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Crowning Glory – Grow Hair Dolls
Imagine how useful it would be if we had little knobs, strings or keys in our backs, enabling us to instantly lengthen our hair from a short, everyday bob to long, flowing locks which would make even Rapunzel jealous. Lots of dolls have this useful feature; they don’t need sessions at the hairdressers for fiddly hair-extensions!Probably the most famous ‘grow hair’ doll was Palitoy’s Tressy, produced under licence from the American Character Doll company. When she burst into the advertising spotlight in 1964, the slogan, ‘But HOW does Tressy’s hair grow?’ was chanted in school playgrounds. In fact, it turned out to be a clever promotional campaign because little girls who weren’t in on the secret became upset, pestering their parents until they too had a Tressy. So, how did Tressy’s hair grow? Simply by pushing a button in her tummy to release the ‘magic strand’ which could then be gently pulled until her hair lengthened. Afterwards, the strand was wound back into the head by means of a small metal key inserted into the hole in her back. Later versions had a plastic key as a permanent fixture. Tressy stood 12″ tall and was a slim, teen-type doll, with painted sideways-glancing eyes, but was afterwards updated and given forward-looking eyes, jointed wrists and gripping hands. Her younger sister, Toots, also favoured growing hair. Palitoy seemed quite taken with the grow hair mechanism, and in 1974 produced 18″ Sheena, more sophisticated than Tressy, with glamorous clothes such as a sparkly lilac outfit with flared trousers and a matching long-line tunic. Sheena’s hands were beautiful with long expressive fingers, and her slogan was ‘Just like magic her hair grows’. Instead of a key she had a dial in her back to wind the hair, though she still had the button in her tummy to release the strand when it was pulled. Yet another Palitoy doll was Goldilocks, a younger girl, rather than a teen, dating from 1968. Goldilocks wore a variety of outfits, and her hair was worked by a dial in her back, similar to Sheena’s. She was advertised as having 101 hair styles! Bradgate, a subsidiary company of Palitoy. issued Silky, a 10″ tall girl with a permanently fixed key, similar to Toots, Tressy’s sister. The American Ideal Toy Corporation produced a range of grow hair dolls, some of which were sold in Britain. Most popular was Crissy, a similar height to Sheena, who had striking large dark eyes. Crissy’s hair grew by gently easing out the main centre strand, and could be retracted by means of a pull-cord in her back. She was first made in 1968, and others in the series included Velvet, Mia, Kerry, Brandi and Cinnamon, all just as attractive. Haute Coiffure Sindy, dating from 1985, was a grow hair doll too. Made by Pedigree, she wore a beautiful pearlised strapless full-skirted dress over a lilac net petticoat, and a white fluffy jacket with three-quarter length sleeves. Sindy’s hairpiece was lengthened by carefully pulling it from a hole in the top of her head, and the idea was to style – or cut – the hair, which explains why so many of these dolls are found sheared! Replacement hair came in little plastic bags marked with the Sindy logo, and a panel in her back could be prised off, allowing the new hair to be inserted by means of a plastic ring tied to a thin string. Once the hair was fully extended it was virtually impossible to retract it, though sometimes, if you were lucky, the string attached to the plastic ring could be eased back slightly. One of the prettiest of these clever dolls was Katie, first issued in 1992 by Tonka, and made for a further couple of years by Kenner. Katie was the big sister of Tiny Tears and her blonde hair not only grew but could be changed from straight to wavy, depending on which hairpiece you chose to insert. This young girl doll was 17″ high, and her mechanism was activated by a plastic locket around her neck, attached to a pull cord. She is quite difficult to find today in perfect condition, and good examples sell for around £40. There were French versions of Katie, too, called ‘Kattie’, including a brunette version who seems to be fairly rare. Still easy to find, however, is Playskool’s cheerful Dolly Surprise, a 10″ high smiling girl dating from 1988. She was obtainable with many variations of both facial features and hair styles. Eye colours, dimples and freckles varied, and some dolls even featured TWO growing tresses. The mechanism was worked by raising the doll’s right arm, causing the hair to lengthen with a whirring sound. Twisting her left arm let the thick wavy strand retract back into the head, clicking loudly as it went. This doll came dressed in many different styles including a pretty pink and silver ballet tutu, and extra outfits were available. There was also a larger, 15″ version, a chubby faced baby, with a similar mechanism. Bride Surprise, from the Hasbro/Kenner/Tonka group, was a creative hair grow doll from the 1990s, a 14″ beauty whose hair cascaded down to her toes when her arm was raised. Amazingly, as it erupted, it turned from blonde to vivid pink! She had plenty of other unusual features, including a dress which turned from short to long by means of attached ribbons, a bag which changed into a bouquet and a secret gift hidden inside a rose fixed to her hair. Other grow-hair dolls which surface from time to time include a winsome-faced soft-bodied girl from Gotz, mini-sized ‘Kim’ dolls from Uneeda (with the mechanism worked by a cord in the foot), various Barbies, a range of ‘Haircut Magic’ Cabbage Patch dolls, Pedigree ‘Cut and Grow’ girl dolls with yarn hair and ‘Pert and Pretty’ by Horsman. There are many others. However, the prize for the most unusual of these dolls must surely go to Kenner’s 9″ tall Hair-Do Dolly. […]
Jumeau Dolls by Pierre-François & Emile Jumeau
