Vera Wang Doll added to Barbie Tribute Collection

May 10, 2022 9:13 pm by Darryl Views: 79

Fashion icon Vera Wang is the latest addition to the Barbie Tribute Collection which celebrates visionaries whose incredible contributions have helped shape and impact culture. The Vera Wang doll is designed by Carlyle Nuera and is inspired by a look from Vera Wang’s own 2017 ready-to-wear collection.

The Vera Wang Barbie Doll wears a monochromatic ensemble featuring a black romper under a chiffon dress with attached puff sleeves, a front slit, and the word LOVE featured at the hem. A peplum belt with a zipper detail, black socks, and platform heels with sculpted buckle details complete her look.

She is available from Mattel Creations and is priced at $40.

For more information visit https://creations.mattel.com/collections/barbie-signature/products/barbie-tribute-collection-vera-wang-barbie-doll-gxl12

Random Collecting Feature

Collecting Post-war Soviet Porcelain

I first fell in love with USSR porcelain in the late 1960s – 1969, to be precise – when I purchased a small figurine of a badger. I loved it because it was so smooth, so tactile and was so different from the fussy, whimsical ornaments that were around at the time. Slowly, over the years, I added to my collection – birds, lion cubs, rabbits and squirrels. Most of these items bore stamps on their bases, the letters ‘USSR’, plus a mark rather like an ornate letter ‘L’ with three noughts and a backwards ‘3’. This was the mark of the Lomonosov company, which was founded in 1744, in St Petersburg, initially to make fine porcelain for the Russian Royal Family. It supplied other European Royal families too, and underwent several changes of name before settling on its present title. In the eighteenth century, during the reign of Catherine the Great, the institution was known as The Imperial Porcelain Factory. After the Revolution, it became the State Porcelain Works, and later was named Lomonosov after the founder of the Russian Academy of Science. The range of ceramics produced over the past 267 years is tremendous and includes vases, plates, dinner services, snuff boxes and numerous figurines. It wasn’t until the 1990s that I began to research the pieces that I owned, discovering in the process the enormous and exciting range of Russian ceramics. It was then that I found the ‘She-Bear and Cubs’. This vigorous sculpture depicts a seated, rather fierce bear, paws held protectively over a cradle containing twin cubs draped in an orange-red coverlet, and I think it must still be my favourite piece today. Unlike the other various animal pieces that I had, this animal figurine screamed ‘Russia’, from the bear subject through to the colouring. I found this piece at a local antiques centre for around £50, and I learnt that it dated from the 1950s. It now sells for three times as much. It’s a sturdy piece, not so smoothly modelled as the later items, but is full of character. I began to look for other 1950s’ pieces, and soon came across a delightful inkwell featuring two bear cubs eating a bowl of berries. One cub is greedily tipping the berries into his mouth, the other is impatiently waving a spoon as he waits for his turn. Between them is a tree-stump table, with another spoon on top. That spoon forms a handle, enabling the tabletop to be lifted off. Underneath is a small ceramic pot to hold the ink. Many of the 1950s’ USSR pieces are based on Russian folklore, such as the ‘Lion and the Hare’, the ‘Fox and the Beaver’, the ‘Goat with the Little Kids’ and the ‘Crane and the Fox’, and, of course, bears crop up quite a lot, too. Folklore depicts them as clumsy and not very clever; the tales often involving another creature outwitting the bear in the simplest of ways. The Lomonosov ‘Crane and the Fox’ piece is an inkwell; beneath the spoon and dish is hidden a small ceramic container for ink. The tale depicted is that of the fox asking the crane to dine, but providing a shallow plate so that her beak couldn’t take up the food. In return she asked him for a meal and put the food into a tall vessel that he couldn’t get his mouth into. Another story piece, the Lomonosov ‘Lion and the Hare’ is based on a fable in which the hare gets the lion to believe its reflection in a lake is another lion. A series of Lomonosov figurines that I particularly enjoy are the Eskimo or Yakutian children, such as the small boy gazing lovingly at a samoyed dog. The boy has shiny black hair and wears a warm embroidered coat, leggings and mittens. Other Yakut figures include a young girl with a book and a flower, and a girl holding a large sturgeon. Another favourite piece of mine is a Lomonosov figurine of a young Uzbek girl with a large basket. Her face is exquisitely painted, and the original sculpt was by G. S. Stolbova, who was famed in Russia for his sculpting. She wears a bright, striped robe in purple and orange, and is seated cross-legged, with the basket across her lap. Frequently, collectors concentrate on the Lomonosov animals as these are the easiest to obtain, and are still manufactured today. A vast menagerie can be acquired, such as dogs, birds, zebras, rabbits, cats, fish, racoons, squirrels, foxes, badgers, mammoths, chipmunks, giraffes and plenty more besides, all in that smooth, tactile, rounded flowing porcelain with soft, exquisitely-placed, naturalistic colouring. For instance, the tiger cub, five inches tall, is a warm, goldbrown, with the black stripes boldly painted, and excellent detailing of eyes, claws and muzzle spots, while the sleek, shapely wildcat, with flattened ears and narrowed eyes is a masterpiece of design. Painted warm grey, with white, black and ginger markings, he sits upright with his tail curved around his body, tip poised ready to twitch. The standing bear cub is a frequently found piece. Six inches high, he has his paws crossed in front, and his head tilted as though he is slightly apprehensive. This appealing bear is dark brown, with lighter brown highlights, and is finished in a glossy glaze. Sometimes, an older piece in a very similar pose is found. This bear cub has rounder ears, a smaller muzzle, white face and underparts, and though lacking the smooth glossy finish of the later model, has an endearing, innocent expression. Standing bears such as these can still be found for £20 or so. It’s no wonder that so many people collect Russian bears – there are so many different models, both naturalistic and humorous. Although Lomonosov is the largest and, perhaps, best known of the Russian porcelain companies, there are many others. Pieces by Kanakova, Dulevo, Verbilki, Seesert, Kuznetsov, Kiev, Gzhel and Polonye are frequently found, and all these companies […]
New Hall Porcelain

