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Moorcroft Pottery
William Moorcroft might be said to have been born in the right place at the right time, with the benefit of an incredible ability to master all the skills needed to ensure that his business prospered no matter what the economic climate of the times. He was born in Burslem in 1872 and educated at Longport Hall School prior to becoming a student at the Burslem School of Art. His considerable artistic talent led to a move to London where, in 1896, he studied at the National Art Training School, later renamed The Royal College of Art. Young William made good use of his time in the capital by deciding to make an extensive study of both ancient and relatively contemporary ceramics displayed in the British Museum and the South Kensington Museum. We recognise the latter today as the Victoria and Albert Museum. The following year he was awarded his Art Master’s certificate which would normally attract most students towards a career teaching art. However our Mr Moorcroft had set his sights on becoming a potter and, as the fates would have it, was offered the position of designer by the china and earthenware manufacturers James Macintyre and Company of the Washington works in Burslem. He wasn’t slow to see the god sent opportunity and showed no hesitation in eagerly accepted the vacant situation. The pottery made all manner of both relatively mundane utilitarian and decorative ware including artist’s palettes, door furniture and art pottery, alongside insulators and switchgear for the emerging electrics industry. In 1893 the company had enlisted the services of Harry Barnard, the well-respected designer and modeller formerly employed at Doulton’s Lambeth studio, in a bid to introduce art pottery into their repertoire. He was given the task of developing a range of ware that made use of a pate sur pate type of decoration that involved the building up of layers of slip in low relief. The method of decoration had already been well established and perfected at the nearby Stoke factory of Minton and Co. by the former Sevres decorator Louis Solon. James Macintyre decided to name their new designs “Gesso Faience”, but regrettably for Barnard it failed to excite would-be buyers and he eventually moved down the hill to Josiah Wedgwood’s Etruria factory where he continued to develop slip decoration whilst his career underwent a renaissance. Moorcroft’s earliest designs were registered in 1898 and made use of under glaze cobalt blue complemented with iron red on glaze and gilt decoration that enhanced his new and inventive shapes, being retailed under the trade name of “Aurelian Ware”. William’s obvious childhood passion for nature and flora is evident in his treatment and choice of formalised repeated designs, which show a real synergy with the then all-important mentor of many a young art student–William Morris. Undeterred by the failure of “Gesso Ware” Moorcroft recognised the potential offered by slip-trailed decoration and set about producing Arts and Crafts’ inspired floral decoration married to imaginative organic forms. As a result his “Florian Ware”, launched in 1898, established William Moorcroft as the most exciting designer in British ceramics, able to produce in quantity contemporary designs that managed to embrace the traditional Arts and Crafts hand produced ethic. This ethic was promoted initially by Morris and later by the various Guilds that had sprung up in both Britain and the United States of America. As far as Messer’s Macintyre were concerned the most important outcome was that they had struck gold with young Moorcroft and found a highly distinctive art pottery that generated good income. William’s fertile imagination offered a regular flow of quite oftenbreathtaking designs over the next fifteen years that were not entirely limited to all things floral. In 1902 William had produced a design featuring Japanese ornamental Carp specifically for the London retailer, Osler. The firm soon became synonymous with a distinctive palette painted in tones of blue and mauve within slip trailed outlines; such vases carried a “Hesperian Ware” back stamp with other subject matter including Butterflies. That same year that saw the introduction of the first landscape design composed of a frieze of tall trees set amongst an undulating countryside and adapted to fit a variety of vases and dishes of differing size. Eventually labelled “Hazledene” the design proved especially popular through the premier retail outlet of Liberty and Co. William’s friendship with Arthur Lasenby Liberty was eventually to prove of significant importance in 1913 when Macintyre and Co. decided to concentrate upon the lucrative electrical fittings market. With space at their Washington pottery at a premium they decided to close down their art pottery concern and part company with William Moorcroft. It is a matter of debate amongst present day Moorcroft authorities as to whether or not the two parties came to an amicable separation that saw William building his own ‘state of the art’ factory in nearby Sandbach Road, Cobridge, interestingly aided and abetted by the Liberty and Co. connection. New patterns were quickly introduced including utilitarian tableware using a porcellaneous body similar to that used by Macintyre in their electrical output and referred to initially