Jumeau was a French company, founded in the early 1840s, which designed and manufactured high quality bisque dolls. It was founded by Louis-Desire Belton and Pierre-François Jumeau in the Maison Jumeau of Montreuil-sous-Bois, near Paris, France. While Belton did not remain with the company for long, under Jumeau’s leadership (and later, under the leadership of his son, Emile), the company soon gained a reputation for dolls with beautiful faces and “exquisite” clothing which replicated the popular fashions of the time. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume c1867 – 26″ (66 cm.) Bisque swivel head on kid-edged bisque shoulder plate, perfectly oval-shaped face with appealing plumpness to lower chin, small blue glass enamel inset eyes with darker blue outer rims, dark eyeliner, painted lashes, mauve-blushed eye shadow, feathered brows, shaded nostrils of aquiline nose, closed mouth with well-defined lips enhanced by accent lines, pierced ears pierced into head, blonde mohair wig over cork pate, kid body with shapely torso, gusset-jointed arms, stitch-jointed legs, ice-blue silk antique gown, undergarments, blue kidskin ankle boots, bonnet. Condition: generally excellent, body sturdy and clean. Comments: Pierre-Francois Jumeau, circa 1867, the portrait-like model was likely created for exhibition at the Paris 1867 International Exposition. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. The Jumeau company first emerged as a partnership between Louis-Desire Belton and Pierre-François Jumeau in Paris in the early 1840s. In 1844, Belton and Jumeau presented their dolls at the Paris Exposition (at which they received an honorable mention), but by 1846 Belton’s name was no longer associated with the dolls, and Jumeau was trading in his own right. A bronze medal in the 1849 Paris Exposition followed, as did an appearance at the Great Exhibition in London in 1851, at which the company was awarded a First Place Medal. Through much of this period, the firm sold only their own dolls to wholesalers, although during the 1850s and 1860s, the company moved into selling wax dolls imported from Britain. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume – 30″ (76 cm.) Bisque socket head with very full cheeks and chin, large blue glass paperweight inset eyes with heavy upper eyelids, dark eyeliner, painted lashes, mauve-blushed eye shadow, brush-stroked and feathered brows with decorative glaze, shaded nostrils, closed mouth with outlined and accented lips, dimpled chin, separately modeled pierced ears, blonde human hair over cork pate, French composition and wooden fully jointed plump body with straight wrists. Condition: generally excellent. Marks: 14 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, the wistful-faced Bebe Triste, circa 1884. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. At the Paris expositions and the Great Exhibition in London, Jumeau dolls received their commendations due largely to the quality of the clothing, and no special significance was attached to the dolls themselves. This changed in 1867, when at the Exposition Universelle of that year, the company was awarded a Silver Medal, and “special mention was made of the doll’s heads”. 1867 was also the year that Pierre-François’ son, Emile Jumeau, joined the company. By 1873, when they were awarded a gold medal at the Vienna Exposition, the company was producing their own bisque dolls in their factory in Montreuil. Pictured: Extremely rare and large Pierre Francois portrait Jumeau bisque shoulder head fashion doll – Having the features of a character lady, fixed blue glass eyes, with delicate shading to lids, closed slightly smiling mouth, moulded pierced ears and long blonde mohair wig, swivel head to kid leather body with separate fingers, wearing ivory silk and lace two piece gown, under garments, lace up boots and straw bonnet, 66cm (26in) tall. Image Copyright Bonhams. Although the Jumeau firm had won commendations, very few Jumeau dolls can be securely identified dating before the 1870s. However, by 1877 Emile Jumeau had produced the first Bébés (or dolls in the image of a little girl). With realistic glass eyes and “stylish fashions” produced by costumiers, thousands of Bébé dolls were produced for an international market. Pictured: French Bisque Portrait Bebe by Emile Jumeau – 12″ (30 cm.) Pressed bisque socket head, large grey/blue glass inset eyes known as “wrap-around” with spiral threading and pronounced black pupils, painted lashes, dark eyeliner, rose-blushed eye shadow, feathered brows, accented nostrils and eye corners, closed mouth, outlined lips, pierced ears, blonde mohair wig over cork pate, French composition and wooden eight-loose-ball-jointed body with straight wrists, pretty antique aqua silk costume, undergarments, leather slippers. Condition: generally excellent. Marks: 8/0 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, circa 1878. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. In 1878, the Jumeau company won a Gold Medal at the Exposition Universelle (1878). The award was proudly advertised on the bodies, boxes, shoes and even the dress labels of the dolls. Jumeau won a number of other high awards including the prizes for the best dollmaker at both the Sydney International Exhibition (1879) and Melbourne International Exhibition (1880) in Australia. The dolls were internationally sought after as luxury items and status symbols. The firm also was regarded as an industrial success, with production figures of over three million dolls annually by the mid-1890s. The “Golden Age” of the Jumeau factory lasted for two decades, from the late 1870s to the late 1890s, when the competition from German dolls sent the firm into financial difficulties. The Jumeau dolls from the later 1890s are of more variable quality. German dolls in the 1890s were cheaper than the French, but still well-made and much loved by little girls, even if they were by no means as elegant or graceful in face or costume as the best Jumeau dolls.
