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Collecting News

Welcome to WCN Collecting News! Here we’ll be sharing the latest news and information from the world of collectables and collectibles. Whether you’re a collector yourself or just interested in the hobby, we hope you’ll find something of interest here. We’ll be covering everything from new releases and retirements to reviews of collecting companies. So check back often for all the latest collecting news! Thanks for reading!

Maelstrom the Breyer 2022 Halloween Horse

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Breyer Halloween Horses 2022 Maelstrom and Tabitha

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Little People Masters of the Universe set from Mattel Creations

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MEGA Masters of the Universe Snake Mountain from Mattel Creations

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Vera Wang Doll added to Barbie Tribute Collection

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lladro star wars Ahsoka Tano figure sculpted by Eva Maria Cuerva

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Lladro Ahsoka Tano from Star Wars

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CORGI Harry Potter Hagrid Motorcycle and Sidecar

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Madsaki Pop Art Skeletor from Mattel Creations

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Firkin Hell from Harmony Kingdom

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Jasmine from Aladdin announced as the latest Swarovski Disney Annual Princess

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Retro Royal Rumble Figures from Mattel

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Random Collecting Feature

Voyage to the Bottom of the Sea Collectibles

Voyage to the Bottom of the Sea a cult classic and we take a look at some of the Voyage to the Bottom of the Sea collectibles, Voyage to the Bottom of the Sea merchandise and Voyage to the Bottom of the Sea toys that have appeared over the years. We also look at some auction results and some guide prices. Voyage to the Bottom of the Sea first appeared as a film from 1961 that tells the story of the crew of the submarine Seaview as they battle against a giant sea monster. It later appeared as a cult classic TV series that aired in the 1960s (running from 1964-1968). The show followed the adventures of the crew of the submarine USS Seaview as they battled villains and explored the depths of the oceans. The Voyage to the Bottom of the Sea toys and merchandise that have been released over the years are highly sought after by collectors. Some of the most popular Voyage to the Bottom of the Sea collectibles include the Voyage to the Bottom of the Sea action figures released by Mattel in 1964. These Voyage to the Bottom of the Sea toys are highly detailed and feature articulated limbs, making them a favorite among collectors. Over the years, there have been various Voyage to the Bottom of the Sea collectibles, toys and merchandise items produced. These include action figures, model kits, lunch boxes, t-shirts, comics and more. Other popular Voyage to the Bottom of the Sea collectibles include Irwin Allen’s Voyage to the Bottom of the Sea trading cards, which were released in 1964. These cards feature photos and information about the Voyage to the Bottom of the Sea tv show and movie. These appear to be quite rare in sets and high graded cards are available for upwards of $10 each card. There were 66 cards in the set. A set of 66 in good condition is estimated at $350-$500. Some of the more popular Voyage to the Bottom of the Sea collectibles include the Mego action figures which were produced in the 1970s. These are highly sought after by collectors and can fetch high prices at auction. Gold Key created a series of 16 Voyage to the Bottom of the Sea comics from 1964 to 1968. Gold Key Comics was known for their adaptions of popular television shows and movies, and Voyage to the Bottom of the Sea was no exception. The comics were written by a variety of different writers and artists, giving each issue its own unique feel. The TV Series Voyage to the Bottom of the Sea is a 1960s American science fiction television series Voyage to the Bottom of the Sea TV Series created and produced by Irwin Allen. The show starred Richard Basehart and David Hedison. Voyage to the Bottom of the Sea was originally broadcast on ABC from September 14, 1964, to March 31, 1968. During its run, it was one of the most popular shows on American television. It was cancelled after its fourth season due to low ratings. However, it remains a cult classic and has been syndicated in many countries since its original run. Voyage to the Bottom of the Sea was inspired by the success of Allen’s film The Lost World (1960). Voyage to the Bottom of the Sea’s premise is similar to that of Jules Verne’s 20,000 Leagues Under the Sea. In Voyage to the Bottom of the Sea, however, rather than a submarine Voyage to the Bottom of the Sea’s protagonists use a state-of-the-art nuclear submarine, the Seaview, to investigate strange occurrences and fight evil forces. Voyage to the Bottom of the Sea was also notable for its time for being one of the first television series to be shot in color. Voyage to the Bottom of the Sea’s theme song, “The Voyage”, was composed by Voyage to the Bottom of the Sea’s musical director, Leonard Rosenman. Voyage to the Bottom of the Sea’s opening credits sequence featured footage from Allen’s film Voyage to the Prehistoric Planet (1965). What to collect? If you are thinking of starting a Voyage to the Bottom of the Sea collection, then there are a few things you should consider. First of all, you need to decide what items you want to collect. There is a wide range of Voyage to the Bottom of the Sea collectibles available, so it is important to narrow down your focus. Once you have decided on the type of Voyage to the Bottom of the Sea collectibles you want to collect, you need to do some research. This will help you to find out what items are available and how much they are worth. Collecting Voyage to the Bottom of the Sea collectibles can be a fun and rewarding hobby. It is important to remember, however, that these items can be valuable investments. So, it is important to do your research before you start buying Voyage to the Bottom of the Sea collectibles. Related The Time Tunnel Collectibles
Bécherel The City of Books