No porcelain has been more misunderstood than that made at the New Hall factory at Shelton. It is by no means scarce, but very obvious specimens of it (on the present knowledge of its characteristics) are still sometimes ” identified ” as Lowestoft, Torksey, Wirksworth, ” cottage Bristol,” or conveniently as one of the several porcelains whose existence in notable quantities is open to doubt. Alternatively, such a porce lain as that which was made by Miles Mason, when unmarked, is often called ” New Hall,” with some excuse so far as the later ” bone paste ” of the latter factory is concerned. Just as Liverpool was once the repository, as it were, of doubtful mid eighteenth century pieces, so is New Hall, all too often, of similarly puzzling ones of the early nineteenth. Pictured right: An English Porcelain Lavendar Ground Part Tea And Coffee Service, Iron-Red Painted Mark For New Hall, First Half 19th Century. Sold for $1,375 at Christies, New York, April 2014. Image Copyright Christies. The beginnings of true New Hall porcelain were prompted by the early nineteenth century policy of the Staffordshire industry of supplying to working folk the kind of ware which had formerly been made only for the wealthy and the middle classes. The Potteries had always concentrated on the making of fine earthenware, the only eighteenth century porcelain maker of note being Littler of Longton Hall. So when Champion’s patent for making hard paste ” was apparently purchased in 1781 by a company of five Staffordshire potters, something quite new was set afoot. Available evidence seems to show that production was first at Tunstall, but that a year later, owing to dispute between the partners, a move was made to the Shelton works of Hollins, War burton, & Co. The next important date is about 1801, when John Daniel joined the company. It was soon after then that the making of ” bone china,” the standard ware of the Potteries, began. It is impossible to set hard and fast dates for a sudden change over from the old Bristol paste to the new (both 1810 and 1812 have been suggested) and it is more reasonable, and probably more accurate, to suppose that both were made side by side until about 1815, after which year the bone paste only was used until the closure between 1825 and about 1830. Certainly there is reference in an 1812 catalogue to ” real china.” Picture left: An English Porcelain Assembled Transfer-Printed And Enriched Part Tea Service In The ‘Lady In The Window Pattern’, New Hall, Pattern No. 425, Circa 1820. Sold for $500 at Christies, New York, January 2009. Image Copyright Christies. How can this ” real china ” be identified? Despite the fact that Champion’s patent had been bought the New Hall ware made under it is not of such good quality as fine Bristol, being more like the ” export ” Chinese as typified by “Chinese Lowestoft.” There is a similar greyness in the New Hall paste, though less pronounced, and it is seldom disfigured by the ” pits ” and firecracks that so often detract from the Oriental. Whereas the thin Chinese glaze is commonly minutely pitted, that of the English factory is uniformly thin and clear, though often ” bubbled ” inside the foot rim. Apart from the body, consideration of the decoration is usually sufficient to suggest Chinese or New Hall provenance. That upon the former, though inferior to that upon the ware intended for home use, is nevertheless marked by fine, detailed brushwork, whereas the English decoration consists for the most part of simplified, conventional, almost careless patterns. Much Chinese ” export ” ware, in deference to Western preference, carries decoration in which details are picked out in gold, but this was sparingly used at New Hall, being reserved for compara tively few patterns. Finally, much New Hall ” hard paste ” porcelain can be identified by the presence of a mark, a painted pattern number in black, brown, orange, pink, or green, sometimes pre ceded by a script capital N or the letters ” No.” Naturally enough, at first at any rate, many Bristol shapes and patterns were retained; but as time went on, in keeping with quantity produc tion, a limited range of both was decided upon, notably as regards the tea wares which appar ently comprised al most the whole output. Let us first consider the tea pots, of which four shapes are well known. (1) Vertical sides to a lobed, diamondshaped section, earshaped handle, eightsided spout, convex lid with inverted pear shaped knob pierced with a steamhole, and fit ting snugly inside a projecting, upright rim. (2) Waisted, elliptical section, ordi nary ovalsectioned spout, convex lid with flattened top, solid knob, and wide flange projecting beyond the rim, and with a steamhole at one end. (3) Vertical sides to a plain oval section, same spout as No. 2, and the same lid fitting flush inside the rim, but with the steamhole in front, midway be tween knob and rim. (4) Boatshaped body, rim flar ing high and wide and blending into the upper handle terminal, with the same lid as Nos. 2 and 3. It was the usual practice to provide each teapot with a stand, shaped to fit the section. The cream jugs correspond in shape to the pots, but two additional shapes are known. One is very common indeed, and was one of the inherited Bristol models, shaped like a helmet, and not to be confused with a similar Lowestoft form, and the other is shaped like an inverted truncated cone with a waisted neck, wide flaring lip, and thick, solid base. It should be noted that the jugs belonging to the lobed teapots often have downward tapering, instead of vertical sides. Pictured right: A New Hall Large Bowl, Circa 1790, The interior painted with trailing iron-red peony and pink chrysanthemum beneath a pendant berry border and gilt line rim, the exterior with four flower-sprays and scattered […]
Christopher Dresser and the Design Revolution

