Random Collecting Feature
Danish Ceramics from Bjørn Wiinblad
Bjørn Wiinblad – Instantly recognisable, his style is very modern and personal with almost naively drawn, but immensely charming, characters, usually with happy round faces
Harrods Christmas Bears
Each year during the run up to Christmas I make a special trip to London and head straight for the prestigious department store Harrods. The purpose of this annual adventure is not to admire the festive window displays or even take in the electric atmosphere as people frantically cram their baskets full of Christmas goodies. For me this special journey is so that I can purchase that particular years exclusive Harrods Christmas bear to add to my growing collection. Pictured right: Harrord Christmas Bear 1986 The tradition of Harrods celebrating each Christmas with a specially designed teddy bear began in 1986 with ‘Snow Bear.’ This 13” snowy white plush bear appeared in the Christmas catalogue wearing a green and red knitted hat on his head which was decorated with Christmas designs and the word ‘Harrods’ in white across the front. He also had a removable matching scarf around his neck but unlike the bears which followed he was not graced with the Harrods logo and was not foot dated on his left paw. An extremely rare and sought after bear the mere fact that he was not foot dated does cause confusion with collectors as a full set of anniversary replica bears were produced in 1995 and this included the replica of the 1986 bear. The differences between the original bear and the replica are that the second issue bear does have the 1986 date and Harrods logo on his left paw and his knitted hat and scarf have a slight variation to the pattern. The Harrods archive department informed me that generally collectors check the ‘tush tag’ – but of course a collector needs to know what the authentic ‘tush tag’ looks like in order to tell if the bear is the genuine original 1986 bear, the 1995 replica or even a copy. In fact even the Harrods archive department are not in possession of the original as the archiving didn’t begin until 1989. Although they have acquired the other early bears this elusive 1986 example is proving almost impossible to find as they seldom appear on the open market and when they do can sell for in excess of £600 – a vast improvement of its original £14.95 retail price tag. This first bear proved such a success that Harrods made the decision to produce an exclusive Christmas bear for each year thereafter which people could only buy during the holiday season. They also decided that the bears would carry the year date and Harrods logo on the left paw. 1987 saw the release of the first foot dated bear, made with beautiful soft brown plush again he wore a festive knitted hat with a green bobble on top and a matching scarf with green bobbles on each end. This bear is also desirable with collectors and some are prepared to pay over £100 to own him. Pictured left: Harrods 1993 Christmas Panda bear In 1988 a cream plush bear – very much along the same design theme as the earlier two – was released however, in 1989 Harrods produced their exclusive bear in the form of a simple white plush polar bear as it tied in with the store’s theme of ‘White Christmas.’ In 1990 Harrods went back to producing the more traditional looking bear until 1992 when a grizzly was released, again to tie in with an American theme. The following year their Christmas bear was a plush panda. During the 1990s the Harrods Christmas bears had become increasingly popular especially with the Japanese collectors. However, these collectors wanted to know more about the bears themselves, whether each had an individual name and what were the stories behind the bears? So in 2003 wearing a bright red duffel coat, ‘William’ was released as the first ever named Christmas bear and in 2004 ‘Thomas’ arrived. However, in order to satisfy the curiosity of the collectors and to celebrate the 20th Anniversary of Christmas bears in 2005, Harrods produced a special booklet for the Japanese market in which all the bears up to that date were retrospectively given names and background stories. The 2005 Christmas bear, ‘Nicolas’ also had ‘20th Anniversary’ embroidered on his right paw and his tag contained his Christmas story which read that ‘Nicolas had grown up in the Scottish highlands of the Harrods Balnagown Estate and it had become a tradition for all his friends, the other Harrods bears, to spend the winter months together in the old mill of the Balnagown Estate by the stream. Here they would celebrate the holiday season, trimming the old mill with Christmas decorations, enjoying a feast of Christmas treats and playing in the snow.’ 2009 sees the newest Christmas bear ‘Maxwell’ join the twenty-four strong hug of furry friends. Made with a super soft caramel coat he has warm chocolate brown eyes and is snugly wrapped up in a cherry red hooded jumper which has embroidered Christmassy items such as a festive tree, gingerbread