Rare and Unusual David Winter
Visitors Plaque
This was a protoype for use as a replacement for the Spring and Winter Oval plaques that were usually only available to visitors to Eggars Hill.
The plaque was to have been used from 1995 onwards but for some reason it never went in to production.
The blue and gold was the recognised livery for Media Arts group. As far I know, this is a ONE OFF creation.
Gold ‘Premier’ Dealer Plaque
These plaques were the invention of Media Arts Group – Premier Stockist Plaque for the UK Premier Dealer and Gold Premier Dealer Plaques in the USA
The Christmas Plaque
This unobtrusive plaque first made its appearance during the week preceding the 1994 “Kingmaker’s” Carnival at Warwick.
Those collectors’ visiting the Studios pounced on it with glee. Officially no more than 3,000 were destined for release but far less than that in actual fact ever reached the Sales Counter at Eggars Hill.
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Random Collecting Feature
Annie Dolls – The Sun Will Come Out Tomorrow
Collecting Annie Dolls – When the Annie musical first hit London, in 1978, following on from the Broadway production a year before, it was a smash-hit. It gave numerous young girls a chance to shine, amongst them a very youthful Catherine Zeta Jones, who played the lead role in a Swansea production, aged just ten. Little Orphan Annie made her debut in a cartoon strip in the Chicago Tribune in 1924, brainchild of artist Harold Gray. The story of the twelve-year-old girl surviving by her wits as she made her way in the world proved enormously popular. In 1927, according to the cartoon, Annie was living with a kind lady called Mrs. Pewter, who decided the little girl needed a new frock. She made her a red dress, with a white collar and cuffs – and the Annie image was born! Today, the carroty curls and red, white-trimmed dress, are instantly recognisable to people on both sides of the Atlantic, thanks to the musical, and, even more so, the movie. The London show, at the Victoria Palace theatre, starred Sheila Hancock and Stratford Johns, with Andrea McArdle playing Annie, and ran for 1,485 performances. It was a resounding success, and was soon followed by a movie version, which today graces not only our television screens but is often still shown at cinemas, too. Most of us know the story of the orphan girl who was adopted by the benevolent millionaire Daddy Warbucks, but cruelly tricked by scheming Miss Hannigan into believing that her parents were still alive. Songs such as ‘I think I`m gonna like it here`, ‘You`re never fully dressed without a smile’, ‘It`s a hard knock life’ and, of course, ‘Tomorrow’ led to a happily ever after finale – and spawned loads of memorabilia, including dolls. Annie was very much an all-American icon; she lifted spirits during the dark days of the depression, and has always had a special place in the hearts of the American people. Unsurprisingly, the majority of the dolls are American, some dating from the musical and movie days, others more recent, and a few which were made in the 1930s and 40s. When the musical first came out, manufacturers were quick to realise the marketing potential, but it was the release of the movie in 1982 which really triggered the mass interest. At the time toyshops featured colourful displays of the scarlet-dressed Annie, though, certainly in Britain, most of the dolls were of the cloth doll type. It might be just as well to clear up a popular misconception here – Annie is not the same character as Raggedy Ann. Raggedy Ann was a doll dreamt up by American writer Johnny Gruelle in 1915 to amuse his sick daughter. The doll was a pinafore-wearing rag doll with a triangular nose and red hair. By contrast, Annie (or Little Orphan Annie) was a fictional child whose character became world-famous through the medium of cartoons, musical theatre and cinema. Many of the Annie dolls are easy to find, though often you will need to purchase from America as the more unusual types were not sold in Britain. Those that are easy to find over here include a selection of cloth dolls. One of the most appealing was made by Knickerbocker in the early 1980s. She stood 16 inches tall, and her gingery hair was sewn in tight wool curls. A tiny furry Sandy, the dog which she adopted in the film, was tucked inside a pocket in her red dress. The company also made a smaller, 6 inch, Annie doll, but she was not so well detailed, as well as several larger sizes. Applause was another company who made Annie cloth dolls, including some with reinforced, stiff faces. The interesting thing about the Applause dolls was the way that the company tried to capture the blank-eyed expression of the original cartoon character by giving the dolls printed eyes which appeared to be gazing upwards. These dolls were similarly dressed to the Knickerbocker girls, but their curls were looser and softer. Applause Annies were made in various sizes, including some small clip-on types. Expect to pay around £15 for a cloth Annie doll depending on condition. Also available in Britain was a delightful small vinyl Annie doll, made by Knickerbocker. This doll stood just six inches high and was sold in the ubiquitous red Annie dress. A ‘gold’ locket was included in the box with the doll, large enough for a child to wear. In the show, the locket was a vital piece of evidence in the search for Annie’s parents. The outfits issued at the time for this little doll included a pale yellow floral dress, a cream two piece, a blue coat, a pink floral nightdress and a blue play-suit, with accompanying hats and shoes. Other characters were issued in the same series, but were much harder to find in the UK, and today you would probably need to try ebay if you want to add them to your collection. Punjab, an Indian doll, looked handsome in his white cotton suit and turban with a bright red and black striped sash tied around his waist. Daddy Warbucks wore a black satin evening suit with a white shirt, black bow tie and red cummerbund. Knickerbocker managed to achieve some great characterisation in these small playdolls, capturing Daddy Warbuck`s expression – and his bald head – very well. Scary, intoxicated Miss Hannigan was also included in the set, dressed in a mauve two-piece patterned with small multi-coloured shapes, while little Molly, Annie’s friend at the orphanage, wore a green pinafore over a floral long-sleeved blouse. Molly had a delightful smile and her brown hair was cut into a short bob with a fringe. Knickerbocker produced several accessories to go with these dolls, amongst them a super blue 1929 Model Duesenberg Limousine, complete with chauffeur. It measured 15 inches long, and there was room in the back seats for two Annie dolls. The company also made […]
