Bjørn Wiinblad – Instantly recognisable, his style is very modern and personal with almost naively drawn, but immensely charming, characters, usually with happy round faces
Collecting for me is about amassing items that give you pleasure. Now that may well be a collection of stamps, ceramic ornaments or even toy cars but whatever you choose they are items that either bring back nostalgic memories or you simply purchase them because you love them. For me collecting is also about our social history, all of the items that we buy did at some stage have a reason for their existence. This is why I am fascinated with collecting items from various decades. Many collectors source anything and everything from the 1930s, whilst others crave items from the 1940s and there are those fascinated by the 1950s. In fact, there are collectors for every decade who either cherry pick items or even live their lives as if it was still that particular era from the 20th Century. I prefer to cherry pick as I am still very much a modern 21st Century girl at heart. There are certain aspects from each decade that attract me with the 1960s rating very high on the list. I can usually find items that epitomise this era extremely cheaply like the vivid 1960s tray I bought for 20p at a bootsale. Top Tip: Charity Shops, Bootsales and Garage Sales are perfect places to pick up vintage items for a few pounds. Look for ceramics, glass, fashion and pictures that scream the 1960s. If they are not already sought after they will be very soon. I am also fascinated by 1960s fashion. A mixture of boutique couture such as Biba and Mary Quant, the invention of the mini skirt and an all round fashion revolution – there is much on offer for the keen eyed collector. Designer labels usually come at a cost but there other wonderful fashion items from this particular decade which can be picked up at a reasonable price. I purchased a lovely bright red mini dress on one of the internet auctions for £25 which was a real bargain for a piece of vintage clothing. In fact, vintage is all the rage at the moment and I had the pleasure of meeting Hannah Turner Vokes, managing director of the London based vintage clothes store Paper Dress when I was featured in leading fashion magazine Grazia, last year. Hannah is the ultimate vintage fashion junkie and she wore an amazing disposable paper 1960s mini dress and also brought along a 1960s paper bikini to the photoshoot. Hannah often rummages around bootsales to find her bargains and this seems to have paid off as the dress cost just £9 and the bikini which she bought off of an internet site was a steal at £7, both of which are worth considerably more especially if sold in a specialist vintage store. Top Tip: Look for unusual items like paper clothing as these are becoming harder to find and collectors crave them. Jewellery is also a favourite for me and I was lucky enough to find a Mary Quant Daisy ring from a collectors fair a few years ago for £50. I have never seen this particular design before as it has beautiful blue enamel and the daisy actually opens to reveal a perfume container underneath. So this particular item fits into collecting 1960s, costume jewellery and vanity items like ladies compacts. Handbags and shoes from the 1960s are also keenly acquired by collectors and over the years I have bought many vintage examples with one pair costing just £2. Kaleidoscopes of colours they certainly make me stand out in a crowd when I wear them. These can be picked up quite cheaply like the wonderful yellow floral shoes and matching clutch bag that I bought from a bootsale for £25. When originally made these shoes and handbag formed part of the new 1960s fashion bug of ladies matching their shoes to their bags, otherwise known as The Total Look. It is not just the fashions and accessories of the swinging sixties that get collector’s hearts racing as there was much more on offer from this vibrant decade. In 1963 the Cornish pottery Troika was established by Benny Sirota, Lesley Illsley and Jan Thomson. They made attractive, yet usable art pottery which today has stormed the collectors market with people pay thousands for one of the rare plaques or sculptural Aztec heads. There are still more affordable pieces available with coffin vases and marmalade pots selling from £80-£100 upwards. So if you are looking for something dating from the 1960s that fits well into today’s environment Troika pottery is definitely an option. Toys are also a popular area of collecting and the 1960s didn’t fail to produce. The Sindy doll was launched in 1963 and many of her outfits were created by leading fashion designers such as Sally Tuffin and Marion Foale. One of my favourite pastimes is hunting out Sindy doll outfits as each replicates the fashions of the time and as I adore fashion this is just an extended way of me indulging my passion. Fact: The boys weren’t forgotten as Action Man was launched in Britain in 1966. The 1960s had so much to offer and I have literally just touched the tip of the iceberg where collecting this decade is concerned. Revolutionary in so many ways we mustn’t forget the music – especially The Rolling Stones and The Beatles. An area really worth indulging in if you can afford to collect some of the original memorabilia. Then of course 1966 supplied us with a host of World Cup memorabilia, not forgetting of course the charismatic British spy James Bond (played by Sean Connery) who first graced the silver screen in 1962 when Dr. No was released. So rather than just concentrating on one specific topic area of collecting like books, film or sporting memorabilia – take a look at what is on offer from the various 20th Century decades. Unless of course you lived through the 1960s and are now cursing the fact that you threw away […]