Bécherel The City of Books. One of the highlights to a recent trip to Brittany was a visit to Bécherel The City of Books also the Village of Books. Being a collector of first editions, antiquarian and children’s books it was exciting to visit the 15 or so bookshops all within a short walk of each other. Located northwest of Rennes, Bécherel officially became a Book Town in 1989 when the first Fête du Livre was held; it is now an annual event, which takes place at Easter and is complemented by a series of events throughout the year including a reading festival in October. Sadly my visit did not coincide with an event or the book market that takes place on the first Sunday of every month. The tourist information office (Maison du livre et du tourisme) has an excellent map of the village detailing the places of interest and most importantly the bookshops and their book subjects and specialities. Each shop has their own appeal and character. Most are in old shops and houses with many rooms and winding corridors. The village is full of character and every bookshop and related shops are within a couple of minutes walk, with some next door to each other. So what was I looking for as being a French town the majority of books are in French. There were small collections of English books in the shops but I was looking for Asterix, French comics and vintage French Agathie Christie books which have fantastic covers. The Librarie Abraxas and Pochoteque Abraxas has over 125,000 books including sections on literature, sci fi, manga, thrillers, children’s books, science and humanities. I also found a great selection of Asterix and French comics at Le Donjon, and a great selection of Agathie Christie and The Saint (Le Saint) books at Les Perseides (which also has a small cafe). The only problem I had was not having enough time to do fully explore every bookshop. You could happily spend a couple of days in Becherel. If you love books and are in the region Becherel The City of Books is a must.
Charlot Byj

Charlot Byj (pronounced by or bye or buy) joined the Goebel Company in the late 1940’s after Franz Goebel noticed some of her artwork while on a visit to New Your City where she was living at the time. Miss Byj soon began designing the little redheaded figurines that are so collectable today today. Pictured left: Charlot Byj Goebel Plaque. The first figurine was copyrighted in 1957 with the figurine known as “Strike” featuring a little redheaded boy bowling. Pictured right: Strike. The series ended production in 1988 with the last collectible figurine being numbered Byj 109 – “A Special Friend”. Pictured left: A Special Friend. The last number in the series was Byj 110 – “Communion” but this figurine was produced in prototype form only with a total of four pieces being produced. The series includes redheaded children as well as quite a few blonde children. Some were extremely popular and were also produced as brunettes. Black children were included in the series although their numbers are quite small. The redheads were always mischievous while the blondes were more serene or religious in appearance. Pictured right: Little Prayers are Best figurine. A new book featuring Miss Byj’s works is to be available in December or early January 2001. Rocky Rockholt is the author – the book being published and distributed by Schiffer Publishing Ltd. Pictured left: Print of Bless Us All. The book will include full color photographs of all the figurines as well as Christmas plates and ornaments. The book also deals with the collectibility of the series created by Miss Byj, her wonderful prints, dolls, detailed description of all items, pricing history and a collectors value price guide. Pictured right: Bless Us All figurine. The book will retail for $19.95 or may be purchased from the author for $23.15 each delivered by priority mail to customers in the USA and slightly higher to customers outside the USA. The World Collectors Net Hummel & Goebel information pages.
Introducing The Most Iconic Vintage Jewellery Eras of All Time