Known as Britain’s first ever independent industrial designer, Christopher Dresser was a major contributor to the British Anglo Japanese and Arts & Crafts movement.
Collecting Antique and Vintage Glass Rolling Pins

Antique and vintage glass rolling pins vary from simple clear examples, to the famous Bristol Blue colours, to elaborate multi-coloured Nailsea examples and to examples with motifs and words. Glass rolling pins although functional developed into quite an art form and also became known as love tokens as they were often given by departing sailors to there loved ones with words on such as ‘be true to me’, ‘remember me’, ‘forget me not’ etc. They were often hung upon parlour walls and prized as emblems of good luck, only to be taken down when pastry was ceremoniously prepared for a wedding feast. Such pastry was believed to bring good fortune to all who ate it. Nautical themes were also common on rolling pins with sea-faring motifs, ships, mottos and inscriptions. These would be applied as painting, gilding and printing. Some of the designs are quite intricate and attractive original Victorian are much sought after. Rarer examples include anti-slavery messages, and those marking special events such as coronations. They were hollow in form and often served as dual purpose for holding salt. They would have had a cord and would have been hung in the kitchen or by a fire to keep the salt dry. During the 17th to 19th centuries salt was taxed heavily and was considered a luxury item. Later, in a clearer bottle glass, they were used also as containers of tea and the standard rolling pin measuring 15 inches in length and 2 inches in diameter will hold exactly one pound of tea. They were also sold as fairings with sweets and treats inside. The rolling pin used to hold salt or tea or comfits was fitted at one end with a ground-in ballheaded stopper of glass: when the purely ornamental rolling pin came into fashion both ends consisted of matching solid knobs. The production of a Nailsea glass rolling pin The Nailsea examples were not only made at the Nailsea works in Somerset but also Bristol, Newcastle, Sunderland, Wrockwardine Wood in Shropshire, Alloa in Scotland and elsewhere. Nailsea has become the generic term for the type of glass produced in these areas. These rolling pins were created from hot molten glass and rolled in coloured and/or white enamel chips which were sprinkled on the marver plate. The glass is then reheated and blown into shape with the glass rolling pin incorporating the selected colour such a purple, blue, mottled and striped. Antique and Vintage Glass Rolling Pins price guide Related A Look at Nailsea Glass Fairings – Fun at the Victorian Fair
Ferdinand Preiss the ‘Master’ of ivory sculpture