man and Christmas pudding around the bottom. Maxwell is a friendly little soul and loves shopping at Harrods. His tag says that ‘he buys lots of gifts to make his family and friends smile but because he is so special he is even invited into Father Christmas’s secret Harrods workshop, a place where only select toys are allowed. Together with his friend George (another plush Harrods bear released this year) the two bears travel around the store with their favourite place being the Candy room where they eat lots of colourful sweets and plan their next exciting adventure!” Pictured right: Maxwell the Harrods 2009 Christmas Bear Priced at just £19.95 Maxwell is a definite must-have for any collector of bears. In fact this is one of the reasons that Harrods Christmas bears are so appealing, they tick all the right boxes where collecting is concerned as only one is released each year, they are easy to obtain, are more than affordable for every pocket and aside from being delightful have the probability […]
Ida Rentoul Outhwaite Her Fairies and Postcards
Ida Rentoul Outhwaite Her Fairies and Postcards Ida Rentoul Outhwaite (1888 – 1960) was an Australian illustrator of children’s books and most noted for her work depicting fairies. Born on 9th June 1888 in Carlton, Victoria to Rev. Dr. John Laurence Rentoul and Annie Isobel. She married Arthur Grenbry Outhwaite on 8th December 1909 and thereafter was generally known as Ida Rentoul Outhwaite. Her works can be signed in a number of formats including I.S.R. and at some point changed this to I.R.O. She also occasionally used I.S.R.O. and full spellings rather than abbreviations. Her first illustration was published by New Idea magazine in 1904 when she was just 15 years of age – it accompanied a story, entitled The Fairies of Fern Gully, written by her older sister, Anne Rattray Rentoul. In the years that followed, the sisters collaborated on a number of stories. Following her marriage to Grenbry Outhwaite in 1909, she also collaborated with her husband – most notably for The Enchanted Forest (1921), The Little Fairy Sister (1923) and Fairyland (1926). In a number of cases, her children – Robert, Anne, Wendy and William – served as models for her illustrations. Outhwaite worked predominantly with pen and ink, and watercolour. Her work was very popular in her native Australia combining a love for fairies and native wildlife including koalas, kookaburras and kangaroos. Her work was made even popular in the UK when Queen Mary wife of George V by sending postcards to her friends in the 1920s. Her illustrations were exhibited throughout Australia, as well as in London and Paris between 1907 and 1933. She died in Caulfield, Victoria, Australia. There are normally 150-250 Ida Outhwaite postcards on ebay click on link to view – Ida Outhwaite on ebay. Values of Outhwaite postcards in very good condition vary from £10-£50 each. Ida Rentoul Outhwaite Postcard Price Guide
The Murano Cenedese glass factory and its designers
For nearly 80 years, the Murano Cenedese glass factory has been renowned for its exquisite handcrafted glass creations. Founded in Venice, Italy in 1946 by master glassblower Gino Cenedese (1907-1973). He initially started the factory with several other glass masters of the time: Alfredo Barbini, Gino Fort, Angelo Tosi and Pietro Scaramal. Gino Cenedese took full control of art factory in 1949. Cenedese Glass quickly established itself as one of the most sought-after glass brands in the world. Gino Cenedese was a true visionary. With a deep respect for the artistic heritage of Murano glassmaking and an innate talent for creating beautiful and innovative pieces, Cenedese quickly rose to fame in the international art scene. His innovative designs captured people’s imaginations and earned him numerous awards and accolades over the years. Despite Gino’s early death in 1973, the legacy of Murano Cenedese lives on today through its stunning works of art. Whether you are admiring a radiant sculpture or sipping from a delicate goblet, each piece is a testament to Gino’s tireless dedication to beauty and craftsmanship. Cenedese’s Collaboration with Artists and Designers Over the years Gino Cedenese invited many of the most talented glass designers and artists to work at the factory including: Napoleone Martinuzzi, Antonio da Ros, Riccardo Licata, Ermanno Nason and Fulvio Bianconi. Though remaining closely bound to the ancient tradition of classical Murano glass – with hand blown glasses, vases, dishes, goblets and Venetian chandeliers – the production opened to the suggestions of contemporary art, pushed by a continuous research for new techniques and effects made possible by glass, and taking advantage of the collaboration with various artists and designers, each one bringing his personal interpretation of the material, colour, and light, each pieces marked out by the manual skill and the talent of the masters. Source ars cedenese web site. Napoleone Martinuzzi Napoleone Martinuzzi was