Random Collecting Feature
The Unique and Creative Art of the The House of Rayne
WCN has been a fan of artist Colin Rayne for some time and in this feature we take a look at his varied and unique artefacts. Colin’s work ranges from traditional oil and watercolour paintings to incredible clocks, from sculpture to kinetic art, and from glass sculpture to large scale commissions. Colin Rayne was interested in art from an early age winning prizes for art at school and he was frequently encouraged to copy ‘old master’ paintings. After school, Rayne served an apprenticeship in his father’s dental equipment manufacturing company Norman Rayne Ltd which gave him experience in precision and cinematograph engineering which would serve him well in his creation and design of kinetic art and clocks. Hence, ‘a seemingly unusual alliance’ of the arts and sciences, forms the basis of Rayne’s prolific and uniquely creative and prolific artistic life. Colin had a number of successful exhibitions in London and led to many notable commissions. Early on in the mid 1960’s when Harold Wilson was premiere, London’s Post Office Tower was erected close to Norman Rayne Ltd where Colin was studying design drawing. Colin created an Illuminated Scale Model (1″:30′) of the building with rotating restaurant for the advertising department of P.O. Telecommunications. The resulting publicity, which included a live six minute interview on BBC TV, greatly encouraged him to work independently. In 1983 he was elected a Member of The British Horological Institute and was invited to display two pieces of work in London’s Goldsmiths Hall in 1987. At WCN we believe that the combination of Colin’s art, innovation and engineering are portrayed best in his clocks and kinetic art. One of Colin’s most impressive pieces is the Stonehenge clock. Stonehenge 2000 – Neolithic Time The wall mounted sculpture recreates the most ancient relics of the Stonehenge monument, showing the stones as they would probably have looked when first built. An Arc of twelve ‘Sarcen’ stones in acrylic, light individually, to indicate the ‘hour’, and an ‘Oval’ of acrylic ‘lintel’ stones divided into sixty, indicate the minute. Time showing: 9.23. The inner rings and the ‘Altar’ stone are cut from ‘Spotted Dolerite’ from the Presilli Hills of Wales. (The same location from which the actual monument’s stone was obtained). The clock’s circuitry is based upon 4.193mhz crystal, subdivided into minutes and hours. The 72 LEDs are driven from serial shaft registers; – ‘CMOS’ logic is used. The Stonehenge Horlogical Sculpture is available at £7,500. Colin’s recent works include The Ancient of Days by William Blake inspired by a 10” x 8” print forbook illustration is one of eight, all slightly different. Colin says of the piece “I hope that Blake would be flattered by my tribute to him, were he with us today, and that my followers will find it of interest, and offer some stimulating thought!” In 1983 Rayne moved from London to Brighton and in 2000 created a private gallery The House of Rayne, close to the South Downs which has on display a permanent show of approximately 100 artefacts. For more information including a virtual tour of the gallery visit TheHouseofRayne.co.uk and remember to see the kinetic art page which is of particular interest. The gallery can also be contacted by phone UK + 44.7870125991 and by email to [email protected]
Jumeau Dolls by Pierre-François & Emile Jumeau
Jumeau was a French company, founded in the early 1840s, which designed and manufactured high quality bisque dolls. It was founded by Louis-Desire Belton and Pierre-François Jumeau in the Maison Jumeau of Montreuil-sous-Bois, near Paris, France. While Belton did not remain with the company for long, under Jumeau’s leadership (and later, under the leadership of his son, Emile), the company soon gained a reputation for dolls with beautiful faces and “exquisite” clothing which replicated the popular fashions of the time. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume c1867 – 26″ (66 cm.) Bisque swivel head on kid-edged bisque shoulder plate, perfectly oval-shaped face with appealing plumpness to lower chin, small blue glass enamel inset eyes with darker blue outer rims, dark eyeliner, painted lashes, mauve-blushed eye shadow, feathered brows, shaded nostrils of aquiline nose, closed mouth with well-defined lips enhanced by accent lines, pierced ears pierced into head, blonde mohair wig over cork pate, kid body with shapely torso, gusset-jointed arms, stitch-jointed legs, ice-blue silk antique gown, undergarments, blue kidskin ankle boots, bonnet. Condition: generally excellent, body sturdy and clean. Comments: Pierre-Francois Jumeau, circa 1867, the portrait-like model was likely created for exhibition at the Paris 1867 International Exposition. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. The Jumeau company first emerged as a partnership between Louis-Desire Belton and Pierre-François Jumeau in Paris in the early 1840s. In 1844, Belton and Jumeau presented their dolls at the Paris Exposition (at which they received an honorable mention), but by 1846 Belton’s name was no longer associated with the dolls, and Jumeau was trading in his own right. A bronze medal in the 1849 Paris Exposition followed, as did an appearance at the Great Exhibition in London in 1851, at which the company was awarded a First Place Medal. Through much of this period, the firm sold only their own dolls to wholesalers, although during the 1850s and 1860s, the company moved into selling wax dolls imported from Britain. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume – 30″ (76 cm.) Bisque socket head with very full cheeks and chin, large blue glass paperweight inset eyes with heavy upper eyelids, dark eyeliner, painted lashes, mauve-blushed eye shadow, brush-stroked and feathered brows with decorative glaze, shaded nostrils, closed mouth with outlined and accented lips, dimpled chin, separately modeled pierced ears, blonde human hair over cork pate, French composition and wooden fully jointed plump body with straight wrists. Condition: generally excellent. Marks: 14 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, the wistful-faced Bebe Triste, circa 1884. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. At the Paris expositions and the Great Exhibition in London, Jumeau dolls received their commendations due largely to the quality of the clothing, and no special significance was attached to the dolls themselves. This changed in 1867, when at the Exposition Universelle of that year, the company was awarded a Silver Medal, and “special mention was made of the doll’s heads”. 1867 was also the year that Pierre-François’ son, Emile Jumeau, joined the company. By 1873, when they were awarded a gold medal at the Vienna Exposition, the company was producing their own bisque dolls in their factory in Montreuil. Pictured: Extremely rare and large Pierre Francois portrait Jumeau bisque shoulder head fashion doll – Having the features of a character lady, fixed blue glass eyes, with delicate shading to lids, closed slightly smiling mouth, moulded pierced ears and long blonde mohair wig, swivel head to kid leather body with separate fingers, wearing ivory silk and lace two piece gown, under garments, lace up boots and straw bonnet, 66cm (26in) tall. Image Copyright Bonhams. Although the Jumeau firm had won commendations, very few Jumeau dolls can be securely identified dating before the 1870s. However, by 1877 Emile Jumeau had produced the first Bébés (or dolls in the image of a little girl). With realistic glass eyes and “stylish fashions” produced by costumiers, thousands of Bébé dolls were produced for an international market. Pictured: French Bisque Portrait Bebe by Emile Jumeau – 12″ (30 cm.) Pressed bisque socket head, large grey/blue glass inset eyes known as “wrap-around” with spiral threading and pronounced black pupils, painted lashes, dark eyeliner, rose-blushed eye shadow, feathered brows, accented nostrils and eye corners, closed mouth, outlined lips, pierced ears, blonde mohair wig over cork pate, French composition and wooden eight-loose-ball-jointed body with straight wrists, pretty antique aqua silk costume, undergarments, leather slippers. Condition: generally excellent. Marks: 8/0 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, circa 1878. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. In 1878, the Jumeau company won a Gold Medal at the Exposition Universelle (1878). The award was proudly advertised on the bodies, boxes, shoes and even the dress labels of the dolls. Jumeau won a number of other high awards including the prizes for the best dollmaker at both the Sydney International Exhibition (1879) and Melbourne International Exhibition (1880) in Australia. The dolls were internationally sought after as luxury items and status symbols. The firm also was regarded as an industrial success, with production figures of over three million dolls annually by the mid-1890s. The “Golden Age” of the Jumeau factory lasted for two decades, from the late 1870s to the late 1890s, when the competition from German dolls sent the firm into financial difficulties. The Jumeau dolls from the later 1890s are of more variable quality. German dolls in the 1890s were cheaper than the French, but still well-made and much loved by little girls, even if they were by no means as elegant or graceful in face or costume as the best Jumeau dolls.
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 […]
Children’s Books of the 1940s
During the Wartime years of the 1940s, and for a few years afterwards, books for adults and children alike were economy editions, due to paper shortages and restrictions.