Collecting Frog Mugs – The Frog Mug A Nice Surprise
Imagine sitting down to enjoy a nice drink and whilst taking a sip you look down you are faced with a small frog in your mug. A nice surprise or maybe not! This was the idea behind the Frog Mug which were first produced around 1750 but became very popular during the first quarter of the 19th Century. One theory of how the frog mug came to be made was that a potter who had nearly completed some mugs, had left them to cool overnight. On his return he found a frog sitting at the bottom of one of them. He was so surprised and amused he decided to make a mug with a frog inside based on the idea. They proved so popular the frog mug was created. Most frog mugs feature a frog on the side or on the bottom, and occasionally on the rim. Some frogs have open mouth so when the drink was poured it would also go through the frog’s mouth. There are some examples of larger vessels having multiple frogs and even lizards as well. The earliest frog mugs date to around 1750 and are largely associated with the Sunderland potteries including Brunton & Company (afterwards Moore & C0) who were noted with early examples. One of the most noted potteries for the production of the frog mug was Dixon and Co. Although Sunderland and the north-east were the leading area for the frog mugs, they were also made in the Stafford potteries and the Leeds potteries. The frog mugs created in Sunderland pimarily feature the famous Sunderland lustreware with its pink lustre decorated with black transfer prints often with mottos, phrases and sayings. More popular designs include portrayals of the Wearmouth bridge, Ironbridge and the Crimea. As many of these mugs were used by sailors many had a strong nautical theme and featured sailing ships, the Sailor’s Farewell and the Sailor’s Return. The majority of antique frog mugs made in Sunderland can be bought from around £60 to £200. The main factors affecting price are rarer transfers & motifs and condition. The price of other examples is variable, with great variations in price – from £40 to £1,000. Example pieces and prices have been given in this feature. The frog mug is a quirky, attractive item with great historic interest, and collections can still be created for a modest investment.
Wemyss Ware
Wemyss Ware Wemyss Ware (pronounced Weems) is named after the castle situated on cliffs between East Wemyss and West Wemyss in Fife, which was the home of the Grosvenor family who became patrons of the Fife Pottery in Gallatown, near Kirkcaldy. The Fife Pottery was built in 1817, traditionally the Fife Pottery had paid its way by producing useful domestic wares, and it was not until the 1880s when the production of the hand-painted earthenware, with characteristically bold decoration, recognised today as Wemyss Ware began. The first piece of Wemyss Ware appeared in 1882 on the initiative of Robert Methven Heron. R. M. Heron had studied painting at the studios of the Edinburgh artists of his time and had travelled extensively in Europe. The production of Wemyss style pieces, particularly with traditional subjects such as the cock and hen patterns, had already begun when R. M. Heron brought back to the pottery six continental artists to augment the staff at the Fife Pottery. Five returned, and the one who remained was Karel Nekola, who became chief decorator and instructor at the pottery. Karel Nekola introduced a new style of ware to the pottery which was initially fired at a low temperature in order to produce a soft ‘biscuit’ body which would be able to absorb the colours from the decorator’s brush. It is this initial firing which is responsible for giving Wemyss Ware a body which is very fragile. After being painted and dipped in a soft lead glaze the pottery was again fired at a very low temperature, this time so as to avoid spoiling the brilliant colours. Wemyss Ware was decorated with natural subjects, such as flowers, in particular the red cabbage roses, but also buttercups, honeysuckle, sweet peas, carnations, Canterbury bells, thistles, irises, violets; and fruits are to be found including: cherries, plums, apples, pears and oranges may be seen, but also rare fig pattern, or lemons and grapes. Pictured: A Wemyss ‘Cabbage Roses’ ewer and basin – The basin painted by Karel Nekola, ewer 16cm high, 19cm diameter, both impressed WEMYSS and with green painted Wemyss mark, ewer with blue printed T.Goode & Co mark. Sold at Bonhams, Edinbugh for £275, August 2011. Image Copyright Bonhams. Wemyss Ware was a instant success, and with interest shown in the pottery by the Grosvenor and other Scottish families, Wemyss became an exclusive, expensive product much sought after by the affluent. Thomas Goode & Co. the well-known Mayfair china shop, became the companies sole retail outlet in England. Goode’s would often request special shapes and designs. Pictured: A large Wemyss Ware pig, with sponged black markings, the details picked out in pink, 46cms long, impressed WEMYSS WARE, R.H. & S., and bearing red printed retailer’s mark for T.GOODE & Co. Sold at Bonhams, Edinburgh for £1,995, December 2004. Image Copyright Bonhams. Karel Nekola continued to work at the pottery until disability prevented him and even then continued working at home, using a small kiln which was built for him in his garden, so that at his death in 1915 he had completed 30 years