Random Collecting Feature
Josef Lorenzl
When looking to the designs of the Art Deco period one talented sculptor and ceramist that cannot be ignored is Josef Lorenzl. A master designer, his Bronze statuettes and ceramic figural work epitomise the era perfectly. As like Preiss, Chiaparus and Kelety the other great sculptors from this period, Lorenzl was inspired by the female form and the new found freedom that women enjoyed, which he executed beautifully both in his bronze and ceramic designs. Pictured right: A Josef Lorenzl Cold-Painted Bronze and Ivory Figure With Decoration By Crejo Circa 1930 Modelled cast and carved as a young woman adopting a stylish pose, her costume decorated with enamelled flowers, onyx plinth, base signed Lorenzl, dress signed Crejo 10.5/8 in. (27 cm.) high. Sold for £5,000 at Christies, London (Feb 2014). Although very little is known about Lorenzl’s early life we are aware that he was born in Austria in 1892 and was soon to become one of the most talented sculptors of the Art Deco Period. He started by working for a bronze foundry in Vienna Arsenal where he produced stunning bronze statuettes. The majority of his works in bronze and ivory were of singular slim female nudes with long legs which conveyed elegance. His preference was for dancing poses which were not only evident in his singular statuettes but also in those attached to marble clocks, lampbases and bookends. Like his contemporaries Lorenzl work was created using “Chryselephantine”, a Greek word which refers to the combination of various materials such as bronze, ivory, gold and silver. He signed his pieces in various ways sometimes abbreviating his name to “Lor” or “Enzl” but on some of the statuettes you will find an additional signature by Crejo. A talented painter who worked alongside Lorenzl, Crejo would paint decoration onto the statuettes such as flowers and these are the figures which bear his signature. Far more desirable with Crejo’s painting these can command a premium at auction. Recently Bonhams sold an example of Lorenzl’s work with Crejo decoration for £10,500 but the pieces created by Lorenzl alone generally fetch in the region of £600 – £1,200 depending on the subject matter. Pictured left: A Josef Lorenzl (1892-1950) Cold-Painted Bronze and Onyx Timepiece Circa 1920 Modelled and cast as a crouching nude female figure holding a dial with onyx face, on onyx plinth raised on slate base, apparently unsigned11½ in. (31.7 cm.) high. Sold for £4,700 at Christies, London (Nov 2013). From his designs in bronze and ivory Lorenzl went on to work for the Austrian ceramics company Goldscheider. Again creating stunning sculptures of the female form collector’s are more aware of this period and his sculptures in ceramic than they are of his earlier bronze and ivory statuettes. Inspired by shape and bold colours Lorenzl’s sculptures had clean lines and geometric shapes. Although each piece possess great movement there was no intricacy or attention to detail and most of his figures wore their hair in the boyish bob which was fashionable at the time, making these simplistic and stylish figurines the epitome of Art Deco design. One of Lorenzl’s friends Stephan Dakon who he had met whilst working at the bronze foundry had the same vision and style as Lorenzl so it was the obviously thing for Lorenzl to recommend Dakon to Goldscheider when he started to work for them. Taken on as a freelance designer Dakon was of the same mindset as Lorenzl and so much of their work was very similar. People at the time even believed that the two were in fact the same person. Both the artists had an interest in the female form, dance and theatrical costume. This was enhanced with Lorenzl when he took a trip to Paris and visited Folies Bergeres. Famous dancer Josephine Baker was on stage with her chorus dancers, all wearing extremely flamboyant costumes, Lorenzl was captivated by t he glamour and outlandishness of the dancers and so on his return to Austria reproduced gorgeous figurines wearing vibrant coloured costumes and in various dance poses. He was also able to use his skill as a bronze sculptor to use the earthenware to his advantage. Carving delicate fingers and enhancing the women’s female form Lorenzl set about producing some stunning sculptures. “Captured Bird” was one of his most popular and was created in many different colourways and sizes. This particular piece is of a dancing girl with a gossamer winged dress which was inspired by a dance performed by Niddy Impekoven and was also captured onto a lamp base with three figures of this elegant lady dancing around the stand.. Other dancing girl figurines which were created by Lorenzl include “Butterfly Wings,” “Spider-Web Dress” and “The Arabian Dancer.” Not only did all his creations represent the elegant and feminine side of a women but each were also very subtly seductive. Adapting his theme of dance Lorenzl also went on to produce the “Egyptian Dancer or Odalisque” in 1922. This particular piece was again reproduced with models wearing different coloured shawls and is one of the most recognisable figures today. By the 1930’s Lorenzl and Dakon were the principle designers at Goldscheider, although there were many freelancers employed by the firm. It is here that we see another slight change to Lorenzl’s work. Although he had used the naked female form in much of his bronze and ivory works it was during this period that he started to produce these mildly erotic yet beautiful nude figurines for Goldscheider. “Awaken” and “Nude with a Borzoi” are perfect examples of Lorenzl’s talent for taking the naked female form and making it glamorous yet sophisticated. Although the majority of Lorenzl’s sculptures for Goldscheider were females and these are the ones that command the higher prices he also experimented with other ideas. “Mephistopheles” was a figure of the devil dressed in theatrical costume, and although one recently sold at Bonhams for just £385 it shows his passion for theatre, costume and the arts. Lorenzl is considered the most important Goldscheider artist in the […]
