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George Tinworth’s Mice
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
Why We Still Love Felix the Cat After 100 Years
In 1919, Pat Sullivan and Otto Messmer created Felix the Cat, one of the most popular and enduring cartoon characters of all time. Felix was a black cat with white eyes who starred in his own series of short films from 1919 to 1930. The character became so popular that he even appeared in comic books, toys, and other merchandise. In 2019 Felix celebrated his 100th birthday. The Origins of Felix the Cat Felix the Cat was created by Pat Sullivan and Otto Messmer in 1919. The pair were working for the New York-based animation studio, Paramount Pictures. At the time, Sullivan was the studio’s head animator and Messmer was his assistant. The two men came up with the idea for Felix while they were working on another short film called “The Curious Adventures of Mr. Wonderbird.” In that film, there was a black cat who appeared briefly in one scene. Sullivan and Messmer thought the cat was cute and decided to make him the star of his own series of shorts. The first Felix the Cat cartoon, “Feline Follies,” was released in 1919. In the film he was referred to as Mister Tom. It was a huge success and made the character an overnight sensation. Felix went on to star in over 50 short films over the next 11 years. In 1930, Sullivan and Messmer sold the rights to Felix to another studio, Universal Pictures. The new owners of Felix changed the character’s design and gave him a more cartoony look. Felix’s popularity began to decline and he faded into obscurity in the 1940s. However, Felix made a comeback in the 1950s when he appeared on television in a series of new shorts. These shorts were produced by Walter Lantz, who had also worked on the Oswald the Lucky Rabbit cartoons. The Felix the Cat cartoons from the 1950s are some of the best-known and most beloved entries in the series. They introduced a number of iconic elements, including Felix’s Magic Bag of Tricks. The shorts from this era also featured the voice of Dal McKennon as Felix. McKennon’s performance is widely considered to be the definitive portrayal of the character. Did you know? TV Guide ranked Felix the Cat number 28 on its “50 Greatest Cartoon Characters of All Time” list. Felix the Cat has also been featured in a number of comics and books over the years. One of the most notable is the 1960 graphic novel, “The Adventures of Felix.” This book was written by Otto Messmer and illustrated by Joe Oriolo. Oriolo also created a series of Felix the Cat toys in the 1960s. These toys were produced by the toy company, Mattel. Felix the Cat has also appeared on a variety of other merchandise, including t-shirts, coffee mugs, toys, games, clothing lines, figurines and even bedsheets. Felix the Cat Theme Song The Felix the Cat theme song is just as iconic. The song, which was written by written by Winston Sharples and performed by 1950s big band singer Ann Bennett. The song perfectly captures Felix’s mischievous personality. It starts with a cheerful melody that reflects Felix’s upbeat attitude, but quickly turns into a playful tune that hints at his propensity for trouble. The lyrics are also clever and humorous, making them instantly memorable. This is evident in the opening line, ” Oh, Felix the Cat, the wonderful, wonderful cat…” which immediately sets the tone for the rest of the song. His longevity is down to a number of factors: he is relatable, has great design and a great sense of humor that appeals to people of all ages. Felix the Cat is one of the most iconic and beloved cartoon characters of all time. He has been entertaining audiences for over 100 years and shows no signs of slowing down. Related Lucky Black Cats featuring Felix the Cat
Tunbridge Ware history, design and price guide
Tunbridge Wells is located in Kent about 40 miles south-east of London, and situated in a pleasantly wooded district. In the seventeenth century, before many fine trees were cut down to provide fuel for iron-smelting, there was so much timber that woodwork became the town’s staple industry. For over two hundred years, local makers specialised in this distinctive wooden ware which has become known as Tunbridge Ware. The rise and fall of this craft was linked to tourism, developing techniques and eventually changing public tastes. A special kind of Tunbridgeware had undoubtedly been made in the neighbourhood for many years before the mention of it by Celia Fiennes, who gave an account of a visit to the place during the reign of William and Mary in her famous book Through England on a Side Saddle. She says she saw “all sorts of curious wooden ware which this place is noted for.” Another observant diarist, Fanny Burney, also noted, in 1789, that the Tunbridge ware shops were a feature of the town. A street market formed one of its attractions, and here the crowd of fashionable idlers used to buy gifts for members of their families who had remained at home. Such gifts were known as “Fairings ” and consisted of toys and