Considered by many to be the ‘Master’ of ivory sculpture, Ferdinand Preiss was a skilled designer, modeller and carver, who worked throughout the Art Deco period.
Queen’s Platinum Jubilee Collectables

Queen’s Platinum Jubilee Collectables – 2022 will be a very special year for Her Majesty The Queen with the celebrations of her Platinum Jubilee. As with many special Royal anniversaries and events there are a lot of special editions, memorabilia and collectables being designed and produced. We take a look at some of the Queen’s Platinum Jubilee Collectables available for this amazing event. Halcyon Days Halcyon Days have created some very special pieces including baubles and a music box. Platinum Anniversary Queen Elizabeth II Toby Jugs from Bairstow Pottery Bairstow Pottery have released a special Platinum Anniversary Queen Elizabeth II Toby Jug. The edition is being released in five colourways: Dark Blue, Green, Grey, Light Blue and Pink. Each colour being one of the Queen’s favourites. Each jug is hand painted and features embellishment completed by using real platinum. The edition has been modelled by Bairstow Pottery’s lead designer Ray Noble. Click for more information Steiff The Steiff Platinum Jubilee Bear is available exclusively from The Danbury Mint. The teddy is being produced until the 2nd June 2023 – the 70th anniversary of Her Majesty’s Coronation. She is being made in a caramel and cream coloured mohair is fully jointed and will measure approximately 10½” (26cm) standing. As a Steiff bear she has the classic Steiff ‘button’ and white tag with red writing attached to her ear and also wears a purple bow and a medal featuring a picture of The Queen saying 70 Golden Years. Her paws are finished with the Queen’s cypher and the dates of her reign. A lovely bear priced at £249 which can be pre-ordered for delivery in August. The Royal Mint The Royal Mint is creating several different sets including a new 50p and a £5 Crown designed by John Bergdahl. The commemorative Platinum Jubilee portrait depicts Her Majesty on horseback and two beautifully decorative reverse designs for the occasion. The collection also includes the first UK 50p coin issued by The Royal Mint to celebrate a royal event, which features a bold, graphical celebration of The Queen’s reign by the design agency Osborne Ross on the reverse. The obverse features the Platinum Jubilee portrait. For more details visit https://www.royalmint.com/ The Royal Collection The Royal Collection is one of the largest and most widely distributed art collections in the world. Running to more than a million objects, it is a unique and valuable record of the personal tastes of kings and queens over the past 500 years. In addition to the well-known paintings, drawings and other works of art, the Collection includes almost the entire contents of all the royal palaces. The Royal Collection create items and collectables for sale online and the shops such as Windsor Castle, Holyrood Palace, and The Garden Shop at Buckingham Palace. A number of Platinum Jubilee collectables and gifts are available including plates, tea sets, crystal, clocks, pill boxes etc. For more information visit The Royal Collection Shop.
How Superior Detailing and Scale Models Led to the Success of the Spot-On Range