Tiny Tears Dolls – The Most Popular Vinyl Doll
Tiny Tears Dolls – The Most Popular Vinyl Doll – Launched in a blaze of publicity in 1965, amazingly Tiny Tears dolls are still sold today – and the earliest ones are becoming exceedingly collectable. At the time, Palitoy was one of Britain’s largest toy manufacturers, and their revolutionary doll went on to win the ‘Toy of the Year’ award no less than three times. But what made this vinyl doll any different to the hundreds of others on the market at the time? Well, not only she could she shed ‘real’ tears and wet her nappy, additionally her limbs were attached with unique rotational joints, causing her to fall naturally into a floppy, babylike position when she was held. The very first, 1965, Tiny Tears doll was 16″ high with fine pale blonde hair and blue sleeping eyes. The back of her neck was marked ‘Made in England 16D’. She had delicate features, a small, pursed mouth, wore a turquoise or pink gingham romper and came with a bib, bottle and a dummy. This doll proved so popular that a year later Palitoy produced a smaller version, Teeny Tiny Tears, just 12″ high. Shortly after, Palitoy became part of the American company, General Mills Inc., who decided to keep the Palitoy name. Sometimes today collectors come across a baby doll similar to Tiny Tears but with a smiling face. This is Baby Flopsy, issued around the same time and advertised as being able to wear Teeny Tiny Tears outfits. She was sold wearing just a nappy. Five years after the initial launch, Tiny Tears was given a complete revamp which made her appear older; her delicate face was more rounded, her eyes were larger, her mouth wider and her hair was thicker. This is the face which most people remember, and it was to stay the same for the next fifteen years. She was marked ‘Palitoy’ on the back of the neck. One of her most popular outfits was a white nylon dress with blue and pink smocking on the yoke, and she was sold in this from 1973 to 1980, at a recommended retail price of œ7.99. Tiny Tears dolls came with guarantees and gift certificates, as well as instructions on how to feed the doll and make her cry. The tear mechanism was activated by ‘feeding’ the doll with water, quickly inserting a dummy to prevent the water trickling out of the mouth, and then squeezing her tummy hard. She would wet her nappy at the same time, probably due to shock! To mark the next decade, Tiny Tears was given a pretty cotton dress with a floral design in either pink or blue, and, at first, matching pants and bonnet, though soon a nappy was substituted for the pants while the bonnet was discarded.The eye-catching box read ‘She’s as cute and cuddly as a real baby. Just like a real baby she cries real tiny tears.’ The decade also heralded a new addition, the little Teeny Weeny Tiny Tears, just 9″ tall, who is now extremely popular with collectors and quite hard to find. A Tiny Tears logo was introduced, shaped like a yellow ‘sun-ray’, to decorate clothing and accessories, and in 1982, the floral outfit was updated to a white cotton dress trimmed with blue gingham. Three years later one of the prettiest versions of Tiny Tears appeared. Her ash-blonde hair was very thick and curly, her face was slimmer, and she wore a distinctive all-in-one jump-suit consisting of pink and blue spotted trousers over a white and blue striped top, with the words ‘Tiny Tears’ embroidered in blue on the trouser bib. Although the boxes of these dolls were labelled ‘Palitoy’, the actual doll bore no mark. It was around this time that General Mills withdrew from the toy scene and for a while, it seemed that Tiny Tears would disappear too. However, you can’t keep a popular doll down, and soon she was back, now produced by Tonka Toys, who introduced a brunette version as well as the standard blonde. It was Tonka who were responsible for one of the more unusual innovations when, in 1988, they gave Tiny Tears ‘flirty’ eyes, which moved from side to side. At the same time, they revamped her body, giving her realistically-curled fingers. This roving-eye doll is very collectable, but be careful, because the delicate eye mechanism is often damaged. When Tiny Tears celebrated her 25th birthday in 1990 (sold in a special anniversary presentation box) she was given a complete makeover, and reverted to the original delicate features. Tonka introduced two new dolls to the range. Timmy Tears, still a favourite today, and advertised as Tiny Tears’ twin brother, had dark hair, a saucy face, and wore a white and navy dungaree suit. He had the same crying and wetting abilities as his twin. The other addition was big sister Katie, who was a triumph, and one of the prettiest dolls on the market at the time. She was dainty, with a sweet face and, at 17″ tall, an inch taller than her siblings. Her outfit consisted of a white-spotted cerise or navy dress, and though she wasn’t a crying doll, she could do something even more clever – she could grow her hair! Around her neck hung a large plastic locket containing a pull cord, which enabled the hair to be wound in or out from her head, and an additional hairpiece was included in her box. Katie was soon discontinued, and is today one of the most sought-after of the Tiny Tears collection. During this period, the who-owned-whom became complicated. A spokes-person, writing in 1998 on behalf of Playmates Toys, a more recent owner of Tiny Tears, states that General Mills was bought out by Tonka and ‘eventually Kenner Parker. The company stayed Kenner Parker up until about 5 years ago (1992), when it was bought out by Hasbro, however the company still remained with the name Kenner Parker, which became a part of […]
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 […]
What is Carnival Glass?