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

We are not the only ones who celebrate Christmas – dolls do, too! Often, manufacturers issue their regular lines festively dressed in Christmas colours of red and green, or maybe silver, gold or white. They trim the costumes with white ‘fur’, tinsel, glitter or sparkly sequins – anything to make the doll look more Christmassy. Sometimes a Christmas special is dressed as a fairy, Santa or a character from a pantomime or fairy tale. Usually these dolls are made in limited numbers and, because they are sold for such a short period, eventually become very collectable. Teen dolls are often issued as Christmas Specials, such as the delightful Festive Sindy issued by Hasbro in 1997. She was dressed in a gold-flecked red gown with white fur trim, her hair covered by a fur-edged hood. More recently, Vivid Imaginations produced a Christmas Sindy, only available through Argos. Sindy was dressed in a short red Santa-style mini-dress, worn with a cap and cape, all edged in white fur. This doll is sure to become a future collectable. Barbie features in the ‘Happy Holidays’ collection which began in 1988, in a variety of gowns such as the full-skirted black & silver velvet ballgown worn with a dramatic cerise satin stole, dating from 1998. Her fabulous gowns use luxury fabrics in shades of green, scarlet, gold or white. The smaller dolls in the Barbie range, such as Maura, also often appear in festive mood. A couple of years ago, Maura was dressed as Winter in a pretty white and ice-blue dress scattered with snowflakes, and sporting a fetching pair of teddy earmuffs. Occasionally, dolls are issued in Christmas play sets. A few years ago the enchanting Madeline dolls, based on a character originally created by Ludwig Bemelmans in the 1930s, included a festive set in their range. Madeline is a pupil at a Parisienne school run by nuns, and dolls representing her and her friends were made by Eden in the 1990s, but have now been taken over by Learning Curve. The Madeline Christmas Gift set comprised a seven and a half inch tall doll wearing a santa-type outfit of a red dress edged with white fur and a matching hat, white lacy socks and black shoes. She had a felt Christmas tree and a tartan stocking. Learning Curve introduced large Holiday Madelines – soft cloth dolls dressed in red or green Christmas outfits. The German company, Zapf, makers of Baby Born, Annabell and Chou Chou, produce Christmas outfits for their dolls each year. Recent BabyBorn festive get-ups have included a dark red velour dress worn over Christmas-patterned tights, finished off with a jaunty, star-trimmed velour hat, a red long-sleeved dress with a matching flower-trimmed head band, and an unusual white and blue creation. A Christmas play set was also amongst the recently-discontinued Zapf Baby Born Miniworld series of dolls. This tiny baby doll, just four and a half inches tall, was dressed in a sweet red fleecy outfit and white bib embroidered with a Christmas motif. She wa s seated on