Tag: Bjørn Wiinblad
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Henriot Quimper and Quimper Faience Pottery
On a recent trip to Brittany and the magnificent Mont St Michel I came across a wonderful display of modern Quimper Faience Pottery and notably Henriot Quimper. Many of the designs and colours were instantly recognisable and based on the traditional The Petite Breton pattern, but there were also many new modern and very attractive patterns. The handpainted French faience known as Quimper Pottery (pronounced “cam-pair”) was founded by potter Jean Baptiste Bousquet and has been manufactured in Quimper, Brittany, France since 1690. The Locmaria area of Qimper had an abundance of clay, a navigable river and skilled labour and was to be an ideal place for Jean Baptiste Bousquetto build his kilns. The firm was known as HB Quimper. In 1772, a rival firm was founded by Francoise Eloury known as Porquier. A third firm formed in 1778 by Guillaume Dumaine which was known as HR or Henriot Quimper. The pottery made by the three companies was similar featuring the Breton peasants and sea and flower motifs. In 1913, Porquier and Henriot merged with HB joining the others in 1968. The company was sold to a US family in 1984. More changes followed and in 2011 Jean Pierre Le Goff purchased the company and changed the name to Henriot. Henriot Quimper continues the tradition producing the traditional patterns featuring the Breton figures as well as many new more modern designs. The superbly talented resident artists at Henriot still hand-craft every piece of Quimper Pottery. Historically, the Quimper factories hosted artists in their studios which continues to this day. Quimper pieces are still produced from casts and works by major artists who have created works for the various Quimper factories, including Berthe Savigny, Louis Henri Nicot, R. Michaeu Vernez, Rene Quillivic, Beau & Porquier & George Robin. In addition, contemporary artists, such as Paul Moal and Loic Bodin continue to work with Henriot. Further details Henriot-Quimper : Actualité
Lace Bobbins – The Decorative Charm of Lace Bobbins
A growing interest in lace collecting has also created a renewed interest in old pillow lace bobbins. Lace bobbins have always been a decorative adjunct to lace making and although functional and fairly standard in form the bobbin flourished in its decorative charm with carving, colour, material and decoration making up for the deficiency in variety of form. Within this slender compass there was room for invention and even humour and romance in the phrasing of the inscriptions. The art of pillow lace-making was introduced into England in the middle of the sixteenth century. At that time pillow lacemaking as an industry was well established on the Continent and in 1563 the first of a great many Protestant refugees, many of them lace-makers, fleeing from religious persecution arrived in England, persecution arrived in England, along the south coast. For various reasons many of these refugees wandered inland and settled in areas notably in Bedfordshire. The emigris taught the art to their new neighbours in England and gave to them what later became a great rural craft. Unlike lace makers in the traditional centres of lace making in Belgium, Flanders and France who used large numbers of identical, plain bobbins, each bobbin on the pillow of an English lace maker was different. Hand carved or turned on a treadle lathe, bobbins were commonly made of wood or bone and could be intricately carved, painted, inlaid with pewter, wire-bound or inscribed with names and dates. (Lace makers’s bobbins, Mackovicky) . Many people took to lace-making and the area of the new industry grew so that it eventually included the whole of Bedfordshire and Buckinghamshire and large parts of the adjoining counties, and so became known as the Midland Lace-making Industry. The lace was a creation of great beauty. The bobbins used for making lace took on special characteristics in this area and they themselves became works of art. Their attractive design and decoration alone make them worthy of collecting and study. The inscribed bobbins give us a very clear and intimate story of the lace-makers. Little has been recorded of the lives of these cottage workers: it is through the bobbins they have left that we can build up a story of their everyday existence. The Pitt Rivers Museum in Oxford has a collection of lace bobbins, lace samples and lace pattern bought by Henry Balfour from a Mrs. M. Butler in 1903. The collection does give an insight to the life and work of a lace maker. The feature by Nicolette Makovicky of Wolfson College is a very interesting read. However, it is Mrs. Butler’s bobbins that allow us some insight into her work and her life. Every bobbin she used was unique; different people would have given them to her and she would have personalized them by adding her own decoration. Of the collection, five stand out. All have the typical shape for East Midlands bobbins – long (3-4 inches or 9-10 centimetres), ending in a decorative ring of beads called a ‘spangle’, or ‘jinkum’ in parts