arduous service for the pottery. Edwin Sandland became chief decorator to the Fife Pottery following the death of Karel Nekola. Edwin Sandland, was from a family of potters and was a decorator in the Staffordshire area, and was posted to Perth during the Great War. He joined the pottery until his own death in 1928. New designs were introduced at this time and typical Wemyss motifs were painted over an all-black ground. Another innovation was to paint the design over splashes of various colours thus producing a gaudy effect. At the same time means were successfully found to raise the temperature of the final firing and so produce a glaze which was free from crazing. Despite new designs and new techniques the great economic depression of the 1930s meant that the pottery ceased trading in Fife. Wemyss Ware at Bovey Tracy 1930-1957 Thus the Fife Pottery came to an end in 1930, but Wemyss Ware secured a kind of extended life when the patterns and designs were taken over by the Bovey Pottery Co. of Bovey Tracey in Devon. Here Joseph Nekola, Karel Nekola’s son, following in his father’s footsteps, continued the familiar style of painting on a harder, whiter body, under a brilliant glaze which was free from crazing. A number of pieces produced during this time are marked as “Plichta.” Jan Plichta was a Czech immigrant that sold and exported wholesale glass and pottery, and items he ordered from the Bovey Pottery were marked with his name. Wemyss decorators produced items for Plichta, which sometimes leads to confusion, but in general Plichta items are inferior in quality. One of the lead apprentices at the pottery was Esther Weeks who went onto become head decorator in 1952 when Jospeh died. The pottery at Bovey Tracy closed in 1957. Wemyss Ware and the Griselda Hill Pottery Ltd® In 1985 Griselda Hill started producing Wemyss Ware® back in its birthplace in the heart of Fife. Griselda was inspired by the memory of her grandmother’s Wemyss® pig, which she discovered to have been made locally when she moved to Fife in 1984. The first product was a cat modelled on an example in Kirkcaldy Museum, and over the years since then the Pottery has developed a range of Wemyss Ware® which can easily stand alongside the originals. Pictured: A modern black and white Wemyss Ware pottery cat from the Griselda Hill Pottery Ltd®. This and other cats etc are still available at https://www.wemyssware.co.uk/ As with the original Wemyss Ware®, the success of the Pottery is based on the quality of the hand painting and the beauty of the designs and colours. All the artists have been working at the Pottery for over fifteen years, and have become very skilled at their work. While some new technology has been introduced to minimise production problems and environmental pollution, the techniques of hand decoration remain the same as ever. Being hand painted, each piece is unique. Pictured: A modern small clover Wemyss Ware pottery pig from the Griselda Hill Pottery Ltd®. This and other animals etc are still […]
Chalet School Books and Chalet School Collectables
Chalet School Books and Chalet School Collectables. Over the decades, thousands of schoolgirls became hooked on a series of stories written by Elinor Brent- Dyer, headmistress of a school in Hereford. The books featured a school set in the mountains, and followed the progress of Joey Bettany and her friends. In all, there were 59 hardback books in the series, and today early editions are becoming extremely sought after. Elinor Brent-Dyer was born in 1894 and combined writing with her scholarly career, often using events and happenings from her school in her books. The lively stories soon gained a large following of fans and today are still being discovered by younger readers, as well as being collected by those who read them the first time round. Her first book, The School at the Chalet, was published by W R Chambers in 1925, and the last book, Prefects of the Chalet School, was published posthumously by the same company in 1970. The locations of the stories varied with the first books being set in the Austrian Tyrol, but later venues included Wales, the Channel Islands and the Bernese Oberland. Apparently Elinor visited the Austrian Tyrol in 1924, and decided to use it as a location for her imaginary school. Years later, readers managed to identify the village, lake, mountains and small railway which featured in the books, even though Elinor always tried to keep the exact place secret. Perhaps the most dramatic of the books was a wartime publication, The Chalet School in Exile, describing the homicidal persecution of the Jews, and which dealt with the members of the school fleeing from Nazi rule. Elinor’s books spanned several decades, from the thirties to the sixties, and consequently are of interest socially. In the stories, the Chalet School was founded by Madge Bettany, who married a doctor. The school was linked to a sanatorium (this was an era when TB was still rife) which consequently provided plenty of additional storylines when the girls held fundraising events or became patients. The main character was Madge’s sister Joey, who appeared in the first book as a new pupil, subsequently working her way through the books to become prefect and head girl, before leaving, marrying and having eleven children including triplets! Elinor followed the progress of some of those children through the school too. Along the way, she introduced a host of unforgettable characters, such as Miss Annersley, the capable headmistress who took over from Madge, and Matey, a firm but kind matron. Elinor cleverly managed to keep most of her main schoolgirl characters throughout the series by bringing them back to work at the school once they had left. The second title, Jo of the Chalet School, was published in 1926, the third, The Princess of the Chalet School, in 1927, and the stories continued to appear at approximately yearly intervals. In between, Elinor was writing other books; her output was phenomenal, and over a hundred were published during her lifetime. Naturally, it is the