Collecting Male Movie Dolls
Up until recently, male dolls were very few and far between, but over the last few years, as the trend for character dolls has grown, men have been making their presence felt – and how. Dolls are made to represent footballers, pop stars, sportsmen and even politicians. Here, though, we’re looking at the movie men, those who star on tv or in the films. Sometimes, like Indiana Jones, they are brave and fearless, others, such as Spiderman, are crime fighters in strange outfits, then there are the suave sophisticates; Henry Higgins, Rhett Butler. The fourth category falls to those inoffensive, often funny types – think Dick van Dyke, in Mary Poppins. A collection of male dolls, all testerone, trousers and teeth, makes a fun group, and might even prove a bit of an investment, certainly if you buy some of the cheaper types. If this sounds an odd theory, it’s really very simple – there are some wonderful versions of male dolls produced by designers such as Robert Tonner. However, these top of the range models are intended for collectors, who tend to keep them safe, and with their boxes. They are unlikely to undress them, let alone comb their hair or give them rides up the garden path on a skateboard – but the cheaper dolls intended for children will soon be unboxed, undressed and scuffed. These character dolls usually have quite a short shelf life because movies are constantly changing, and new heroes are produced. So in a few years time, if you resist temptation to debox your handsome hero, you may suddenly find he is demand. Perhaps the most modelled male film character has been Harry Potter; there are dozens of different types from small plastic figures through to expensive Robert Tonner versions. Many of these dolls featured in Dolls To Delight last October, so I won’t dwell on them here, but suffice to say that the Tonner types are stunning, while the large Gotz figures and many of the Mattel versions are very good, too. In a similar vein are the Ron Weasley and Draco Malfoy figures. Even so, with the best will in the world Harry Potter doesn’t really fall into the ‘handsome swash-buckling hero types’; for those we turn to characters such as swashbuckling Johnny Depp and Orlando Bloom from ‘Pirates of the Caribbean’ or adventurer Harrison Ford as Indiana Jones. The Tonner version of Captain Jack Sparrow (Johnny Depp) features an elaborate costume, and the beading in the hair has been painstakingly reproduced. A much more affordable version, by Zizzle, was in the toy stores a couple of years ago as a 12 inch high doll. Although this one had moulded hair, the resemblance to the actor was amazing, and the costume still very intricate. Zizzle also made an Orlando Bloom as Will Turner, in a choice of outfits – either a ‘piratey-loo king’ red shirt, black waistcoat and black trousers, or a black leather outfit with a cream brocade waistcoat. Tonner, too, have depicted Will in his pirate outfit. A recent introduction is Hasbro’s Harrison Ford as Indiana Jones, as a talking version, with phrases such as ‘I think we’ve got a big problem’ and ‘That’s why they call it the jungle, sweetheart’. His mouth even moves as he speaks. Dressed in his typical leather jacket, coarse trousers and battered hat, this is a super doll and certainly one to look out for. Doctor Who, in his David Tennant reincarnation, is made by Character Options. Wearing a battered suit, he comes complete with, of course, his sonic screwdriver. This doll bears an excellent likeness to David. While we are on a space theme, there have been many Star Wars dolls (or ‘Action Figures’ as boys prefer to call them!) made over the years. In the 1980s a series of 12 inch high dolls were made by Palitoy, and are very collectable today; various others still appear from time to time. Likewise figures from ‘Babylon Five’, ‘Star Trek’ and similar cult sci-fi films, such as the Mego figures from the mid-seventies. Of course, you don’t have to be constantly warding off aliens, pirates, villains or dark forces to be a hero. You might be the suave and polished kind. Recently, Tonner created a Clark Gable doll in his role as Rhett Butler from ‘Gone With The Wind’, while in 1996 Mattel came up trumps with an excellent ‘enry ‘iggins as portrayed by Rex Harrison, from ‘My Fair Lady’. Dressed in his tweeds, Henry is depicted as the typical aristocratic gentleman. In contrast, we have Bert (Dick Van Dyke), who most certainly could have done with a few elocution lessons from Henry Higgins. The presentation of this recent doll from Mattel is most attractive – Bert is riding a carousel horse from the fairground scene in Mary Poppins. Very popular at the moment are the High School Musical dolls, and of course, Troy (Zac Efron) is included in the range by Mattel, and available in various outfits. John Travolta in his ‘Grease’ days was issued by Mattel a couple of years ago – but this was a mini-John, as modelled by Tommy, friend of Kelly, Barbie’s little sister. Barbie herself was depicted alongside James Bond in 2003. James has also appeared in Action Man special issues, though no attempt was made to capture any of the actors’ features, and more recently by Sideshow Collectables. More mystical are the ‘Lord of the Rings’ dolls. Characters such as Aragon have been expertly modelled by Applause and Toy Biz. Other fantasy figures include the comic book heroes; Batman, Superman, Spiderman – all of these have been produced in doll form, but I’m sure that most will have endured rough handling by their young owners, so pristine or boxed versions are certainly worth acquiring for your collection. That goes for ‘Thunderbirds’ dolls and Captain Scarlet too. Most heroes are handsome, or at least, reasonably presentable. If you want something a bit out of the ordinary though, then […]
Dumbo at 75 – Dumbo’s 75th Anniversary