of Oxfordshire. Bobbin making was a profession and while most lace makers were female, bobbin makers were invariable male. Although it was unusual for bobbin makers to mark or sign their work, collectors have been able to identify the work of enough makers to see that the profession often ran through several generations of the same family. (Lace makers’s bobbins, Mackovicky) . Three examples from Mrs. Butler’s collection. The most common form of inscribed bobbins are those with just a Christian name. Sometimes a full name is given with the place of abode and the date. The bobbins inscribed to commemorate hangings are interesting. Here are three of them: ” Joseph Castle, hung 1860 “Castle murdered his wife at Luton.” William Worsley hung 1868 “” William Worsley hung 1868 “Worsley was tried with Levi Welch for the murder of William Bradbury at Luton. Worsley’s execution was the last public one in Bedford. ” William Bull hung 1871 ” — Bull murdered an old lady named Sarah Marshall at Little Staughton. Bull’s execution was the first privately carried out in Bedford. Bereavements are recorded on bobbins inscribed like tombstones — ” William Church died April 5th, 1866, aged 63,” ” Mary Ann Betts born October 24th, died March 21st, aged 37 1873 “—” Agnes Mary Read my sister died 25th September 1870.” Romantic inscriptions are plentiful — ” Love buy the ring,” ” My love for thee no one can tell,” — ” I love my love because I know my love loves me.” True love did not always run smooth, some bobbins clearly indicate heartaches—” Tis hard to be slited by the one as I love,”” Tis hard to love and not be loved again,”—” I once loved them that never loved me.” Bobbins are made of either wood or bone because the materials were suitable, cheap, and easy to obtain. There are some unusual bobbins made of both wood and bone jointed together. One specimen of this type inscribed—” I long to wed the lad I love ” indicates there were obstacles, either financial or parental, in the way, or perhaps it was just impatience. Many of the bobbins that are not inscribed are of great interest.The fancy turned ones are good The fancy turned ones are good examples of turners art in miniature. A great variety of ornamentation can be found, bobbins are dyed in many different colours, carved, bound with fine brass wire, and inlayed with wood or pewter. Sometimes small coloured beads threaded on fine wire were bound round the bobbin. The most popular of the carved bobbins are those that are known as Church Window Bobbins. A Trolly bobbin is a large wood bobbin with several loose pewter rings round it, and was used to carry the thicker thread which outlines the design on a net ground. It is on the bone bobbins that most of the inscriptions are to be found, the wooden ones usually have nothing more than a […]
Tobacco Stoppers and Tobacco Tampers for the Collector
The tobacco stopper, also known as a pipe stopper or a tobacco tamper, is used to enable a pipe to be filled by evenly distributing the tobacco within the length of the bowl, and to press the tobacco down. What started as a utilitarian device developed into a vast array of designs and carvings in a rang of materials. Many were often one-off designs being made by the smoker themselves and varied from crude creations to intricate carvings. The tobacco stoppers made of cast metal are the ones that have survived in more numbers than the wooden carved examples. They include busts of full length figures of historical characters such as Charles I, Nelson, Napoleon and figures Dickens. The Duke of Wellington was a popular figure for tobacco stoppers having published an edict banning tobacco in barracks he was actually nicknamed the ‘greatest tobacco stopper’. The commonest designs included legs bent at the knee, heads, trade tools such as hammers and animals. Some stoppers had a dual purpose including scrapers, burning tools and corkscrews. Tobacco stoppers forming parts of signet rings were also popular. As well as cast metal and many varieties of wood, examples can be found in ivory , bone, horn, hooves, teeth, claw, and silver. In the 1750s the Reverend Francis Gastrell cut down the mulberry tree supposedly planted by Shakespeare at New Place, Stratford-upon-Avon, having grown tired of tourists asking to see it. The second half of the eighteenth century saw a brisk trade in souvenir objects claimed to be made of wood from Shakespeare’s tree. Tobacco stoppers such as this were common and were used for pressing down tobacco in a pipe. Tobacco stoppers vary between 1 and half and four inches, with the majority being around two inches. The diameter of the tamper end may give an indication of age with the earlier ones having a smaller end as the bowls of the earlier pipes are smaller. Outside of tobacciana collectors and enthusiasts tobacco stoppers are not widely known about and exampled can still be collected cheaply. Related Tobacciana Tobacco Collecting The University of Cambridge Digital Library has a 3D rendering of a Tobacco stopper (From the Lewis Cabinet) reportedly from the mulberry tree in Shakespeare’s gardens – click here to view.