original, hard-backed copies of the books which most collectors seek out, although, to her keenest fans, condition is less important than content. Many of the paperback editions were heavily edited; sometimes whole chapters were removed, and fans seek the original books so that they can read the missing bits. Prices vary tremendously. Some of the rarer titles, mint with dust wrappers, can now cost upwards of £50, and even tatty copies still cost around £20. If the wrapper is missing, then the book normally isn’t so collectable, and these are the ones which can often be found in charity shops and at car boot sales. Sometimes the books contain black and white line drawings, very characteristic of the era, which show the girls neatly dressed in immaculate uniforms complete with hats, a far cry from today’s more casual clothing, while the wrappers are charmingly illustrated, many of them in delicate colours depicting the scenery of the Austrian Tyrol and the girls of the school. The books are moral, with manners, religion and music playing a great part, yet the principles set by Elinor of different nationalities freely mixing, religious tolerance and the emphasis on the importance of learning different languages are surprisingly modern. Those early readers in the 1930s must have been given much food for thought. The stories were later issued by Armada in paperback form, and these are now becoming collectable in their own right, especially the later publications as these were uncut versions and only available for a limited period. Over the years, the titles have appeared in several different styles of paperback, the earliest being easily recognisable by a ‘chalet roof’ drawing at the top of the cover. Some of the books have been published as extra-thick ‘doubles’ format, containing two of the novels, while the paperback version of The Chalet School and Rosalie (originally published in 1951 by Chambers as a limited edition) was first published by Armada in 1987, and later republished in a single volume together with The Mystery at the Chalet School. Presumably the first version was so thin that it didn’t sell. The Mystery at the Chalet School was a story which originally appeared in the First Chalet Book for Girls, 1947. The Chalet School Reunion, 1963, was the 50th book in the series, and was celebrated in real life by a presentation to Elinor at a large gathering of fans. In 1994, Armada reprinted a facsimile edition of the first book, The School at the Chalet, from a copy first produced in 1930. The illustration on the front of the book was taken from the original dust wrapper. This attractive paperback is certainly well worth seeking out, and is sure to become a future collectable. Other Brent-Dyer publications include those in the ‘La Rochelle’ series, which seem harder to obtain than the Chalet School Books, the ‘Chudleigh Hold’ series, many individual titles, three Chalet School annuals and a Chalet School cookbook. Various tales also appeared in girls’ annuals […]
Roald Dahl and Robert Harrop
Robert Harrop created this wonderful set of official Roald Dahl figurines based on the illustrations by Quentin Blake in 2003. There are 27 figurines in the collection featuring all of Dahl’s most famous characters with RD01 being Willy Wonka. As with all Harrop figurines they are very accurate and a true portrayal of Blakes illustrations. The Roald Dahl Robert Harrop collection is very collectable and is one of the few collections increasing in value. Robert Harrop Roald Dahl figurines RD01 Willy Wonka RD02 Charlie Bucket RD03 The BFG RD04 Mr Twit RD05 Mrs Twit RD06 Matilda RD07 Georges Marvelous Medicine RD08 Fantastic Mr Fox RD09 The Grand High Witch RD10 The Enormous Crocodile RD11 The Giraffe, the pelly and me RD12 Alfie RD13 James and the Grasshopper RD14 The magic finger RD15 Miss Trunchbull RD16 Violet Beauregarde RD17 Grandpa Joe RD18 Danny the champion of the world RD19 Badger RD20 Augustus Gloop RD21 Boggis RD22 Bunce RD23 Bean RD24 Veruca Salt RD25 Mike Teavee RDCP Collection plaque RDLE1 Dream Catcher/BFG For more information about Robert Harrop visit https://www.robertharrop.com/
Collecting Disney Bears
Arctophiles who like Disney animations can have great fun building a collection based entirely around Disney bears, as Kathy Martin reveals When you think of the number of animals Disney have immortalised in their animations over the years, it’s surprising how rarely bears have been featured. Pictured right: Steiff Winnie the Pooh, 20 inches, made in 2004 exclusively for the UK and USA in a limited edition of 3,500 After all, the bear – in its teddy form – is the world’s favourite soft toy animal so you’d expect a canny merchandiser like Disney to have a whole galaxy of bear characters to tempt us with. Perhaps their reticence stems from the fact that since 1961 they have owned the film and licencing rights to Winne the Pooh, the ultimate A-list bear, and it’s hard for any other bruin to compete with him in the popularity stakes. Disney certainly show no reticence when it comes to making the most of Pooh – in their own stores he is sold in numerous different guises while the world’s leading toy manufacturers compete for the right to produce their versions under licence. The result is that fans of Pooh can build a hugely varied and interesting collection, especially if they are prepared to seek out vintage examples. Pictured right: Baloo, Steiff, 2003 In 1966 Merrythought’s catalogue included a fully jointed 10-inch mohair Pooh as well as a 24-inch ‘Showpiece’ version and a Pooh nightdress case. The following year he was back as a 9-inch ‘Chime’ toy which had arms but not legs, and also as a ‘Pooh in Bed’ pyjama or nightdress sachet. More modern interpretations of Pooh have come from Gabrielle Designs, Gund, Golden Bear, Steiff, Canterbury Bears, Dean’s and Hermann Teddy Original amongst others, and there’s every reason to suppose that further names will be added to the list as Disney strive to satisfy the public’s seemingly insatiable appetite for all things Pooh. However, anyone wanting