Random Collecting Feature
Crackers About Christmas
Crackers About Christmas by Tracy Martin No festive dinning table would be complete without one of our greatest British traditions – Christmas crackers. Each year we all gather around and politely ask the person sitting next to us if they would pull a cracker. Then out floats the corny jokes, the even more tacky gifts and of course the unflattering coloured paper hats. Whether this is a tradition you love or loathe collecting unused Christmas crackers is an explosive collectors market which would never have existed if confectioner Tom Smith hadn’t discovered a sugar coated sweet. Tom Smith – The Bon-Bons Tom Smith discovered the ‘bon-bon’ (sugared almond) sweet whilst on a trip to Paris in the 1840s. Wrapped in twists of coloured paper he realised this sweet would sell well in London as up until that point most were sold loose in paper bags. Proved right the bon-bon was a renowned success but only over the Christmas period with the problem being sales virtually stopped once the festive season had come to an end. In order to encourage orders all year round Tom added a small love moto which he placed within the paper. Once again sales were most successful around Christmas so with this in mind Tom decided to develop his seasonal sweet wrapping and cash in. A flash of inspiration came one day after he had thrown a log onto his burning fire as a big crackle exploded from the log which made Tom jump. This sound was the necessary spark that he had been looking for in order to enhance his ‘bon bon’ and make it more desirable to the buyers. The only problem being that Tom had to find a way to recreate the bang which would add excitement to this sweet. An Explosive Success After two years Tom finally discovered that if a strip of saltpetre, something that is familiar in today’s crackers, was pasted to two pieces of thin card at each end was pulled the friction created a spark and then a crack. He had to do much experimenting though because sometimes they burst into flames, thus ensuring Tom had a few burnt fingers. By 1860 Tom Smith had finally perfected his cracks resulting in his ‘Bangs of Expectation’ being born. Keeping the sweet and the moto inside but adding this noise gave his new confectionary a little more excitement which proved popular with the children and amusing for the adults. The buyers couldn’t get enough of this new novelty sweet and he became inundated with orders. Tom then began to refine his concept. He kept the moto but no longer placed sweets inside the paper, instead he added surprise gifts. Tom then renamed his new innovative novelties as Cosaques because the noise made was similar to the sound of the Cossack’s cracking whips as they rode through Paris during the French and Prussian wars. The Cosaques or as we know them today -crackers, were such a phenomenal success that Tom took the idea overseas. This wasn’t such a good move as one Eastern manufacturer stole his idea, copied it and shipped a consignment of crackers to Britain just before Christmas. Tom was horrified but wouldn’t be beaten so he set about designing eight different varieties of cracker, working day and night with his staff they were ready in time for Christmas and were distributed right across the country. After this there was no looking back as Tom was now the biggest manufacturer of Christmas crackers. Cracker Collecting When it comes to the serious business of collecting Christmas crackers there are a few key things that collectors look for. The design on the cracker and the box imagery is important, also what novelties can be found inside define much of the rareabilty and of course the obvious point that people only want boxed ones that haven’t been pulled. As with collecting anything condition is also important and the better the condition – i.e. not too much fading to the crackers or box, no tears and still with their surprises inside – the more money can be commanded. Early Crackers Throughout the Victorian period there were many themes to the boxes of crackers with Japanoserie being one of the most prolific. Inspired by the popular operas of the time such as Madame Butterfly and The Mikado these cracker boxes were decorated with images of Japanese Geisha girls and inside the surprises were miniature versions of Japanese pottery. These Japanese inspired crackers continued right thought to the outbreak of the First World War and Tom Smith crackers often featured Oriental themes. Topical events were also often used such as the ‘Votes for Women; Suffragettes. There were two different boxed sets produced – the ‘anti’ packs which made fun of the women and the ‘pro’ packs which joined allegiance with the women as they were made in the purple, green and white house colours of the Suffragette movement. However, even if a few boxes of these crackers survived they would be near impossible to find as both collectors of Christmas crackers and those that collect Suffragette memorabilia would be fighting to own them. The ‘Bank of Love’ crackers released by Tom Smith in 1884 was a popular choice with young people holding parties as the crackers box depicted a bank where you find love. So if the party hosts or guests were looking for a potential wife or husband these crackers was the perfect ice breaker. The same design was also reissued as the ‘Toy Bazaar’ and ‘Lowther Arcade.’ The early 20th Century brought a whole host of fresh ideas for cracker box imagery and the crackers themselves. On 22nd November 1922 the archaeologist and Egyptologist, Howard Carter discovered the tomb of Tutankhamen in the Valley of the Kings. On 16th February 1923 he opened the tomb and first saw the sarcophagus of this Egyptian King. This discovery fuelled the public’s interest in Egyptology and Tutankhamen ephemera were available everywhere – including on boxes […]
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.