Frozen Toys & Collectables
When a Disney Movie comes out that becomes extremely popular, like Frozen has, there are bound to be massive amounts of toys, collectables and memorabilia that get launched, and this is certainly the case with this feature movie, Frozen. Pictured: Elsa Figurine, Enesco Grand Jester Studios Collection Frozen is an animated Movie, by Disney that follows the tale of a princess (Anna) and her friends who go on a quest to rescue her sister in a kingdom that has been cursed in perpetual winter. Anna’s voice is played by Kirsten Bell. It instantly became hugely popular and is seen as one of the best movies of 2013, and one of the best animated movies of all time. Pictured: Anna Figurine, Enesco Grand Jester Studios Collection As Frozen is aimed at children, there are many official frozen toys on the market, some of these include: There are a wide variety of Dolls and figurines from the Frozen movie. All your favorite characters such as Anna, Elsa and Olaf are available in different outfits and with different props. You can get complete story sets which include all of the main characters to allow you to create your own Frozen adventure. There are also many props available such as castle playsets, talking dolls, dresses, sleighs and much more for using with your dolls. Pictured: Disney Frozen Elsa the Snow Queen with Swarovski Crystals: Let It Go Figurine by The Hamilton Collection Different types of costumes and dress up props from the movie such as Elsa’s snow wand, tea sets, hair stylers, nail polish, jewelry like Elsa’s and Anna’s jewelry, purses, vanity play sets, lip balm, Tiara’s like worn by Anna, sparkle make up, back packs, bracelets and different kinds of Dresses in the styles that main characters donned in the movie. Pictured: Jim Shore Disney Traditions Frozen Elsa and Anna Arts and craft supplies such as play-doh, activity books, coloring sets, and sticker kits, paint brushes, activity tubes, easels, window markers, rolling art desks, table easels, art cases, drawing mats, and Frozen doodle etch a sketches. Pictured: Frozen The Warmth of Love Giclée on Canvas by Jim Salvati – Sisters Elsa and Anna share a tender embrace as Kristoff, Sven, and Olaf look on in this limited edition artwork. Inspired by Frozen, ”The Warmth of Love” was created by Jim Salvati and is part of the Treasures on Canvas Collection. Outdoor toys such as play tents, toy cars such as mustangs and jeeps, walkie talkies, children’s bicycles, tricycles, bed tents, roller skates, bike helmets, snow shovels, ergonomic cruisers, scooters, umbrellas, igloo makers, small electric scooters, and snow speedsters which you sit on to slide down snow. Pictured: Disney Animators’ Collection Anna Doll – Frozen production artists Becky Brese, Bill Schwab, and Jin Kim have reimagined Anna in her early years. Exquisitely costumed in a satin dress with floral detailing, this Anna doll is accompanied by the little snowman Olaf. Different Kinds of Books, DVDs and music such as Karaoke DVDs, movie soundtracks, read-along story books, Blu-ray movie DVD’s, “sound books” , coloring books, look and find books and sing-along DVD’s. Various furniture and utensils such as Toddler beds, play tents, sleeping bags, marshmallow arm chairs, marshmallow sofas, table and chair sets, step stools, bedding sets, tea pots, plates, cups, bowels, and cutlery. Not everything could even be covered in this list, so I think it is safe to say that if you want something, you could always get the Frozen version of it!