a soft red beanbag with her teddy, beside a Christmas tree, and her box was designed to look like a festively-decorated nursery. Until recently, Zapf made excellent designer dolls, and amongst them was Rolanda Heimer’s Siggi, a nineteen inch tall baby with blonde hair. He was dressed in fleecy red hooded jacket with a knitted clown motif, and beige cord trousers. He came with a cd of Christmas carols. Anne Geddes ‘Baby Santa’ was issued a few years ago and is now quite difficult to find. Anne is famous for her photographs of babies dressed as animals, flowers and insects and a whole range of dolls based on the photos were made by Unimax, including rabbits, bears, butterflies and sunflowers. Baby Santa is a smiling, slightly podgy baby doll wearing a red Santa outfit. The box bears photographs of the real babies on which the doll was modelled. Woolworths often produce dolls in Christmas themed outfits, recently they were selling Christmas Holly, under their Chad Valley label, a sweet-faced sixteen inch baby dressed in a red dress, Santa hat, green bag and with adorable crocheted red shoes. Cabbage Patch Kids have featured in several Christmas issues over the years, including a 1990s Special Edition set of Holiday Babies by Mattel. Dressed in various outfits, such as a red needlecord dress trimmed with lace, a delightful white satin dress with a net overlay sprinkled with gold stars, or green corduroy shorts and a red tartan waistcoat, these are an excellent addition to a festive collection. Mattel also produced Christmas Cabbage Patch dolls in their Garden Fairies series, including some Wal-Mart exclusives. Poinsettia, Winter Holly and Winter Lily were obtainable in the UK, but the Wal-Mart versions were sold in the US, so aren’t often seen in Britain. These sweet dolls are ‘Holiday Scented’! Soft dolls by companies such as Ty and JellyCat are often found, and many stores and supermarkets sell Christmas specials, such as the cloth dolls sometimes sold by Tesco at Christmas. Ty’s Beanie-Boppers, with names such as Jolly Janie, Holiday Heidi, Merry Margaret and Christmas Carol, wear festive outfits. Carol has a green long-pile jacket over a gold-spotted red velour mini-dress trimmed with long-pile ‘fur’ and thigh-length boots. Her blonde hair is crimped and curled, and she has a Santa hat to match her dress. A similar range are the smiley eight inch character dolls from Jellycat, such as Princess Icecapade, obviously ready for the winter freeze with her ice-skates, and Holly Blooming Babe (wearing a holly-leaf skirt with a red berry belt). Toys ‘R’ Us have featured Christmas specials in their line of eleven and a half inch Jessica teen dolls. She has appeared in a long red gown with gold panels and a white fur cape, or a sophisticated white satin dress with a black bodice and stole. Vivid Imaginations have produced Holiday Bratz dolls, in both large and the ‘Baby Bratz’ versions, dressed in beautiful, frothy […]
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 […]
Frozen Toys & Collectables