Readers who were children during the 1950s may well have fond memories of a very rare type of doll – the Beauty Skin. Made by Pedigree, these lovely dolls were certainly not rare at the time. On the contrary they were very popular, especially with young children, because they were so soft and cuddly. Sadly, though, the dolls had a fault – they tended to disintegrate after a few years of play. Pedigree Beauty Skin dolls first appeared in the late 1940s, and were popular until the mid-1950s. They came in four sizes, but the smallest had a rubber head, unlike the hard plastic of the larger sizes. These rubber-headed dolls were 9” high, while the hard plastic headed versions were 14”, 16” and 20”. Although their heads were hard plastic, their bodies were made from a soft thin rubbery latex material and their limbs were of a similar substance, stuffed with kapok. They had pretty faces, often with flirty eyes, and most had moulded hair. Gradually, after lots of loving and cuddles, the latex would split or turn brittle, and the kapok would emerge, leaving a split and empty arm. Eventually, the dolls would be so damaged that they would be thrown away, which is why they are so rare today. Some people tried to stop the splits with sticking plaster, but this was a disastrous thing to do, because once stuck to the latex it could never be removed. It would turn grubby and unsightly. Sadly some owners of the dolls still resort to this method of stopping the kapok emerging, today, but it is not recommended. If you are lucky enough to own one of these dolls, but it has split, then the best thing to do is to place a soft garment on the doll – cardigan or leggings, depending on where the split is – and then handle it as little as possible. Just leave it alone, and hope that it doesn’t get worse. At the time, Pedigree recommended that talcum powder should be rubbed in to the latex, but I am wary of this treatment, unless the doll is actually sticky, as it could dry out the latex even more. Sun, warmth and the rigours of handling played havoc with that delicate skin, and modern central heating dries them out, too. (Most people in the fifties didn’t have to worry about central heating; they made do with a coal fire downstairs and cold bedrooms!) I called my first Beauty Skin baby Jeannie, and loved her very much, but eventually she was so damaged, I couldn’t play with her. So when I was asked what I would like for Christmas – I must have been about six – I asked for another soft doll, just like Jeannie. I found Isabelle on Christmas morning wearing a white satin dress, lying in a little blue-draped metal crib. I loved Isabelle dearly, and I had her for many years, even though her right arm slowly, but completely, disintegrated. I used to take her on holiday with me, and she rode in my doll’s pram. Eventually the day came when my mother decided I was ‘too big’ for dolls, and so most of my babies had to go. Isabelle had to be put into the dustbin – no-one would want a doll with a perished arm – though Mum kindly offered to do it for me, knowing how much I loved that doll. When I started collecting dolls, I searched everywhere for a Beauty Skin, and kept a lookout at all the doll fairs, but no luck. Then one day, about six years ago, my daughter and I visited our local Collectors’ Centre. Suddenly I saw her pick up a doll from a table, and turn to me in triumph. She had found me a Pedigree Beauty Skin! Apart from one tiny crack in the rubber skin on the palm of one hand, she was perfect, and was the first one I had seen since my beloved Isabelle was thrown in the dustbin all those years ago. She is slightly larger than my original Isabelle, and her face is a little different, but her fingers, her toes, the way her moulded hair is shaped into little curls around her forehead, are just as I remembered. My Beauty Skin wears her original white satin-edged cotton romper suit, and takes pride of place in my doll cabinet. Now, though, she normally has a light cotton dress and jacket placed over the top of her romper, just to ensure that when she is handled no damage can get to her skin. A couple of years later, my daughter came hurrying over to me at a doll fair, to say she had found another, smaller, Beauty Skin! This one was just 9” high, and was immaculate, with a soft head, rather than the hard plastic head of the larger-sized Beauty Skin babies. Still boxed and wearing her blue dress, bonnet and socks, she must have been ex-shop stock. Then, recently, I came across yet another large Beauty Skin. This one, although not in such perfect condition as our other doll, is, I believe, unplayed with, but poor storage has caused her to disintegrate on one thigh. However the facial colouring is wonderful, with cheeks as pink as the day they were painted. She is 16” tall, wears her original lilac and pink romper suit and lacy net socks, and comes with her box and even the delightful letter which Pedigree gave to all the new young ‘mothers’ of Beauty Skin babies. This delightful ‘hand-written’ letter reads: ‘My Dearest Mummy, I love you, I hope that you will love me too. Be careful not to let me fall, I am a Baby – after all! To keep me always fresh and sweet, Just sponge me over, top to feet, Then gently dry and powder me, And I’ll be clean as clean can be,. I’m ready Mummy Dear for fun, And go to sleep […]