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 […]
George Tinworth – The Greatest Doulton Lambeth Designer
Although Doulton Lambeth boasted many talented designers, there is one that invariably springs to mind when it comes to impressive imaginative sculpture. George Tinworth had an ability to turn his hand from humorous comical mice (click for more on the Tinworth mice) through to impressive biblical scenes. A skilled sculptor, designer and artist, today Tinworth’s work can fetch thousands of pounds at auction making him one of the most respected artists from the Doulton Lambeth factory and giving him a reputation for being one of the most skilled designers of his time. Pictured left: A Rare Stoneware Figure of a Seated Boy modelled seated on a high back chair reading a music book on stepped base, in cream and pale pink glaze, heightened with gilt 10.5cm high, impressed artists monogram and factory marks. Sold for £3,120 at Bonhams, London, 2007. Image Copyright Bonhams. Born into pure poverty on 5th November 1843 at 6 Milk Street, Walworth Common, South London, George was to be the only son out of four who survived past his infant years. His father worked as a wheelwright and although George had taken many jobs at a young age in order to earn a crust, by the age of 16 he began working for his father. It was whilst helping with the wheelwright trade that he started to experiment with his love for drawing and carving, as he would secretly use his father’s tools to practice carving in wood. Tinworth’s mother was aware of her son’s passion and encouraged him to develop his skills, so at the age of 19 he decided to attend the Lambeth School of Art. Pawning his overcoat in order to finance his fees Tinworth became a talented potter and modeller, and this was recognised by the head master John Sparkes, a man who was to become an anchor at the start of Tinworth’s career. After completing three years at the Lambeth School, Tinworth was offered an opportunity to study full time at the Royal Academy. However, this meant that he needed to gain the permission of his father. At first reluctant, his father finally did agree as long as his son still worked for him before and after school days. Pictured right: A rare George Tinworth Doulton Lambeth stoneware mouse group ‘Tea Time Scandal’ Modelled as three mice seated at a table drinking tea and gossiping, whilst a young mouse sits underneath the table, glazed in green and highlighted with ochre and treacle glazed detailing, the base inscribed ‘Tea Time Scandal’. Sold for £2,625 at Bonhams, London, 2012. Image Copyright Bonhams. By the time Tinworth had finished his studying in 1866 he had exhibited many of his works at the Royal Academy and won a number of acclaimed medals but sadly his father had passed away, so it was now Tinworth’s responsibility to support his mother. The obvious solution was to return to the wheelwright trade. Around the same time, Doulton – the family business which produced industrial ceramics such as bathroom fittings and drainage pipes – had decided to diversify their wares by creating decorative art pottery. Henry Doulton, the son of John Doulton was helping his father by working closely with the Lambeth School and its headmaster, John Sparkes. Aware that Tinworth had returned to his former trade, Sparkes was worried that Tinworth’s talent was being wasted so introduced him to Henry Doulton. The inevitable happened and Tinworth was offered a job at the pottery works where he started by decorating their wares. This however, did not last for long as his talent for modelling was soon discovered. Tinworth had an interest for biblical scenes as his mother had brought him up to study the scriptures, and so used this knowledge to produce impressive sculptured biblical works. One of his greatest was the large scale terracotta fountain entitled “Fountain of Life” which was donated by Henry Doulton to Kennington Park. Although collectors are fascinated by his Biblical sculptures it is the smaller works that are collected, especially the “Humoresques” which were first introduced in the 18705. These comical sculptures of animals in human situations were Tinworth’s way of finding light relief in his work and very few were actually produced, which is why they are so eagerly sought after today. Tinworth’s most popular subject matter for these designs is small mice; which were singularly created as paperweights or in groups to portray a humorous story. Pictured left: George Tinworth for Doulton Lambeth A Large Pair of Stoneware Vases, circa 1895 the footed bulbous bodies with flared