Dumbo by Walt Disney Productions premiered on October 23, 1941 and celebrates its 75th Anniversay in 2016. It was Walt Disney’s fourth animated feature and was based upon a storyline written by Helen Aberson and illustrated by Harold Pearl. The main character is a baby elephant Jumbo Jr., who is nicknamed “Dumbo” due to his big ears. Dumbo is ridiculed for his big ears, but in fact he is capable of flying by using his ears as wings. Throughout most of the film, his only true friend, aside from his mother, is the mouse, Timothy. A number of Dumbo related collectibles and art have been created or are being released to coincide with the 75th Anniversary. Jim Shore Sweet Snow Fall – Dumbo 75th Anniversary Figurine Jim Shore celebrates the 75th anniversary of the Disney classic Dumbo with this unique design featuring the beloved baby elephant decked out for the holidays. Disney Dumbo 75th Anniversary Musical Ornament This delightful Hallmark Gold Crown Exclusive is designed by Kristina Gaughran and features Dumbo being cradled by his mother. The ornament plays Baby Mine. Lionel Dumbo 75th Anniversary Boxcar This little gem from Lionel features a traditional boxcar featuring Dumbo designs. It is priced at $84.99. New Zealand Mint Dumbo 75th Anniversary Coins The New Zealand Mint has been minting legal tender collectible coins, gold bullion and medallions for more than four decades and has released to coins for Dumbo’s 75th Anniversary – the Dumbo 1 oz Silver and Dumbo 1/4 oz Gold Coins. Thomas Kinkade Company Disney Dumbo Limited Edition Art Continuing the work of Thomas Kinkade, this wonderful new release from the Thomas Kinkade Company celebrates the 75th Anniversary of the release of Dumbo. Disney Dumbo by Thomas Kinkade Studios portrays the happiness and pride that his circus friends feel for Dumbo as he soars above the crowd. This painting captures Dumbo’s shining moment, reminding us, as Timothy tells him, “The very things that held you down are going to carry you up and up and up!” Disney Dumbo’s 75th Anniversary Facts Disney premiered Dumbo in movie theaters across the United States on October 23, 1941. Dumbo was the fourth movie in the “Walt Disney Animated Classics” series. The story was based upon the “Roll-A-Book” written by Helen Aberson and illustrated by Harold Pearl. The film was conceived during the Great Depression and Disney’s goal was to give Americans a story with an uplifting message as they faced difficult times. Walt Disney acted out each part of the movie, as it was being planned. With a run-time of 64 minutes, Dumbo is one of Disney’s shortest animated features
Antique Bisque Dolls
Antique Bisque Dolls – Years ago, the dream of most doll collectors was to be able to afford an antique doll – a doll made from bisque china with glass eyes and a jointed wood or composition body. We used to sigh over pictures in magazines and drool at doll fairs. Then, not so long ago, something happened; prices came tumbling down and doll collectors discovered that their dream really could come true. Now is the perfect time to buy antique dolls, before prices begin to rise again – and rise they will, because however lovely reproduction dolls, vinyl babies or modern collectors’ teens might be, they are not old and do not have that special air of mystery which only an antique doll can bestow. Pictured: An Antique Bisque Doll by Walther & Sohn 125.10 doll Bisque is an unglazed porcelain; it’s matt instead of shiny, hence the ‘biscuit’ finish and so it gives a natural look to the face of a doll. Before the advent of plastics, dolls’ faces would be made from carved wood, composition, papier mache, wax or bisque. Although these substances all had their advantages, bisque was not only the most durable, it also allowed artists to portray the human face in a beautiful way. A doll made completely from bisque would prove expensive, so most had bisque heads attached to bodies and limbs made of composition, leather, wood or fabric stuffed with woodwool. Pictured: An Antique Bisque Doll by Heubach 300 doll French doll makers made exceptionally beautiful dolls, though they tended to be exceedingly expensive as they were so labour intensive. These dolls, by makers such as Juneau and Bru, were dressed in top quality high fashion garments, and even today most are out of the reach of the average collector. However, German makers also made dolls and soon grew to dominate the industry as they were skilled in mass production. Consequently, they produced dolls in their thousands, far more cheaply than the French factories could manage. The vast majority of old dolls that beginner-collectors are likely to come across will be German, but just because they are cheaper, it doesn’t mean that they are less beautiful. Many German dolls are very pretty indeed, and usually they are incised on the back of the neck with the maker’s name, mark, initials or a number, so from that information and a bit of research you can find the factory and the date the doll was first produced. Pictured: An Antique Bisque Doll by Armand Marseille 390 doll The most prolific of the German companies was that owned by Armand Marseille, who, despite his French-seeming name, was German. Often it is an Armand Marseille doll that a novice collector will buy as their first old bisque doll, because they are so easily found and can be bought from around £100–£150 depending on condition. Pictured: An Antique Bisque Doll by Kammer & Reinhardt 133 doll One of the most popular and easy to find dolls are the Armand Marseille 390 girls, which have pretty faces and glass eyes. These are usually mounted on a wooden ball-jointed body, which means that you can pose the doll gracefully on display. With these 390s, as with all bisque dolls, it is amazing how dolls from the same mould look so different, due to the handpainting of their faces, which varies the colouring, thickness of lashes and shape of mouth. Also, eye and hair colours/styles influence the doll’s appearance. This is why a 390 is a good doll to start off with – there is so