as Blue Porcelain. The speckled blue tableware was a much-needed success that soon became synonymous with Liberty and Co.’s New Tudor Tearooms where it was known as “Moorcroft Blue”. The advent of the First World War led to an increase in export trade allied with government commissions to produce shaving mugs and hospital inhalers for the war effort, thereby allowing William to retain much of his workforce. However, it was in the post war years that he was able to consolidate his position and develop his reputation for producing richly coloured wares that continued to draw upon floral, fruit and landscape inspiration. Unquestionably the most successful design of the interwar years has to be his “Pomegranate” pattern, having been initially introduced in1910. The earliest examples display distinct buff reserves that by the 1920s had given way to deep cobalt blue, and the commercial success of the company […]
Collectible Glass Chocolates that Last a Lifetime
From their home studio tucked away on the rural coast of northern California, a pair of sisters create works of art that look good enough to eat. Dinah and Patty Hulet have created stunning art glass that you’ll find in museums, galleries, and the finest gift shops in the world. Both went through college and pursued meaningful careers. While working as a librarian for a chemical company, Dinah found inspiration in the creations of the scientific glassblowers and it wasn’t long before both sisters were fully entranced with the captivating medium of glass art. By the mid-1980s, the sisters created Hulet Glass. They sold their works at local art and wine festivals with plenty of success, but they both felt it best to move to a rural portion of northern California to put their sole focus on creating their art and marketing to galleries and high-end gift shops across the country. Looking at their works, it’s amazing to discover that they are both self-taught in the field of glass art. Dinah excels at lampworking torch methods while Patty’s artistic focus involves the kiln with fusing, casting and pate de verre. What started as a hobby for both women became a full-blown career in art glass. Hulet Glass is now known around the world for upstanding quality and impeccable craftsmanship. Dinah’s portrait murrine have been exhibited in places like the Getty Museum in Los Angeles and the Corning Museum of Glass in Corning, New York. Patty’s pate de verre was represented at SOFA. After years of experience in glass art, they’ve lectured to aspiring glass artists, taught their techniques locally, nationally, and internationally, and Dinah is a past board member of the Glass Art Society. In addition to these accomplishments, the sisters have found the perfect recipe for success in the form of art glass chocolates. Under the name Hulet Glass Confections, Dinah and Patty began creating these delectably-designed art glass treats in 2005. Lavish details make each piece look good enough to eat, perfectly mimicking the look of gourmet chocolates, petit fours, tartlets, cupcakes, chocolate drops, and other delightful treats. The truly astounding embellishments include art glass chocolates topped with nuts that look so real you might attempt to taste them. When they displayed the glass chocolates at the Buyer’s Market of American Crafts in Philadelphia in 2007, buyers responded in a frenzy. Since then, the Hulet sisters have continued to create their art glass chocolates for collectors in the US and around the world. Each piece is crafted by the sisters only. They take great pride in ensuring the precision and quality their glass art brand is known for. A display of gorgeous chocolates adds a touch of class to any room, a symbol of both romance and opulence. As we eat with our eyes, the sight of stunningly-detailed chocolates evokes memories of innocence, love and happy times. Collectors will go out of their way to find a unique piece to add to their Hulet Chocolate collection. Many times when one friend or relative starts collecting, others in their close circle begin to do so as well, creating a partner to assist in tracking down that perfect piece. One look at Hulet Glass Confections and you’ll be amazed these pieces aren’t real gourmet treats. The sisters continue to craft them, coming up with new designs every year to tempt collectors to add to their growing collections. The sisters also devise decorative boxes for their art glass treats, making them the perfect vessel to commemorate special occasions like weddings, anniversaries, birthdays and more. The creations they make are the ideal special gift for anyone that wants to give something unique. The Hulet sisters’ Chocolate Drop is a beautiful piece that can be used as a necklace or ornament and given for holidays like Mother’s Day, Valentine’s Day, or as a sweet treat for teachers at the end of the year. For more details on these great creations visit Hulet Glass Chocolates
Ettore Sottsass Italy’s Greatest 20th Century Designer
When considering the work of Ettore Sottsass, the greatest Italian designer of the first half century, you have to understand the meaning of his work as well as the design concept.
Christopher Dresser and the Design Revolution
Known as Britain’s first ever independent industrial designer, Christopher Dresser was a major contributor to the British Anglo Japanese and Arts & Crafts movement.