Armand Marseille Dolls & Other Bisque Dolls
Bisque china dolls are those tranquil faced beauties we see featured on the Antiques Roadshow, with glass eyes, hand-painted features and, often, ‘double-jointed’ limbs.
Chessell Pottery
The Chessell Pottery was founded in 1978 by Sheila and John Francis in the pretty village of Chessell on the Isle of Wight.
Lee Middleton Dolls – Babies That Love You Back
Many collectors have a soft spot for Lee Middleton Dolls from the Lee Middleton Company; beautiful babies without the ugly wrinkles and creases which many manufactures feel obliged to mar their creations. I began collecting them comparatively recently, with my first acquisition dating only to 2001, but in fact the company has been active for twenty-five years. Pictured right: First Generation It all began in 1978 when the founder, Lee Middleton, from Ohio, wanted dolls resembling her own children, and she decided to make them herself. She sculpted those first dolls on her kitchen table. Very soon, relatives and friends asked Lee to sculpt dolls of their children, too. Lee’s talent was obvious, and before long she had formed a company, finding herself in charge of a cottage industry. She received her first nomination for a DOTY (Doll of the Year) Award in 1985. Larger premises were needed, eventually leading to the opening of a manufacturing facility in Belpre, Ohio, in 1989, and soon the company were producing more baby dolls a year than any other manufacturer in America. In fact the Mayor of Belpre declared the city to be “The Baby Doll Capital of the World.” Lee Middleton changed the way collectors felt about vinyl dolls; before, most designers had insisted on working with porcelain, but Lee’s dolls helped show that vinyl could be just as collectable. Her dolls went from strength to strength. Then, in 1997, tragedy struck – Lee died from a heart attack. Naturally, her employees were devastated. However, out of the heartbreak came an unexpected twist with the discovery of talented Canadian doll artist, Reva Schick, who would not only carry on the Lee Middleton tradition of creating exquisite dolls, but would take the company to new heights. Pictured left: Pride and Joy Lee Middleton had believed that her artistic talent was a gift from God, and Reva Schick holds the same belief, continuing the charming custom of including a tiny Bible in each doll box. In 1998, she was nominated for a DOTY award, and since then, has received almost forty prestigious awards and nominations. Yet in spite of all her sculpting, Reva still finds time to go on national doll signing tours and attend conventions, meeting thousands of fans. The dolls appeal to celebrities, too, who are just as tempted by the sweet faces – Oprah Winfrey and Demi Moore are both enthusiasts. The dolls from the Middleton Doll Company are life-size and weighted. Every year new dolls in various skin tones, eye colours, hair colours and sizes are introduced, made from a soft to touch vinyl, which feels very authentic. Their facial f eatures are realistic, and the babies have often been mistaken for real babies, with stories of police chastising women for holding their ‘babies’ on their laps instead of putting them in a restraint, or of leaving them unattended in cars. Pictured right: Tulip The quality of the Lee Middleton Dolls is excellent, and this extends to the clothing where only the finest materials are used. Beautiful lace, silky dresses, embroidered flowers, crocheted caps and patent shoes, as well as more trendy cords, anoraks, modern prints and even ethnic traditional dress ensure there is a baby to suit every taste. In 2004, Lee Middleton Original Dolls expanded its line to include ‘Breath of Life Babies’. This collection of incredibly lifelike preemie-sized dolls features a new skin-like vinyl called ‘New Baby Skin’ and rooted ‘Baby Fine’ hair. More than half of the first collection of Breath of Life Babies sold out before even being featured in stores. Interestingly, unlike most other companies, the dolls are not given conventional names; instead they are given a short description such as ‘Young At Heart’, ‘Holiday Wishes’, ‘Spring In Paris’, ‘Love Makes the World Go Round’ or ‘Uniquely Yours’. This allows the purchaser to bestow a name of her own choosing onto the doll, and also means that the name does not sway the choice. (For instance, if you were bullied by a Linda at school, or disliked a person called Mavis, you are not so likely to buy a doll if it bears those names!) Pictured left: Love Makes the World Go Round The various face sculpts also have titles; ‘Sweet Lips’, ‘Munchkin’, ‘Small Wonder’, ‘Lil’ Darlin’’, ‘Little Sunshine’, ‘Cutie Pie’ and ‘Beautiful Baby’ – there are dozens of them, and it’s amazing how, just by varying skin tone, eye colour or hair, the face can appear totally different. Some collectors aim to collect an example of every doll issued which features their favourite face. A few years ago the company set up ‘The Newborn Nursery’ at their store in Belpre, Ohio, and it proved so successful that department stores throughout America now contain these nurseries. Designed to look like a real hospital nursery, the Newborn Nursery lets children go through a fun baby doll adoption process before bringing their new bundles of joy home. When children choose to ‘adopt’ a Middleton Company baby, they can go along to a centre where sales associates wearing nursing uniforms teach the girls how to properly care for their dolls and give the new dolls health ‘check-ups’. They are handed ‘adoption papers’ before the baby is presented to the new little mummy. These nurseries have proved so popular that summer club events are organised where girls and their baby dolls gather to play. Recently, the company opened a museum to show the history and development of the Lee Middleton doll. It’s a must for collectors visiting Ohio, and can be found near the retail store. The tour begins with a replica kitchen table, illustrating how Lee Middleton began her sculpting, and traces her humble beginnings in rural south-eastern Ohio. Dolls on display include rare and interesting doll collections on loan from long-time collectors. Many creations by Reva Schick are exhibited, including one of her earliest works, a fascinating baby created with bread dough and made at her kitchen table! Pictured left: Happy Birthday Teddy Over the […]
Post War Dolls
Doll manufacturers were constantly experimenting with materials in an attempt to replace bisque china which so easily was broken. Various substances were tried including wood, celluloid, fabric, metal and a mixture of glue, sawdust and rags called composition. Pictured: Hard Plastic BND doll When plastic was invented it seemed that the search was over – here was a product which was not only virtually unbreakable, but was light to handle and could even be washed. In the late 1940s dolls made from hard plastic flooded the UK market. Companies such as Pedigree, Roddy, Palitoy, Chiltern, Rosebud and BND created all manner of lovely dolls from this new wonder product, while, in the US, Madame Alexander, Effanbee, Arranbee, Ideal, Mattel and Vogue did likewise. A further breakthrough came when vinyl was developed. Now dolls were soft to hold and could have hair rooted directly into their heads, instead of wearing glued-on wigs. By the 1970s, dollmaking in Britain reached its zenith and shops were filled with the classic dolls we’ve all come to love – First Love, Tiny Tears, Katie Kopycat, Tippy Tumbles, Amanda Jane, Babykins, Sweet April, Victoria Rose, Baby Needs You, Baby Won’t Let Go and Sasha. Pictured: Tiny Tears Vinyl Palitoy doll American dolls poured in, amongst them the innovative Cabbage Patch which caused long queues to form outside toyshops in the 1980s. Continental dolls such as those made by Gotz, Jesmar and Zapf came too. Today, most of the British companies have disappeared or been integrated into other concerns. Zapf’s Baby Born is one of the top-selling dolls, while Playmates’ Amazing Amy and Famosa’s Baby Expressions will surely be future collectables. Pictured: First Love Vinyl Pedigree and Bluebird Dolls are becoming even more lifelike as artists create breathtakingly-beautiful high-quality vinyl dolls which rival the finest porcelain, and already collectors are seeking out playdolls from the 1940s, 50s, 60s, 70s and 80s. They are the antiques of tomorrow!