When a Disney Movie comes out that becomes extremely popular, like Frozen has, there are bound to be massive amounts of toys, collectables and memorabilia that get launched, and this is certainly the case with this feature movie, Frozen. Pictured: Elsa Figurine, Enesco Grand Jester Studios Collection Frozen is an animated Movie, by Disney that follows the tale of a princess (Anna) and her friends who go on a quest to rescue her sister in a kingdom that has been cursed in perpetual winter. Anna’s voice is played by Kirsten Bell. It instantly became hugely popular and is seen as one of the best movies of 2013, and one of the best animated movies of all time. Pictured: Anna Figurine, Enesco Grand Jester Studios Collection As Frozen is aimed at children, there are many official frozen toys on the market, some of these include: There are a wide variety of Dolls and figurines from the Frozen movie. All your favorite characters such as Anna, Elsa and Olaf are available in different outfits and with different props. You can get complete story sets which include all of the main characters to allow you to create your own Frozen adventure. There are also many props available such as castle playsets, talking dolls, dresses, sleighs and much more for using with your dolls. Pictured: Disney Frozen Elsa the Snow Queen with Swarovski Crystals: Let It Go Figurine by The Hamilton Collection Different types of costumes and dress up props from the movie such as Elsa’s snow wand, tea sets, hair stylers, nail polish, jewelry like Elsa’s and Anna’s jewelry, purses, vanity play sets, lip balm, Tiara’s like worn by Anna, sparkle make up, back packs, bracelets and different kinds of Dresses in the styles that main characters donned in the movie. Pictured: Jim Shore Disney Traditions Frozen Elsa and Anna Arts and craft supplies such as play-doh, activity books, coloring sets, and sticker kits, paint brushes, activity tubes, easels, window markers, rolling art desks, table easels, art cases, drawing mats, and Frozen doodle etch a sketches. Pictured: Frozen The Warmth of Love Giclée on Canvas by Jim Salvati – Sisters Elsa and Anna share a tender embrace as Kristoff, Sven, and Olaf look on in this limited edition artwork. Inspired by Frozen, ”The Warmth of Love” was created by Jim Salvati and is part of the Treasures on Canvas Collection. Outdoor toys such as play tents, toy cars such as mustangs and jeeps, walkie talkies, children’s bicycles, tricycles, bed tents, roller skates, bike helmets, snow shovels, ergonomic cruisers, scooters, umbrellas, igloo makers, small electric scooters, and snow speedsters which you sit on to slide down snow. Pictured: Disney Animators’ Collection Anna Doll – Frozen production artists Becky Brese, Bill Schwab, and Jin Kim have reimagined Anna in her early years. Exquisitely costumed in a satin dress with floral detailing, this Anna doll is accompanied by the little snowman Olaf. Different Kinds of Books, DVDs and music such as Karaoke DVDs, movie soundtracks, read-along story books, Blu-ray movie DVD’s, “sound books” , coloring books, look and find books and sing-along DVD’s. Various furniture and utensils such as Toddler beds, play tents, sleeping bags, marshmallow arm chairs, marshmallow sofas, table and chair sets, step stools, bedding sets, tea pots, plates, cups, bowels, and cutlery. Not everything could even be covered in this list, so I think it is safe to say that if you want something, you could always get the Frozen version of it!
Quirky Post War Wade