necks, painted with scrolling beaded design in blue, white, brown and greens 54cm and 55cm high. Sold for £2,400 at Bonhams, London, 2007. Image Copyright Bonhams. “Play Goers”, featuring a family of mice watching if a Punch and Judyshow whilst having music played to them by a one-mouse band, sold at Bonhams for £4,200. Other pieces to recently come up for sale were a pair of stoneware mice candlesticks entitled “Gardener” and “Florist” which again were snapped up by collectors and a comical piece entitled “Cockneys at Brighton” featuring a group of mice in a rowing boat. Although Tinworth’s “Humoresques” were unique works of fun, thus acting as a break from his more serious designs, he also produced many other smaller decorative and figural wares, proving that he could turn his hand to anything. Tinworth’s stoneware figures of children playing musical instruments have becoming harder to find and usually fetch a few thousand pounds, whilst some of his decorative vases can be more affordable for collectors. Easily recognisable by its decoration, Doulton Lambeth ware varies in price depending on whether it has a maker’s mark, who the maker is and how unusual the piece is in shape. Tinworthdesigned pieces can be picked up at both spectrums of the affordability ladder. A stoneware vase in ovoid form recently sold at Bonhams auction for £250 whilst a lemonade set achieved £1,000. Tinworth was one of the main designers responsible for the success of the Doulton Lambeth factory in London and was to […]
Collecting Vintage Handbags
Some say “Diamonds are a girl’s best friend” but in my case it is not the diamonds that make me shine but the handbag that I am carrying. There are so many to choose from so do you opt for a modern designer Gucci or a vintage 50s Llewellyn. The choice is entirely up to you but I do know that if you are holding a vintage bag you will definitely stand out from the crowd. Pictured: An original Llewyln 1950s Lucite Beehive Handbag with studded metal bees £300 – £450.00/$500-$750 Bags date as far back to when they were made of skin and used as a container for food and flints but from these extremely humble beginnings have progressed to become must-have fashion accessories that every woman adores. Handbags became an important part of status and substance in the early part of the 19th century but it is the innovative and colourful designs of the 20th century that made these items what they are today. Pictured: A 1960s plastic daisy bag similar to the Mary Quant Daisy. £80/$140 The Metal Mesh Bags were introduction towards the end of the 19th century but really came into their own in the 1920s as the perfect accessory for the “Flapper” girl. These bags had screen printed brightly coloured designs and the most well known are bags by American company “Whiting and Davis” which are all signed on the clasps; they reach as much as £150 on the secondary market today. Another well known and sought after designer of mesh bags in the 1930s was Mandalian, a Turkish designer who lived in the USA. The influence for his designs came from the patterns that you find on Turkish rugs and so are always brightly coloured, expect to pay £120 to £150 for a Mandalian design. Mesh bags made a revival in the 1950s but this particular decade became the most innovative for handbag design. Introducing new materials such as Lucite, the new box bags were popular, fun and modern. American designers such as Llewellyn and Willardy are the epiphany of 1950s design and so are always highly sought after by collectors. Pictured: An irredescent 1950s Llewelyn Lucite Hanbag – £130/$200 One of the rarest handbags from this decade has to be the “Beehive” by Llewellyn in 1951. It has a beehive shaped base with carved lid which has gilded metal bees on top, there are many beehive variations of this particular handbag but this is the original, thus commanding as much as £200 to £300 if you manage get your hands on one. Other popular bags in the fifties were made of raffia or wood, all highly decorated with beads, shells, or sequins and the Poodle motif was extremely popular. Post war design in bags became quirky with matching clip on umbrellas and even a battery operated light that enabled ladies to see into their bags even during the darkest of evenings. Pictured: Plastic American beehive style bags 1950s – £40 each/$70 each. Moving into the swinging Sixties plastic bags became all the range, the material PVC typified the era heavily influenced by Pop art and Op Art. Clothes designers such as Mary Quant and Biba opened their fashion boutiques and it became essential