a sculptor who worked for the prestigious Cenedese glass factory from 1953 to 1958. Throughout his career, Martinuzzi demonstrated a masterful command of the medium, creating striking glass sculptures with great skill and precision. Martinuzzi’s pieces were admired for their fluidity and grace, with many critics praising his use of color and texture to achieve beautiful effects. At the same time, however, Martinuzzi also had a deep appreciation for traditional arts like wood carving and sculpture and sought to incorporate these elements into his work. By blending modern techniques with classical forms and ideas, Napoleone Martinuzzi became one of the leading figures in the world of glass sculpture. When deciding what piece to display by Napoleone Martinuzzi we thought this piece The Creation of the World shows why he became one of the leading figures in the world. The Creation of the World designed 1953 for Vetreria Gino Cenedese, two illuminated columns each inset with applied glass scavo panels depicting Adam and Eve, human figures, flora, fauna and fish each column 80 1/2in (204.5cm); width 16in (40.5cm); depth 8 1/2in (21.5cm). Sold for US$ 50,312 inc. premium at Bonhams, New York, December 2021. Antonio da Ros Antonio da Ros was a talented glass designer who worked for the Cenedese factory in the 1960s. Throughout his career, Antonio was known for his innovative and creative approach to glass design. He is perhaps best-known for his unique “submerged” glass forms, which feature an asymmetrical shape that seems to almost vanish into thin air. Antonio had a unique ability to see potential in ordinary, everyday objects like vases and vessels, and his work transformed the medium of glass into something both beautiful and ethereal. a local artist fascinated by the decorative and chromatic possibilities of glass, who brought a fresh and enthusiastic approach that led to the search of unprecedented forms and chromatic effects. With Da Ros, the Sixties saw an important creation of the “submerged” glass forms among which the “Contrappunti”, fluids submerged playing on different tones of colours Source ars cedenese web site. Riccardo Licata Riccardo Licata (b, 1929) was a talented glass designer who worked for the prestigious Cedenese glass factory in Italy. Throughout his career, Riccardo focused on creating beautiful and intricate designs that brought out the natural beauty of glass. His most famous work is perhaps the glass fish aquarium block sculpture that he designed in 1952. This innovative piece captures the energy and gracefulness of swimming fish while also showcasing Riccardo’s remarkable skill as a glass artist. Today, Riccardo’s work continues to be admired and celebrated by artists and designers all over the world, and he remains an inspiration to aspiring glass designers everywhere. Ermanno Nason Ermanno Nason was a master glass-craftsman and artist who worked for the Cedenese glass factory from 1963 to 1972. He is best known for his innovative use of color and light in his glasswork. Nason’s pieces are characterized by their bold, vibrant colors and clean lines. He is best known for his “Nason e Vidal” line of stemware, which was produced by the factory. In addition to stemware, Nason also designed a number of other glass products, including bowls, vases, and Ashtrays. His work is characterized by its clean lines and simple forms. Nason’s work was influenced by the Italian Modernist movement, as well as by Scandinavian design. Ermanno Nason’s work is highly sought-after by collectors and enthusiasts alike. His pieces can be found in some of the world’s most prestigious museums, including the Museo di Vetro di Murano in Italy and the Corning Museum of Glass in New York. Fulvio Bianconi Fulvio Bianconi was a talented glass-craftsman who worked for the Cedenese glass factory from 1954 to 1962. During this time, he developed a revolutionary technique for working with glass that involved using both heat and pressure to create stunning works of art. Bianconi’s original pieces combined a number of different textured elements, each layer perfectly balanced against the next. His work quickly gained acclaim in the art world, and today his pieces are considered some of the finest examples of contemporary glass-craft. Pushing the Boundaries through Collaboration Over […]
William de Morgan at the Ashmolean Museum Oxford
If you are a fan of the works of William de Morgan, then a visit to the Ashmolean Museum in Oxford should be on your itinerary. The De Morgan Foundation has on semi-permanent loan, since 2017, a fine collection of William de Morgan works. The display includes tiles, dishes, and vases, and works from different periods and factories. Below are some images from the collection. William de Morgan Related Ashmolean Museum, Oxford – https://www.ashmolean.org/ De Morgan Collection – https://www.demorgan.org.uk/ William De Morgan – the Arts & Crafts Pioneer William De Morgan Price Guide
Doll collecting – How Do You Begin?