Toys to Delight – Sugar and Spice Toys
Toys to Delight – Sugar and Spice Toys by Sue Brewer Is there a difference between girls’ toys and boys’ toys? Well, yes, quite often there is. Sometimes it’s a fairly obvious distinction; as a rule of thumb girls are given dolls, cradles, dolls’ houses, toy brooms, fluffy creatures with long hair and anything pink. Boys tend to be given trains, cars, guns, space toys, science kits and, most certainly, nothing pink! There are exceptions of course, and while children are small they aren’t so fussy; it’s only when they start nursery school that peer pressure dictates the toys they choose. Lots of toys are suitable for both sexes; puzzles, board games, Lego, Fuzzy Felt, puppets and tricycles for example, though even then there can be differences. Puzzles might feature either a girlie picture of fairies or a boy-appealing ferocious dinosaur while Fuzzy Felt will be ballet or pirates. Even Lego can be girl-orientated when it contains pink bricks and small dolls. Of course, the classic toy for a girl is a doll; from earliest times it was assumed that the woman’s role in life was to care for babies and to create a home while man was the hunter or worker. Even today, when women have far more freedom and independence, and are increasingly taking over occupations once regarded as male, small girls are still given dolls. Look round any toyshop dolls of all kinds, from babies to fashion and fairies to mermaids predominate, usually sold in pink boxes or wearing pink sparkly outfits. Many girls’ toys are traditional “ our great grandmothers, even their great grandmothers, might have played with some of them. Things such as toy sewing machines, skipping ropes, tea sets, knitting sets, dolls’ prams, music boxes, clockwork dolls and tinkle tonks. The greatest revolution in toys began just after the Second World War, and was caused by the plastics explosion. Plastics transformed the toy industry “ at last there was a material which was light, colourful, versatile, easy to mould and difficult to break. A further explosion took place in the 1980s with the introduction of ‘collectable series toys’, following on the heels of the Star Wars toys of the late 1970s suddenly manufacturers discovered an exciting way of earning more money. By issuing toys in sets, children would need to buy several before they could satisfactorily play with them. My Little Pony was one of the most popular of the new lines, though many parents and teachers loathed the pastel pink creatures which, they believed, had no play value at all. The ponies had no moving parts, so it just seemed that their young owners combed and plaited the manes and tails. Yet that wasn’t strictly true as most girls created their own imaginative story lines, building up pon y worlds as they bought more and more ponies with names such as Cotton Candy, Applejack and Blossom. Over the years, dozens of different types of ponies made their appearance, often with special features such as rainbow or glittery manes, sparkling eyes, sleep eyes, transparent bodies, thick curly tails, scented or musical. Some featured translucent wings or magic heat-appearing motifs. There were clumpy male cart-horse types, unicorns, sea-horses, flutter ponies (very fragile, with delicate wings which soon broke) and Pegasus ponies too, all made by Hasbro, who had certainly struck gold with this product. Also on the scene in the 1980s was the ‘World of Strawberry Shortcake’, a large range of dolls and accessories, the most popular being a series of scented small dolls, 5½ inches high, with slightly overlarge heads. Jointed at the hips, neck and shoulders, each doll was marked ‘American Greetings Corps. 1979′. Strawberry Shortcake and her friends were sold by Kenner, though some were issued through Palitoy. Each character had its own hair colour or style, and, of course, a special fruit perfume so that they smelt of their name. By 1982 there were fourteen little dolls in the range, all with delicious names such as Lime Chiffon, Raspberry Tart, Lemon Meringue, Angel Cake, Apricot, Cherry Cuddler, Butter Cookie, Apple Dumpling, Orange Blossom and Strawberry Shortcake herself. The dolls came with their own pets, and had accessories such as houses, vehicles and shops. This same decade saw Rainbow Brite, Care Bears, Moon Dreamers, Flower Fairies, Sylvanian Families, Fairy Tails and Lady LovelyLocks – all toys carefully designed so that a child needed several of them, plus the various accessories, in order to obtain the maximum play value. Of all the character toys, perhaps Sylvanian Familes was the most successful, offering maximum play value. The little animals first arrived in Britain in 1987 though were copyrighted in 1985; a selection of mice, bear, rabbit and racoon families. They were made by Epoch in Japan, and distributed by Tomy. The two main families were the bears, the Evergreens and the Timbertops, each with ten members, and the adult characters stood around 3.5 inches high. The youngsters were slightly smaller. Nowadays there are dozens of different creatures in the range from penguins to moles. Sylvanian Families are still sold today, now made by Flair, and the buildings and accessories are particularly sturdy and well designed. Many of the pieces of furniture and smaller items are bought by adults who use them in their own dolls’ houses! Dolls houses have been popular for centuries; although most are made for young girls, many have been created for adult collectors. At Windsor Castle is a spectacular dolls’ house which was originally made for Queen Mary in the 1920s, and it is packed with valuable treasures such as miniature hand-written books by famous authors, and tiny items of furniture created by craftsmen. More recently, dolls’ houses have taken a new form, with toys such as Palitoy’s Treehouse, the Matchbox Play Boot and Bluebird’s iconic Big Yellow Teapot, whilst Fisher Price have produced several designs including the Fisher Price A-Frame and a Tudor Style House. Young girls take great delight in imitating their mothers; they love toy vacuum […]
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
Netsuke – Japanese Netsuke
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
Kitchenalia – What’s Cooking In The Kitchen?
