Random Collecting Feature

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  Louis Comfort Tiffany and Tiffany Favrile Glass

  The most famous American name in the history of art glass is Louis Comfort Tiffany (1848-1933), the first and the greatest of his nation to make an original and lasting contribution to the art of glass making.

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  Antique American-made Miniature Stoves Collectors’ Delight

  Collectors of antique American-made miniature stoves are in for a real treat. These little beauties were made by some of the top toymakers of their time, and today they are highly sought after by collectors. If you’re lucky enough to own one, you know just how special they are. In this blog post, we’ll take a look at some of the most popular brands of antique miniature stoves from the late 19th century to the 1920s, and we’ll learn about some of the companies who made them. Introducing Antique American-made Miniature Stoves For the collector of American-made miniature stoves, there is no greater prize than an antique. While some mass-produced models can still be found, it is the handmade examples that are most prized by collectors. Each one is a unique work of art, with its own intricate details and charming features. The history of the American miniature stove dates back to the early 19th century, when they were first created as playthings for children. It wasn’t until the late 1800s that they began to be mass-produced by toy companies such as Kenton and Hubley, and by the early 1900s there were dozens of companies making them. However, the Great Depression put an end to most of these businesses, and with the rise of electric ovens from the 1920s, the manufacture of cast iron toy stoves declined even further. These diminutive replicas of 19th-century stoves are carefully crafted from metals such as brass, iron, and tin. Many are painstakingly detailed, with realistic features such as doors that open and shut, removable lids, and ash pans. Others are more whimsical in design, with colorful enamel finishes and fanciful flourishes. Some Famous Brands of Antique Miniature Stoves The majority of the early toy stoves were designed by stove manufacturers like The Philadelphia Stove Works, which created the Little Fanny Stove; and J & E Stevens of Cromwell, Connecticut who manufactured a stove called The Rival. While there are many different brands of antique miniature stoves, we look at a few brands in particular that stand out for their quality and uniqueness. First on the list is the American-made Arcade Manufacturing Company. Founded in 1885, the Arcade Manufacturing Company produced some of the most intricate and well-crafted miniature stoves of the time. Their designs were often inspired by full-size cast iron stoves, and many of their models featured detailed relief work and other ornate embellishments. Cussing was founded in 1868 by John Cussing, an enterprising tinsmith from Connecticut. Cussing’s first miniature toy stove, the “Cooker,” quickly became a best-seller. The company went on to produce a wide variety of other miniature stoves over the years, including several that were designed to look like real-life appliances. Many of Cussing’s stove models are now highly prized by collectors. The Kenton Toy Company was founded in the late 19th century, and soon became known for its high-quality toy stoves. The company’s most popular product was the Pet Stove, a miniature stove that was designed to look like a real wood-burning stove. The Pet Stove was made from cast iron and was painted to resemble a real stove, complete with a chimney and flue. The stove had four tiny burners that could be lit with a match and came with a set of miniature pots and pans. The Kenton Toy Company continued to produce the Pet Stove until the early 20th century. Today, the Kenton Toy Company’s Pet Stoves are highly sought-after by collectors and can fetch hundreds of dollars at auction. Were Miniature Stoves Samples or Toys? Antique American-made miniature stoves can be found in a variety of sizes and styles, from simple cast-iron models to more ornate tin or brass stoves. While most were undoubtedly made as toys, it is possible that some were actually salesman samples. These diminutive stoves would have been the perfect way for a salesman to demonstrate the features of a full-sized stove without having to lug around a bulky piece of equipment. In addition, the small size of the stoves would have made them easy to transport from one store to another. Antique American-made Miniature Stoves Price Guide / Value Guide Late 19th century American-made Miniature Stoves in excellent order and having the potential to work can range $600-$800 for  a Philadelphia Stove Works “Little Fanny” to $3000-$4000 for one of the most desirable for collectors the J & E Stevens “The Rival”. Condition is very important and as many of the stove could actual work most are in a lesser condition. Factors affecting the variance in price include: the maker, size and style and the level of detailing on the stove. We include a few examples in the article along with their value at auction.