to add one of Steiff’s gorgeous versions of Pooh to their collection should hurry because no more will be made after 31st March 2007. There is no denying that Winnie the Pooh is ‘Top Bear’ in the Disney empire but there are other bears to be found if one is prepared to search for them. For example, from the 2003 movie Brother Bear, there are two really delightful bear characters called Koda and Kenai. Following the release of the film, beautiful soft toy versions of these two could be found in Dis ney Stores and they made a reappearance in 2006 when the follow up, Brother Bear 2, was released on DVD. Although Koda and Kenai are supposed to look more like real bears than teddies, they have the cute faces and super-soft plush necessary to make them very appealing to children. Pictured right: Canterbury Bears Pooh and friends, made under licence for Japan in 2006 Another ‘real’ bear from the Disney stable is Baloo, the laid back, fun loving bear who shows young Mowgli how to survive in the jungle in Disney’s 1967 hit movie, The Jungle Book. Soft toy versions of Baloo have been produced since the 1960s, and two of the most successful came from Steiff. The first Steiff Baloo was produced shortly after the release of The Jungle Book as part of a set that included the other main characters from film. Complete sets occasionally turn up at auction and are subject to fierce bidding – it’s not unusual to have to pay £700 or £800 for them. Then in 2003 Steff returned to Baloo as part of their Disney Showcase Collection, creating a very attractive limited edition version which was made from mohair and measured 33cm high. These are quite easy to get hold of today – specialist retailers occasionally still have them in stock and they frequently turn up on internet auction sites. Expect to pay around £140. For those on a tight budgets, charming plush versions of Baloo can be found inexpensively on the secondary market. For example, a 12-inch Baloo made in Sri Lanka for The Disney Store was purchased for less than a pound in a charity shop. In good, clean condition it makes a worthwhile addition to any Disney bear collection, as do the small beanie-type toys which are also easy to find. Phil Harris, the voice actor who played the part of Baloo in The Jungle Book, took the part of another bear in the Disney version of Robin Hood. Released in 1973, the film portrayed all the main characters as animals and it was decided that the outsized Little John should be a bear. Although it had its good points, the film was not a massive success and as a result merchandise is less widely available than that associated with big hits like The Jungle Book. Nevertheless, if you search (particularly on internet stores and auction sites) it is possible to buy Little John plush toys, plastic figurines, pin badges and so on. Prices range from £2 to £15. Pictured left: Plush version of Kenai from Brother Bear There have been successful Disney bears on the small screen, too. Notable amongst these are the Gummi Bears which starred in their own television series from the middle of the 1980s through to the early 1990s. There were seven main characters – Zuffi, Grammi, Gruffi, Tummi, Sunni, Cubbi and Gusto – all of which were produced in soft toy form. They rarely cost more than two or three pounds on the secondary market. Although the show came to an end in 1991, it may be familiar to youngsters of today thanks to re-runs on satellite and cable TV. Perhaps the most remarkable thing about the Gummi Bears is that the idea for the show came from the Gummi Bear sweets; we’re all familiar with characters such as the Milky Bar Kid, the Milcha cow or the Lindt bunny that have been created specifically to promote confectionery but there can’t be too many instances of […]
Make Mine a Guinness – Guinness Collectables and Guinness Collecting
The City of Dublin is often referred to as the heart and soul of Ireland, and within the heart of the City itself is Ireland’s number one visitor attraction – The Guinness Storehouse. Opened in November 2000, it has to date, attracted over 3 million visitors including myself on a recent trip to the emerald isle. The huge structure is breath taking and the in-depth knowledge that I gained from just one day at the Storehouse is second to none, so I highly recommend a visit, especially if you are an avid collector of Guinness memorabilia or if not, purely to soak up the history of a brewery which began more than 250 years ago. Born in 1725, Arthur Guinness was familiar with the duties of running a brewery as he often helped the workers on this family estate brew the beer, so when on 31st December 1759 Arthur signed a 9,000 year lease at an annual rent of £45 for a disused brewery in Dublin, he was well aware of the business ahead of him. Determined to make the brewery work he began by brewing a strong black beer made from roast barley called “porter,” worldwide, today, this drink is known as “Guinness.” The first shipment was exported to England on a sailing vessel and proved a success but by 1775 the Dublin Corporation Sheriff tried to cut off the water supply where the Brewery drew its free water. Defending his right, Arthur threatened the authorities with a pickaxe and they left well alone. Arthur died in 1803, aged 78 leaving behind a large personal fortune of £23,000 and a flourishing business, which was then taken over by his son, Arthur Guinness II. From 1833 Guinness has been the largest brewery in Ireland, and now in 2006, 5 million glasses of the black stuff is enjoyed in over 150 countries around the globe each day. This is largely due to the successful growth of the Brewery’s business, which from the end of the 19th Century through to the 20th Century employed between 3,500 and 4,500 people at any one time. Throughout history the brewery had family members directly involved and the influence that the Guinness family had on Dublin is evident throughout. Benjamin Lee Guinness took over from Arthur Guinness II after his death and later became Lord Mayor of Dublin along with being elected for the