First developed in the early nineteen hundreds, it’s a range of patterned, pressed glass suffused with an iridescent lust re, which reflects the light, making the surface gleam with metallic highlights. It resembles the rainbow effect that you see when oil is spilt in a puddle. This effect was gained by spraying the hot surface of the glass with metallic salt solutions and then re-firing to set the iridescence. Pressed glass products using this method first appeared in the US in 1905. They resembled the high lustre finish achieved by high-class glass manufacturers such as Tiffany on their exquisite hand-blown pieces. It is said that when pressed glass companies began producing iridescent glass, Tiffany sales slumped because customers didn’t like to think that poor folk could now afford to have similar products in their homes!During the 1880s, hand-operated press moulds were developed by the American glasshouses, which enabled them to produce domestic glassware in large quantities much more cheaply than the traditional methods allowed. Unlike hand-blown glass which was time-consuming to make, pressed glass was formed using these moulds. Two moulds were needed. The molten glass was poured into the outer mould, and then the inner mould (or ‘plunger’) was forced in, using great pressure. Sometimes the moulds were in two or more parts, and so a trickle of the molten glass would seep through the gaps. Later, these seam lines would be polished out if they weren’t hidden in the intricate design. At first the products were made from clear glass, but gradually colours were introduced. Even though Carnival glass was initially pressed into moulds it still needed plenty of hand- finishing, because the makers wanted to create an air of individuality. The glassmakers completed their creations in a variety of ways. Sometimes they would very gently draw up the edges of a plate into a fluted shape, thu s creating a bowl. They might even add some rounded feet. Using special tools, they could pinch or crimp edges, or could make ruffles, pleats, frills and scallops. Gorgeous rose bowls and posy bowls could be formed by carefully pinching in the top edges of small basins, while tall vases were elongated by using centrifugal force which had the effect of stretching the malleable glass. Then the top edges could be decorated by crimping. The most commonly-found shade of Carnival glass is marigold, then comes amethyst, blue, green and red (probably the rarest of all.) Other shades do exist, including black, pastel shades, and many varieties of the main colours such as amber, electric blue or sapphire. In addition, some of the colours were coated with white, altering the hues – for example, marigold and white is called peach opalescent. The colour refers to the actua l base colour of the glass, not to the iridescence, and the best way to discover it is to hold the piece to the light. Then the true colour will show.An amazing variety of items were created from Carnival glass, many of which were intended for everyday use, rather than for decoration, so it surprising just how many items have survived over the years in good condition. Rose bowls, plates, ashtrays, hatpins, salad bowls, cream jugs, punch bowls, plates, stemmed dishes, vases and hair tidies were just a few of the items that poured from the factories during the relatively short period that the glass was in production.America was the major producer of Carnival glass, and the first country to produce the glass in commercial quantities. The so-called ‘big five’ companies were Northwood, Fenton, Imperial, Dugan and Millersburg, and they each had their own specialities. In addition there were a few smaller concerns. Other countries which produced the glass included England, Australia, Czechoslovakia, Argentina, Estonia, Finland and Sweden.The glass was originally made to bridge a gap in the market by providing ornamental glass for those who couldn’t afford to buy the fashionable, expensive, iridised handmade glassware. However, by the 1930s, fashions changed as as people began to follow Art Deco trends and the pretty glass became less popular.It wasn’t till much later that it acquired the name, ‘Carnival glass’, as it was thought that when it fell from favour, it was sold off cheaply to fairgrounds and offered as prizes. Whether or not this was true is a moot point. Other names for the glass were Poor man’s Tiffany, Rainbow glass, Aurora glass or Taffeta glass. The enormous range of patterns means that collectors will always be searching for more pieces. It’s calcul ated that well over a thousand different patterns were produced by the American companies, and when you realise that they came in many different colours, shapes and sizes, you can see why a Carnival glass collection can never be complete.Patterns were given names which usually echoed the design, such as leaf and beads, starfish, pineapple and bow, beaded cable, peacock tails, Persian medallion, open rose and fluffy peacock. Flowers, fruits, leaves were especially popular designs – pansies, roses, water-lilies, blackberries, grapes, cherries, oak and vine leaves. Sometimes horses’ heads, dragons, birds, or kittens were featured. Geometric shapes or abstract patterns are found too, and are shown to perfection by the iridescence which catches the light as the piece is turned, emphasising the various facets.Because of the way that the glass is manufactured, no two items are quite the same – if you place two dishes or vases of the same pattern, shape, colour and size from the same manufacturer, side by side, you will notice subtle differences. One may seem more blue than purple, or have a section which gleams gold, or maybe have a pink or green tinge. A single item of carnival glass on display is beautiful – a collection, especially if illuminated by spotlights, or perhaps placed in a north-facing window (away from the danger of the sun’s rays which could trigger a fire), makes a stunning spectacle.The price of carnival glass varies considerably, depending on the manuf acturer, colour, design – and where you buy. Although […]