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  Collecting Shoes

  In the 21st Century they put the finishing touches to any outfit and are a sign of status and adornment but shoes were originally the simplest way to protect the feet. Early shoes were made of large leaves, bark and grass tied together with vines. The decades have seen progression in the design of footwear so it is the modern shoes that are sought after by collectors. Boots were the favoured footwear for the 19th century, worn by both men and women styles varied from the front laced Balmoral boot to the button boot. Delicate shoes were also worn and made of satin, silk, reptile and leather. The styles were not too different from modern day shoes with mules being popular with both sexes for indoor wear and the classic court shoe being worn from 1860s/1870s onwards. Towards the end of the 19th century shoes with extremely high heels became fashionable, almost impossible to walk in. Known as “Barrette” because they were fastened with bars and buttons. The Northampton Museum houses over 12,000 pairs of shoes dating from 1620 to the present day. One of the highlights of their collection are shoes worn by Queen Victoria on her wedding day. Made of white satin and trimmed with bands of ribbon they were made by Gundry & Son, shoemakers to the Queen and are the epiphany of Victorian style By the 1920s and the “Age of Jazz” shoe design became more prolific. Bar shoes were still popular and brightly coloured fabrics were the height of fashion which reflected in the fancy footwear. The 1930s saw more innovative styles with radical modern shapes being introduced. The middle of the 20th century saw the biggest turning point for shoe design; the 1950s introduced the stiletto heel or “little dagger” as it was also known. A complete turn around from the chunky designs of previous decades, highly collected the retro 1950s is where most collectors start buying. Good examples can still be found around car boot sales and jumble sales for a few pounds – also vintage clothes shops stock many 1950s and 1960s shoes for as little as £50 upwards. From the Rock ‘n’ Roll years into the swinging sixties shoes became a fashion statement. Beatlemania saw the reintroduction of the elastic-sided Chelsea boot, which had been fashionable over 125 years previous. Fashion designers such as Mary Quant, started to experiment with plastics using bright psychedelic colours producing hip and trendy footwear for the fashion conscious. The platform boot dominated the mid 1970s with inspiration taken from the “Glam Rock” pop groups of the decade. The film “Tommy” was released in 1975 and starred “Elton John” as the pinball wizard. The famous boots worn by the star were modelled on “cherry red” Dr Martens, moulded in fibre glass they stand 4ft 6.5″ high. These boots can be viewed at the Northampton museum as they are on loan from R Griggs makers of Dr Martens who purchased them at auction when Elton sold them through Sothebys in 1988. The museum also owns a pair of Vivienne Westwood green mock crocodile super elevated Gillies. M ade especially for the museum they are similar to the blue ones worn by supermodel Naomi Campbell when she toppled over on the catwalk in 1993. Westwood is one of the top names in the collecting world and her products can make large amounts of money on the secondary market. Expect to pay from between £400 to £600+ for a pair, especially those dating from the 1980s. This may seem a lot of money but when you take into consideration a brand new pair of Jimmy Choo’s can cost up to £1,000 from a retail outlet, the vintage ones are a bargain. Modern shoe designer Patrick Cox is constantly aware of the collectors market and produces limited edition shoes for this purpose. Last year an exclusive pair of his Swarovski crystal-encrusted red stilettos was auctioned for “Art of Fashion” and raised £7,000 for Breakthrough Breast Cancer. Other lots included white stilettos by Stuart Weitzman customised by celebrities such as Dido and Sophie Ellis-Bextor, these raised £200 – £220 a pair. Shoes design has progressed increasingly over the last century with new technology and material available allowing shoe designers to become more innovative and experimental.. Rebecca Shawcross of Northampton Museum’s advice is “shoes will not make you a fortune but buy what you like, wear them and love them”. FACTS Judy Garland’s “Ruby Slippers” from the film “Wizard of Oz” made $666,000 at Christies in 2000. The first Dr Marten rolled off the production line on 1st April 1960 Shoes have been found in buildings where they have been hidden to protect the house and the inhabitants from evil and misfortune St. Crispin is the patron Saint of shoemakers. The oldest shoe in the world was made 8,000 years ago and found in the USA in a cave. For further information on the Northampton Museum and its shoe collection visit www.northampton.gov.uk/museums