Parliament of Dublin City in 1865. After Benjamin’s death in 1868, Edward Cecil Guinness took the reins and was to be the first Lord Iveagh. He was also responsible for establishing the Guinness Trust, which later became known as the Iveagh Trust and provided homes for the poor in both Dublin and London. After Benjamin’s death in 1927 Arthur Edward Guinness took over and was then followed by Rupert Edward Guinness who was the 2nd Lord Iveagh. It was under Rupert that the first official advertising campaign for Guinness was launched. The final family member to be directly involved with the running of the Brewery was Benjamin Guinness who passed away in 1992. Today, the brewery is owned by Diageo, the world’s leading premium drinks company who also boast Baileys, Smirnoff and Johnnie Walker Whisky amongst others in their drinks portfolio. With such an impressive history it made sense to open a visitors centre that paid homage to the Guinness Dynasty. So in November 2000 The Guinness Storehouse was officially opened on the site of the original brewery. This impressive seven storey high building was the first steel framed building created in the Chicago Style in the British Isles. A H Hignett carried out the architecture and the steelwork was supplied by Sir William Arroll. Taking over 3 years to complete this £30million visitor experience has been designed so that people can take a journey through the past, present and future of the world’s most famous beer. Aside from the fact that you can spend the day discovering the ingredients, process, craft, time and passion that goes into making each individual pint, you can also relax in the lavish Gravity Bar with your free pint, which is situated above the roof and from the outside is seen as the head of a pint of Guinness. This is the highest bar in Ireland and has 360 degrees panoramic views across Dublin – an experience not to be missed. There is also an impressive array of advertising collectables on show in the Storehouse, covering everything from vintage bottles and mugs to the more modern Carlton Ware figurines. Amongst the display is the original Harp, which today is the registered trademark of Guinness. Made in 1702 by Cormac O’Kelly of Ballynascreen it was adopted by Guinness in 1862 and is their signature piece appearing on everything from the bottle labels to merchandise. During my visit I was lucky enough to meet with Claire Hackett, an archivist at the Storehouse whose job involves documenting all the Official Guinness merchandise that has been produced from 1930 onwards in Ireland (the UK and overseas marked is archived in Scotland). Although the earlier items were more point of sale pieces such as showcards, the range did expand and by the 1950s items were made to target wholesalers and licensed trade. It wasn’t until the 1980s when Guinness started to produce merchandise for customers as well. Claire explained to me that the Storehouse is used as a vehicle to show the home of Guinness and has many of the earlier collectables available on show. She also told me that the archive system is readily available to the public, so if you come across a piece of Guinness memorabilia and are not sure where it dates to, the archivists can help you find it, date it and recommend organisations such as the Guinness Collectors Club for valuations. “It is normally figurines, key rings and cufflinks that turn up and are very popular but the most unusual item I have ever come across is a hair brush that is shaped like […]
The Work of William Morris
1996 saw the centenary of the death of William Morris. William Morris has increasingly become a household name and as the father-figure of the Arts and Crafts movement has had a great impact on 20th century design. He was the first to champion such art and craft principles as “truth to materials” and simplicity in art. This simplistic nature was also seen in his attitude towards life where he propagated an ideal of rustic living. His utopian socialism beliefs and his affinity for natural, hand-crafted details made him the spiritual leader of the Crafts Revival of the 20th century. Pictured: William Morris tile panel – the architect of Membland Hall in Devon commissioned this sumptuous design for bathroom tiles from William Morris (1834-1896). Morris had the tiles painted in the studios of William de Morgan (1839-1917). They represent a rare collaboration between these two creative geniuses. From Collections at the V&A click for more details © Victoria and Albert Museum, London William Morris was born into a wealthy local pottery family on March 24, 1834, at Elm House, Walthamstow. He was the third of nine children (and the oldest son) of William and Emma Shelton Morris. In his childhood Morris showed a great passion for all things medieval and a great affinity with nature. Pictured: William Morris tapestry The Forest – William Morris’ use of birds and animals in his early tapestries is a forebear to his later carpet patterns. This design, one of his most successful compositions, uses a dense cover of trailing acanthus leaves, as seen in his first tapestry ‘Acanthus and Vine’, into which have been placed Philip Webb’s five studies of animals and birds. It is possible that Henry Dearle supplied foreground floral details, although these are similar to Webb’s preparatory drawings. The verse was later published under the title ‘The Lion’ in Morris’s Poems By the Way. The tapestry was woven by Morris & Co.’s three most senior weavers ‘under the superintendence of William Morris’ according to the 1890 Arts and Crafts Exhibition catalogue. Bought by Aleco Ionides for 1 Holland Park, in London, it hung in the study together with an acanthus-leaf panel. From Collections at the V&A click for more details © Victoria and Albert Museum, London In 1847, Morris’s father died, and the following year, aged fourteen, he entered Marlborough College. He left in 1851 to continue to study at home. In 1853 Morris entered Exeter College at Oxford, where he met Edward Burne-Jones, who was to become one of the greatest of the Pre-Raphaelite