Recently, a friend said, ‘I’d like to collect dolls. But there are lots of different kinds. How do I start and what are the best to buy?’ This really had me thinking; it’s a difficult query to reply to as there’s no easy answer. The first thing to establish is why my friend wants to collect – if it’s for investment purposes, my reply will be, “Don’t!” That isn’t to say there is no money to be made in the doll collecting world – a lady I know must be rubbing her hands with glee at the moment having just sold a mint in box Pedigree doll (which originally cost £5) for over £650! While anyone who still owns their childhood Blythe doll could, with a bit of luck, be sitting on a nice little earner of £500 upwards. I’m sure that if you ask Kathy Martin which bears to collect, Mark Hill which glass to collect or Tracy Martin which handbags to collect, they will all tell you the same – “Buy those which you really love (as long as you can afford them!).” There is no point in buying items which you dislike purely because they might possibly rise in value in ten years time – after all, you have to live with them until then. If you invest in an ultra rare, mint, perfect doll, but it happens to be one of those types which scares you even before you placed your bid, well, yes, you might possibly make a profit in a few years – but in the meantime, you’ll have turned into a nervous wreck, with the doll haunting your dreams and scaring all your friends away! Stick with what appeals to you, and you’ll be fine. What if you decide you want to collect the kind of dolls you like, but the trouble is, you like them all? Well, firstly, welcome to the club, most doll collectors face this exact dilemma! Sometimes you can narrow it down a bit. Maybe, fashion is your thing and the new fashion dolls, especially those by the American designers such as Tonner, will fit the bill. There are many ranges of exquisite dolls to choose from, whether you decide to go for the 1940s look as worn by Mel Odom’s Gene, 1950s chic encapsulated in such dolls as Tonner’s Kitty Collier, 1960s zany styles as demonstrated by the new Doug James range of Gabby and Violet teens, or ballet and theatrical glamour found in the stunning range by Clea Bella. All of these dolls are worth checking out by fashion fans. If, however, your fashion tastes are more simple, then you might prefer to begin your collection by seeking out old Sindy, Barbie, Daisy, Tressy and Tammy dolls. All of these have their fans, and it is still relatively easy to pick up good examples without laying out too much money – a Sindy, for example, in her original Weekenders outfit, or a Quant Daisy wearing her trendy Bees Knees get-up, can be bought for the price of a meal out. Barbie and Sindy are still being made, so you could add some you really like to your collection just by popping along to your local toy shop. Maybe, though, it’s the older dolls which really appeal to you – it must be said that some of the bisque dolls from the 1920s and before are stunningly beautiful, with large glass eyes, creamy smooth porcelain cheeks and rosebud mouths. To me, it is a really special feeling to hold one of these old dolls, to imagine the children who played with her and the history they witnessed, a nd, especially, to marvel at the way a china doll which has been loved and played with by generations of children, can still be so fresh and perfect. Antique dolls are often expensive – yet, some modern dolls can cost just as much, if not more. If you are hoping to collect antique dolls, now is a very good time to buy. At present, many of the more commonly-found old dolls have dropped in price, possibly due to an influx on the market as elderly owners decide to part with their possessions; look out for makers such as Armand Marseille, Ernst Heubach, Simon & Halbig and Schoenau & Hoffmeister, all of whom made delightful and popular dolls. At present it is possible to buy a reasonable antique doll in good condition for around £150 from a dealer or fair. I would never recommend that you buy any antique doll without inspecting it first, unless the seller is someone known to you who you trust implicitly. When you find an antique doll which you really love, ask the seller if there are any cracks, including hairlines, chips or other damage (normally this should have already been noted on the tag attached to the doll). Check to see whether the wig is original (a replacement isn’t necessarily a problem, as long as it isn’t a modern nylon wig), and ask if you can remove some of the clothing to check the condition of the body. Sometimes you will find there are scuffed toes or missing fingers; most collectors are not overly concerned with minor play damage such as this, and some will accept a hairline crack if it doesn’t detract from the doll’s beauty. Antique dolls aren’t always made from china, there are some very beautiful wax dolls about. Many people dislike wax dolls as they find the wax likeness to human skin rather creepy for comfort, while often the faces tend to craze which can give them a sinister air. Anther reason they are out of favour is because they can dry out in modern centrally-heated homes. Nevertheless, wax dolls can be very pretty, and often not particularly expensive. With a little care, they can make an excellent and interesting collection, as can celluloid dolls, which, though prone to dents, and which, being inflammable, mustn’t be put near a naked […]
Eye Catching Optical Toys – Magic Lanterns, Kaleidescopes, Stereoscopes and more!
Optical toys such as kaleidoscopes have been popular for decades: children still play with stereoscopes which have been popular since the time of Queen Victoria, while projectors, toy cameras and many other optical novelties are all manufactured today.