Spot-On was a range of die-cast toys produced by British toy factory Tri-ang from 1959 to 1967 (Tri-ang was a division of Lines Brothers, which had been established as a toy maker in 1935). The Spot-On range was created in response to the success of rival toy company’s Dinky and Corgi. Dinky had had great success in the early 1950s with its die-cast range and in 1956 Corgi entered the market. The Spot-On trade mark was registered to Triang based in Merton Surrey, this was in December 1958 and in the following year ‘Spot On Models Ltd was incorporated on the 12th February 1958. The Spot-On range was made at the Lines Bros factory in Northern Ireland. When the folks at Spot-On Models set out to create a new line of die-cast models that would be different to the Dinky and Corgi ranges, and they wanted to ensure that their cars and vehicles would be as realistic and detailed as possible. They began by carefully selecting 1:42 scale as the basis for their new range, taking into account factors like size and weight. The Spot-On range were heavier than the Corgi and Dinky ranges. This meant that all of the tiny parts and components on the models could be accurately scaled and rendered, while still allowing some wiggle room for creativity and flexibility. From the outset in 1959 Spot-On models featured interiors and they were the first company to introduce electric lights in August 1961. On top of that, they infused the range with inspiring themes from real-world automotive history, ranging from classic racers to iconic supercars. In the end, it was this combination of practicality and creativity that led to the creation of a truly exceptional line of model vehicles. The Spot-On range was an immediate success with both children and adults. Its high quality meant that it appealed to collectors, but its cheapness ensured that it remained accessible for ordinary families. In addition, Tri-ang’s clever marketing strategies helped to ensure that the Spot-On range stood out from the crowd. For example, in 1963 Tri-ang launched a series of television advertisements featuring the character Mr Spot, who demonstrated the various features of its toys such as steering and suspension. This was highly unusual at that time, and helped to cement the Spot-On brand in consumers’ minds. To fully emphasize the fixed 1:42 scale, both large and little cars were chosen for inclusion in the range. The Silver Wraith was initially offered as a Rolls Royce, before being replaced by the even bigger Phantom V, which included functioning headlights and passengers from the Royal Family. Smaller vehicles included the Isetta bubble car, the rare Meadows Frisky, the Fiat 500 and the Goggomobil. The Mini Cooper, which had been added in March of 1960, was joined by other uncommon vehicles such as the Aston Martin DB Mark III, Jensen 541, Daimler Dart SP250, and Bristol 406. The Spot-On Meadow Frisky showing the same model in several colours Early Spot-On models stated “Made in the United Kingdom” on the base, but later models, changed to “Made in Northern Ireland”. The first packaging for Spot-On die-cast vehicles was a box in light blue with draughting compass ‘dividers’ and ‘graph paper’-like grid printed on it, as well as the standard yellow and black lettering. The appearance of the designs suggested that they were not only toys, but also finely engineered components. The second series of boxes was similar, however the ‘dividers’ were considerably reduced and an image of the automobile (which was not featured on the first boxes) was added. The final boxes in the late 1960s were black and blue with cellophane windows, which are thought to be some of the first window boxes available. The Spot-On range has long been popular with collectors and the prices for rarer models and colours have been rising consistently. The ranges were crated in more limited numbers than many Dinky and Corgi ranges and the colour range of models was much wider. The larger size and brittle nature of some pieces has meant that fine and near mint examples are much sort after. Spot-On also created a number of gifts sets and presentation sets which remain some of the rarest editions. Mecanno, which included the highly successful Dinky range, was acquired by Lines Bros in 1964, and this might have hastened the demise of the nascent Spot On model range. The last year of production for the original Spot-On models in the United Kingdom occurred in 1967.
The Idealistic Art of Emile Galle

The glass of Emile Galle is attracting increasing attention among collectors, not only for its inherent beauty and refinement, but also because every piece, so far as we know, has that favourite feature of the collector, a signature.
Only The Best – The Steiff Story