Hannah Barlow and Doulton Lambeth
When considering the talented designers of the Doulton Lambeth factory, there is one woman whose impressive works cannot go unmentioned. Hannah Barlow was not only one of the most innovative and skilled designers of this famed factory but also a pioneer in her own right due to the fact that she was the ever first female artist to be employed by the South London based Doulton Lambeth Studio. Pictured right: A pair of Hannah Barlow stoneware deer and stag vases impressed marks — 38cm. high. Sold for £2,820 at Christies, London, August 2000. Born into a family of nine children in 1851, Hannah lived in Bishop’s Stortford with her Bank Manager father, Benjamin and his wife. At an early age Hannah already had a talent for drawing and would take walks in the surrounding countryside to sketch the plant and animal life that resided there. This interest in nature was something which would stay with Hannah throughout her life and became the subject matter that was so prolific in all of her future works. Realising her talent for art, in 1868 Hannah enrolled in the Lambeth School of Art to progress this skill. It was a few years later in 1871, that, along with other fellow students, Hannah began to work for the local Doulton Lambeth pottery which had recently diversified from producing industrial ceramics to more elaborate art pottery and decorative wares. Great artists such as George Tinworth, Frank Butler and Hannah Barlow would skilfully decorate the salt-glazed brown stoneware vessels that Doulton were now creating and were allowed to choose the type of decoration themselves and what shape of vessel to apply this design to. Although Hannah was to be the first female designer employed by Doulton she was not the only talented artist in her family to join the British factory. Both her brother Arthur and sister Florence also possessed an artistic flare and attended the Lambeth School of Art, before joining their sister, and furthering their careers by working alongside her for the Doulton pottery. The two sisters, Hannah and Florence, both shared a love of nature, so it was agreed early on in their working careers, that Hannah would concentrate on designs inspired by animals whilst her sister indulged her passion for flowers and produce floral designs. Pictured left: Hannah Barlow for Doulton Lambeth – A Pair of Salt-glazed Vases, circa 1895 each vase incised with three bulls and two horses grazing within a rugged country landscape 28.5cm high, with impressed Doulton Lambeth mark and incised artist’s monogram. Sold for £1,062 at Bonhams, London, April 2014. Both were extremely talented artists and their work was very realistic. Each would initially sketch a design then using the technique of Sgraffito (incising) they would apply the design into the wet clay of a vessel before it was fired. Every piece that was produced by the artists at the Doulton studio was hand-decorated, thus ensuring that each item was unique in design, technique and decoration. Hannah excelled at creating illustrations of animals with some of her favourite subjects being British farm animals such as sheep, horses and pigs. Many examples of her work have sold for respectable prices at salerooms all over the world; her works of art are highly sought after by collectors. Recently a shallow bowl dating to 1883 sold at Bonhams Saleroom for £2,300. Artistically incised with pigs and hens this piece is synonymous with Hannah Barlow and as such, commands a price that is expected for this female designer’s work. Another example, also sold at Bonhams. were an outstanding pair of early vases dating to 1873. These twin handled vessels were incised with six Trojan Style horses which showed them cantering and galloping across fields. An unusual example, this vase sold for a staggering hammer price of £4,800. Pictured right: Hannah Barlow for Doulton Lambeth – An Early Salt-Glaze Jug with Horse, 1874 incised with a horse portrait and stylised leaf decoration 25.5cm high, with impressed Doulton Lambeth mark and incised artist monogram Sold for £325 at Bonhams, London, April 2014. Aside from the more common domestic farm animals, Hannah was inspired by many different living creatures. Her work was often embellished with countryside inhabitants such as rabbits and foxes, but she also liked to draw and incise more exotic animal motifs such as lions and kangaroos. This Australian inhabitant first appeared in 1878 on a tea service and proved popular so Hannah continued to apply this motif to all sorts of other various shaped vessels. It is said that Hannah was possibly inspired to sketch and decorate pieces with kangaroos because of the preparations for the Sydney International Exhibition which took place in 1879. Wherever Hannah gained her inspiration, her skill became evident when she would expertly sketch a scene that almost came alive when applied to the various vases, dishes and jardinières that she worked on. Hannah’s talent for drawing, combined with her skilled eye for design ensured that each piece created was not only a stunning ceramic work of art but also a living window into the animal kingdom. Her work was worthy of a place on the wall in an art gallery. Pictured left: Hannah Barlow (Fl.1871-1913) & Florence Barlow (Fl.1873-1909) Pair Of Vases, Circa 1890 stoneware, hand decorated, incised with rabbits, and pâte-sur-pâte painted birds, impressed Doulton Lambeth, incised artist’s monograms, numbers 443 & 742, assistants marks 7¾ in. (19.7 cm.) high. Sold for £4,375 at Christies, London, September 2009. Hannah was prolific in her work during the forty years that she was employed by the British Doulton Studio, and was responsible for creating some of the most innovative and finest designs in stoneware. An accomplished artist, not only is she remembered as one of the most celebrated designers of the 19th Century but also as a pioneering female ceramicist whose work will hopefully continue to command the prices that are so deserving. Fact File Doulton & Co was founded in 1815. In 1871 Henry Doulton set up the Lambeth Studio in South London Hannah Barlow indulged her passion for animals by […]