We all know the Whimsies and other small ornaments produced by Wade, but during the fifties, sixties and seventies, the company also issued a huge range of unusual, often downright eccentric products, very much of their time. Pipe Rests, for example – when was the last time you saw someone smoking a pipe? Yet even in the seventies, it was a very manly occupation, especially amongst older men, whose idea of comfort was to sit by the fire, dressed in a baggy knitted cardigan, corduroy slacks and a pair of comfy slippers, pipe in hand. Wade made a series of pipe rests, each decorated with a china dog, and they continued to be made until the early1980s. Presumably, they were deemed ‘manly’ at the time, but nowadays, the pipe rests just look quaint. They are becoming harder to find as collectors begin to home in on nostalgia. Each light-green pipe rest consisted of a circular base approximately 3 inches in diameter, and the pipe fitted neatly into the hollow of the base with the stem resting in a groove. The dogs included a Cairn, Alsatian, Red Setter, Yorkshire Terrier and a Corgi. The Yorkie and Corgi seem to be more difficult to find than the other four in the set.Dogs must have been very popular then, as another range produced by Wade at the same time also featured dogs, with just one token cat. This range were little dishes known as pin-trays, and were in the shape of dog baskets, each containing a puppy. Although most of these are easy to find, there are a couple which are rarer, and collectors will probably need to pay around £20 for these if they want to complete the set. The cat, though, often turns up. In all there were eleven baskets, glazed in muted shades of brown and beige, measuring 3 x 2 inches. Puppy breeds included were the young of the dogs on the Pipe Rests, and each can be found either standing or lying. The colouration depended on the breed; honey, dark brown, red-brown or grey and brown, and the features were highlighted in brown. Each little dog was well-detailed – often, these Wade models aren’t appreciated until closely examined. The cat – a light brown tabby, 2 inches high, seems to tower over the puppies. His basket is a rich chocolate brown rather than the beige/grey of the dogs. He sits bolt upright, and sometimes has startling green eyes, though frequently they are pale. A cat also features in one of the most beautiful dishes which Wade has ever produced. This little hanging plaque/dish, first issued on the late 1950s, measures just over 3 inches across, and portrays a pointed, Siamese-type face, large blue side-glancing eyes and a benign expression. The realistically moulded fur follows the contours of the face. Wade collectors easily recognise the unmistakable, high-gloss glaze in a mix of blue and beige, which featured on so many pieces from this era. The items gleam when they are polished with a soft cloth, and are a joy. It seems fashionable to look down on fifties and sixties Wade at the moment, but some of these pieces are stunning, in both design and colouring. A companion piece to the cat face dish was the Pekinese dog dish, using the same colourway. Other dishes include an attractive angel fish and a bloater, again using this glaze, while, continuing the seaside theme, the Starfish pin tray is a pretty and easily found item. This six-armed creature has intricate details in the modelling. The striking blue/beige finish was used to great effect on many Wade items, many of which today’s collectors think of as classic pieces, and which are still very affordable. This colouring is eye-catching yet subtle. One of my favourite pieces is the neat and compact Crab Box, a particularly tactile item. Measuring just under 4 inches across, this little box is in two halves, with the crab’s shell lifting off to reveal a trinket dish beneath. The legs of the crab tuck neatly at the sides with two large pincers at the front, while the shell is beautifully moulded with spots and bumps, recreating the pitted texture of a crab. Crab Boxes sell today for around £20 – an absolute bargain for such a well-designed item! Other Wade trinket boxes include the Hedgehog Dish and the Treasure Chest, both in a honey/brown glaze. The Hedgehog’s spiny back lifts off disclosing a shallow tray beneath, while the Chest is a more conventional square box. Expect to pay £20 for the Hedgehog and £10 for the more easily obtained Treasure Chest. One of the easiest quirky items to find is the ubiquitous Viking Ship, which also utilises the blue/beige glaze. This is another Wade classic piece and seems to turn up everywhere. Consequently it is often treated with disdain, yet the modelling on this graceful ship is exceptional; it has a dragon’s head at one end, a dragon’s tail at the other, and a row of six circular shields decorating the hull, with the planking clearly marked out. There are even moulded waves. The ship measures 7 inches from prow to stern and can be also be found in deep-brown patterned with either blue or green. Originally, the Viking Ship was sold as a vase, but it is just perfect as a small ornament. First issued in 1959, it was withdrawn in 1965, and reissued during the 1970s. Vases featured prominently in Wade’s range of products, amongst them, as you might expect, several unusual ones – for instance, not many companies would have thought to issue a small posy vase bearing a figurine of a chimpanzee! The vase is shaped like a green tree trunk, with a 2 inch high dark grey chimp, in a typical scratching-under-the-arm type pose, standing to one side. In similar vein is the Koala Posy Vase which has a 1 inch beige black-nosed koala perched rather uncomfortably on a small branch.The vase itself is just an […]
Della Robbia Art Pottery Birkenhead 1894 – 1906

