummer Zak Starkey, to a positive response, and were considering the possibility of a new album, but these plans were stalled by Entwistle’s death in June 2002. Townshend and Daltrey elected to continue as the Who, releasing Endless Wire (2006), which reached the top ten in the UK and US. The group continued to play live regularly, including the Quadrophenia and More tour in 2012, before announcing in 2014 their intention to retire from touring following a new album and accompanying live shows ending the following year. Pictured right: This Japan Polydor 7″ 45 The Who Won’t Get Fooled Again / Don’t Know Myself DP 1817 sold for £819 on ebay in August 2014. With 50 years behind them many studio albums, live albums, many tours, numerous singles and ephemera, there is plenty for the collector to collect. Many of the international pressings of The Who’s albums can be more valuable than the UK pressings. Japanese pressings are of great interest to certain collectors. With the re-emergence of record players, there is once again an increased market for records.
The Naturalism of Manuel Mafra Portuguese Palissy Ware
Manuel Cipriano Gomes Mafra (1829-1905) was one of the foremost Portuguese ceramists of the 19th century who developed a vast array of work influenced by the natural world. Manuel Mafra’s pottery work, marked by naturalism, was strongly influenced by the French 16th century engineer, craftsman and potter Bernard Palissy . Palissy was famed for his figulines rustiques (rusticware), or decorative faience fired in a high-relief pattern inspired by nature, and especially pond life: reptiles, insects, vegetation, flowers and fish. Palissy’s work apparently often used moulded from casts taken of dead specimens. The tradition Mafra developed of Portuguese Palissy-style ceramics became an important movement in the decorative arts in the second half of the 19th Century. Mafra moved to Caldas de Rainha to work at the famed Maria dos Cacos factory. He was later to run the same factory from 1853 till his death in 1905. The town was to become a magnet for other ceramicists and it became the centre for Portuguese Palissy Ware. The factory produced faience wares and later Did you know? Mafra was actually christened Manuel Cipriano Gomes and took the name Mafra, the county of his origin in 1853 19th Century copies of Palissy’s work were made in both faience and in majolica, a 19th Century version of faience with an improved lead-based glaze. Reference Manuel Mafra at the Met Museum A Concise Guide to Caldas Ceramics