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  Christmas Collectables and Gifts for Christmas 2018

  We take a look at some of the Christmas Collectables, Christmas Collectibles and Christmas gifts available for Xmas 2018. Royal Doulton Royal Doulton has several festive offerings including their annual Christmas Figure entitled Christmas Surprise, their 2018 Father Christmas entitled Santa Christmas List and the annual petite figure Glad Tidings. Also available are two new models from the Carol Singers collection: Angels from the Realms of Glory and Here We Come A-Carolling. We especially like Santa’s Christmas List which is a colourful study reflecting all the magical charm of the festive season. The jolly Santa reads from a scroll bearing the names of the children he’s leaving gifts for under the flamboyantly decorated Christmas Tree. For more details visit Royal Doulton. Jim Shore Heartland Creek Jim Shore does create wonderful festive items and colourful items. White Woodland Santa is a new addition to the White Woodland Collections from Heartwood Creek by Jim Shore. Standing at 48cm tall, this impressive piece features Mr Claus with his arms out-stretched, holding a piece of bark in his hands. At either side of the log are small woodland creatures including a squirrel and two birds. His feet are surrounded by other creatures, with the piece depicting a white rabbit and grey raccoon. There are a number of new pieces in the White Woodland collection whose colours feature muted winter tones of ice blues, silvers and greys, creating a coherent look that will complement other items across the range while working harmoniously in any home off-set against existing festive décor. For more details visit Enesco’s Heartwood Creek by Jim Shore. Swarovski Silver Crystal The release of the Swarovski annual Christmas ornaments, stars and editions are always keenly anticipated. The 2018 Christmas editions include the SCS Christmas ornament, annual Christmas ball and a Kris Bear annual edition. The Annual Edition Ornament 2018 has been designed by Verena Castelein and is in golden crystal with 156 facets, and comes with a golden satin ribbon and a specially designed metal tag engraved with ‘SCS’ on one side and ‘2018’ on the other. The Christmas Ball edition is very nice and has been designed by Stefanie Nederegger. The Christmas Ball Ornament, Annual Edition 2018 showcases a delicate shooting star, a symbol of dreams and wishes, inside a hand-made, mouth-blown glass ball. Small hand-glued crystals add extra sparkle and make each piece truly one-of-a-kind. The 2018 Kris Bear Christmas Annual Edition shows the Kris Bear in an active pose, decorating a colourful crystal Christmas tree with a golden crystal star on top. The edition has been modelled by artist Viktoria Holzknecht. For more details visit Swarovski.com. Lladro Lladro have released three versions of the Lladro Christmas Bell and three versions of the Lladro Christmas Ball. These classic designs both feature new decoration inspired by musical instruments. In matte porcelain and decorated in three different colours. For more details visit Lladro.com. Steiff The Sweet Santa Musical Teddy Bear by Steiff is a limited edition teddy made in white mohair. It is a limited edition piece, has the white ear tag and the trademark Button in Ear – gold plated, and is being produced in an edition of only 1225 pieces. It stands 27cm tall and plays Jingle Bells . Very sweet. Visit https://www.steiff.com for more details.

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  Design in the British Garden – Garden Collectables