The Della Robbia Pottery was established in Birkenhead in 1894 and took its name from the celebrated Italian renaissance sculptor Luca Della Robbia whose colourfully glazed creations had graced Florentine churches since the 15th century. This Merseyside Company was founded by Harold Rathbone and the sculptor Conrad Dressler at a time when the Birkenhead area was witnessing a dramatic influx of workers seeking employment in the shipbuilding industry. In 1820 the village of Birkenhead numbered 200, however by the time Messrs Rathbone and Dressler opened their doors for business the “town” boasted a population of close to 100,000 souls. Pictured: Della Robbia Chalice and cover decorated by Cassandia Annie Walker Harold Rathbone, (1858-1929), had the benefit of being a member of the wealthy Liverpool merchant family of that name – a name which to this day still figures prominently in the financial sector based on Merseyside. He was also a man of vision at a period in time that had begun to witness the emergence of the Arts and Crafts Movement. This radical cause was essentially a reaction against the products of debatable taste emerging from the factories and dark satanic mills of that machine age. In contrast the Movement’s mission was to re-establish the importance of hand crafted objects of unquestionable artistic merit at affordable prices, and consequently to re-affirm the position and importance of the craftsman or woman. Rathbone was unquestionably a man on such a mission and it was his aim to supply the growing wealthy classes setting up home on the southern shores of the river with beautiful hand crafted “art” pottery. He did not however limit his parameters to the domestic and soon began executing commissions for public buildings and churches – this was a time when the growth in church building exceeded that witnessed last during the 15th century. Rathbone has been described as a painter, designer and a poet. Pictured: Della Robbia two handled albarello decorated by Marianne de Caluwe after Peruginos 1902 His father Phillip Rathbone was not only the head of a wealthy and socially wellconnected family but also the Chairman of the Arts and Exhibitions Sub- Committee at Liverpool’s Walker Art Gallery between 1886 and 1895. His son would have accompanied him to the studios and workshops of some of the most respected artists and craftsmen of that time and almost through a process of osmosis would have been influenced into recognising the talented and the brilliant in later years. The fact that the celebrated pre- Raphaelite artist William Holman Hunt painted his portrait gives a reasonable indication of the circles within which he made regular orbits. Add to this the non-conformist leanings of the Rathbone clan and you soon begin to appreciate that young Harold was, at least at an aesthetic level, also a man of his time. Here was also a man determined to achieve and maintain high artistic standards that within a short period of time attracted the patronage of Queen Victoria, the Prince and Princess of Wales and that great patron of the arts, Sarah Bernhardt. Outside the pottery he was able to call upon the services of such artistic luminaries as William Morris, Walter Crane, Lawrence Alma-Tadema, Lord Leighton and not forgetting William Holman-Hunt. But it was inside the pottery that he was able to establish a team of talented designers and decorators that collectively provided the individual spark which ignited a range of wares that made strong use of incise carved (sgraffito) decoration complemented by colourful glazes. Subject matter tended to be dominated by floral and figural themes that also provided the staple for many of their contemporaries both in the United Kingdom and the United States. Rathbone was determined to provide a working environment that allowed for individual interest and dignity, which contrasted starkly with the harsh conditions and mindless toil personified by the Victorian factory system that was the lot of the working masses. These “Utopian” ideals attracted a loyal artistic workforce that included several lady decorators such as Cassandia Annie Walker, Ruth Bare, Emily Margaret Wood, Liz Wilkins and Annie Smith. Pictured: Della Robbia twin handled bottle vase decorated by Ruth Bare When it comes to value, size and quality of decoration is always an important factor, with collectors often paying a premium for portraits and Art Nouveau inspired subjects. All decorators tended to sign their work using a painted signature or monogram on the base of a pot near the incised ship trademark motif flanked by the letters D and R. In Conrad Dressler he had a co-director who was keen to establish the company’s credentials as a supplier of fine quality architectural pottery and who initially shared Rathbone’s artistic ideals. This was made manifest in a lecture Dressler gave to the Liverpool Ruskin Society in1896 titled “The Curse of Machinery”, which in all honesty fails to sit well on the epitaph of a man who in later years was to invent the revolutionary “Tunnel Kiln” that allowed for the continuous gas firing of tiles and pottery with great energy savings. Regrettably Dressler was unable to achieve any meaningful success and left the pottery in 1897. The name of the sculptor Carlo Manzoni, originally a native of Turin, is also synonymous with the Birkenhead venture, having opened his Hanley Granville Pottery in about 1894 with limited success and which appears to have terminated as the result of a disastrous fire. In 1898 he accepted the invitation to join the company and stayed until the pottery’s closure after which he continued to work in Birkenhead where he provided headstones and crosses until the need for the same with his death in 1910. Even so, Manzoni’s artistic contribution is difficult to determine, as only a few pieces appear to survive bearing the painted letter M. From all accounts this most mild mannered of men appears to have stoically endured Harold Rathbone’s apparent eccentricities and is credited with maintaining a presence that contributed artistically whilst helping to maintain a fragile solvency issue. As a result of this on-going problem, in 1900 Rathbone joined forces […]
Lotus Pottery