Studio Szeiler
Most people recognise pieces of Szeiler – even if they don’t know what they are. A contradiction in terms? Maybe, but any visit to an antiques centre or collectables fair will result in the sighting of several of these charming pieces nestling quietly amongst brighter ceramic figures, waiting for their subtle appeal to be noticed. And once you’ve noticed, you’re hooked! Many people must have fallen for one of these attractive sculptures without even reading the backstamp, and only later seen the oval Szeiler logo. A typical Szeiler piece will be a small animal, such as a cat, dog or donkey, modelled in a slightly stylised pose with smooth contours which entice you to touch, and probably it will be decorated in light beige, white, or the palest of blue. Joseph Szeiler was born in Hungary in 1924. Though his original ambition was to become a veterinary surgeon, he was forced to give up his studies at Budapest University because the country was in such turmoil. After fleeing to Austria, he arrived in Britain in 1948, and worked at various potteries in the Midlands, including Wade Heath, where he was employed as a caster. Joseph obviously enjoyed the work because he decided to study ceramics and learn all he could about modelling, until finally he was skilled enough to have his own business. He went to work for an esteemed freelance modeller, C S Lancaster of Burslem, who taught him the various processes involved, including mould making and casting. Joseph also attended evening classes at Burslem School of Art. By 1951 he was in business, working from a small rented room in Hanley, but as he had no kiln he had to carry the heavy boxes of greenware for a mile to the local tile factory which fired the pieces for him. He modelled small creatures, decorating and glazing them himself, and his love of animals is evident in his work. Four years later he had earned enough money to open his own factory at Burslem where he produced not only animals, but also tableware, vases and other small pieces, and employed six people, including two of his fellow countrymen. One of Joseph’s most popular lines was the sad-eyed dog. These melancholy sitting spaniels with ultra-large heads came in a variety of sizes, and are still favourites with today’s collectors, who attempt to get the full range – more difficult than it sounds, as new sizes are still being discovered. It seems that much of the ware hasn’t been fully researched or listed, and though collectors are doing their best by noting everything they find, unknown pieces are still coming to light. Many of the creatures have a ‘cartoon-type’ sweet appearance, such as the spaniels mentioned earlier, and a range of cats (actually referred to as Bighead cats in an early Szeiler catalogue), which came in various colours such as tabby, grey, black or Siamese, and stood two-and-a-half inches tall. A ‘Nightie’ cat was a Bighead standing, wearing a long nightdress, and a Puffy cat was plump and round, and decorated with coloured spots! Another charming model featured a kitten with a drum, demonstrating to perfection Szeiler’s classic beige/ white/blue colouring. Bears included a range of adorable chunky cubs, about four inches tall, sitting upright with their forepaws casually resting on their hindpaws. Another played peek-a-boo by peeping cheekily through his legs. Donkeys must have been in demand, too, judging by the variety produced by the company. Many of them had ultra-long ears, vulnerable to breakage so always check before you buy to make sure they haven’t been repaired. As with the dogs, donkeys can be found in many sizes in both sitting and standing poses. Donkeys pulling carts were also made, once again showing off that attractive colour scheme. The enormous variety of creatures produced by the factory included foxes, zebras, pigs, deer, goats, chimpanzees, kingfishers, penguins and lambs. Giraffes were particularly attractive with caricature type faces and the distinctive beige and blue colouring. Horses, too, were popular and were featured in several poses including grazing, standing, lying and rearing on their hind legs. As well as the sad-eyed character spaniels, numerous realistic models of dogs were made such as corgis, poodles and collies. The catalogue also lists ‘Tubby dog’ and ‘Podgy dog’! A popular piece in the 1960s was a scared mouse inside a brandy glass, with an inquisitive cat attempting to climb inside, and one wonders how many homes still contain those Szeiler-made cat and mice. Some of the animal ranges were fancifully decorated with a floral design, and these could form a super collection on their own. Floral elephants, cows, pigs and, perhaps nicest of all, yawning hippos, would bring a smile to any ceramics display. The Nationality Series was an intriguing range featuring a collection of dogs dressed to resemble various countries. Each little dog was mounted on a base bearing its name written in script, and was modelled with great humour. George was an English bulldog wielding a cricket bat, Ping a Chinese pekinese with a conical straw hat, Gwen a Welsh corgi in traditional tall black hat, Jock a kilted Highland terrier and Pierre, a beretwearing French poodle clutching a baguette. Studio Szeiler also produced an enormous range of tiny white oval vases, edged in gold, each bearing a transfer print. These vases must have been sold in every souvenir shop across the country, judging from the huge amount around today – and they were still being produced in the late 1970s, as they could be obtained commemorating the Queen’s Silver Jubilee. Though lacking the charm of the skilfully moulded animals, they would form an inexpensive collection, and, as with the figures, look best when they are grouped. They measure three inches in height (though some are slightly taller), and would only have held a very tiny posy. The tremendous range of subjects included dogs, cats, owls, butterflies, flowers and birds – it seems that any transfer available was used for these […]