Kitchenalia are items and utensils associated with the kitchen and are now collected. These kitchenalia items range from Victorian copper jelly moulds and glass rolling pins to 1950s/1960s retro items to Kenwood Chef mixers to modern kitchen classics such as Alessi. Unlike other rooms, the kitchen is much more difficult to personalise. Kitchens, especially those in modern houses, tend to consist of rows of white metal appliances with wooden cupboards above. Pictured: Carlton Ware Sheep Mint Sauce Boat Unlike kitchens found in older houses, or those used by our ancestors (to whom many of our modern gadgets would seem alien), kitchens nowadays are often long and narrow, so it’s difficult to squeeze in a traditional dresser, let alone an old-fashioned cooking range or even an Aga. Many people today enjoy the minimalist, almost sterile look of a modern kitchen, but some of us still crave individuality. So how do we achieve it? If you want your kitchen to acquire a retro look, then there are thousands of items out there to accent your kitchen, from original 50s, 60s (and earlier) items of kitchenware through to streamlined 1970s, 80s, 90s and 2000s classics. With cooking being the in-thing right now, thanks to Jamie Oliver, Gordon Ramsay and co., there has been an upsurge of interest in kitchenalia. However smart a modern glass mixing bowl, plastic jug or non-stick saucepan can be, you can’t beat an earthenware bowl, blue striped Cornishware jug or maybe a seventies’ Poole casserole dish for adding a bit of warmth to your kitchen. Pictured: 1970s Kenwood Chef Some people embrace the collecting fad with a passion – they collect egg cups, or cruet sets or old mugs and display them on shelves to create a focal point – while others concentrate on a few, maybe larger items; an old enamel bread bin or perhaps a colourful enamel kettle. Sometimes, these old kettles and pans aren’t suitable for use on a modern hob, but they can still make a decorative statement. I think some of the most elegant of kitchen items are those long, tall sixties’ and seventies’ coffee pots. Many were ceramic, made by companies such as Meakin and Midwinter, while others were in subtle brushed stainless steel. The Russell Hobbs’ 3008 automatic coffee pot from the 1970s, with its wooden handle and tapered body, is still stylish today, and looks much more chic than a contemporary glass and plastic cafetiere. Other electrical items still sought after for modern kitchens include Kenwood Chef food mixers, Russell Hobbs’ stainless steel kettles and early toasters. Larger items too are collected by some people; I still use a 1960’s electric cooker manufactured by English Electric, and would never swap it for an up-to-date one. The solid doors and large, heavy grill pan are rarely found in modern cookers. Besides, the styling is much more ‘friendly’ than the flat, bland surfaces of today’s cooking appliances. Pictured: 1960s T G Green Roulette Kitchen Jars One traditional item still collected today is Cornishware, especially the blue and white striped variety. Originally made by T. G. Green, many look-a-likes appeared when other companies began copying the design after seeing how popular it had become. Fresh and summery, it is said that it gained its name after being described by a West Country salesman as reminding him of ‘blue Cornish skies and white-crested waves’. The blue and white ware was first introduced in the 1920s, and it became an immediate hit. Older or rare pieces are snapped up by today’s collectors. The company was actually based in Staffordshire, and the T. G. Green brand name is still used. In the 1950s, when British pottery design was becoming more ambitious, many designs were produced to coincide with, or were influenced by, the Festival of Britain. Often they had ‘futuristic’ designs based on atoms, or featured exotic scenes, ballet dancers or even items of furniture, such as the iconic ‘Homemaker’ range by Enid Seeley for Ridgway Poteries, which was sold exclusively through Woolworths. Pictured: 1970s Boscastle Salt Pig Another fad was