The opening of Disneyland in Anaheim, California in 1955 opened the door to worldwide recognition of Hagen-Renaker’s craftsmanship. By the Fall of 1955, the first of the Hagen-Renaker “Disney” pieces were released. Walt Disney is quoted as saying, “they made the finest three-dimensional reproductions of the drawings he ever saw”. In the ensuing years, until 1965 or 1966, the “Disney series” was expanded to include most of the leading characters from “ Lady and the Tramp”, ,“Alice in Wonderland”, “Cinderella”, “Bambi”, “Dumbo”, “Pinocchio”, “Snow White”, and “ Mickey Mouse and Friends”. In 1982 a second series of Hagen-Renaker “Disney” pieces were introduced based upon “Fantasia”. Fantasia just happens to be one of John Renaker’s favorites. These were the last of the figurines that Hagen- Renaker did specifically for Disney, although for years, their standard Miniatures were featured in the Emporium and other shops at Disneyland. The Hagen-Renaker “Disney” pieces were both miniatures, i.e., 1” to 2”, or a larger series, 3” to 6” in size. Today all pieces are prized by collectors of Disney and command prices several hundreds of dollars over their original cost. The Disney experience carried over in the evolution of the Hagen-Renaker line. Many new miniatures, expressing the whimsical nature of animated cartoons such as Disney’s, began to find their way into the line. Circus sets, bug bands, and animals dancing, just to name a few. And if look closely at the line today, you’ll notice a marked resemblance to “Thumper” in Brother Rabbit, and both of their small deer, lying or standing, definitely remind you of “Bambi”. Care has been taken, however, not to violate any licensing of copyright with any of the Hagen-Renaker line, but once you like something it’s hard to completely erase it from your creative vision. Hagen-Renaker Related Hagen-Renaker Information
Netsuke date back to the 17th Century, and became extremely popular in Europe towards the end of the 19th Century. This coincided with the Japanese adopting the suit and its pockets and with oriental artefacts being very much in vogue with buyers in western Europe. A huge supply of redundant netsuke came into Europe and were sold in many places as novelty items very cheaply. For the collector today there are many styles, and types, some by well known designers and the range in price can be incredible: from a few $/£ to £140,000 paid for a netsuke horse carved by Tomotada. Netsuke served both functional and aesthetic purposes. The tradtional Japanese dress, the kimono had no pockets. The robes were hung together by a broad sash (obi), so items that were needed to be carried were held on a cord tucked under the sash. The hanging objects (sagemono) were secured with carved toggles (netsuke). A sliding bead (ojime) was strung on the cord between the netsuke and the sagemono to tighten or loosen the opening of the sagemono. The best known accessory was the inro, a small box used by the wealthy for carrying medicines and seals. Netsuke were also used to secure purses, and were widely used to hold the tobacco pouches that became almost universal with the introduction of smoking in Japan. The quality of Netsuke was variable. As everyday objects many were carved quickly with left over materials. Netsuke could be made using a variety of materials mainly wood, and ivory (also shell, bone, horn, even metal and precious stones). Wealthier people would have finer netsuke, and it could be possible to tell the status of an individual by the quality of their netsuke. The workmanship is some is outstanding and despite their small size 1 to 2 inches, there can be considerable detail. There are several types of netsuke including: manju, round or square button like boxes; and kagamibuta, comprising a metal lid and a bowl; and katabori. The range of subjects included all manner of animals, birds, the heores and villains from folklore, the immortals and mythical animals of Japanese legend, the grotesque and the amusing. The variety and variability of netsuke is a reason for their continued popularity today. Knowledgeable collectors look for compactness, a design that appears good from any angle, and the cord holes must not interfere with the piece and may often form part of it. With the decline of the kimono there was less demand in Japan for netsuke, but they continued to be produced for export. Some skilled designers continued to produce excellent pieces which are much sort after. Production continued into the 20th Century with a revival in the art as interest incr eases. In recent years a number of poor netsuke have been produced and a number of fakes of original pieces have also been manufactured. These pieces are