much choice, because these dolls were developed in the early 1900s and remained in production till 1938, and so there are thousands around. Other Armand Marseille moulds to look out for include the character toddler 990, the character girl 327 and the 370 girl. All these dolls should be available in ‘played with’ condition for under £300 – with dolls, obviously price depends on condition, and a much-played with doll with broken fingers and a scant wig will be far less than an almost perfect doll. Another Armand Marseille doll which the collector will easily find is the ‘My Dream Baby’. My Dream Baby swept Britain and the Continent during the mid- 1920s, when baby dolls came into vogue, and had a sweet face with either an open or a closed mouth. Today, the closed mouth babies sell for a slightly higher price, as more of the open mouth type were produced, but even so should comfortably fit into the £300 price range. As with the 390 girls, the appearance of these babies varies enormously depending on the painting, the body type, the eye size and the size of the doll (they range from tiny babies just a few inches high to very large babies often used as shop window display models). Of course, there are many other types of affordable German dolls, such as some marked ‘Heubach Koppelsdorf’. Ernst Heubach was a brother-in-law of Armand Marseille, and his company produced very attractive dolls, often with a rather flushed appearance. Other makers of bisque dolls that might be found by collectors include Simon & Halbig, Kestner, Schoenau & Hoffmeister, Kammer & Reinhardt, Alt. Beck & Gottschalk and Schuetzmeister & Quendt. It should be possible to buy the more common models by these makers at a reasonable price, though naturally the rare, more desirable moulds will always fetch a premium. The best advice is to familiarise yourself with the various kinds of dolls and makers by reading books on the subject. Some of these books are in the form of price guides, so will help you discover the models that you can afford. Recently, there has been something of a price slump with some of the antique bisques, so if you find one which appeals, now is the time to buy because prices are bound to rise. Wherever possible, it’s best to buy a doll that you have already seen and handled, rather than one which is advertised on […]
Why We Still Love Felix the Cat After 100 Years
In 1919, Pat Sullivan and Otto Messmer created Felix the Cat, one of the most popular and enduring cartoon characters of all time. Felix was a black cat with white eyes who starred in his own series of short films from 1919 to 1930. The character became so popular that he even appeared in comic books, toys, and other merchandise. In 2019 Felix celebrated his 100th birthday. The Origins of Felix the Cat Felix the Cat was created by Pat Sullivan and Otto Messmer in 1919. The pair were working for the New York-based animation studio, Paramount Pictures. At the time, Sullivan was the studio’s head animator and Messmer was his assistant. The two men came up with the idea for Felix while they were working on another short film called “The Curious Adventures of Mr. Wonderbird.” In that film, there was a black cat who appeared briefly in one scene. Sullivan and Messmer thought the cat was cute and decided to make him the star of his own series of shorts. The first Felix the Cat cartoon, “Feline Follies,” was released in 1919. In the film he was referred to as Mister Tom. It was a huge success and made the character an overnight sensation. Felix went on to star in over 50 short films over the next 11 years. In 1930, Sullivan and Messmer sold the rights to Felix to another studio, Universal Pictures. The new owners of Felix changed the character’s design and gave him a more cartoony look. Felix’s popularity began to decline and he faded into obscurity in the 1940s. However, Felix made a comeback in the 1950s when he appeared on television in a series of new shorts. These shorts were produced by Walter Lantz, who had also worked on the Oswald the Lucky Rabbit cartoons. The Felix the Cat cartoons from the 1950s are some of the best-known and most beloved entries in the series. They introduced a number of iconic elements, including Felix’s Magic Bag of Tricks. The shorts from this era also featured the voice of Dal McKennon as Felix. McKennon’s performance is widely considered to be the definitive portrayal of the character. Did you know? TV Guide ranked Felix the Cat number 28 on its “50 Greatest Cartoon Characters of All Time” list. Felix the Cat has also been featured in a number of comics and books over the years. One of the most notable is the 1960 graphic novel, “The Adventures of Felix.” This book was written by Otto Messmer and illustrated by Joe Oriolo. Oriolo also created a series of Felix the Cat toys in the 1960s. These toys were produced by the toy company, Mattel. Felix the Cat has also appeared on a variety of other merchandise, including t-shirts, coffee mugs, toys, games, clothing lines, figurines and even bedsheets. Felix the Cat Theme Song The Felix the Cat theme song is just as iconic. The song, which was written by written by Winston Sharples and performed by 1950s big band singer Ann Bennett. The song perfectly captures Felix’s mischievous personality. It starts with a cheerful melody that reflects Felix’s upbeat attitude, but quickly turns into a playful tune that hints at his propensity for trouble. The lyrics are also clever and humorous, making them instantly memorable. This is evident in the opening line, ” Oh, Felix the Cat, the wonderful, wonderful cat…” which immediately sets the tone for the rest of the song. His longevity is down to a number of factors: he is relatable, has great design and a great sense of humor that appeals to people of all ages. Felix the Cat is one of the most iconic and beloved cartoon characters of all time. He has been entertaining audiences for over 100 years and shows no signs of slowing down. Related Lucky Black Cats featuring Felix the Cat