Collecting Affordable Designer
I don’t really class myself as a Designer Diva, however, I do always seem to pick the most expensive item in the shop or fall in love with the out of reach prices for items in magazines. So the easiest way for me to work around this little problem is to buy items that have a good designer name behind them yet are more affordable for my pocket and in turn have the potential to become highly collectable. I suppose it all started some years ago in a department store. I often craved high end clothes and accessories and often returned home disappointed but one day I discovered Christian Dior limited edition make up compacts. More than affordable with a price tag of £30-£45 they ticked all the right collecting boxes as only a limited number are produced and each is an unusual design. Now, I frantically try and buy each one as it hits the stores, sometimes this is difficult as they sell out quickly but after some ringing around I can generally find one in a different store. Top Tip: Make friends with the representative on the Christian Dior make up counter as they know when the compacts are being released and can advise you what day you need to be in the store. Once I had discovered that leading designer names also produced more affordable items there was no stopping me. I now ensure I find out what is being released and when, so that I stand a chance of buying them. Obviously sometimes I loose out and have to pay over the odds for items on internet auctions. A prime example of this is the red ladies Mulberry handbags produced for the high street store Gap. Usually a Mulberry bag would set you back hundreds of pounds, yet this high end designer created a couple of limited edition ones in red jersey fabric for the store. Retailing at £95 women desperately clambered to own one and now they sell in the region of £200 on internet auctions with the newest released in 2008 being the ‘Bayswater.’ Unfortunately I missed the boat on these when they were released and haven’t been lucky enough to get my hands on one yet but I plan to the minute I have the funds.Another example of affordable designer bags was in 2007 when Anya Hindmarch released her ‘I’m Not a Plastic Bag’ for just £5. Seen on the arms of many a celebrity originally they were re-selling for as much as £400 although now a realistic price is £90-£100. I did queue from 5am outside a supermarket to get one and am really pleased I made the effort as this canvas bag is a already highly sought after and is set to increase in value. Top Tip: Join all the fashion websites newsletters as these let you know ahead of time what they are releasing – giving you the edge on what is coming out to buy. If trawling the internet and reading all the glossy fashion magazines isn’t your idea of sourcing items then don’t despair as you might be lucky enough to have a TK Maxx store in your local hi gh street. The shelves and rails hold a treasure trove of designer items at a fraction of the original retail price. I have had many bargains over the years from ceramics to glass and clothing to handbags. My most prized buy being a genuine Emilio Pucci handbag. I couldn’t believe my eyes when my friend and fellow writer, Vicky Hooper and I were cutting through the store a couple of summers ago. There on the shelf were loads of different Pucci print handbags. I grabbed the one I loved and happily handed over the £99 asking price as this bag would have cost me £300 plus if bought from a Pucci boutique or one of the concessions in the top London department stores. Top Tip: Always rummage through the China and glass in TK Maxx. I have purchased Murano and Ettore Sottsass glass vases, Marimekko china and little collectable ornaments by Jim Shore for a fraction of the price they should sell for. Another item which I own bought from TK Maxx is a glass Versace bottle stopper. Although Versace are better known for their clothing lines they have also produced ceramic tableware as well as glasses, ashtrays and other decorative items. Most carry the Versace logo of the Medusa head and this wonderful bottle stopper emphasises the head fantastically well. A snip at £15, if I had bought this in Italy or from one of the Versace outlets it would have cost me around £75. Many of you know I also have a bit of a shoe fetish but sadly my funds don’t always stretch to a new pair so when I stumbled across the Manolo Blahnik shoe horn I couldn’t resist it. Released a couple of years ago as a limited edition in Habitat stores across the country this stainless steel shoe horn had to be purchased. It resembles an elegant stiletto heeled shoe and cost just £35. It satisfied my appetite for buying a pair of designer Blahnik shoes yet also has become highly desirable with both collectors and those passionate about fashion.Collecting affordable designer is one of my most favourite passions. It gives me a great deal of satisfaction to know that I have managed to obtain something that has huge collectable potential but also didn’t cost the earth. In fact some of these items are likely to increase much faster than conventional collectables as the demand outstrips the supply.So just make sure that next time you are out in your local high street you pay attention to the designer names and take a closer look at what is on offer. I guarantee that if you track down an affordable designer offering it will more than satisfy your collecting tastebuds. Other Things to Consider 1. Designer and Celebrity Perfumes, the more innovative the […]