  Britain is a nation of gardeners; I’ve heard that 80% of houses in Britain have private gardens, covering an area twice as large as Surrey. That’s fifteen million gardens in our green and pleasant land. Every weekend sees thousands of us making our way to garden centres, where we choose plants, bulbs, seeds and sundries to try to make our garden beautiful. Slugs, aphids and caterpillars eat most of them, but gardeners are a tolerant bunch – it’s not just the plants, it’s the general feeling of well-being and of feeling at one with nature which urges us to plunge our hands into the soil to embed yet another plant into the ground. Pictured right: Alpine Strawberry by Roy Kirkham plate Some of us build conservatories, or maybe garden shelters, so that we can use the garden as an extension of our homes even when the weather is inclement. We dot ornaments around the flower beds, nesting boxes and insect homes along the garden walls and we build ponds and fountains so birds can bathe. When we dine in the garden, we use floral plates, butterfly-decorated glasses, flowery cutlery – and all these things can be deemed collectable, whether you use vintage pieces or go for modern or retro designs. Even if you don’t have a garden, you can still create a garden feel indoors by collecting items with a floral or naturalistic theme. I’ve known people who have created an indoor garden by displaying pretty flowered plates against white wall-mounted trellis and hanging a few indoor plants to enhance the effect. Another way of ‘garden collecting’ is to collect old gardening items, from tools to seed packets, and from statues to lawnmowers. The most obvious choice for garden collectables is probably the well-known ‘Botanic Garden’ range of tableware made by Portmeirion pottery. Portmeirion, though, have produced many other beautiful designs which would look stunning at an alfresco meal. Pictured right: 1980s Portmeirion British Birds One of my personal favourites is the ‘British Birds’ design, based on illustrations from the Natural History of British Birds by Edward Donovan, published in 1794. Forty birds were featured in the collection, and because the designs are in a antiquated style the pieces have a timeless quality about them, which is probably why they have remained in production for so long. This pattern was originally conceived in 1974, and sadly is not now sold in Britain, though is still available in America. I acquired my items in the 1980s when visiting the shop in Portmeirion village, but pieces do crop up at collector’s fairs. Pictured left: Portmeirion Strawberry Fair I’m also very fond of the ‘Strawberry Fair’ decoration – perfect for serving scones on a summer’s day – and the ‘Pomona’ design of varieties of fruits. There are many other Portmeirion designs with a ‘garden’ theme, amongst them the recent ‘Hungry Caterpillar’ which is based on the popular picture book by Eric Carle. Incidentally, if you are visiting North Wales, do try to visit the village of Portmeirion. The pottery isn’t made there, though there is a shop selling the current range – but the village is stunningly quirky. It’s as though a slice of a sleepy Italian village has been deposited on a beautiful stretch of Welsh coastline; it’s a restful place and one of my all-time special spots. Pictured right: Meakin Poppy Jug 1960s Many ranges of tableware from the 1960s and 70s employed the flower motif – these were the days of flower power. Think Meakin, for the delicate pink floral ‘Filigree’ design, or the more bold ‘Poppy’, while ‘Topic’, with its blue stylised flowers is classic 60s elegance. Even more stylised is the swirling 1960s ‘Spanish Garden’ from Midwinter, while their ‘Country Garden’, with its pattern of leaves and buds symmetrically curling from either side of a large blue and pink flower, is beautiful. It would be impossible to mention all the floral ranges – practically every manufacturer of tableware has included a floral design at one time – but they range from delicate chintz type patterns to vibrant, bold roses. Pictured left: 1960s Meakin Filigree & Viners Love Story Floral china is perfect for a meal in the garden on a summer’s day, and can be themed with pretty cutlery, such as the 1960s’ Viner’s ‘Love Story’ which bears a design of tiny silver daisies. Don’t forget glasses; there are plenty of beautiful designs to look out for, both vintage and modern, featuring flowers, leaves or butterflies. You could look out for a suitable vintage tablecloth, too – ‘lazy daisy’ stitch was very popular in the 1930s, 40s and 50s and will complement your garden theme. If you’re worried about risking your treasured china in the garden, then there are plenty of modern plastic pieces around – and some, such as the gorgeous retro sixties floral designs which Asda came up not so long ago, might even become future classics! As well as tablecloths, other fabric items can be used outside including cushions, throws and canopies; look out for vintage patterns, such as the large-flowered round-petalled daisy types from the 1960s and the bold flowered orange and deep green 1970s’ designs. It’s best, though, to bring them in at night as they could get damp, and also not to keep them in the sunlight for too long, in case they fade. Floral handbags and scarves, or wicker shopping baskets and hampers look good artlessly dotted around at a garden party or a get-together. They add an element of fun, and are a great way of displaying a collection of traditional or retro items. I’m a Simon Drew fan – he is an artist with a quirky sense of humour. He’s based at Dartmouth where he has a shop and gallery, and many of his designs are based on puns such as a ‘receding hare’ or ‘joined up whiting’. Some of his garden themes, including ‘Incapability Brown’ have been featured in a range of ‘bug proof’ mugs. They come […]