The Life and Cats of Louis Wain
Louis Wain Cats Louis William Wain was born on August 5, 1860 in Clerkenwell in London. His father was a textile trader and embroiderer, his mother was French. He was the first of six children, and the only male child. None of his five sisters ever married. At the age of thirty, his youngest sister was certified as insane, and admitted to an asylum. The remaining sisters lived with their mother for the duration of their lifetimes, as did Louis for the majority of his life. Pictured: The Contented Cat signed ‘Louis Wain.’ – bodycolour 11 x 9¼ in.. Sold for £5,250 ($8,022) against an estimate of £700 – £900 ($1,070 – $1,375) at Christies, London, July 2010. Wain was born with a cleft lip and the doctor gave his parents the orders that he should not be sent to school or taught until he was ten years old. As a youth, he was often truant from school, and spent much of his childhood wandering around London. Following this period, Louis studied at the West London School of Art and eventually became a teacher there for a short period. At the age of 20, Wain was left to support his mother and sisters after his father’s death. Pictured: A Louis Wain Pottery Model Of ‘The Laughing Cat’, Manufactured By Royal Staffordshire, Early 20th Century, modelled seated wearing a bow tie printed and painted marks 7½ in. (19.1 cm.) high. Sold for £563 ($1,018) at Christies, London, September 2008. Wain soon quit his teaching position to become a freelance artist, and in this role he achieved substantial success. He specialized in drawing animals and country scenes, and worked for several journals including the Illustrated Sporting and Dramatic News, where he stayed for four years, and the Illustrated London News, beginning in 1886. Through the 1880s, Wain’s work included detailed illustrations of English country houses and estates, along with livestock he was commissioned to draw at agricultural shows. His work at this time includes a wide variety of animals, and he maintained his ability to draw creatures of all kinds throughout his lifetime. At one point, he hoped to make a living by drawing dog portraits. Pictured: An early 20th Century Amphora (Austrian) pottery figure of a cat in the “Cubist” manner designed by Louis Wain, the octagonal head and angular body decorated in yellow, orange and black on a turquoise ground, 10.5ins high x 9.5ins overall (green printed mark to base with registration No. 637132 and signed in black). Sold for £8200 at the Canterbury Auction Galleries, June 2008 a then record for a Louis Wain ceramic cat figure. At the age of 23, Wain married his sisters’ governess, Emily Richardson, who was ten years his senior (which was considered quite scandalous at the time), and moved with her to Hampstead in north London. Emily soon began to suffer from cancer, and died only three years after their marriage. It was during this period that Wain discovered the subject that would define his career. During her illness, Emily was comforted by their pet cat Peter, and Wain taught him tricks such as wearing spectacles and pretending to read in order to amuse his wife. He began to draw extensive sketches of the large black and white cat. He later wrote of Peter, “To him properly belongs the foundation of my career, the developments of my initial efforts, and the establishing of my work.” Peter can be recognized in many of Wain’s early published works. In 1886, Wain’s first drawing of anthropomorph ised cats was published in the Christmas issue of the Illustrated London News, titled A Kittens’ Christmas Party. The illustration depicted 150 cats, many of which resemble Peter, sending invitations, holding a ball, playing games, and making speeches over eleven panels. Still, the cats remain on all fours, unclothed, and without the variety of human-like expression that would characterize Wain’s work. Under the pseudonym George Henri Thompson, he illustrated numerous books for children by Clifton Bingham published by Ernest Nister. In subsequent years, Wain’s cats began to walk upright, smile broadly and use other exaggerated facial expressions, and wear sophisticated contemporary clothing. Wain’s illustrations showed cats playing musical instruments, serving tea, playing cards, fishing, smoking, and enjoying a night at the opera. Such anthropomorphic portrayals of animals were very popular in Victorian England, and were often found in prints, on greeting cards and in satirical illustrations such as those of John Tenniel. Pictured: The choristers signed ‘Louis Wain’ (lower left), watercolour and bodycolour, 7 x 9in. (17.8 x 22.8cm.). Sold for £7,050 ($9,976), Christies, London, December 2001. Wain was a prolific artist over the next thirty years, sometimes producing as many as several hundred drawings a year. He illustrated about one hundred children’s books, and his work appeared in papers, journals, and magazines, including the Louis Wain Annual, which ran from 1901 to 1915. His work was also regularly reproduced on picture postcards, and these are highly sought after by collectors today. In 1898 and 1911 he was chairman of the National Cat Club. Wain’s illustrations often parody human behavior, satirizing fads and fashions of the day. He wrote, “I take a sketch-book to a restaurant, or other public place, and draw the people in their different positions as cats, getting as near to their human characteristics as possible. This gives me doubly nature, and these studies I think [to be] my best humorous work.” Wain was involved with several animal charities, including the Governing Council of Our Dumb Friends League, the Society for the Protection of Cats, and the Anti-Vivisection Society. He was also active in the National Cat Club, acting as President and Chairman of the committee at times. He felt that he helped “to wipe out the contempt in which the cat has been held” in England. Pictured: The Cat in his Garden, 287 by 320mm., fine watercolour and gouache drawing, signed in lower right corner “Louis Wain”, mounted, framed and glazed. Sold for £15,000 at […]