dainty pieces of bric-a-brac from local workshops. Celia Fiennes mentions that the Tunbridge woodwork of her day was “delicate, neat and thin ware of both white and Lignum Vitae wood.” The first Tunbridge wares were undecorated but in the second half of the 1700s more decoration appeared. Some were painted in colours on a whitewood background or painted in black to imitate oriental styles. Print decorated wares also emerged in the 1800s, often showing views of Tunbridge Wells and other local attractions. The district possessed a number of very skilful woodworkers and cabinet-makers, and it was one of these, a certain William Burrows, who devised an ingenious method of decorating wooden articles with a species of mosaic. He founded a factory and saleroom at Gibraltar Cottage , where he began to turn out specimens of his improved Tunbridge ware. Mosaic, of course, means a picture or design created by the fitting together of hundreds of pieces of marble, wood, or other suitable material. Each separate fragment had to be laboriously fitted into its place until the picture was completed. Even then only one mosaic resulted from days of toil. To get over this difficulty Burrows hit on the scheme of assembling a number of thin strips of appropriately coloured woods into a block, about twelve to eighteen inches deep, so that their ends made up the desired scene or pattern. Bound, and glued under pressure, the strips were finally formed into one compact whole. A circular saw was next employed to shave off wafer-thin slices from across the block, and each of these layers now became a veneer which could easily be glued to the article it was to decorate. The final stage consisted of hand polishing, a process that called for much experience. In time the quality of the ware declined, polishing was replaced by the use of varnish, which was easily chipped or scratched. The drawing from which the craftsman made up the design was divide up like a Berlin woolwork pattern. The method, of course, required extreme skill, particularly in selecting and arranging the various wood strips in the correct colours to take their particular places in the design, but once the block had been assembled and the layers of veneer cut from across it , the rest was simple to a trained cabinet-maker. An immense variety of woods, British and foreign, were used , and in only one case was the natural colour tampered with white holly was stained with Tunbridge mineral water to give it a unique shade of grey. Green was obtained from fallen oak branches stained by a fungus which imparted a rich shade of the required colour. William Burrows had a brother, Humphrey, who also began to make the ware at Jordan House, and the story goes that one of their apprentices left his employment and made known its mysteries to one George Wise, a cabinet-maker living in the neigh bouring town of Tonbridge, who later started a rival firm which continued in his family until the death of another George Wise in 1876. Their factory was situated on the bank of the river near the Great Bridge. The manufacture of mosaic ware was also adopted by Messrs. Fenner and Nye, a firm of woodworkers founded in 1720, at their factory on Mount Ephraim. Later Edmund Nye carried on alone, until his business was finally acquired by Alderman Thomas Barton in 1863. Tunbridge ware’s popularity grew over the 1800s and it was even favoured by the young Princess Victoria. Local makers drew lots to present Princess Victoria with a single example piece of their artistry. A work table described as ‘veneered with party-coloured woods from every part of the globe’ and ‘lined with gold tufted satin’ was given to the royal visitor. Tunbridge ware at the Great Exhibition of 1851 At the Great Exhibition of 1851 Tunbridge ware was represented by three major manufacturers: Edmund Nye, Robert Russell and Henry Hollamby. Edmund Nye exhibits included an elaborate “Marine Table,” a wonderful mosaic of a sailing ship at sea consisting of 110,800 pieces of wood. Besides this masterpiece there was a book stand decorated with the representation of an Indian butterfly which, with the pattern surrounding it, was made from 11,000 pieces of English and foreign wood. Also there was a superb workbox decorated with a view of the ruins of Bayham Abbey. This was made of 15 ,000 pieces. Tunbridge ware could be had in a variety of objects. Tables, tea caddies, rulers, workboxes, holders , fruit or bread baskets, candlesticks, chess tables, pencil boxes, stationery cabinets, and pin trays were but a few of the many items decorated with wood mosaic. At first the designs were of a simple type and were often geometrical, such […]
Collecting the Top 10 James Bond Cars