Charles Rennie Mackintosh
Often referred to as a “Pioneer for the Modern Movement”, Charles Rennie Mackintosh was a talented architect, artist and interior designer.
Sun Record Studio & Collecting Sun Records
Sun Records, located at 706 Union Ave., was a record label based in Memphis, Tennessee starting operations on March 27 1952. Founded by Sam Phillips, Sun Records was known for giving notable musicians such as Elvis Presley (whose recording contract was sold by Sun Records to RCA Victor Records for $35,000 in 1956 to relieve financial difficulties they were going through), Carl Perkins, Roy Orbison, and Johnny Cash their first recording contracts and helping to launch their careers. Pictured right: Sun Studio Memphis – image used under the Creative Commons 3.0 license. Before those days Sun Records had mainly been noted for recording African-American artists, as Phillips loved Rhythm and Blues and wanted to get black music recorded for a white audience. It was Sun record producer and engineer, Jack Clement, who discovered and recorded Jerry Lee Lewis, while owner Sam Phillips was away on a trip to Florida. The original Sun Records logo was designed by John Gale Parker, Jr., a resident of Memphis and high school classmate of Phillips. Pictured left: Elvis Presley ‘That’s All Right’ record on the Sun label. The music of many Sun Records musicians helped lay part of the foundation of late 20th century popular music and rock and roll, plus it influenced many younger musicians, particularly the Beatles. In 2001, Paul McCartney appeared on a tribute compilation album titled Good Rockin’ Tonight: The Legacy Of Sun Records. In 1969, Mercury Records label producer Shelby Singleton; noted for producing the Ray Stevens’ hit “Ahab The Arab” in 1962, and later Jeannie C. Riley’s 1968 hit single “Harper Valley PTA” on his Nashville based Plantation Records label; purchased the Sun label from Phillips. Singleton merged his operations into Sun International Corporation, which re-released and re-packaged compilations of Sun’s early artists in the early 1970s. It would later introduce rockabilly tribute singer Jimmy Ellis in 1980 as Orion taking on the persona of Elvis Presley. Pictured: Jerry Lewis Great Balls of Fire Sun Label. The company remains in business today as Sun Entertainment Corporation, which currently licenses its brand and classic hit recordings (many of which have appeared in CD boxed sets and other compilations) to independent reissue labels. Sun Entertainment also includes SSS International Records, Plantation Records, Amazon Records, Red Bird Records, Blue Cat Records among other labels the company acquired over the years. Its website sells collectible items as well as compact discs bearing the original 1950s Sun logo. Sun Label: Record Collecting Guide 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. Related Elvis Presley Memorabilia Rock and Pop Collecting Overview
A look at Grimwades Royal Winton Chanticleer Series
The Grimwades Royal Winton Chanticleer series first appeared at the British Industries Fair in February 1936. The range of realistically moulded cockerels and hen, in warm colours, were a popular addition to the breakfast table and was produced for many years. Grimwades described the range as ‘distinctive novelties’ on their advertising leaflets. Chanticleer is French for cockerel and items from the Chanticleer series are sometimes marked on base with Chanticleer while others are marked Rooster. A few examples and smaller pieces such as cruets are unmarked. The range included various teapots, hot water jug, sugar and cream, milk jug, marmalade with cover, sugar sifter, cheese cover and stand, 3 and 4 piece cruet and condiment sets, 3 and 5 bar toast racks, jam, covered butter, mint boat and stand, and dessert plate. Except for the toast rack, the Chanticleer items produced were in the shape of the bird set on a grassy green base. They were also available in different colourways, with the hand painting adding variations to the pieces. The teapot, for example, can be found in streaked and speckled shades of a golden brown, with the tail and lower body feathers highlighted in soft green. Alternatively, a rich, dark blue combination was used with bands of scarlet emphasising the tail feathers. These tail feathers curve down to create the handle of the tea pot, with the spout being formed by the open beak of the bird. Sugar shakers were either golden brown or a pale yellow lightly streaked with red, the wings being a light grey and the breast cream. As mentioned the toast racks differed from the rest of the range by not being designed to be on a grassy mound. The toast racks were main in green and yellow and featured a cockerel decorating either end. Two toast racks were produced: a 3 bar toast rack and 4 bar toast rack. The cruet and condiment sets included: a 3 piece set featuring salt and pepper pots on a base and show the cockerel standing with his head held high, while the hen stares into space; whilst the 4 piece condiment set features salt, pepper and covered mustard pot on a base and has the cockerel in the same proud pose, accompanied by two hens, one as before, the other shown head down, pecking for food. The male bird always sports a large scarlet comb and scarlet wattle, while the hen has only the merest suggestion of a comb. The base resembles a grassy field, the carrying handle depicting a fence. The images below show some of the variations in colour. Grimwades Royal Winton Chanticleer Series Price Guide / Value Guide Prices for pieces with no defects and good colour. We have seen great variations in prices especially in online shops. The prices below Chanticleer Teapot £40-£80 / $60-$120 3 Piece cruet set £40-£80 / $60-$120 4 Piece cruet set £50-£80 / $75-$120
American Stoneware and American Redware
The term “American Stoneware” refers to the predominant houseware of nineteenth century America–stoneware pottery usually covered in a salt glaze and often decorated using cobalt oxide to produce bright blue decorations. Pictured right: Fenton & Hancock Water Cooler sold at auction for $88,000 in Nov 2006 at Crocker Farm Inc auctions The vernacular term “crocks” is often used to describe this type of pottery, though the term “crock” is not seen in period documents describing the ware. Additionally, while other types of stoneware were produced in America concurrently with it–for instance, ironstone, yellowware, and various types of china–in common usage of the term, “American Stoneware” refers to this specific type of pottery. Pictured left: Baltimore Stoneware, (H. Myers) Water Cooler, Made By Henry Remmey, Sr. Water Cooler sold at auction for $72,600 in July 2004 at Crocker Farm Inc auctions Stoneware is pottery made out of clay of the stoneware category, fired to a high temperature (about 1200°C to 1315°C). The pottery becomes, essentially, stone. Salt-glazed pottery is a type of pottery produced by adding salt to a kiln to create a glass-like coating on the pottery. At just over 900°C, the salt (sodium chloride) vaporizes and bonds with the clay body. The sodium in the salt bonds with the silica in the clay, creating sodium silicate, or glass. A very commonly employed technique seen on American Stoneware is the use of cobalt decoration, where a dark gray mixture of clay, water and the expensive mineral cobalt oxide is painted onto the unfired vessels. In the firing process, the cobalt reacts to produce a vibrant blue decoration that has become the trademark of these wares. While this type of salt-glazed stoneware probably originated in the Rhineland area of Germany circa 1400’s, it became the dominant houseware of the United States of America circa 1780-1890. Pictured right: Early NY Figural, Stoneware Jar, Inscribed “Bill Remey” sold at auction for $63,250 in March 2008 at Crocker Farm Inc auctions Americans began producing salt-glazed stoneware circa 1720 in Philadelphia, Pennsylvania, and Yorktown, Virginia. By the 1770’s, the art of salt-glazed stoneware production had spread to many centers throughout the United States, most notably Manhattan, New York. There the Crolius and Remmey families (two of the most important families in the history of American pottery production) would, by the turn of the nineteenth century, set the standard for expertly crafted and aesthetically pleasing American stoneware. By 1820, stoneware was being produced in virtually every American urban center, with potters from Baltimore, Maryl and, in particular raising the craft to its pinnacle. While salt-glazing is the typical glaze technique seen on American Stoneware, other glaze methods were employed by the potters. For instance, vessels were often dunked in Albany Slip, a mixture made from a clay peculiar to the Upper Hudson Region of New York, and fired, producing a dark brown glaze. Albany Slip was also sometimes used as a glaze to coat the inside surface of salt-glazed ware. Pictured left: Taunton, MA, Stoneware Figural Cooler, 1834 sold at auction for $34,500 in March 2008 at Crocker Farm Inc auctions While decorated ware was usually adorned using cobalt oxide, American Stoneware potters used other decorative techniques. Incising, a method in which a design of flowering plants, birds, or some other decoration was cut into the leather-hard clay using a stylus, produced detailed, recessed images on the vessels; these were usually also highlighted in cobalt. Stamped or coggled designs were sometimes impressed into the leather-hard clay, as well. Potters occasionally substituted manganese