Wine Coolers and Cellarettes – Style and Splendor in Utilitarian Funiture
The rise of the cult of wine, the growth of the British middle classes in the 18th century and the fact that the dining-room had become the most important room in the house meant that every architect and designer of the time gave a great deal of attention to its decoration and furnishing. As Robert Adam FRSE FRS FSA (Scot) FSA FRSA (3 July 1728 – 3 March 1792) pointed out, the “eating room” was a place ·where the gentlemen, at least, spent a great deal of their time, and its “elegance and splendour” had to be beyond question. The period was one of hard drinking in which comfort and enjoyment were catered for in every possible way. There were special tables, sideboards, and receptacles designed to ensure that liquor was both adequate in quantity and fit to drink. Then, as now, some wines had to be iced, some chilled, and some kept at room temperature, and wine coolers for these purposes were made in many beautiful styles and of many different materials. There is often some confusion between the definitions of what is a wine cistern or cellarette and what is a wine cooler, particularly as they are often very similar in appearance. The cellarette was intended as the name implies to hold a supplemental supply of wine, and was of course kept in the dining-room. It was furnished with a lid and almost invariably it had a lock and key, but it is important to remember that coolers also were sometimes lidded, although in that case they were often fitted with taps in order that the melted ice (from the ice-house) might be drawn off. The available storage space, in shape octagonal , hexagonal, oval, round, or bombe was supplied with a shelf pierced with round holes or else divided into rectangular compartments, and more elaborate examples were fitted with provision for wine glasses in the lid, trays for glasses, and even spaces for decanters and punch bowls. The earliest cellarettes were made in the late seventeenth century, but their popularity reached its peak in Georgian times, when they were designed to stand beneath the side tables that preceded sideboards. They were then usually fitted with castors. Even when about 1780 sideboards were made with fitted cellarette cupboards, the available restricted space was supplemented by separate articles, and a particularly fine example, hooped with brass, partitioned, and lead-lined, is illustrated in Hepplewhite’s Guide. Specimens made of light coloured mahogany and decorated with inlay and stringing were probably made to match sideboards, and are on the whole comparatively late in date. The earliest silver coolers were often very large and heavy, circular or oval in shape, and made to stand on the floor. Such pieces are naturally extremely rare, though not so rare as their predecessors, some as early as the fifteenth century that were made of marble, copper , bronze, or other metals. Generally speaking coolers were designed to match dining room furniture, particularly as regards their legs, which were in the contemporary style of the chairs. Every designer had his own ideas. Adam advocated the use of ormolu mounts in the form of festoons, banding, and satyr heads on either mahogany or rosewood. Chippendale’s “Director” suggests that a cooler should be “made in parts and joined with brasswork,” or even cut from solid wood or marble, while Sheraton (apparently making no distinction between cellarettes and coolers) preferred the sarcophagus style that was so popular in Regency years. Many coolers, though not strictly “cooper made,” were made to imitate his work, and were probably inspired by the humble oaken tub of the butler’s pantry, the iron hoops being replaced by two brass, copper, or silver ones. For easy handling drop ring handles were fitted, usually with lion’s head back plates. In both cellarettes and coolers there are many variations of the ordinary tub shape, mostly differing in detail. We find rare pieces in which two splats are carried upwards above the rim to form pierced or carved handles instead of the usual metal ones, and some have legs which continue upwards outside the splats, and which are reeded or carved to form an effective decorative feature. The legs and the stands provide endless variety and are held by their design to indicate possible date. When the legs are built in the result is stability, but stands are often separate. Instead of legs, especially on the much larger nineteenth century pieces, we sometimes see short bracket or claw feet, though even the bulky sarcophagus form may have rather incongruous cabriole legs. Scroll or ball and claw feet indicate a mid-eighteenth century origin, and on particularly fine pieces the knees of the appropriate cabriole legs are sometimes elaborately carved or fitted with ormolu mounts. A little later came the Chippendale style of square-sectioned legs, with or without the typical C brackets at the joining of the legs to the top of the stand. The so-called Hepplewhite cooler of about 1785 features tapered, often out-sloping legs fitted with metal shoes, and we should expect to find inlaid decoration upon one in Sheraton style. Cellarettes and coolers have many relations. A useful piece of dining-room furniture, probably of Irish origin and now rarely seen, was the wine waiter, a tall case on stand partitioned for bottles and fitted with castors. It was intended to stand beside the dining table, and so served a rather different purpose from either the cellarette or the cooler, as did a form of dumb waiter included in Sheraton’s ” Cabinet Dictionary ” of 1803 intended , so the description reads, ” for use in the dining parlour on which to place glasses of wine, both clean and such as have been used.” Then there are the coolers as we know and use them to-day, intended to hold single bottles, made either of silver or some kind of plate. These urn or vase shaped vessels have two handles but no lids, and being intended partly as side-table ornaments […]