artists, and began to study architecture and write poetry. In 1856 Morris began work in an architects office where he met Philip Webb, who would become another close friend and associate. He took rooms with Burne-Jones, already embarked on his career as an artist, and before the end of the year Morris himself abandoned architecture for art. Pictured: William Morris wallpaper Trellis design – ‘Trellis’ is typical of Morris’s early wallpaper patterns. It combines simple bird and flower forms with a plain coloured background. It is a compromise between the boldly coloured pictorial patterns which were then popular with the general public, and the formalised flat patterns in muted tones which were promoted by the design reform movement. Philip Webb, the architect of the Red House, drew the birds for this wallpaper design. From Collections at the V&A click for more details © Victoria and Albert Museum, London In 1859 Morris married Jane Burden. In 1861 along with others Morris founded “Morris, Marshall, Faulkner and Company” (later Morris & Co.). Morris excelled in the design of flat patterns, derived from organic forms, particularly fruits, flowers and birds. He was especially talented in designing carpets, fabrics, stained glass and wallpapers. In 1878 the Morris family moved to Kelmscott House in Hammersmith, where Morris began to experiment with tapestries. Morris is credited with over 600 designs. Pictured: William Morris furnishing fabric Strawberry Thief – This printed cotton furnishing textile was intended to be used for curtains or draped around walls (a form of interior decoration advocated by William Morris), or for loose covers on furniture. This is one of Morris best-known designs. He based the pattern and name on the thrushes which frequently stole the strawberries in the kitchen garden of his countryside home, Kelmscott Manor, in Oxfordshire. Despite the fact that this design was one of the most expensive printed furnishings available from Morris & Co., it became a firm favourite with clients. The pattern was printed by the indigo discharge method, an ancient technique used for many centuries mostly in the East. Morris admired the depth of colour and crispness of detail that it produced. He first attempted to print by this method in 1875 but it was until 1881, when he moved into his factory at Merton Abbey, near Wimbledon, that he succeeded. In May 1883 Morris wrote to his daughter, ‘I was a great deal at Merton last week … anxiously superintending the first printing of the Strawberry thief, which I think we shall manage this time.’ Pleased with this success, he registered the design with the Patents Office. This pattern was the first design using the technique in which red (in this case alizarin dye) and yellow (weld) were added to the basic blue and white ground. From Collections at the V&A click for more details © Victoria and Albert Museum, London Morris was becoming more and more interested in politics and despite his wealthy background developed strong utopian, socialist views. He became a prominent speaker and theorist and wrote several poltical texts including Art and Socialism. He saw Socialism as a way of solving many of the problems present in Victorian society such as poverty and unemployment. Pictured: William Morris wallpaper Acanthus design – This wallpaper was printed for Morris’s company by the London firm Jeffrey & Co., who specialised in high quality ‘Art’ wallpapers. It required thirty wood blocks to print the full repeat, and used fifteen subtly different colours (more than any previous design by Morris). ‘Acanthus’ was issued in two colour combinations – one […]
The Life and Cats of Louis Wain
Louis Wain Cats Louis William Wain was born on August 5, 1860 in Clerkenwell in London. His father was a textile trader and embroiderer, his mother was French. He was the first of six children, and the only male child. None of his five sisters ever married. At the age of thirty, his youngest sister was certified as insane, and admitted to an asylum. The remaining sisters lived with their mother for the duration of their lifetimes, as did Louis for the majority of his life. Pictured: The Contented Cat signed ‘Louis Wain.’ – bodycolour 11 x 9¼ in.. Sold for £5,250 ($8,022) against an estimate of £700 – £900 ($1,070 – $1,375) at Christies, London, July 2010. Wain was born with a cleft lip and the doctor gave his parents the orders that he should not be sent to school or taught until he was ten years old. As a youth, he was often truant from school, and spent much of his childhood wandering around London. Following this period, Louis studied at the West London School of Art and eventually became a teacher there for a short period. At the age of 20, Wain was left to support his mother and sisters after his father’s death. Pictured: A Louis Wain Pottery Model Of ‘The Laughing Cat’, Manufactured By Royal Staffordshire, Early 20th Century, modelled seated wearing a bow tie printed and painted marks 7½ in. (19.1 cm.) high. Sold for £563 ($1,018) at Christies, London, September 2008. Wain soon quit his teaching position to become a freelance artist, and in this role he achieved substantial success. He specialized in drawing animals and country scenes, and worked for several journals including the Illustrated Sporting and Dramatic News, where he stayed for four years, and the Illustrated London News, beginning in 1886. Through the 1880s, Wain’s work included detailed illustrations of English country houses and estates, along with livestock he was commissioned to draw at agricultural shows. His work at this time includes a wide variety of animals, and he maintained his ability to draw creatures of all kinds throughout his lifetime. At one point, he hoped to make a living by drawing dog portraits. Pictured: An early 20th Century Amphora (Austrian) pottery figure of a cat in the “Cubist” manner designed by Louis Wain, the octagonal head and angular body decorated in yellow, orange and black on a turquoise ground, 10.5ins high x 9.5ins overall (green printed mark to base with