or iron oxide for cobalt oxide to produce brown, instead of blue, decorations on the pottery. In the last half of the nineteenth century, potters in New England and New York state began producing stoneware with elaborate figural designs such as deer, dogs, birds, houses, people, historical scenes and other fanciful motifs including elephants and “bathing beauties.” A significant percentage of American Stoneware was signed using maker’s marks and, much more rarely, incised signatures. Many pieces can be attributed to particular makers based on the cobalt decoration, clay body, form, etc. The gallon capacity of the vessels was often denoted using numeral stamps or incised or cobalt oxide numbers or hash marks applied in freehand. Pictured right: John W. Bell, Waynesboro, PA, Redware Figure of a Whippet Dog sold at auction for $41,800 in May 2005 at Crocker Farm Inc auctions American Stoneware was valued as not only a durable, decorative houseware but as a safer alternative to lead-glazed earthenware pottery produced in America before and during its production there. This earthenware, commonly referred to today as American Redware, was often produced by the same potters making American Stoneware. Pictured left: “Anthony W. Bacher / 1879”, VA Redware Wall pocket sold at auction for $35,650 in March 2008 at Crocker Farm Inc auctions Stoneware was used for anything we might use glass jars or tupperware for today. It held everything from water, soda, and beer to meat, grain, jelly, and pickled vegetables, and was produced in a very wide variety of forms. These ranged from common jars and jugs to more specialized items like pitchers, water coolers, spittoons, and butter pots, to much rarer banks and poultry waterers and exceptionally unusual pieces like bird houses, animal figures, and grave markers. With the proliferation of mass production techniques and machinery throughout the century, in particular the breakthrough of John Landis Mason’s glass jar (see Mason jar), the production of what had been one of America’s most vital handcrafts gradually ground to a halt. By the turn of the twentieth century, some companies mass-produced stoneware with a white, non-salt glaze (commonly referred to as “bristol slip”), but these later wares lacked, for instance, the elaborate decorations common to the earlier, salt-glazed stoneware. 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 Related American Stoneware at Auction
Holly Hobbie Dolls
Holly Hobbie was an artist specialising in drawing greetings cards, lending her name to the characters she drew, which were later issued in doll form. Pictured: 1975 Knickerbocker Holly Hobbie doll During the 1960s, people became intrigued by her designs featuring a little girl, facing sideways, dressed in a long patchwork frock, with a large bonnet totally obscuring her face. This pose tended to create an urge to see the expression which lurked beneath the brim. Grannies, especially, adored this nostalgia theme, imagining it was their granddaughter lurking under that floppy bonnet, and the whole concept happily coincided with the fashionable look of the day – long, floaty dresses, small prints, Laura Ashley, country style, femininity and pastel shades. Holly Hobbie created her designs for the American Greetings Card Company for many years, featuring children in idyllic settings, each illustrated by a motto such as ‘Life’s greatest blessing is a happy heart’, ‘Happiness is found in little things’ or ‘Start each day in a happy way’. The designs appeared not only on stationery items, but on products such as kitchen towels, oven gloves, plates, cups, aprons, bed linen, china ornaments, trays and, of course, as dozens of different dolls. Many of these were rag dolls, as befitting the nostalgia theme. Today, Holly Hobbie lives in Conway, Massachusetts, and is a successful author/illustrator of picture books featuring the adventures of two pigs called Toot and Puddle. Pictured: Tomy Party Days Holly Hobbie Dolls representing Holly Hobbie have been made by several companies over the years, including Knickerbocker, Tomy and, most recently, Ashton Drake. During the 1970s a Holly Hobbie made from a very soft thin rubbery vinyl was issued by the American Greetings Corp. This doll had barely-there features, a round head, straggley hair and tiny eyes. She looked rather strange. Knickerbocker created a whole range of rag dolls in various sizes, and, as well as Holly Hobbie, there were friends such as Amy, Heather, Carrie, Robby and Grandma. Amy tended to wear green, Heather pink or beige and Carrie, red. Robby was a little boy in blue striped dungarees, while Grandma, naturally, was an old lady doll. Pictured: Ashton Drake Holy Hobbie doll As well as the rag dolls, vinyl types were available – one unusual one stood just 6″ tall, but wore an enormous skirt. Underneath the skirt was a three-roomed dolls house, complete with Holly Hobbie-style furniture and accessories, such as a gramophone with a horn, a rocking chair, a butter churn, a kitchen dresser and a round table. Tomy introduced a range of Holly Hobbie dolls in 1989, featuring some beautiful rag types 16″ high, dressed in pastel-coloured dresses, each bearing a message such as ‘Make each day a sunshine day’ and ‘A gift from the heart is the best gift of all’. The box stated ‘Every day is a Holly day’. During the 1990s, Holly Hobbie was revamped again, this time by Knickerbocker, appearing as a vinyl, soft-bodied doll with a snub nose, cheeky smile and masses of curly hair. She wore a long patchwork frock and matching bonnet, available in several colourways. Smaller versions were sold too. The recent Ashton Drake issue of porcelain Holly Hobbie dolls was probably the most delightful representation of the character ever produced. Created by Dianna Effner, and standing 16″ high, they represented the four seasons. Autumn, the first to be released, showed the little girl in her famous patchwork dress and bonnet clutching a flowering twig. The next in the series, Summer, had Holly dressed in patriotic red, white and blue, holding the American Flag, while Winter had her in a red dress and Spring wore green. These dolls had delightful expressions – a combination of a shy smile and a cheeky grin – and the detailing on the costumes was excellent. Related Holly Hobbie Doll Features Greetings from Holly, Sarah & Betsey – feature on Holly Hobbie, Sarah Kay and Betsey Clark
Ewald Dahlskog The Swedish Functionalist Glass and Ceramic Designer
Ewald Dahlskog (1894-1950) was a Swedish designer who has become known for his ceramic, glass work, pottery designs and his work in public buildings. His work is often minimalist and inspired by natural forms, which can be seen in his use of simple curves and muted colors. Dahlskog’s pieces are both beautiful and functional, and have been exhibited in galleries and museums around the world. Ewald Dahlskog’s studied at Konstfack (University of Arts, Crafts and Designwork) from 1908 to 1912 and from 1913 to 1917 at the Royal Art Academy in Stockholm. His work is deeply rooted in Swedish design traditions, which he combines with a modern sensibility. His pieces are both elegant and functional, and often incorporate natural forms into their design. Dahlskog’s use of simple curves and muted colors give his work a calming, tranquil feeling. His work has been exhibited in galleries and museums around the world, and he is considered one of Sweden’s leading ceramicists. Ewald Dahlskog at the Kosta Boda factory Ewald Dahlskog worked at Swedish glassworks Orrefors Kosta Boda from 1926 to 1929, where he was an artistic assistant, during which time he radically transformed the production of art glass, using cut decoration in a new vigorous modern aesthetic. Whilst at Kosta he had joint exhibitions at the Metropolitan Museum of Art in New York city. He has designed many of the glassware pieces that are produced by the factory, and his work often reflects nature in its designs. His pieces often incorporate elements such as leaves and vines, and he strives to create shapes that are both organic and elegant. Ewald Dahlskog at the Bo Fajans factory After leaving Kosta, Dahlskog moved on to work at the Bo Fajans factory (Boberg Fajansfabrik AB in Gävle) in 1929. He remained at Bo Fajans for 21 years until his death in 1950. At Bo Fajans he continued to innovate creating high-quality ceramics in geometric designs inspired by nature. His work at Bo Fajans is considered to be some of his best, and his pieces are highly sought after by collectors. Dahlskog’s designs are often inspired by nature, and he strives to create shapes that are both organic and elegant. At the 1930 Stockholm Exhibition, his designs were described as ‘functionalist’. The vases displayed showed highly ribbed surfaces reminiscent of electrcial transformers. The Scandinavian design philosophy was internationally recognized at the Exhibition. They were shown in London in 1931 and had a great influence on British designer Keith Murray (Keith Murray Designs for Life). As well as being a versatile designer Dahlskog is famed for his artistically designed inlays in public buildings, such as the 1924-1926 built Stockholm Konserthuset and the silent film palace and later revue theater Chinateatern 1926-1928 directly at Berzelii Park in the Norrmalm district was built in the center of the Swedish capital. His work has won many awards, and his pieces are collected by museums and private individuals all over the world. Related Ewald Dahlskog items on ebay Bowl at Met Museum