These days there is a definite tendency to over-use adjectives such as ‘extraordinary’ and ‘inspirational’ but when these words are applied to the achievements of Margarete Steiff, founder of the world famous Steiff company, their use is amply justified. In the nineteenth century, to be female was almost as great a stumbling block to achieving international commercial success as being disabled. Margarete was both and yet she overcame these ‘disadvantages’ to establish a business that was phenomenally successful in her own day and remains so today, 127 years after it was founded. Pictured right: Recreation of Richard Steiff’s workshop, featuring a scale replica of 55 PB, the world’s first teddy bear Born in Giengen, Germany in 1847 to a master builder and his wife, Margarete was stricken with polio before she reached her second year, leaving her paralysed in both legs and with a severely weakened right arm. It was a devastating setback that left her confined to a wheelchair for the rest of her life but whilst the polio was able to damage Margarete physically, it was unable to destroy her spirit. Surrounded by a loving family, she grew up with a strong sense of confidence in her abilities and with a vision to earn her own living. She took the first step towards achieving this goal when she began dressmaking in 1866 and, eleven years later, opened her own shop selling felt garments which she had designed and made herself. As the business prospered, Margarete was able to employ a few people to help produce her garments. Pictured left: PB 28, Richard Steiff’s second jointed bear, also known to collectors as the Rod Bear The switch to toy making occurred in 1880 when Margarete used a pattern from a German magazine to create a small felt elephant which could be used as a pincushion or simply as a toy. Encouraged by the positive reaction of friends to whom she showed the elephant, Margarete started to experiment, making felt dogs, cats, horses, rabbits and pigs as well as the original elephant. The more she made, the more people wanted them, and thus Margarete Steiff GmbH was born. As her business grew, Margarete devised ways of bringing her products to the attention of an ever-increasing audience. In 1892, for example, the company produced its first catalogue which featured the maxim, ‘Only the best is good enough for our children.’ Simple and to the point, the motto is still used by the Steiff company today. Another step towards worldwide recognition came in 1897 when Margarete booked a stand for the first time at the Leipzig Toy Fair, the toy industry’s most important trade event. Unable to attend in pers on, Margarete arranged for a new employee to represent her company at this prestigious fair. The young man in question, fresh out of college having just completed his studies at the Stuttgart School of Art, was to play a seminal role in the future of Steiff. A favourite nephew of Margarete, his name was Richard Steiff and his gift to the world was the Teddy bear, arguably the best-loved toy of all time. Pictured right: First Steiff catalogue, produced in 1892; it introduced the company’s motto, ‘Only the best is good enough for our children’ Until the early twentieth century, bears had been represented in toy form as fierce and somewhat unlovable but Richard Steiff was determined to change that. He had a passion for real bears and made it his mission to create a soft toy bear that would win the hearts of children. To this end he made countless sketches of the bears he saw at Stuttgart Zoo as well as those found in travelling circuses and animal shows. At the end of the nineteenth century he designed a number of bears on wheels that could be ridden on or pulled along, and he also produced bears that stood up on their hind legs. In all his experimentation, his object was to give the toy bears life-like movement but nothing quite satisfied him. Then, in 1902, he made a significant breakthrough, creating a bear that was able to move thanks to its innovative string-joints. Called Bär 55 PB, it was destined to take the world by storm. Pictured left: Margarete Steiff holding Richard Steiff’s perfected bear First, however, the new toy had to be unveiled to the world and the venue chosen for this was the 1903 Leipzig Toy Fair. At first, the reaction to Steiff’s new, jointed bear was disappointing but that changed when an influential New York buyer, searching for something new and unusual, placed an order for 3000 of them. The arrival of Bär 55 PB in America coincided with President Theodore ‘Teddy’ Roosevelt’s much publicised refusal to shoot an injured bear for sport. Public perception linked the new toy bear with the popular President and thus the ‘Teddy’ bear was born. To cope with the unprecedented demand for the bears and to accommodate the rapid expansion of the company, a state-of-the-art glass and steel factory was erected in Giengen in 1903. So revolutionary was the design of the building that it does not look dated and is still in use today. For all its success, however, Richard Steiff was not entirely satisfied with his jointed bear and he continued to experiment and develop. His aim was to perfect his design and in 1905 he achieved this by replacing the bear’s string joints with disc joints, an ingenious method that has remained in use to the present day, 100 years after its invention. This ‘perfected’ bear met with unparalleled success, requiring Steiff to produce 974,000 of them in 1907 alone. Margarete Steiff died just two years later but her company continued to flourish in the capable hands of her nephews. Their combined vision and business acumen enabled the company to grow and to weather the worst that the troubled 20th century had to offer. Today, Steiff has an unrivalled worldwide reputation for the excellence of […]
The Time Tunnel Collectibles