World Cup Collectables 2014
With the World Cup now under way we thought we would have a look at some of the official and unofficial collectables and memorabilia available to collect and buy. The Official FIFA Store There are quite a few interesting items here. The World Cup mascots are always fun and especially nice are the range of Limited Edition prints available. There are about 20 prints available, including prints for each host and of interest to collectors will be the Romero Britto prints. Robert Harrop Designs To celebrate the World Cup in Brazil, Robert Harrop has produced 10 special Bull Terrier footballers. The England and Brazil editions are both timed and feature Red Bull Terriers. The remaining eight are all modelled using White Bull Terriers: Germany, France, Argentina, Spain, Netherlands, Italy, USA and Australia. Coca-Cola World Cup Brazil 2014 The Coca-Cola Company has had a long-standing relationship with FIFA since 1974 and has been an official sponsor of the FIFA World Cup™ since 1978. Coca-Cola has had stadium advertising at every FIFA World Cup™ since 1950. Brazil 2014 sees one of their largest campaigns ever. Look out for special bottles, cans, and promotions which will vary from country to country. Betty Boop Something different with these Betty Boop footballer figurines. There are six different posed figures. Header, On My Knee, Striker, Goalie, Free Kick and Star Player. Panini Stickers and Panini Heritage Collection Football stickers form part of every World Cup. When I was first collected you had to lick the backs to stick them in (my first was Argentina 78). Panini have a section called Panini Heritage which includes framed prints and tee-shirts featuring the covers of all the previous World Cup sticker albums. Swarovski Silver Crystal Swarovksi’s latest limited edition Soccer Champion Mo has a World Cup feel. She is very colourful with a yellow head, green body and clear horns and bell. A football hitting the target decorate her body. All very much giving a Brazilian theme.
The Cube Teapot
The Cube Teapot was a combination of modern design, successful advertising and British innovation. This made the Patent Cube Teapot a revolution of its day. Now it is a rare and stylish collectable item that conjures up images of the times when “everything stopped for tea”. The Cube Teapot was a quest to find the “Perfect Teapot”, one that did not drip tea when poured and was easily stored away when not used without the worry of the spout being chipped. Many companies had tried to create this perfect item but rather than change the whole design they had just concentrated on one of the defects. It was only when the Cube Teapot came onto the market that the all the problems were solved. The entrepreneur Robert Crawford Johnson was responsible for the design of this revolutionary new teapot and registered “Cube Teapots Ltd” in 1917. He perfected the sought after design, one that did not drip, poured easily and was chip resistant, together with easy stacking for storage. With no spout or projecting handle the cube teapot looked exactly as it sounds – a cube. Even though it was registered in 1917 the first teapot was not actually put in to production until 1920 and it claimed to be the climax in teapot construction. The first company to produce this teapot in earthenware was “Arthur Wood” of Stoke-on-Trent. But by the mid twenties this company was not the only one to make the cube and there were variations on cubic designs by other companies who were not all producing under licence. As with any successful innovative idea there are always rivals and copies, and Johnson sought on different occasions to take legal advice although he was unable to take any actual action against his rivals. James Sadler and Sons as we know today are specialists in novelty teapot designs had produced many ranges of teapots such as the “Nesta” range which were popular with the restaurant trade as they stacked neatly on top of each other, another of their designs was the “Handy Hexagon” an almost identical design to Johnson’s cube. Johnson aware that the problem needed to be tackled decided that the only course of action was a strategic marketing plan. In 1925 he formed “CUBE Teapots Co., Ltd” and embarked on the marketing and distribution of the cube teapot and similar tea ware. Percy Aspinall was one of the directors and emphasised in his campaigns that the original article was far more appealing than any imitation. A huge marketing campaign was launched to help retailers sell the product, it included colourful showcards and booklets but the most exciting was a moving display in the window of the Leicester Showrooms of a lady perfectly pouring from the cube. This campaign was a huge success with anyone who is anyone wanting a cube teapot and the companies producing under licence increased to include big names such as Wedgwood & Co Ltd and T.G. Green & Co. Ltd. There had been a continual growth of tearooms in Britain, a place where ladies could acquire refreshment in a public place. Lyons Corner Houses are probably one of the most well known and the country’s largest and with such an expanding tea business the cube teapot was exactly what the industry had been waiting for. The Cube not just popular in cafes and restaurants became used at sea on the Transatlantic Ocean Liners. This is the epiphany of the twenties to me, drinking tea out of a teapot whilst cruising the oceans at a time where transatlantic travel was the only way to go! The Cunard Line was one of the companies using the tea ware although other vessels that were not Transatlantic Liners used it on