to have different coloured cups and saucers (most people used cups and saucers back then, rather than mugs). By the 1960s, Midwinter, Portmeirion, Meakin and others were filling the shops with their attractive, dynamic designs. Some were stunning, and of course are the ideal kitchen collectable, as they can be regularly used, although it is best not to put them in the dishwasher, as the pattern might fade. I have a soft spot for those ceramics made by the smaller studios, which often you never hear of unless you happen to see a ‘pottery’ sign as you pass by some narrow country lane. You can often find attractive mugs, jugs and pots which look perfect in a kitchen. In the 1960s and 70s I collected various pieces of ‘kitchen’ pottery, mainly from the West Country. One of my favourites is a painted, unglazed ‘salt pig’ from Boscastle Pottery with a delicate tree design, the shape of which resembles the pots used in kitchens centuries ago. The design technique is known as Mochaware and is created by applying ‘mocha tea’, a mix of oxides, to the wet slip. Sometimes tobacco or coffee are used instead. This results in a staining in the formation of a fern-like pattern, and no two are identical. Another absolute favourite of mine is Tintagel ware, especially the soft pink and green ‘eye’ versions, which I think are just beautiful, and the swirly deep green dragon designs.. Fruit bowls, jam pots, jugs, vases, egg cups and cheese dishes – Tintagel pottery was established in 1948, and is still made in the mystical Cornish village, where rumour has it that King Arthur once roamed. There are also those distinctive cheese dishes and other items with hand drawn characters by Toni Raymond. Toni Raymond ware first appeared in the 1950s, and in the 1960s they acquired Babbacombe Pottery. Also collectable are Szeiler animal face dripping pots, Sylvac face pots and the later attractive line […]
The history of the Rollieflex TLR camera and its impact on photography
The Rollieflex TLR camera revolutionized photographic history by making high-quality photography more accessible to the general public. Prior to its release, cameras were bulky, expensive, and difficult to use, limiting their use to professional photographers or wealthy hobbyists. The Rollieflex’s simple design and affordable price made photography available to a much wider audience, sparking a lasting interest in the art form. The Rollieflex TLR camera was prototyped in 1927 and 1928 and first introduced in 1929 by the German company, Rollei. The TLR design (Twin Lens Reflex) was not new, but the Rollieflex was the first to offer high quality construction and a compact size. The Rollieflex quickly became popular with professional photographers and amateurs alike. Its simple design and rugged construction made it ideal for travel and outdoor photography. The Rollieflex remained in production until the early 1970s, when it was discontinued in favor of newer SLR models. Franke & Heidecke At the turn of the 20th century, Franke & Heidecke was one of the leading camera manufacturers in Germany. With a strong commitment to innovation and quality, they began to experiment with new types of cameras that could meet the growing demand for high-end photography equipment. One of their most successful designs was the Rollieflex TLR camera, which revolutionized the world of professional photography. Using cutting-edge technologies like precision gears and precise mechanics, Franke & Heidecke designed and built a sleek and sturdy camera that quickly gained the favor of professional photographers around the world. The Rolliefleix TLR camera offered a high level of control and flexibility, allowing photographers to capture stunning images with exceptional clarity and accuracy. It quickly became known as one of the most reliable, versatile, and effective cameras on the market, setting new standards for modern photography. Today, the Rollieflex is considered a classic camera, and its unique design continues to inspire photographers around the world.
Carnival Glass – The American Influence?