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  Thomas Whieldon and his Tortoiseshell Wares and Tortoiseshell Pottery

  Thomas Whieldon was born in 1719 in Fenton, Staffordshire and is one of the most famous potters of his era. Whieldon is credited with the industrialization of pottery manufacture and was one of the first potters to successfully produce creamware. In this feature we take a look at his famous tortoiseshell wares and tortoiseshell pottery, a style that’s unique and instantly recognizable. What is Tortoiseshell Pottery? It’s basically pottery that’s been glazed to resemble the shell of a turtle. The effect is created by using an earthenware or creamware clay body and applying a dark brown, green and black palette which is then glazed. As the glaze melts, it runs and creates the distinctive tortoiseshell effect. Tortoiseshell was fashionable in the 18th century and tortoiseshell style pottery was already being made in Staffordshire such as by William Greatbatch, and by potteries in Liverpool and Leeds. However, before Whieldon developed his technique, the colour effect was created by sprinkling the un-fired wares with powdered lead oxide and calcined flint with a trace of manganese oxide. Thomas Whieldon created a new techniqie for the creation of the design and  Tortoiseshell wares. They were first mentioned by Thomas Whieldon in his Account and Memorandum Book of 1749. Whieldon formed a partnership with Josiah Wedgwood from 1754-1759 and Wedgwood mentions that tortoiseshell was important but in decline in popularity by 1759. Whieldon-type, Whieldon-style and Attributed to Thomas Whieldon Thomas Whieldon has become synonymous with the tortoiseshell colouring and glaze that many pieces have been attributed to him when they may have been made at other potteries. Principally by William Greatbatch who served as an apprentice to Thomas Whieldon at Fenton Vivian before setting up as an independent manufacturer. In recent years auction houses and galleries have been using the term Whieldon-type, and Whieldon-style when they are unsure if it directly attributable to Thomas Whieldon. At the time Thomas Whieldon’s pottery was highly sought after by the aristocracy and soon became fashionable among the upper classes. Today, examples of Whieldon’s tortoiseshell ware can be found in some of the world’s most prestigious museums. In recent years the prices for Whieldon tortoiseshell wares and pottery have decreased but they remain a significant part of the history of English pottery. Related Thomas Whieldon pieces at the V & A.

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  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