Collecting Frog Mugs – The Frog Mug A Nice Surprise
Imagine sitting down to enjoy a nice drink and whilst taking a sip you look down you are faced with a small frog in your mug. A nice surprise or maybe not! This was the idea behind the Frog Mug which were first produced around 1750 but became very popular during the first quarter of the 19th Century. One theory of how the frog mug came to be made was that a potter who had nearly completed some mugs, had left them to cool overnight. On his return he found a frog sitting at the bottom of one of them. He was so surprised and amused he decided to make a mug with a frog inside based on the idea. They proved so popular the frog mug was created. Most frog mugs feature a frog on the side or on the bottom, and occasionally on the rim. Some frogs have open mouth so when the drink was poured it would also go through the frog’s mouth. There are some examples of larger vessels having multiple frogs and even lizards as well. The earliest frog mugs date to around 1750 and are largely associated with the Sunderland potteries including Brunton & Company (afterwards Moore & C0) who were noted with early examples. One of the most noted potteries for the production of the frog mug was Dixon and Co. Although Sunderland and the north-east were the leading area for the frog mugs, they were also made in the Stafford potteries and the Leeds potteries. The frog mugs created in Sunderland pimarily feature the famous Sunderland lustreware with its pink lustre decorated with black transfer prints often with mottos, phrases and sayings. More popular designs include portrayals of the Wearmouth bridge, Ironbridge and the Crimea. As many of these mugs were used by sailors many had a strong nautical theme and featured sailing ships, the Sailor’s Farewell and the Sailor’s Return. The majority of antique frog mugs made in Sunderland can be bought from around £60 to £200. The main factors affecting price are rarer transfers & motifs and condition. The price of other examples is variable, with great variations in price – from £40 to £1,000. Example pieces and prices have been given in this feature. The frog mug is a quirky, attractive item with great historic interest, and collections can still be created for a modest investment.
Bucherer Dolls – Swiss innovation and invention in Doll design
Whilst reporting on a toy auction I came across a collection of unique jointed metal dolls from the A. Bucherer and Cie Company of Amriswil, Switzerland. The dolls ranged from popular characters from the 1920s including Charlie Chaplin and Mutt & Jeff to farm ladies and a pilot. On checking my reference library I was only able to find one reference to A Bucherer dolls in Dawn Herlocher’s 200 Years of Dolls: Identification and Price Guide and even internet search did not reveal much more information of these inventive dolls except an excellent feature by Sherry Minton on AntiqueTrader. Luckily a number have made their way for sale and to the auction market enabling us examine the dolls in more detail. ‘Bucherer, Amriswil, 1921-1930, made dolls with a patented metal ball-jointed body. Advertised as having changeable heads, the dolls represented comic characters and celebrities such as everyday civilians such as chauffeurs, policemen and firemen. Many were dressed in regional costumes with outfits sewn directly onto the doll.’ 200 Years of Dolls: Identification and Price Guide by Dawn Herlocher The A. Bucherer and Cie Company produced dolls from 1921 to 1930. Swiss innovation and invention in the early 20th Century made the country a world leader in clocks and watch technology, and music boxes among others. It seems that knowledge and technology moved into the creation of finely articulated dolls. The dolls had changeable heads which were made of plaster composite material as were the hands and feet. Head features such as hats were also moulded see the Bucherer Policeman and Bucherer Coldstream Guard as examples. The dolls measured between 6 to 10 inches high and were marketed under the name SABA an acronym for Speilwarenfabrik (toy factory) August (first name of Burcherer) Burcherer Amriswil (location of factory). Many of the dolls were made for particular markets especially America where the celebrities and comic characters were popular, and according to records two-thirds of the dolls produced found their way to US market. Bucherer Reference 200 Years of Dolls: Identification and Price Guide (200 Years of Dolls: Identification & Price Guide) Speaking of Dolls: Metal in their bodies shows invention and innovation in the world of dolls by Sherry Minton