The United States was the home of Carnival Glass. It was developed there, and though other countries soon began to produce their own versions, most collectors today begin with American glass as it is the easiest to obtain. A previous article described the manufacture and appearance of this beautiful product, but briefly, it is a living glass – vibrant and bright – which reflects colour rather like spilt oil on water. Although the patterns are formed in a mould, unlike pressed glass Carnival Glass needs a lot of hand- finishing and decorating, and the iridescence (created by adding metallic oxides to the hot glass) means that the finished product doesn’t have that somewhat flat appearance often noticed in pressed glass. Pictured left is a Northwood fruit and flowers electric cable ice blue small bowl. Carnival Glass didn’t really become of interest to collectors until the late 1950s, and consequently the history of many of the early companies is still not fully-researched, so many dates are vague. A trawl through textbooks throws up a variety of dates – it seems that no-one is absolutely certain when the various manufacturers first developed their Carnival Glass products, though it is known that by 1905 the first cheap, iridised glass to rival the expensive Tiffany’s was in production. Pictured right is a Noryhwood Rosette rare green bowl. The Northwood Glass Company was founded by English-born Harry Northwood, son of a talented glass manufacturer. Harry left England to work in America in 1880, when he was twenty years old, and founded his own factory in 1887 in Ohio, before eventually moving to Wheeling, West Virginia. Many people believe that it was Harry who brought the technique of iridisation to the USA, having seen it at his father’s glassworks. By 1908 he was producing a range of iridised glass, using moulds from earlier pressed glass. He began by making a range of marigold Carnival Glass, which he called ‘Golden Iris’. Iris is from the Greek word for rainbow, and Harry thought that this was a good name for a glass which seemed to contain and reflect so many colours. Pictured left is a Northwood grape and cable plate.. Northwood proved to be a very productive factory, introducing designs such as grape and cable, fine cut and rose, beaded cable, wild rose, singing birds, peacock at the fountain, leaf and beads, nippon and rosette. Of all its designs, grape and cable was the most popular, and at one time could be obtained in over seventy shapes of dishes, vases, plates and bowls. Other companies, noting the popularity, copied the designs, which seemed to be quite a common practice at the time. Harry Northwood also introduced some lovely pastel carnival glass, which came in delicate shades of ice blue, ice green and white. Today, the pastels are highly sought after but are quite rare. White is perhaps the easiest to find and is very pretty with a delicate pearly sheen. Later, in 1915, a range of iridised custard glass appeared. This opaque and cream coloured glass has a pastel iridescent overlay, and is now very rare, commanding high prices. Most Carnival Glass is unmarked, but the Northwood company regularly marked their products with a letter ‘N’ in a circle, which makes them easily identifiable even by novice collectors. For a round ten years the Company was at the forefront of the Carnival Glass industry, but then, sadly, Harry contracted a fatal disease. He died in 1918, and without him the company seemed to lose direction, finally foundering to a halt in 1925. Harry Northwood at one time leased the Dugan Glass Company (when under a different name), and was related to Thomas Dugan, one of the managers. When Harry left, the name was changed to Dugan, and in 1910 the company began to produce Carnival Glass, often using old Northwood moulds. Normally it marked its pieces with a ‘D’ set inside a diamond shape, which is probably why, in 1913, it again changed its name, this time to the Diamond Glass Company. Based in Indiana Pennsylvania, Dugan was responsible for many wonderful pieces of iridescent glass with opalescent edges, using patterns such as fan, cherry, apple blossom twigs, butterfly and tulip, farmyard, fishnet, starfish stippled, pastel swans, raindrops and heavy grape. This company continued production right up until 1931, when the factory was destroyed by a disastrous fire. Pictured right is a Dugan grape delight amethyst rosebowl. The Imperial Glass Company, Ohio, was set up in the early 1900s, though the iridised glass didn’t appear till 1910 . Before then, it made pressed glass tumblers, water sets, cruets, pickle trays and other items of table ware. When the company finally introduced its range of Carnival Glass, it was an instant success and huge quantities were manufactured. It was so prolific in its output that most collectors today have some Imperial pieces in their collections. This company decided to specialise in geometric designs rather than the naturalistic patterns favoured by many of the other Carnival Glass companies, and it continued to produce items of practical use as opposed to the more decorative glassware which Northwood, Dugan, Fenton and Millersburg preferred. Pictured right is an Imperial grape marigold tumbler. Imperial experimented with many types of glass, often producing unusual base glass colours such as clambroth (a pale ginger-ale) and smoke (light blue-grey). They also managed to achieve an exceptionally brilliant iridescence on their wares, while their purple glass was a very deep, rich shade which no other manufacturer could accomplish. Much of their work resembles the Bohemian glass of the same period. At the time it was apparently quite common for a complete workshop group to decide to emigrate, and Imperial employed many Bohemian German-speaking workers who brought their expertise and ideas with them. The Company also produced a tremendous amount of marigold Carnival Glass, the commonest colour, and so one of the most affordable. Pictured left is an Imperial heavy grape one-handled dish. Glass from Imperial was sold […]