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  Beauty Skin and Petalskin

  Readers who were children during the 1950s may well have fond memories of a very rare type of doll – the Beauty Skin. Made by Pedigree, these lovely dolls were certainly not rare at the time. On the contrary they were very popular, especially with young children, because they were so soft and cuddly. Sadly, though, the dolls had a fault – they tended to disintegrate after a few years of play. Pedigree Beauty Skin dolls first appeared in the late 1940s, and were popular until the mid-1950s. They came in four sizes, but the smallest had a rubber head, unlike the hard plastic of the larger sizes. These rubber-headed dolls were 9” high, while the hard plastic headed versions were 14”, 16” and 20”. Although their heads were hard plastic, their bodies were made from a soft thin rubbery latex material and their limbs were of a similar substance, stuffed with kapok. They had pretty faces, often with flirty eyes, and most had moulded hair. Gradually, after lots of loving and cuddles, the latex would split or turn brittle, and the kapok would emerge, leaving a split and empty arm. Eventually, the dolls would be so damaged that they would be thrown away, which is why they are so rare today. Some people tried to stop the splits with sticking plaster, but this was a disastrous thing to do, because once stuck to the latex it could never be removed. It would turn grubby and unsightly. Sadly some owners of the dolls still resort to this method of stopping the kapok emerging, today, but it is not recommended. If you are lucky enough to own one of these dolls, but it has split, then the best thing to do is to place a soft garment on the doll – cardigan or leggings, depending on where the split is – and then handle it as little as possible. Just leave it alone, and hope that it doesn’t get worse. At the time, Pedigree recommended that talcum powder should be rubbed in to the latex, but I am wary of this treatment, unless the doll is actually sticky, as it could dry out the latex even more. Sun, warmth and the rigours of handling played havoc with that delicate skin, and modern central heating dries them out, too. (Most people in the fifties didn’t have to worry about central heating; they made do with a coal fire downstairs and cold bedrooms!) I called my first Beauty Skin baby Jeannie, and loved her very much, but eventually she was so damaged, I couldn’t play with her. So when I was asked what I would like for Christmas – I must have been about six – I asked for another soft doll, just like Jeannie. I found Isabelle on Christmas morning wearing a white satin dress, lying in a little blue-draped metal crib. I loved Isabelle dearly, and I had her for many years, even though her right arm slowly, but completely, disintegrated. I used to take her on holiday with me, and she rode in my doll’s pram. Eventually the day came when my mother decided I was ‘too big’ for dolls, and so most of my babies had to go. Isabelle had to be put into the dustbin – no-one would want a doll with a perished arm – though Mum kindly offered to do it for me, knowing how much I loved that doll. When I started collecting dolls, I searched everywhere for a Beauty Skin, and kept a lookout at all the doll fairs, but no luck. Then one day, about six years ago, my daughter and I visited our local Collectors’ Centre. Suddenly I saw her pick up a doll from a table, and turn to me in triumph. She had found me a Pedigree Beauty Skin! Apart from one tiny crack in the rubber skin on the palm of one hand, she was perfect, and was the first one I had seen since my beloved Isabelle was thrown in the dustbin all those years ago. She is slightly larger than my original Isabelle, and her face is a little different, but her fingers, her toes, the way her moulded hair is shaped into little curls around her forehead, are just as I remembered. My Beauty Skin wears her original white satin-edged cotton romper suit, and takes pride of place in my doll cabinet. Now, though, she normally has a light cotton dress and jacket placed over the top of her romper, just to ensure that when she is handled no damage can get to her skin. A couple of years later, my daughter came hurrying over to me at a doll fair, to say she had found another, smaller, Beauty Skin! This one was just 9” high, and was immaculate, with a soft head, rather than the hard plastic head of the larger-sized Beauty Skin babies. Still boxed and wearing her blue dress, bonnet and socks, she must have been ex-shop stock. Then, recently, I came across yet another large Beauty Skin. This one, although not in such perfect condition as our other doll, is, I believe, unplayed with, but poor storage has caused her to disintegrate on one thigh. However the facial colouring is wonderful, with cheeks as pink as the day they were painted. She is 16” tall, wears her original lilac and pink romper suit and lacy net socks, and comes with her box and even the delightful letter which Pedigree gave to all the new young ‘mothers’ of Beauty Skin babies. This delightful ‘hand-written’ letter reads: ‘My Dearest Mummy, I love you, I hope that you will love me too. Be careful not to let me fall, I am a Baby – after all! To keep me always fresh and sweet, Just sponge me over, top to feet, Then gently dry and powder me, And I’ll be clean as clean can be,. I’m ready Mummy Dear for fun, And go to sleep […]

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  The Doughty Sisters – Freda and Dorothy