board as well. Probably the biggest contract for the teapot was when Cunard wanted the Cube supplied on its greatest liner Queen Mary. Used by all from First Class downwards it was a daily occurrence to see people sipping their morning tea having been poured from the Cube Teapot. Because it was only the shape of the teapot that was patented potteries could decorate it how they pleased. There are many differently decorated pots, my favourite being the bold bright colours of T.G. Green but variations on decoration go from one extreme to the other. The most commonly found Cube teapots today are the simple plain white ones, or the Ivory Banded Cubes used on the Queen Mary and Queen Elizabeth which were supplied by Brain’s Foley China. Unusual decoration such as the “Shagreen” effect again by Foley or the Grimwades earthenware models are a lot harder to find on the secondary market, recently a plain Grimwades model sold for £40. As with all good things they have to come to an end and the demise of the Cube was in the early 1950s when other modern teapot designs became popular. I believe that the key to its success was definitely the high volume of self-promotion. It was also a modernist design at a time when change was accepted and welcomed with opened arms. I am always on the look out for affordable and unusual collectables and the Cube teapot definitely sits in that bracket. Although a good mint condition one is hard to find I think the hunt would certainly be worth the effort because image how you could impress any guest that might pop in on the off chance for afternoon tea! THE CUBE TEAPOT FACTS. DID YOU KNOW? · Minton’s supplied Cunard Liners Mauretania and Aquitania · Myott and S. Fielding & Co. Ltd supplied the QE2 · T.G. Green famously known today with collectors for Cornish Ware produced the Cube palette and cup. · Foley China Works supplied bone china Cube Teapots to both Queen Mary and QE2. · George Clews and Co. Ltd produced stoneware Cube sets for the state rooms on board Queen Mary. · It was said that the cube was the largest sale of any patent teapot […]
Batman Begins Merchandise and Collectables
Batman Begins is the latest is the Batman series of movie. “Christopher Nolan’s Batman Begins explores the origins of the Batman legend and the Dark Knight’s emergence as a force for good in Gotham. In the wake of his parents’ murder, disillusioned industrial heir Bruce Wayne (Christian Bale) travels the world seeking the means to fight injustice and turn fear against those who prey on the fearful.” Pictured The US Batman Begins poster. “He returns to Gotham and unveils his alter-ego: Batman, a masked crusader who uses his strength, intellect and an array of high tech deceptions to fight the sinister forces that threaten the city.” Pictured Batman Begins 13-inch Deluxe Collector Figure – a striking depiction of Christian Bale as Batman in Batman Begins. This 13-inch figure includes an authentically detailed fabric costume, an alternate set of hands, a grappling gun, Batarangs, and a stand to display the figure. This collector figure also features a full-Color Certificate of Authenticity. Packaged in a deluxe 4-color window box. DC Direct, DC Comics’ toy and collectibles brand, unveiled its line of Batman Begins authentic movie collectibles at the 2005 American International Toy Fair. Pictured right: Batman Begins Batmobile Replica – limited edition Batmobile from Batman Begins is a magnificent recreation of the mythic automobile. This hand-painted cold-cast porcelain replica measures approximately 4.25″ high x 6.5″ wide x 10″ deep, includes a full-color Certificate of Authenticity, and is packaged in an elegant gift box with foil stamping. It is sculpted directly from the actual 3D designs for the Batmobile in Batman Begins. Please note this is a collectible, not a toy. Limited edition of 2600. The line includes several Batman Statues, a Batman Bust, a Batman 13″ deluxe figure, Ra’s Al Ghul and Scarecrow Mini-Statues, a Batmobile Replica, and a Batarang Prop Replica. Pictured left: Christian Bale as BATMAN Statue from Batman Begins – a limited edition collectible statue is a striking replica of Christian Bale as Batman from Batman Begins. This limited edition, hand-painted cold-cast porcelain statue measures approximately 14″ tall x 8″ wide x 8.5″ deep, includes a full-color Certificate of Authenticity and is packaged in a 4-color box. Limited edition of 2500 The line is being introduced throughout the Summer. Pictured right: BATMAN on Rooftop Statue from Batman Begins – Batman, Guardian of Gotham City, stands watch and is ready to leap into danger at any given moment. This limited edition, hand-painted cold-cast porcelain statue measures approximately 7″ tall x 4″ wide x 4″ deep, includes a full-color Certificate of Authenticity and is packaged in a 4-color box. Limited edition of 3500. The range costs from $30 to $300. Pictured left: this Batarang prop replica from Batman Begins is an authentic life-sized movie replica. This limited edition, hand-painted cold-cast porcelain replica measures approximately 2″ high x 11.5″ wide x 5.75″ deep, includes a full-color Certificate of Authenticity and is packaged in an elegant black gift box with foil stamping. Limited edition of 1,500. Other collectibles in the line include Christian Bale as Batman Bust, Christian Bales as Batman mini-statue, Dr. Crane/Scarecrow Mini-Statue and Ra’s Al Ghul Mini-Statue. Pictured right: BATMAN in Flight Statue from Batman Begins – Suspended in mid-air, the Caped Crusader cascades into the shadowy streets of Gotham city to unleash his vengeance against evildoers. This limited edition, hand-painted cold-cast porcelain statue measures approximately 11″ high x 8.5″ wide x 5.5″ deep, includes a full-color Certificate of Authenticity and is packaged in a 4-color box. Limited edition of 4000 pieces.