often produced using ivory obtained from illegally poached elephants and other animals. Resin replicas are also being produced. Many are sold as such but collectors should be careful. Forms of Netsuke kataborinetsuke (形彫根付) or “sculpture netsuke” – this is the most familiar style, a compact three-dimensional figure carved in the round, usually around one to three inches high anaborinetsuke (穴彫根付) or “hollowed netsuke” – subset of katabori which is hollowed-out and carved within; the most common are scenes in clams sashinetsuke (差根付) – this is an elongated form of katabori, literally “stab” netsuke, similar in length to the sticks and gourds used as improvised netsuke before carved pieces were produced, about six inches long obi-hasami – another elongated netsuke with curved top and bottom. It sits behind the obi with the curved ends visible above and below the obi. mennetsuke (面根付) or “mask netsuke” – the largest category after katabori, these were often imitations of full size noh masks, and share characteristics in common with both katabori and manju/kagamibuta manjunetsuke (饅頭根付) or “manju netsuke”- a thick, flat, round type of netsuke, with carving usually done in relief, sometimes made of two ivory halves. Shaped like a manju. ryusanetsuke (柳左根付）- shaped like a manju, but carved like lace, so that light shines completely through kagamibutanetsuke (鏡蓋根付) or “mirror lid netsuke” – shaped like a manju, but with a metal disc serving as lid to a shallow bowl, usually of ivory. The metal is often highly decorated with a wide variety of metallurgical techniques. karakurinetsuke (からくり根付) or “trick/mechanism netsuke” – any netsuke that does something, ones with moving parts or hidden surprisesForms of Netsuke text – Copyright (C) 2000,2001,2002 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed. Books on Netsuke
1996 saw the centenary of the death of William Morris. William Morris has increasingly become a household name and as the father-figure of the Arts and Crafts movement has had a great impact on 20th century design. He was the first to champion such art and craft principles as “truth to materials” and simplicity in art. This simplistic nature was also seen in his attitude towards life where he propagated an ideal of rustic living. His utopian socialism beliefs and his affinity for natural, hand-crafted details made him the spiritual leader of the Crafts Revival of the 20th century. Pictured: William Morris tile panel – the architect of Membland Hall in Devon commissioned this sumptuous design for bathroom tiles from William Morris (1834-1896). Morris had the tiles painted in the studios of William de Morgan (1839-1917). They represent a rare collaboration between these two creative geniuses. From Collections at the V&A click for more details © Victoria and Albert Museum, London William Morris was born into a wealthy local pottery family on March 24, 1834, at Elm House, Walthamstow. He was the third of nine children (and the oldest son) of William and Emma Shelton Morris. In his childhood Morris showed a great passion for all things medieval and a great affinity with nature. Pictured: William Morris tapestry The Forest – William Morris’ use of birds and animals in his early tapestries is a forebear to his later carpet patterns. This design, one of his most successful compositions, uses a dense cover of trailing acanthus leaves, as seen in his first tapestry ‘Acanthus and Vine’, into which have been placed Philip Webb’s five studies of animals and birds. It is possible that Henry Dearle supplied foreground floral details, although these are similar to Webb’s preparatory drawings. The verse was later published under the title ‘The Lion’ in Morris’s Poems By the Way. The tapestry was woven by Morris & Co.’s three most senior weavers ‘under the superintendence of William Morris’ according to the 1890 Arts and Crafts Exhibition catalogue. Bought by Aleco Ionides for 1 Holland Park, in London, it hung in the study together with an acanthus-leaf panel. From Collections at the V&A click for more details © Victoria and Albert Museum, London In 1847, Morris’s father died, and the following year, aged fourteen, he entered Marlborough College. He left in 1851 to continue to study at home. In 1853 Morris entered Exeter College at Oxford, where he met Edward Burne-Jones, who was to become one of the greatest of the Pre-Raphaelite artists, and began to study architecture and write poetry. In 1856 Morris began work in an architects office where he met Philip Webb, who would become another close friend and associate. He took rooms with Burne-Jones, already embarked on his career as an artist, and before the end of the year Morris himself abandoned architecture for art. Pictured: William Morris wallpaper Trellis design – ‘Trellis’ is typical of Morris’s early wallpaper patterns. It combines simple bird and flower forms with a plain coloured background. It is a compromise between the boldly coloured pictorial patterns which were then popular with the general public, and the formalised flat patterns in muted tones which were promoted by the design reform movement. Philip Webb, the architect of the Red House, drew the birds for this wallpaper design. From Collections at the V&A click for more details © Victoria and Albert