  When it comes to innovative design there are two sisters that instantly spring to mind, Freda and Dorothy Doughty. Between them they were not only responsible for creating some of the most spectacular ceramic figurines but also for saving one of the UK’s best loved factories – Royal Worcester. Dorothy had a passion for nature which is evident in her bird figurines but Freda’s designs of enchanting loveable children at play changed the way Royal Worcester was perceived being not only hugely successful back in the 1930s but also highly sought after by collectors today. Born to the wife of the famous explorer and Poet, Charles Doughty, in San Marino, Italy, Freda and her sister Dorothy were brought to Kent in the UK when they were still small children. In 1926 their father passed away leaving the girls, who were unmarried, to run the family home. Dorothy was a keen naturalist and ornithologist who also had a talent for painting. She attended the Eastbourne College of Art where she excelled. Very little is known about Freda’s early life but we do know that she also had a keen interest in art and ran ceramic modelling classes for children, from the house. These children became great inspiration for Freda and she would frequently create ceramic models of them, totally unaware at the time of what impact her child figurines would have on saving one of the most reputable British ceramic factories from demise. In 1930 the Royal Worcester factory was having financial difficulties and was on the brink of closing. Businessman, Charles Dyson Perrins saved the day by purchasing the factory and paying the workers out of his own pocket until the company was stable again. Another initiative that he introduced was a new group of modellers who were mostly women. They were responsible for helping enlighten the factory once again. One of the Directors of Royal Worcester saw Freda’s child figurines whilst staying with her cousin and so asked if Freda would submit something to the factory. This was to be the start of a flourishing career for Freda both as a modeller and designer. The first four models were exhibited at a London Art Gallery along with offerings from the other freelance designers. In comparison to the more ‘avant-garde’ designs that were created by her colleagues, Freda’s children were very simplistic and considered to be old fashioned. However the public absolutely loved them and as a result Freda quickly became one of the most prolific and successful artists at the factory. During her long career with Royal Worcester, Freda produced over 100 different models, most of which were produced many times over. Each piece showed children either playing in the garden, on the beach or simply enjoying their youth. ‘Grandmother’s Dress’ and ‘Boy with Parakeet’ were two of the most popular and so were created in various colourways. Other successful ranges were ‘Days of the Week’ and ‘Months of the Year’ which were also produced over a long period of time. By 1934 Royal Worcester decided to introduce a range featuring Birds of America in order to re-establish themselves in the American market. A series of cabinet plates illustrating images from the Audubon Birds of America book were issued in limited edition sizes and proved to be a huge success. The Art Publisher of the book, Mr Dickens, then approached Royal Worcester again about the possibility of creating three dimensional bird figurines. His requirements were specific and the figurines had to have a matt finish which would help create a realistic feel. Freda was by now very popular with the public and had released many models of her children. So the Art Director, Mr Gimson approached Freda to see if she would be interested in sculpting the new range of bird figurines. Although a talented and versatile modeller she introduced Mr Gimson to her sister Dorothy who, Freda believed, would be perfect for the job. Dorothy already had a sound knowledge of birds, a fine artistic flair and also a legendary photographic memory for small details so this particular project was ideal. There was no doubt that Dorothy was skilled in watercolour and sketching but needed to learn the art of producing models for ceramics. Freda spent time teaching her how to create plasticine models and cut them to produce the required moulds for slip casting. The first few bird figurines were produced by studying photographs but these earlier models lacked the vibrancy of her later pieces which were created by modelling from life. It became apparent to Dorothy that the method of slip casting was unsuitable for making finer details such as flowers, so a workshop was set up and Dorothy along with a team of trainees began to hand mould the details. The bird figurines were all extremely complex to create and so were produced in limited edition sizes, a culture that was being adopted as it appealed to the public. On many occasions Freda was asked if she would like to make some limited editions of her child figurines, but she declined. She was a believer that her particular figures were to be bought and enjoyed by everyone and so be easily accessible rather than limited to just a few lucky people. Throughout the war years much of the factory production ceased as the staff concentrated on the war effort. Dorothy still worked on some of her bird figurines but also became an ambulance driver and was involved with secret experimental work with aircraft production. Sadly she then fell very ill and so together with her sister Freda, moved to Falmouth in Cornwall although together they continued their work for the Royal Worcester factory. By the 1950s Royal Worcester once again was experiencing financial difficulties and it is said that Freda’s child figurines especially ‘Grandmother’s Dress’ and ‘Boy with Parakeet’ were a contributing factor to the company’s survival. Dorothy continued to create her bird figurines but sadly in 1962 was taken seriously ill again and […]