With the 50th Anniversary of the James Bond franchise, the release of Skyfall and the use once again of the Aston Martin DB5 as the Bond car we thought we would look at the toy and collectable cars that have been released over the years to tie-in with the James Bond movies. We are using a nice feature by James Riswick who has written on the Top 10 James Bond Cars. James Riswick has the Aston Martin DB5 as top, here at WCN we are split for looks with the DB5 and for the amazing chase and then turning into a submarine the fabulous Lotus Esprit S1. Also at 4 he has the BMW 750iL from Tomorrow Never Dies, yes a functional car for a spy but not for a Bond car. 1. Aston Martin DB5 — Goldfinger, Thunderball, GoldenEye, Tomorrow Never Dies, Casino Royale, Skyfall Was there really any doubt about No. 1? We could be controversial for the sake of being controversial, but how can you possibly go against the car that started it all? The car that didn’t just have a starring role in one film, but went on to appear in five others? The car dubbed the most famous in the world? Say “James Bond’s car,” and everyone knows which one you’re talking about. Pictured right: Corgi No.261 “James Bond” Aston Martin DB5 taken from the film “Goldfinger” – gold body, red interior with “James Bond & Bandit” figures. Sold for £150 at Vectis Auctions. Image Copyright Vectis. Now, the Aston Martin DB5 wasn’t really the first Bond car. In Dr. No he drove a Sunbeam Alpine and in most books he drove prewar Bentleys. However, the novel Goldfinger actually features an Aston Martin DB Mark III with a few special spy additions like a hidden gun compartment. For the movie, the filmmakers obviously had bigger ideas. Production Designer Ken Adam chose the latest Aston — the DB5 — to outfit with machine guns, an oil sprayer, tire shredders, rotating number plates, a tracking system and, of course, an ejector seat. Despite what you might suspect, Aston Martin didn’t bend over backward to help out. Eon Productions had to twist Aston’s arm just to “loan” the film a development prototype and there wasn’t any sort of product placement deal. The overwhelming publicity generated for Aston Martin by Goldfinger is a major reason such placement deals exist today. Not only did the car shortly thereafter feature in Thunderball, but it went on a worldwide tour to promote both films. Pictured left: Gilbert No.16701 James Bond Tinplate Aston Martin DB5 – from the film Goldfinger and Thunderball, silver with plated trim, black bullet shield. Sold for £340 at Vectis Auctions. Image Copyright Vectis. The car itself would inspire all of the gadget-laden cars that came after it, and made a reappearance years later as the personal car of Pierce Brosnan’s Bond — albeit without the gadgets and a slightly different number plate (BMT 214A versus 216A). In Casino Royale, the modern Bond’s ownership of the car is explained when Daniel Craig wins it in a poker game. Like James Bond himself, the Aston Martin DB5 will return in Skyfall. 2. Lotus Esprit S1 — The Spy Who Loved Me The DB5 is the icon and the original, but if it were our choice for a spy car, the Lotus Esprit S1 featured in The Spy Who Loved Me would be it. Not only does it participate in one of the series’ best car chases, it tops it off by taking a plunge off a pier and turning into a submarine for an underwater boat chase. How cool is that? Pictured right: Corgi No.269 Lotus Esprit “James Bond” taken from the film “The Spy Who Loved Me” – white, black, with “007” bonnet label – Mint including harder to find late issue window box with detachable header card – comes complete with missiles attached to sprue. Sold at Vectis Auctions for £180. Image Copyright Vectis. “I thought its shape could make it a believable submarine,” Production Designer Ken Adam said in the book The Art of Bond. “An American submarine company built it for me. And it traveled underwater — it was not pressurized but it could do 7 knots underwater. Stunt divers with oxygen tanks operated it and we also had it as a model.” Lotus provided seven vehicle “shells” that were used to create the submarine and show individual transformation elements. However, getting fully functional road-going cars proved more difficult. During the making of the film, the second unit realized the only other car that could keep up with the Esprit for car-to-car shots was another Esprit. As it was so early in the car’s production, they were informed that the only other one available was owned by Lotus Chairman Colin Chapman. He was only too happy to loan it to them. The exotic Esprit also proved to be a handful for the stunt driver unaccustomed to midengine dynamics. With director Lewis Gilbert dissatisfied with the speeds being portrayed on film, Roger Becker, a Lotus employee Chapman had personally instructed to aid the production, stepped into drive for many of the featured shots. The result was a ground-breaking action sequence. 3. Aston Martin V8 Vantage — The Living Daylights With Timothy Dalton taking over the part for 1987’s The Living Daylights, the Bond producers were eager to use elements that tied the film to those that came before it. At the same time, Aston Martin was facing hard times (not exactly an uncommon occurrence) and was thrilled to rekindle the relationship that had made it so famous. Pictured left: Western Models No.ML1 “James Bond” Aston Martin V8 taken from the film “The Living Daylights” – grey, chrome trim, complete with side skis – Mint including lift off lid box and outer carded sleeve – harder issue to find. Sold for £140 at Vectis Auctions, February 2010. Image Copyright Vectis. The Aston in question was a Volante that Q’s boys in the workshop somehow “winterize” to become a regular Vantage coupe. Probably best to overlook that one. […]