Keith Murray – Design for Life
Everything about our lives is influenced by design, whether it is the offices that we work in or the clothes that we wear – someone, somewhere has taken a vision and made it reality. Design appears in all industries from fashion to architecture and art to furniture but one of the most affluent areas of contemporary design has to be that of Ceramics. Pictured right: Keith Murray for Wedgwood: a green glazed bomb shape vase, 20cm. Sold for £125 at Bonhams, Oxford, 2012. The Art Deco period erupted in an explosion of colour and geometric shapes with female designers such as Clarice Cliff and Susie Cooper at the helm, but there was one man, so ahead of his time, that although his pieces were created in the 1930s they sit just as well in any display cabinet today. Keith Murray’s simplistic modernist designs are not only sought after but are proof that the Art Deco period was responsible for some of the most innovative designs of our time. Pictured left: Keith Murray at work Born Keith Day Pearce Murray in Auckland, New Zealand on 5th July 1892, he originally trained as an architect in London. However, after qualifying he found it difficult to obtain work so instead started to sketch illustrations for an architectural magazine. It was on his travels sketching buildings that he visited Paris and discovered the beautiful French and Scandinavian glass. Realising that he too, could produce designs for glass he approached Arthur Marriott Powell of the Whitefriars Glass factory in London with his ideas. Unfortunately Powell didn’t find them suitable for the factory and so couldn’t offer Murray work. Refusing to give up he landed himself a freelance position with ‘Stevens and Willams’ at Royal Brierley Crystal where he produced over 1200 stunning designs in glass between 1932 and 1939 with Cactus being his most recognised design. Although Murray was a highly accomplished glass designer, it is his designs in ceramics that command high prices today and are eagerly collected. Pictured right: Keith Murray A Wedgwood cream glazed vase – sold for £470 (inc premium) and a Keith Murray A Wedgwood moonstone vase – sold for £352 (inc premium) at Bonhams, Edinburgh, 2006. Murray’s ceramics career started when Josiah Wedgwood invited him to visit the Wedgwood Factory. He was then employed to produce designs for dinner and teaware. It is here that Murray’s famous ribbing designs began to form and today these early pieces can fetch unbelievable prices on the secondary market. The first range that Murray worked on was titled ‘Annular’, and working alongside Tom Wedgwood he helped finalise this range. Murray then took his inspiration from the Annular range to produce other pieces, which included vases and bowls. Murray’s work was also heavily influenced by his architectural background; rather than heavily decorated pieces like Clarice Cliff and Susie Cooper each piece was stylised, so visually more distinctive by shape and form. The technique used was very simple; the throwers created the basic shape and then lathe-turned the item to create the ribbing. This was a technique that Wedgwood had used in the 19th Century and it worked well on Murray’s more modernist designs. Once a piece had been made it was then decorated in high quality monochrome glazes, which were originally created by Norman Wilson when he joined Wedgwood in 1927. The glaze finish was another distinctive feature of Murray’s work because each piece was matt, semi-matt or celadon and not the usual high gloss glazes that you see on earthenware pieces today. Colours ranged from matt green to moonstone and there are even black pieces available on the market, these being extremely desirable as they are rarer than the other colours. Pictured left: Keith Murray, Football Vase. Image Copyright Bonhams. The most collected of Murray’s designs from this period are the clean, crisp engine –turned fluted vases (1930), they fetch around £500- £800 on the secondary market. A Bulbous ribbed vase (1932) can realise £800 to £900 and a matt green desk (1932) set would set you back in the region of £1,000 to £1,500. Although the prices are starting to hit the same dizzy heights as Clarice Cliff’s designs you can still pick up good examples at reasonable prices. A small matt green sweet dish (1932) would only cost around £40-£50 and the same for a cup and saucer. If you decided to collect Murray’s work you will soon realise that it is easily recognisable as it stands out from any other piece from this period. Early pieces always bear Keith Murray’s signature above the Wedgwood mark and this was used from 1933 onwards. On smaller pieces it was difficult to use the full Murray signature so the letters “KM” were used instead. Murray’s designs proved a sensational hit so in 1933 he exhibited his work at the John Lewis Store in London. His work was beginning to show in Wedgwood’s annual turnover so he was then asked to diversify and produce some decorative tableware patterns. Murray agreed, although he did not like the intricate patterns that he had to produce, as he was a designer to the core and preferred to work with shapes rather than paint patterns. The tableware patterns that he designed are not as sought after by collectors but they may well be in the future so look for patterns such as ‘Weeping Willow’ and ‘Pink Flower’ because not only are they more affordable, they could raise in value in years to come. Murray continued to design in earthenware and glass but in 1934 the Royal Silversmiths Mappin and Webb approached him and asked if he could produce bowls and vases in silver working to the same designs as his Wedgwood pieces. One of his most successful Wedgwood items was a beer mug and this was reproduced in silver for Mappin and Webb. By 1936 The Royal Society of Arts had awarded Murray as a Royal Designer for the Industry because of his professional achievements and he even went on to […]