England`s West Country has long been a honey pot for collectors and admirers of pottery – in the 1900s souvenir hunters collected those brown and cream jugs from the likes of Watcombe and Aller Vale, bearing strange mottoes in dialect such as ‘Go aisy wi` it now’. No doubt, at the time, these pieces were as strange and dramatic to those used to seeing fine Wedgwood porcelain, as Troika was to seventies folk reared on a diet of Meakin and Midwinter. Potteries such as Tintagel, Dartmouth, Celtic and Boscastle thrived, and today it seems that every twisty, narrow lane in the area has at least one sign pointing to a ‘studio’. Whether it is the clay, the light, the pasties or just something in the water, the West Country is practically a euphemism for pottery. Amongst the wares, collectors often find vases, jugs and bowls, often unmarked, sporting an unusual grey/green glaze, and bearing a large daisy motif. Immensely tactile, these smooth, definitely hands-on pieces are a delight, yet sometimes dealers seem at a loss to name the maker – they guess at Spanish, and I have even heard them described as ‘Russian`. In fact, these attractive pieces emanated from the Lotus Pottery in Stoke Gabriel, South Devon, in the1960s and 70s, and today are finding favour with enthusiasts who enjoy the way the smooth, flowing forms and muted colouring fits in well with today’s décor. The Lotus Pottery was formed by Michael and Elizabeth Skipworth in 1958, soon after they purchased Old Stoke Farm. This limestone-built farm, set in a garden and cider orchard, was a perfect place for such a venture, with plenty of barns to transform into workshops. Stoke Gabriel is a particularly pretty place, situated on a creek of the River Dart. The centrepiece of the village is the beautiful mill pond. Tourists come from near and far to admire the surroundings and to sample cream teas. For years it was possible to buy stunning Lotus pottery too. Michael and Elizabeth met at Leeds College of Art, and it was there that they formed Loversal Pottery, which they named after Michael’s place of birth in Doncaster. When they moved to Stoke Gabriel they decided on the name of Lotus Pottery, and so were able to continue marking their wares with the initials LP. However, it seems that much of their work, especially smaller pieces, do not bear the initials, while often, even if they are marked, the LP is difficult to see and is easily overlooked. No doubt the attractive surroundings provided plenty of inspiration, and during the twenty-five years or so that Lotus Pottery was in production, Michael and Elizabeth experimented with various techniques, designs, clays, colours and glazes. By 1968, a variety of finishes were available including speckle, Dartside Green, white on red, and blue on blue, while in 1974 a blue on white Loire range was introduced. However, the most characteristic glaze from Lotus was the dark grey/green finish with the daisy motif. It proved one of the top-selling lines for many years, and was known as petal on sage. A blue version, petal on blue, was also obtainable. Sage green was all the rage in the seventies – ‘natural’ colours and stylised designs were very popular, possibly a reaction to the psychedelic, brain-boggling colours and patterns of a few years before – and the vases, bowls, mugs, jugs and assorted kitchenware adorned many homes. The items were normally bought by tourists to the area as a welcome change from the pixies, seagulls and sheep which were sold in most souvenir shops. Lotus ware was stocked by the more discerning retailers! The most distinctive Lotus piece was a stylised bull, smooth and curvy with barely-there features, vaguely resembling the animals produced by the Russian Lomonosov factory in its simplicity. Today, this is the piece that many collectors begin with; not only is it easily recognisable, but its attractive shape allows it to blend perfectly into a modern home. Each bull featured an elongated, arched body with the head lowered. There were no eyes, nose or mouth, but sometimes a few tendrils of moulded hair could be seen between the horns, though most had smooth heads. The legs were very short and narrow, and this was probably the reason why the creatures tend to be unmarked – there was nowhere to impress the LP motif without detracting from the simplicity of the design, and the undersides of the feet were to small to bear a stamped mark. Although at first glance they might appear identical, these bulls vary considerably, especially with regard to the motif which appears on each flank. Usually, the daisy is found, but other designs include a leaf, a fern or a set of interlinked circles. Made in several sizes, from a baby at five inches through to an impressive granddad, thirteen inches long, the shade varies from a grey-green to a rich deep olive. The petal on blue colouration is also very striking, with the blue being a deep, inky colour while the daisy motif is a pale blue/grey. The bull was actually designed by Elizabeth Skipworth in a moment of inspiration; she was amazed at their popularity. A herd of the bulls lined up on a shelf makes a stunning display. Other stylised creatures appeared in this range, though they seem harder to find. They included a bird, owl, cat and a horse’s head, and had the same smooth and glossy appearance. There was also a wide selection of domestic ware such as dishes, egg cups, cruet sets, mugs, jardinières, jugs, vases, bowls, candle sticks and coffee pots. Some of the pieces were impressed with the LP motif in a circle, but many were stamped on the base ‘Lotus Pottery Stoke Gabriel’. However, a large amount bore no mark at all. Lotus was very experimental, and though the petal on sage shade was probably the most popular, they produced various other colours and designs, including a range of […]

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