Jessie Tait Designs for Midwinter Pottery
Post-war ceramics arrived in an explosion of style and colour, creating contemporary ‘new look’ that is so desirable among collectors today. One of the most innovative potteries was Midwinter Pottery, largely due to one of its most celebrated designers – Jessie Tait. She was the only full time in-house designer to work for Midwinter, and her simple yet stunning designs are keenly appreciated by collectors. Her early 1950s designs such as the black and white Festival, Zambesi, Red Domino and Toadstool are among her most well known. Her later 1960s designs such as Mexicana and Spanish Garden are much easier to find and collect. Her style was often detailed and geometric, making an effective transition to transfer printed wares. Jessie Tait was in Stoke-on-Trent in 1928 – 14 January 2010 and studied at the Burslem School of Art. She first worked as a junior designer to Charlotte Rhead, and then as designer for the Midwinter Pottery between 1946 and 1974. The Midwinter Pottery was taken over by J. & G. Meakin in 1968, and again by Wedgwood in 1970. She moved from Midwinter to Johnson Brothers, another part of the Wedgwood group, and retired in the early 1990s. More Designs Related Charlotte Rhead Pottery Jessie Tait designs on ebay Jessie Tait at Catawiki auctions
Mary Shelley’s Frankenstein – 200 years of Frankenstein books, collectables and toys
200 years of Frankenstein books, collectables and toys With the 200th Anniversary of the publication of Mary Shelley’s Frankenstein, what better time than to look the work that still inspires new editions, collectables and toys. Authored by Mary Shelley (30 August 1797 – 1 February 1851) when she was just 19 years old, Frankenstein: or, The Modern Prometheus was first published in London in 1818 to a mixed reception. Frankenstein tells the story of gifted scientist Victor Frankenstein who succeeds in giving life to a being of his own creation. However, this is not the perfect specimen he imagines that it will be, but rather a hideous creature who is rejected by Victor and mankind in general. The Monster seeks its revenge through murder and terror. The book is much more complex than the modern re-workings and films that most of us know the story through and is Number 8 in The Guardians Top 100 Best Novels. The first edition of Frankenstein was published in three volumes on New Year’s Day 1818, anonymously and dedicated to William Godwin. The Shelley’s Ghost exhibition at the Bodleian says of the book “According to When Shelley sent the fair copy manuscript of the novel to the publishers, Shelley made clear that it was not his work, but did not reveal who the author was: ‘I ought to have mentioned that the novel which I sent you is not my own production, but that of a friend who not being at present in England cannot make the correction you suggest. As to any mere inaccuracies of language I should feel myself authorized to amend them when revising proofs.’ Nevertheless, when they saw the dedication to Godwin some readers, including Sir Walter Scott, speculated that Shelley was the author.” (Details of the Shelley’s Ghost exhibition are still available online and includes information on not only Mary Shelley and her drafts of Frankenstein but also Percy Bysshe Shelley, William Godwin and Mary Wollstonecraft – visit https://shelleysghost.bodleian.ox.ac.uk for more details). The first edition of 1818 was issued in an edition of just 500. A second edition appeared in 1822 to cash in on the success of a stage version, Presumption. A third edition, extensively revised, came out in 1831. For collectors the ultimate would be a first edition but this is one of rarest and most valuable books. Very few Frankenstein first editions come to market: a rebound first edition sold for $58,000 in April 2017 at Heritage Auctions. The most exciting edition to come to market was an edition actually inscribed to Lord Byron himself. The edition was presented to market by Peter Harrington Rare Books – the exact sale price is unknown but expected to be in excess of £350,000. Early editions of the book are sort after especially the third edition in October 1831 which included a new 8-page introduction by the author, and was issued with the first part of Schiller’s The Ghost-Seer! as volume 9 of Bentley’s ‘Standard Novels’. This was also the first single edition as well as the first illustrated edition. A very good clean copy was sold by Forum Auctions in May 2017 for £2,600. For many people the Frankenstein that they recognise is from the 1931 film of the same name, where Boris Karloff played the monster. The Frankenstein horror monster film from Universal Pictures was directed by James Whale and adapted from the play by Peggy Webling. The movie stars Colin Clive, Mae Clarke, John Boles and Karloff, and features Dwight Frye and Edward van Sloan. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort with uncredited contributions from Robert Florey and John Russell. The make-up artist was Jack Pierce. A hit with both audiences and critics, the film was followed by multiple sequels and has become arguably the most iconic horror film in history. The iconic posters and lobby cards from the movie are amongst the most collectable and expensive of all the Frankenstein items. In 2015 the most valuable Frankenstein movie poster ever sold at public auction by Heritage Auctions. The poster was found in a long closed and boarded-up projection booth in a Long Island theater and is the only 6-foot example from the 1931 Universal horror classic known to exist. The poster sold for an amazing $358,000 (click for more details on the poster). The same company also sold another rare 1931 Frankenstein poster for $262,900 (click for more details on the poster). Although the 1931 movie version of Frankenstein is iconic one that most merchandise and collectables are based on, the first Frankenstein film adaptation was made by Edison Studios in 1910 and written and directed by J. Searle Dawley, with Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create his creature in a vat. The monster haunts the scientist until Frankenstein’s wedding night, when true love causes the creature to vanish. For many years, this film was believed lost. The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley’s novel. This film is now considered a lost film. There was also at least one European film version, the Italian Il Mostro di Frankenstein (“The Monster of Frankenstein”) in 1921. The film’s producer Luciano Albertini essayed the role of Frankenstein, with the creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. The film is also now considered a lost film. (Source Wikipedia). Frankenstein has featured in hundreds of films since 1931. My favourites would be those featuring Abbot t and Costello and the films by Hammer. The Frankenstein Hammer films included The Curse of […]
Collecting Antique Fans
The collecting of antique fans is one of the most satisfying of hobbies, for a small collection of fans can comprise a museum in miniature. Specimens covering the period from the 16th century, when fans were first introduced into Europe from the East, up to Edwardian days include the work of carvers in ivory and wood, tortoiseshell and mother-of-pearl; the silversmith, the painter, the printer, the lace-maker, and the embroideress in sequins and silk. Pictured: A hand-painted and ivory fan, 18th century The sticks and guards pierced and gilded, the hand-painted leaf depicting figures in a rural scene, bordered with flowers, boxed, 26.5cm. Sold at Bonhams, Knowle, Dec 2011 for £312. Image Copyright Bonhams. Apart from its exquisite craftsmanship, the fan is inextricably tied up with the history of the country of its origin — especially in the case of France and England. Each period of history brought its own influence in costume and that included fans, since they were an important accessory of dress. Fans made for the ladies of the Court of the French King Louis XV were elaborately carved and of great richness. With the accession of Louis XVI there was greater restraint though still very elegant and costly fans were in great demand. The French Revolution brought the French fan trade near to disaster. With the Court gone, their wealthy clients having fled the country or been left penniless, many master fan-makers fled, too, to set up in business in England. Pictured: Antique Fans. Sold at Bonhams, Los Angeles,Jan 2009 for $195. Image Copyright Bonhams. The fan of the Empire period is as distinctive as those of the two Louis. Small — it rarely exceeds seven inches in length — it has an exceptionally broad leaf, usually made of some textile material, trimmed with sequins in many shapes — crescents, stars, flowers, leaves. The sequin embroidery of the period is particularly intricate. There are fans of heavy satin in sombre colours, breathing Victorianism; dainty, pretty bits of nonsense of lace and mother-of-pearl, as attractive and gay as the Edwardian ladies who used them. Pictured: A rare Recovery of George III from Illness Fan. Many 18th-century fans commemorated important events. They marked the births, marriages and deaths of well-known people, royal occasions or major social events. This fan celebrates George III’s recovery from illness in 1789. The simple, emblematic design includes the rose and thistle, symbolising the Union of Scotland and England by Act of Parliament in 1707. Above are the words, ‘Health is restored to ONE and happiness to Millions’. The fan may have been designed for ladies to carry at the great ball given at Court in 1789 to celebrate the king’s recovery. Image from the V&A Collections. For more information visit https://collections.vam.ac.uk/ © Victoria and Albert Museum, London To the serious collector the less beautiful fans with printed leaves are amongst the most