Museum, London In 1859 Morris married Jane Burden. In 1861 along with others Morris founded “Morris, Marshall, Faulkner and Company” (later Morris & Co.). Morris excelled in the design of flat patterns, derived from organic forms, particularly fruits, flowers and birds. He was especially talented in designing carpets, fabrics, stained glass and wallpapers. In 1878 the Morris family moved to Kelmscott House in Hammersmith, where Morris began to experiment with tapestries. Morris is credited with over 600 designs. Pictured: William Morris furnishing fabric Strawberry Thief – This printed cotton furnishing textile was intended to be used for curtains or draped around walls (a form of interior decoration advocated by William Morris), or for loose covers on furniture. This is one of Morris best-known designs. He based the pattern and name on the thrushes which frequently stole the strawberries in the kitchen garden of his countryside home, Kelmscott Manor, in Oxfordshire. Despite the fact that this design was one of the most expensive printed furnishings available from Morris & Co., it became a firm favourite with clients. The pattern was printed by the indigo discharge method, an ancient technique used for many centuries mostly in the East. Morris admired the depth of colour and crispness of detail that it produced. He first attempted to print by this method in 1875 but it was until 1881, when he moved into his factory at Merton Abbey, near Wimbledon, that he succeeded. In May 1883 Morris wrote to his daughter, ‘I was a great deal at Merton last week … anxiously superintending the first printing of the Strawberry thief, which I think we shall manage this time.’ Pleased with this success, he registered the design with the Patents Office. This pattern was the first design using the technique in which red (in this case alizarin dye) and yellow (weld) were added to the basic blue and white ground. From Collections at the V&A click for more details © Victoria and Albert Museum, London Morris was becoming more and more interested in politics and despite his wealthy background developed strong utopian, socialist views. He became a prominent speaker and theorist and wrote several poltical texts including Art and Socialism. He saw Socialism as a way of solving many of the problems present in Victorian society such as poverty and unemployment. Pictured: William Morris wallpaper Acanthus design – This wallpaper was printed for Morris’s company by the London firm Jeffrey & Co., who specialised in high quality ‘Art’ wallpapers. It required thirty wood blocks to print the full repeat, and used fifteen subtly different colours (more than any previous design by Morris). ‘Acanthus’ was issued in two colour combinations – one […]
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.
Robert (Mouseman) Thompson (7 May 1876 – 8 December 1955) was a British furniture maker whose designs were both functional and very collectable. His designs with their clean, simple lines, careful workmanship, classic construction and mouse carvings have attracted and continue to attract considerable interest from collectors not only in the UK but worldwide. Pictured: A Robert Mouseman Thompson Refectory Table c1935. Sold for £2,250 at Bonhams, London, Nov 2013. Robert Thompson lived in Kilburn, North Yorkshire, where he set up a business manufacturing oak furniture, which featured a carved mouse on almost every piece. Pictured: A Mouseman Oak Cheesboard and Mouseman Breadboard, c1935. Estimate £300-£500. It is claimed that the mouse motif came about accidentally in 1919 following a conversation about “being as poor as a church mouse”, which took place between Thompson and one of his colleagues during the carving of a cornice for a screen. This chance remark led to him carving a mouse and this remained part of his work from this point onwards. The mouse carvings can often be used to date pieces. Pictured: A Robert Mouseman Thompson Pair of Monk’s Chairs, c1940. Sold for £7,500 at Bonhams, London, Nov 2012. Image Copyright Bonhams, He was part of the 1920s revival of craftsmanship, inspired by the Arts and Crafts movement led by William Morris, John Ruskin and Thomas Carlyle. More specific to furniture making in this genre and era include Stanley Webb Davies of Windermere. Pictured: Robert Mouseman Thompson oak ashtrays – of similar form but with slight differences, each dished rectangular and with two canted corners, carved in relief to the opposite end with the mouse trademark ashtrays. Sold for £168 at Bonhams, Knowle, June 2011. Image Copyright Bonhams, The workshop, now being run by his descendants, includes a showroom and visitors’ centre, and is located beside the Parish Church, which contains “Mouseman” pews, fittings and other furniture. The company is now known as “Robert Thompson’s Craftsmen Ltd – The Mouseman of Kilburn.” Mouseman Related The Mouseman Visitor Centre Mouseman Furniture at auction Robert Thompson Mouseman Price Guide Early Mouseman pieces are highly desirable and unlike a great deal of Victorian and early 20th century furniture, pieces are bucking market trends and are increasing rather than decreasing. The factory still produces furniture so new pieces are available. Below are realised prices from auction rooms and online auctions.