Martin Ware – How Grotesque
The Martin Brother’s pottery was established at Pomona House, Fulham, London, in 1873, moving to Southall in 1877. Of the four Martin Brothers, Walter Fraser, Edwin, Charles and Robert Wallace, it is Robert who as the chief modeler and designer of the pottery is best known today. They made very distinctive stonewares and while the Martin Brother’s are perhaps best known for producing the grotesque or ‘Wally’ bird tobacco jars, and mugs and jugs decorated with grotesque faces, this formed only a relatively small part of their production. Pictured right – An imposing large Robert Wallace Martin stoneware bird jar dated 1882 black-painted wood socle, flange inscribed R. W. Martin, Sc./Southall Pottery, 2-11-1882, base inscribed R. W. Martin/London/& Southall/1882. height 25 1/2 in. (64.8 cm.)., from the Sotheby’s Harriman Judd Collection of British Art Pottery, New York in 2001 sold for $81,250. Initially, architectural works were produced for which Charles as business manager and developer was largely responsible. The vessels, large and small, the form often inspired by vegetables, can be incised with birds amongst grasses or birds perched in branches, or aquatic life, and were inspired by 18th century illustrations, executed in Japanese style. Pictured left – A Robert Wallace Martin monumental stoneware vase circa 1880 incised with birds and palm trees, (firing cracks at foot), impressed MARTIN. height 42 in. (1.07m.)., from the Sotheby’s Harriman Judd Collection of British Art Pottery, New York in 2001 sold for $7,200. A few wealthy or farsighted individuals who saw the individually expressive and original thought that had gone into the creation of the pieces largely bought the wares produced. The final firing of the Southall kiln was in 1914 with only a small percentage of the wares being successful, as had been the case in the last few firings. Pictured left -A Martin Brothers stoneware small double-sided face jug dated 1910 inscribed Martin Bros./London & Sout hall, 5-1910. height 5 1/4 in. (13.3 cm.), from the Sotheby’s Harriman Judd Collection of British Art Pottery, New York in 2001 sold for $5,700. The majority of pieces made by the Martin Brothers at Southall bear the mark RW Martin & Brothers London & Southall along with a number and date. Pieces inscribed and attributed to Robert Wallace Martin himself tend to be the most valuable. Related British Pottery Overview Martin Brothers Pottery at auction
Nuremberg Alms Dishes & Nuremberg Dishes, Basins and Bowls
The brass basins, dishes and bowls created in Nuremberg, Bavaria in the 15th, 16th and 17th century are often referred to by collectors as ‘alms dishes’ hence the collective term Nuremberg Alms Dishes. Although Nuremberg was the leading centre for base metal production in Europe at the time, the manufacture of brass dishes were also made in Dinant and the surrounding area from Bouvingnes to Aachen, and up to the Netherlands. The Nuremberg brass dishes were exported all over Europe including England. During the period all metals were expensive even brass and the alms dishes produced, although functional, were often purchased by wealthy townspeople who would display decorative domestic objects to give the impression of wealth, style and status to guests. Brass dishes were a less expensive alternative to the silver and gold displayed in the European courts. The dishes were often embossed and decorated with secular and religious scenes including: Coats of Arms; scenes from the Bible such as the fall of man, the annunciation and The Spies of Canaan; inscriptions; scenes from Classical Mythology; stags, flying harts etc. Some dishes are inscribed with an ownership mark which shows that these objects were significant possessions. The dishes were embossed by hammering/beating the brass into a steel die. Other features were punched through. Inscriptions and lettering were often added but these were often meaningless. One of the reasons that Nuremberg became the main centre for the production was the strength of the local guilds. The Nuremberg Guilds Unlike other production centres which were governed by guilds, Nuremberg craftsmanship was governed by the Town Council. The council was made up members of the most powerful Nuremberg families who controlled the standard of craftsmanship within the town. The strictest professions were the trades bound by oath. Craftsmen had to take an oath to follow strict rules of production in order to be able to practice their trade. The Basin Beaters, who made brass dishes and bowls, became an oath bound trade in 1471. Rules included a restriction on the number of apprentices and journeymen each master could have and a regulation that apprentices must be citizens of Nuremberg. This helped