The Time Tunnel remains a cult classic and we take a look at some of the The Time Tunnel collectibles, The Time Tunnel merchandise and The Time Tunnel toys that have appeared over the years. We also look at some auction results and some guide prices. The Time Tunnel was created by Irwin Allen and was his third science-fiction television series (after Voyage to the Bottom of the Sea and Lost in Space). It was set around time travel and starred James Darren as Tony (Dr. Anthony Newman) and Robert Colbert as Doug (Dr. Douglas Phillips) as the two Time Travellers. The Time Tunnel ran for one season of 30 episodes from 1966 to 1967. The Time Tunnel and Project Tic-Toc The series is set in 1968, two years into the future from the actual broadcast season, 1966-67. Project Tic-Toc is a top-secret U.S. government effort to build an experimental time machine, known as The Time Tunnel due to its appearance as a cylindrical hallway. The base for Project Tic-Toc is a huge, hidden underground complex in Arizona, 800 floors deep and employing more than 12,000 specialized personnel. Project Tic-Toc is in its 10th year and at a cost of $7.5 billion (equivalent to near $60 billion in 2022) and is under threat of being cancelled. After an ultimatum is delivered either the project sends someone into time and return him during the course of his visit or their funding will cease. Tony volunteers but he is turned down by project director Doug Phillips. Defying this decision, Tony sends himself into time and finds himself on the maiden voyage of The Titanic. The Time Tunnel team can see where Tony is and when he gets locked up Doug follows to rescue him. From then onwards they travel to various time periods for many adventures. The Time Tunnel View Master set (Sawyer’s B491) features 3 reels showing 21 views from the Rendezvous With Yesterday which was the pilot episode. A complete set in very good condition is estimated at $50. The Time Tunnel Gold Key comics – this ran for two issues. Issue 1 featured The Assassins set in April 14th 1865 and features the assassination of Abraham Lincoln, The Lion or the Volcano? set in August 24th 79 A.D. Pompeii and see Tony and Doug in a Roman adventure and Mars Count-Down set in 1980 and features a trip to Mars. . Issue 2 featured two stories The Conquerors in which Doug and Tony end up in the future and discover a plot to go back in time and help the Nazis win World War II and The Captives in which the pair end up stuck in the middle of a conflict between Indians and General George Custer. As with most comics condition is a major determinant of value. Issues in Near Mint condition are valued at $80 for Issue 1 and $40 for Issue 2. The Time Tunnel Game was produced by Ideal Based on ABC Television Network Series. The copy pictured was sold by Hakes Auctions for $420 in 2012. The sets see the game travel from Prehistoric Era, The Middle Ages, 19th and 20th Century and The Future. The first player to complete voyages through all four time periods wins. Very few come to auction so we would expect a near mint example to be highly sought after. The Time Tunnel Spin to Win Game was produced by the Pressman Toy Co and was one of the Spin Cycle Series of games. The copy pictured was also sold by Hakes Auctions for $132 in September 2009. As with The Time Tunnel Game very few come to auction so we would expect a near mint example to be highly sought after. The Time Tunnel Trading Gum Cards Where Historic Events and Periods did The Time Tunnel visit? Tony and Doug become participants in past events such as the sinking of the Titanic (Episode 1 Rendezvous with Yesterday), the attack on Pearl Harbor Epiode 4 The Day the Sky Fell In), the eruption of Krakatoa (Episode 6 Crack of Doom), Custer’s Last Stand (Episode 8 Massacre), the Battle of the Alamo (Episode 13 The Alamo) and even the signing of The Magna Carta and meeting Robin Hood (Episode 16 The Revenge of Robin Hood). General Kirk, Ray, and Ann in the control room are able to locate them in time and space, observe them, occasionally communicate with them through voice contact, and send help. With no concern for the Time Continuum, Tony and Doug meddle in time through the ages. The Time Tunnel Disc Cards Did Tony and Doug Escape the Time Tunnel? When the series was abruptly cancelled in the summer of 1967 by ABC, they had not filmed an episode in which Tony and Doug are safely returned to the Time Tunnel complex. Autographs and signed items from the stars are an essential in a collection of The Time Tunnel Collectibles. Further information Voyage to the Bottom of the Sea Collectibles https://www.thetimetunnel.com/ lots of information on the series

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Vera Wang Doll added to Barbie Tribute Collection

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Random Collecting Feature

Collecting Post-war Soviet Porcelain

New Hall Porcelain

Christopher Dresser and the Design Revolution

Collecting Antique and Vintage Glass Rolling Pins

Ferdinand Preiss the ‘Master’ of ivory sculpture

Queen’s Platinum Jubilee Collectables

How Superior Detailing and Scale Models Led to the Success of the Spot-On Range

The Idealistic Art of Emile Galle

Only The Best – The Steiff Story

The Time Tunnel Collectibles

World Collectors Net