registration No. 637132 and signed in black). Sold for £8200 at the Canterbury Auction Galleries, June 2008 a then record for a Louis Wain ceramic cat figure. At the age of 23, Wain married his sisters’ governess, Emily Richardson, who was ten years his senior (which was considered quite scandalous at the time), and moved with her to Hampstead in north London. Emily soon began to suffer from cancer, and died only three years after their marriage. It was during this period that Wain discovered the subject that would define his career. During her illness, Emily was comforted by their pet cat Peter, and Wain taught him tricks such as wearing spectacles and pretending to read in order to amuse his wife. He began to draw extensive sketches of the large black and white cat. He later wrote of Peter, “To him properly belongs the foundation of my career, the developments of my initial efforts, and the establishing of my work.” Peter can be recognized in many of Wain’s early published works. In 1886, Wain’s first drawing of anthropomorph ised cats was published in the Christmas issue of the Illustrated London News, titled A Kittens’ Christmas Party. The illustration depicted 150 cats, many of which resemble Peter, sending invitations, holding a ball, playing games, and making speeches over eleven panels. Still, the cats remain on all fours, unclothed, and without the variety of human-like expression that would characterize Wain’s work. Under the pseudonym George Henri Thompson, he illustrated numerous books for children by Clifton Bingham published by Ernest Nister. In subsequent years, Wain’s cats began to walk upright, smile broadly and use other exaggerated facial expressions, and wear sophisticated contemporary clothing. Wain’s illustrations showed cats playing musical instruments, serving tea, playing cards, fishing, smoking, and enjoying a night at the opera. Such anthropomorphic portrayals of animals were very popular in Victorian England, and were often found in prints, on greeting cards and in satirical illustrations such as those of John Tenniel. Pictured: The choristers signed ‘Louis Wain’ (lower left), watercolour and bodycolour, 7 x 9in. (17.8 x 22.8cm.). Sold for £7,050 ($9,976), Christies, London, December 2001. Wain was a prolific artist over the next thirty years, sometimes producing as many as several hundred drawings a year. He illustrated about one hundred children’s books, and his work appeared in papers, journals, and magazines, including the Louis Wain Annual, which ran from 1901 to 1915. His work was also regularly reproduced on picture postcards, and these are highly sought after by collectors today. In 1898 and 1911 he was chairman of the National Cat Club. Wain’s illustrations often parody human behavior, satirizing fads and fashions of the day. He wrote, “I take a sketch-book to a restaurant, or other public place, and draw the people in their different positions as cats, getting as near to their human characteristics as possible. This gives me doubly nature, and these studies I think [to be] my best humorous work.” Wain was involved with several animal charities, including the Governing Council of Our Dumb Friends League, the Society for the Protection of Cats, and the Anti-Vivisection Society. He was also active in the National Cat Club, acting as President and Chairman of the committee at times. He felt that he helped “to wipe out the contempt in which the cat has been held” in England. Pictured: The Cat in his Garden, 287 by 320mm., fine watercolour and gouache drawing, signed in lower right corner “Louis Wain”, mounted, framed and glazed. Sold for £15,000 at […]
Emmett Kelly Collectibles The Worlds Most Collectible Clown
Emmett Kelly Collectibles The Worlds Most Collectible Clown Emmett Kelly, Jr ‘The World’s Most Famous Clown’ has become a classic images of Americana. Born in 1923 into a Circus family Emmett was always destined to perform but it was not until 1960 that he answered the Circus call and began performing as ‘Weary Willie’, the lovable mime character his father Emmett Kelly, Sr had played all his life. Pictured Emmett Kelly, Jr In 1964 Emmett Kelly Jr shot to fame when he was employed by Eastman Kodak at their Pavilion at the World’s Fair and he became one of the top attractions during the Fair’s two year run. After the Fair Emmett Kelly, Jr became a touring Ambassador of Goodwill for them. This relationship lasted for over four years during which Emmett visited thousands of towns and hospitals. During these years Emmett Kelly , Jr. became America’s most photographed and recognized clown. Emmett Kelly, Jr. continues to perform in public appearances nationwide and helps promote various lines of merchandise and collectibles, which bear his name and likeness. Green Stuff Licensing is the exclusive licensing arm of Emmett Kelly, Jr. The licensing of his products was almost prior to 1980. Green Stuff were careful in selecting its first major licensee because its marketing strategy is not to have fad-type licensing. A line of ceramic figurines was developed with Flambro and through a well-planned merchandising program, the Emmett Kelly, Jr. figurine collection became the third best seller in America according to Giftware News. Pitured Emmett Kelly Sweeping Up by Flambro The recently released “Nostalgia Collection” by Flambro is a recreation of original designs from 1980. Additionally, “Nature’s Palette” is a wondrously colorful range of decorative porcelains in five different motifs from an English artist. Pitured Sculpture Route 66 in Arizona by Ron Lee Other companies producing merchandise and collectibles include Suns Out, Bachman Trains, and figurines by sculptor Ron Lee. Pictured Bachman Emmett Kelly Train Set Flambro also run the Emmett Kelly, Jr Collectors Club e-club which produces a newsletter which has over 4000 members providing information, news and special offers. NOTICE – This site is not affiliated or associated in any way with Emmett Kelly, Jr. The purpose of these pages is to provide information to collectors of Emmett Kelly, Jr Collectibles.