to protect the town’s production and to ensure that no one craftsman became more powerful than the rest. (Source V&A) As the dishes went out of fashion at the end of the 17th century many found there way into the churches and were used as ‘alms dishes’. Nuremberg Alms Dishes Price Guide From looking at the recent auction prices there is enormous variation in the value of different Nuremberg dishes. Although some are four to five hundred years old, they were made in such numbers that many have survived and many in relatively good condition. Simpler designs range from £50 / $70 to £200 / $300. A dish featuring St George and the Dragon sold for £4,600 at Halls Auctioneers in 2012. A few more examples are pictured in this feature. Nuremberg Alms Dishes Reference Collections at V & A Nuremberg Basin at https://www.antiquemetalware.org.uk/
Star Wars Revenge of the Sith Collectables
Star Wars Revenge of the Sith Collectables With the sixth Star Wars ‘Revenge of the Sith’ film opening shortly – the merchandise and associated premiums have been finding their way into shops, cereal packets and elsewhere for months. The first Star Wars film ‘A New Hope’ in 1977 was the first film to really tie in with merchandise and and many of the toys and related products from then are now worth considerable sums such as the first series of Kenner figures produced from 1977-1979 included a Jawa with plastic cape which can now fetch around $1,000 if in mint condition. It will be interesting to see if any of the new action figures, toys, comics etc will be as collectable. Pictured right is a StarWarsShop.com shared exclusive Original Double-Sided Episode III Theatrical Movie Poster Hasbro are releasing a number of action figures and toys including limited editions through certain outlets. Target will offer an exclusive Star Wars: Episode III Collector’s Case 5 pack and Toys R Us have an exclusive Anakin Skywalker Starfighter. Pictured left is the Episode III Unleashed Figures 3-Pack, Assortment 1 featuring Anakin Skywalker figure, Obi-Wan Kenobi figure and General Grievous figure. Available to all are a number of action figures that come individually and in various assortments, sets and packages. Often the Limited Editions, exclusives and less popular characters have the most potential to increase in value. Pictured right is the Episode III Deluxe Figure Assortment 1 featuring 2 Anakin Skywalker with Darth Vader tunic and armor figures, 2 Obi-Wan Kenobi with Super Battle Droid figures and 2 Emperor Palpatine changes to Darth Sidious figures. Collectors Cards, Trading Cards and Pins are always popular. The Revenge of the Sith Hobby collectors card set comprises 90 gold foil-stamped. There are a number of special chase cards randomly inserted: etched foil cards, morph lenticular cards, and a number of one-of-a-kind artist sketch cards (insertion ratio of the sketch cards are 1/36 packs). Pictured left Revenge of the Sith Hobby Collectors Cards. Pins and pin trading has become popular over the last few years especially with the growth in Disney Pin Trading. A number of pins have been produced including a number of exclusives such as the Celebration III exclusive StarWarsShop.com pin depicting the famous “Vader in Flames” banner art for the Star Wars event held in Indianapolis. Pictured right Vader in Flames exclusive StarWarsShop.com pin. Disney are pro ducing a incredible collection of Star Wars pins created for their annual Star Wars weekends. These are being released at the Tatooine Traders in the Disney-MGM Studios theme park. Star Wars Weekends 2005 will take place at the Disney-MGM Studios from May 20 through June 12, 2005. Pictured left Star Wars Weekdns Logo Pin features the logo for Star Wars Weekends 2005. Mickey Mouse is putting the finishing touches on Darth Vader’s helmet. Mickey Mouse’s hand is a pin-on-pin. Randy Noble from Disney Design Group designed the logo for this year’s celebration. Premiums normally produce some interesting toys and collectibles and for Revenge of the Sith, Burger King has the promotion. The offering varies from country to country – there are six exclusive toys in the UK (include Darth Vader™, droids R2D2™ and C3PO™, Chewbacca™, the Millennium Falcon and, of course, Yoda™!), and over 30 in the US. The US toys come in several ranges including Pull Backs, Wind Ups, Water Squirters, Plush, Image Viewers and Limited Edition 2 in 1 Darth Vader toy. Pictured above right: the UK Burger King Star Wars toys There should be enough variety to cater for even the most ardent collector and with expectations that this film is the best of the latest trilogy there appears to be more interest. I’m just off to get my Lightsabre. May the Collecting be With You!
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.