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  Van Briggle Pottery

  The Van Briggle Pottery was founded in Colorado Springs, Colorado in 1901 by Artus and Anne Van Briggle. The Van Briggle Pottery they established continued production of pottery for over one hundred years, and was until the company’s closure in 2012 the oldest continuously operating art pottery in the United States. The Van Briggle Pottery was noted for its Art Nouveau styles, Arts and Crafts colours, distinctive matte glazes, and its floral, figural and tiles of Anne Van Briggle. The Van Briggle’s pottery were awarded high honors from prestigious sources, including the Paris Salon, the Saint Louis Exposition, the Lewis and Clark Centennial Exposition, and the American Arts and Crafts Exhibition in Boston. Artus Van Briggle was born on March 21, 1869, and his family lived in Ohio which was one of the main areas for ceramic design in America featuring potteries such as Roseville, McCoy, Weller, Hull and Rookwood to name a few. It was in fact Rookwood Pottery where Artus was destined, after first attending the Cincinnati Art School and later a position at the Avon Pottery where he was initially introduced to the ceramic arts. His skill and talent were recognized by Rookwood founder, Maria Storer, who became his benefactor, even sending him to France to study art at the Académie Julian in Paris. Whilst in Paris, Artus was exposed to new styles of art and techniques and took a great interest in an early matte glaze from the Chinese Ming Dynasty; a type that was lost to history. It was also in Paris where Artus met his future wife, fellow American student Anne Lawrence Gregory, an accomplished artist in her own right. Artus and Anne returned to America in 1896, where he continued at Rookwood experimenting with recreating the lost Ming Dynasty glazes. Artus was to eventually develop the “matte glaze” used at the Rookwood Pottery. This was a flat but textured glaze, often painted on soft colored clay, which used “sea green” for aquatic and floral motifs. This pale blue-green glaze was usually applied over a soft yellow, bluish or red base. Artus left Rookwood Pottery in 1899, suffering with tuberculosis, and moved to Colorado Springs. Whilst in Colorado he was able to develop his Art Nouveau influenced pottery and after two years of trials and experimentation he perfected his matte blue glaze based on an ancient Chinese process that had long been lost to history. The VanBriggle.com website says of Artus’s discovery ‘one day in the spring of 1901 he reached into the kiln, with the anticipation known well by countless potters throughout the ages, and finally held in his hands the perfect, rich, matte-glazed pottery he had sought for so long – the first pieces created in centuries, the first ever on this side of the world. Against the odds of failing health and a pursuit which no western artist had ever achieved, he succeeded; his passion was realized – a lost art was now reborn. The world would once again see and touch of the soft marble-like glazes first known by ancient Chinese masters half a world and so many generations away.’  With his new glaze and graceful Art Nouveau designs, Artus opened The Van Briggle Pottery in 1901. He was joined by Anne Gregory and they married in 1902 who was to have a major input in all aspects of the pottery as well as design. Van Briggle’s  pottery and designs received national and international acclaim and in Europe’s the were proclaimed, “A supreme discovery in modern ceramics.” Artus and Anne established hundreds of Art Nouveau styles of pottery under the Van Briggle name. The Despondency vase won Van Briggle wide acclaim and first place at the Paris Salon in 1903. A display at the 1904 Centennial Exhibit in St. Louis won Van Briggle more awards and greater international fame. Artus Van Briggle died in July 1904,  at the age of 35. Anne continued the pottery using the forms created by Artus as a foundation and adding more designs of her own. It was only after the death of Artus that the company started making hand pressed tiles. The tiles featured Arts and Crafts and Art Nouveau designs. The tiles were very popular, especially among local builders who used them in the booming Colorado housing market and the tiles also decorated the facade and interior of the new pottery (designed by Dutch architect Nicholas Van den Arend) that was opened in 1908. Production of tiles at the pottery continued until 1920, with most of the limited production being for architectural use. For collectors access to Van Briggle tiles is limited and when do they appear at auction they achieve good prices. For collectors it is the early pieces that command most interest and highest prices for collectors notably the work of Artus. Early production was always limited and ‘one prominent collector has suggested that only about 400 pieces total were made prior to his death’ (Rago and Perrault). Although the Van Briggle Pottery continued production for over one hundred years in one form or another according to Rago and Perrault the last pieces of collecting merit date to 1932. Pieces attributed to Artus and Anne can sell for many thousands of dollars – the record price for an attributed Artus piece is his classic prototype Lorelei piece whilst he was a decorator at Rookwood. The 7 1/2-inch-tall vase is incised ‘A. Van Briggle 1898,’ and has a Paris Exposition Universelle 1900 label sold for $187,500 at Rago Arts and Auction Center’s 20th Century Decorative Arts and Design Auction in June 2016. Van Briggle Pottery Reference Rago, David and Perrault, Suzanne, How to Compare and Appraise American Art Pottery (Miller’s Treasure or Not?), 2001 VanBriggle.com web site Van Briggle Pottery on Wikipedia click here