interesting. Sticks and guards are simple, often of plain, undecorated wood. It is in the paper leaf that the interest lies. Many will be found to bear the name of the publisher in accordance with an Act of 1735. Many of these fans provide an interesting picture of the contemporary social and historical scene. Some record royal betrothals and marriages; occasions of national mourning or joy. A special fan was issued to express the joy of the nation on the recovery of George 111 in 1789. The Naval Fan of 1801 was published to celebrate the naval victories of the Nile and Copenhagen. There were opera and theatre fans, showing the arrangement of boxes and seats. There is no end to the subjects depicted on these fans. The collector in his search may not find the quest an easy one. Fans are such delicate, fragile things, not made for long life. It is surprising that so many have survived for two hundred and more years in perfect condition. But if the search is long and hard, results when they do come are infinitely rewarding. Pictured: Three late 18th/early 19th century fans. All with ivory sticks and handpainted paper leaves, one with painted sticks and leaf depicting a couple in a rural scene; one Canton export fan with ornately carved and pierced sticks and leaf depicting a European scene with Chinese influences; the third with plain sticks and leaf depicting a classical scene. Sold for £624 at Bonhams, Knowle, April 2011. Image Copyright Bonhams. There is a huge variety in fans: from fans of fabulous beauty, finely painted leaves on beautifully carved and gilded sticks, from the eighteenth century; feather fans vary from a tiny one of tortoiseshell edged with peacock’s feathers to a large screen-type fan in heart shape, composed entirely of feathers, decorated with sprays of roses (also made of feathers) and a stuffed humming bird. The first is from Vienna, the latter from Rio de Janeiro. Then there is beautiful Brussels lace in a design of flowers on sticks of honey-coloured pearl ; ivory finely carved in China, so delicate that it looks like frozen lace; a simple mourning fan of black paper on ebony sticks, but of special interest because it is telescopic, sliding up and down on its sticks, to become small enough to fit into the reticule, the handbag of ladies of its period — the early nineteenth century. A collection of antique fans would not really be complete without a brisé fan which were the work of the brothers Martin, who worked in Paris from the early to the mid-eighteenth century. These were particularly fashionable during the late Georgian and Regency periods. The brisé fan has wider sticks that overlap when open and are joined at the top by a ribbon or thread creating an effect similar to the pleated leaf of the folding fan. The Vernis Martin process of applying a fine colourless varnish to their work died with the brothers. Pictured: Four Chinese late 18th/early 19th century brisé fans ncluding a late 18th century example featuring a central swagged shield cartouche and two circular vignettes and a swagged design crossing all sticks, 21cm; two wedge-shaped fans, […]
Ceramiques de Cornouaille – a modern Quimper factory
The traditional Quimper faience pottery has been created in the Brittany region since the late 17th century and the tradition continues today with the Henriot Quimper factory. Another factory located in Quimper, Ceramiques de Cornouaille, is also continuing the proud tradition of pottery creation in the region. The Ceramiques de Cornouaille was founded in 1998 by Xavier Dutertre and still mainly produce a personalised traditional Breton bowl which sells very well to the local and tourist markets. However, it is the companies new modern designs based on traditional designs and costumes which have caught our eye. These include the Costume designs by Joëlle Josselin, and the VLGM and Pays Ocean designs by Charles Cambier. Costume Design by Joëlle Josselin These decorations are creations of the painter Joëlle Josselin of the Relecq Kerhuon near Brest, specialist of the costumes paintings of Brittany she created a special range adapted to the porcelain and gave a touch of modernity to these decorations. A very personal style, a dynamic painting that represents very well the modernity of our Brittany, imbued with its tradition. A logic well adapted to the Ceramics of Cornouaille. The colourful designs have a modern approach to the traditional Breton costumes. Pays Ocean Design by Charles Gambier Le pays, on connaît tous, c’est ici bien sur, mais l’océan c’est plus loin, c’est ailleurs, l’un n’allant jamais sans l’autre ! (“The country, we all know, it is here of course, but the ocean is further, it is elsewhere, the one never going without the other!”) VLGM Design by Charles Gambier For more information visit https://www.ceramiquesdecornouaille.com
Lucky Black Cats
Cats are surrounded with superstition, black cats especially so. In ancient Egypt, cats were revered, the black ones being most omnipotent of all.
Henriot Quimper and Quimper Faience Pottery
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