The history of the Rollieflex TLR camera and its impact on photography
The Rollieflex TLR camera revolutionized photographic history by making high-quality photography more accessible to the general public. Prior to its release, cameras were bulky, expensive, and difficult to use, limiting their use to professional photographers or wealthy hobbyists. The Rollieflex’s simple design and affordable price made photography available to a much wider audience, sparking a lasting interest in the art form. The Rollieflex TLR camera was prototyped in 1927 and 1928 and first introduced in 1929 by the German company, Rollei. The TLR design (Twin Lens Reflex) was not new, but the Rollieflex was the first to offer high quality construction and a compact size. The Rollieflex quickly became popular with professional photographers and amateurs alike. Its simple design and rugged construction made it ideal for travel and outdoor photography. The Rollieflex remained in production until the early 1970s, when it was discontinued in favor of newer SLR models. Franke & Heidecke At the turn of the 20th century, Franke & Heidecke was one of the leading camera manufacturers in Germany. With a strong commitment to innovation and quality, they began to experiment with new types of cameras that could meet the growing demand for high-end photography equipment. One of their most successful designs was the Rollieflex TLR camera, which revolutionized the world of professional photography. Using cutting-edge technologies like precision gears and precise mechanics, Franke & Heidecke designed and built a sleek and sturdy camera that quickly gained the favor of professional photographers around the world. The Rolliefleix TLR camera offered a high level of control and flexibility, allowing photographers to capture stunning images with exceptional clarity and accuracy. It quickly became known as one of the most reliable, versatile, and effective cameras on the market, setting new standards for modern photography. Today, the Rollieflex is considered a classic camera, and its unique design continues to inspire photographers around the world.
The Universal Appeal of Tea Collecting
For years, drinking tea has been an immensely satisfying ritual, especially for those who pride themselves in being a tea connoisseur. For tea lovers, tea is more than a simple drink after a meal. It is a customary way of communicating culture and style which is why it has expanded in popularity – and many have begun accumulating their own personal supply. So, with that in mind, read on to find our why tea collecting has gained such universal appeal. The background of tea In 1606, the first delivery of tea was shipped from China to Europe. People were fascinated by the aroma and taste that it quickly became a fashionable drink among the wealthy. Of course, a fashionable drink must be enjoyed in style, so teapots, teacups and other beautiful accessories quickly flooded the European market. Our previous article titled, English Teapots – Their Origin and Variety showcases exquisite examples from the eighteenth century. How to start collecting While there is no right or wrong way to collect tea, everyone can certainly start by tasting a variety of tea flavours to discover which ones they enjoy the most. The palatability and perception of the different flavours is a personalised experience, and the same goes for which ones to collect. Collections usually start off with gifts, and then later, as your experience grows and your palate becomes more familiar with flavours that are more palatable to your taste, your collection will grow with flavours of your choosing. Popularity of tea Tea is the most popular drink around the world, especially in Europe and here in the United Kingdom. Gala Bingo’s research on tea in the UK found that 31% of tea drinkers drank five or more cups of tea each day. This is a welcoming stat, especially with recent scientific research showing the many added health benefits of drinking tea. In one article, Today points out that tea may promote a healthy lifestyle, lower blood pressure, and live longer – so, it is no wonder that tea continues to increase in its global appeal. Varieties of tea Nowadays, there are many kinds of tea, and here are some of the most popular varieties: White Tea– Delicate in flavour, very subtle and elegant on the palate. Black Tea- Intense and bold in flavour, and typically malty on the tongue. Green Tea– Moderate in flavour, nutty, vegetal, and usually herbaceous. Oolong Tea– A very intense flavour with a bold roast and variety of notes ranging from milky to sweet and creamy on the palate. Earl Grey Black Tea– Beautiful blend of notes from mellow green teas to refreshing hints of orange and invigorating lime. Lemon Green Envelope Tea– A full range of exquisite aromas with a refreshing lemon hint and zesty green undertones. Storing tea Storing tea requires special care to preserve its unique aroma and freshness. If you don’t, they may dry out and you will end up missing out on the exquisite pleasure each bag potentially offers. Here are some tips on storing your precious tea: Keep them in a dry place– Moisture will destroy tea and cause them to develop mould. Keep them at a consistent temperature– Exposing tea to fluctuating temperatures can cause them to lose quality and flavour. Keep them separate– Teas absorb the flavours of its surrounding, whether it be other teas or BBQ crisps. So it is very important to keep them separate from other food. Tea will always have its global appeal due to its endless health benefits, cultural influences, and social value. And it is certainly never too late to taste this decadence and start your own personal collection.