We thought it would be fun to take a closer look at George Tinworth and his humorous comical mice. For a more detailed account on the life and work of George Tinworth visit George Tinworth – The Greatest Doulton Lambeth Designer. Here we look at some of the Tinworth mice and mice groups and their values. A rare George Tinworth Doulton Lambeth stoneware mouse group ‘Tea Time Scandal’ – modelled as three mice seated at a table drinking tea and gossiping, whilst a young mouse sits underneath the table, glazed in green and highlighted with ochre and treacle glazed detailing, the base inscribed ‘Tea Time Scandal’. Sold for £2,625 at Bonhams, London, 2012. Image Copyright Bonhams. A similar model also sold at Bonhams in April 2014 for £2,750. George Tinworth For Doulton Lambeth a Set of Five Mouse Chess Pieces, circa 1890 – comprising a King/Queen, a Rook and three Pawns in a pale green glaze 8.2cm, 8.8cm and 6.5cm high each with ‘G.T’ monogram, the King/Queen with Doulton Lambeth mark. Sold for £3,125 at Bonhams, London, October 2014. Image Copyright Bonhams. George Tinworth for Doulton Lambeth ‘The Cockneys at Brighton’ a Figural Mouse Group, circa 1880 – with mice modelled in a rowing boat at sea, titled to base 11cm high. Sold for £3,360 at Bonhams, London, Sep 2009. Image Copyright Bonhams. George Tinworth for Doulton Lambeth A stoneware model of a mouse on a bun, circa 1905 – 7.2cm high, impressed factory marks, incised artist monogram (SR). Sold for £1,920 at Bonhams, London, March 2009. Image Copyright Bonhams. George Tinworth for Doulton Lambeth A Stoneware Model of a Mouse on a Bun, circa 1880 – the mouse glazed in a deep blue, the bun in a dark treacle glaze 7cm high, incised artist monogram ‘GT’ (restoration to ears). Sold for £937 at Bonhams, London, April2012. Image Copyright Bonhams. George Tinworth for Doulton Lambeth ‘Waits and Water’ a Good Mouse Group, circa 1885 – modelled with three musicians standing below an open window about to receive an unexpected reward for their playing, in salt glaze with green and blue, on titled base 13.5cm high, artist monogram. Sold for £4,000 at Bonhams, London, April 2013. Image Copyright Bonhams. Books on George Tinworth
On a recent trip to Brittany and the magnificent Mont St Michel I came across a wonderful display of modern Quimper Faience Pottery and notably Henriot Quimper. Many of the designs and colours were instantly recognisable and based on the traditional The Petite Breton pattern, but there were also many new modern and very attractive patterns. The handpainted French faience known as Quimper Pottery (pronounced “cam-pair”) was founded by potter Jean Baptiste Bousquet and has been manufactured in Quimper, Brittany, France since 1690. The Locmaria area of Qimper had an abundance of clay, a navigable river and skilled labour and was to be an ideal place for Jean Baptiste Bousquetto build his kilns. The firm was known as HB Quimper. In 1772, a rival firm was founded by Francoise Eloury known as Porquier. A third firm formed in 1778 by Guillaume Dumaine which was known as HR or Henriot Quimper. The pottery made by the three companies was similar featuring the Breton peasants and sea and flower motifs. In 1913, Porquier and Henriot merged with HB joining the others in 1968. The company was sold to a US family in 1984. More changes followed and in 2011 Jean Pierre Le Goff purchased the company and changed the name to Henriot. Henriot Quimper continues the tradition producing the traditional patterns featuring the Breton figures as well as many new more modern designs. The superbly talented resident artists at Henriot still hand-craft every piece of Quimper Pottery. Historically, the Quimper factories hosted artists in their studios which continues to this day. Quimper pieces are still produced from casts and works by major artists who have created works for the various Quimper factories, including Berthe Savigny, Louis Henri Nicot, R. Michaeu Vernez, Rene Quillivic, Beau & Porquier & George Robin. In addition, contemporary artists, such as Paul Moal and Loic Bodin continue to work with Henriot. Further details Henriot-Quimper : Actualité