to team a dress and shoes up with a matching handbag, known as the “Total Look”. The daisy was also a popular design as it was the Quant logo and hard plastic bags appeared with all kind of daisy designs in different guises. Italian designer, Emilio Pucci, appealed to the wealthier woman of this decade with his psychedelic patterns and although he is better known for his clothes design he also produced some wonderful ladies handbags in the same swirly, kaleidoscope of colourful material but these do have a premium price attached. However, there is no need to part with large amounts of money to purchase handbags with psychedelic designs as the hippy generation towards the end of the sixties were particularly associated with this pattern and good examples can be found for as little at £50 to £80. Handbags are a woman’s must have accessory and with so much choice it is difficult to make a decision. Look for good makers names, innovative designs and shapes that ensure individuality. The most enticing thing about buying vintage bags are that these items are useable and instead of just admiring them in a cabinet use them and I guarantee you someone will want to know where you bought that bag? VINTAGE HANDBAGS FACT FILE Smell inside a Lucite 50’s bag before buying, if there is a strong chemical smell do not buy because this means that it is in the process of deteriorating. Store Lucite bags away from direct sunlight and extreme heat. Shortage of leather after WW2 forced manufacturers such as Gucci to use cane handles on bags. Look for original labels and makers marks. All well made designer handbags are signed. The more innovative the design the more sought after the bag. Check for cracks and faults especially on Lucite bags. Watch out for fake designer such as “2.55” Chanel bag, the market in the 1980s and 1990s were flooded with copies of this design. The Bolide Bag in 1923 was the first bag in history to feature a zipper. Related Vintage Handbags Vintage Handbags at Auction
Collecting Give a Show Projectors
Whether the young people of today would find these as much as fun as I did when I was given a Give a Show Projector as a present in late 1970s is open to question. My guess is probably YES but there a lot of middle aged children who are collecting these great toys. The Give a Show Projectors was a toy slide projector introduced by US toy company Kenner Products in 1959. In the UK and Australia it was sold under the Chad Valley brand. The set I had was a general one with multiple single slides similar to the one pictured below. There were 16 strips featuring 7 slides so a total of 112 colour slides picturing stories from cartoon characters, TV shows and stories. The set below includes Popeye, Cinderella, Noddy, Woody Woodpecker, Goldilocks, Robinson Crusoe, Oswald Rabbit, Buffalo Bill, Maverick and more. The projector was a large torch with a slot that allowed the user to feed a strip of film through the light it emitted to create projected images. The torch and images were projected on to a blank wall in a dimmed room and the show could then proceed. Most slides had word and pictures, so was a great educational toy as well. The standard projector could project well up to 5 feet. What makes them even more interesting and collectable is that there were many sets were licensed for the system including popular TV series, movies and cartoons such as: Star Wars, Star Trek, Doctor Who, Daktari, Thunderbirds, Stingray and more. Some later sets included sounds in the form of accompanying records which would be manually advanced when a tone sounded. A Chad Valley Daktari ‘As Seen on BBC TV’ Give a Show Projector set A Chad Valley Stingray ‘Gerry Anderson’s Exciting TV Series’ Give a Show Projector set A Disney Jungle Book set A Kenner Star Wars Give A Show Projector As well as sets with projectors individual slide sets were also available. We will be adding a price guide and value guide for individual sets but movie related sets in complete and good condition can sell for up to £80/$120. Related Chad Valley information at Wikipedia https://en.wikipedia.org/wiki/Chad_Valley_(toy_brand) Kenne Products information at Wikipedia https://en.wikipedia.org/wiki/Kenner_Products
Harrods Christmas Bears
Each year during the run up to Christmas I make a special trip to London and head straight for the prestigious department store Harrods. The purpose of this annual adventure is not to admire the festive window displays or even take in the electric atmosphere as people frantically cram their baskets full of Christmas goodies. For me this special journey is so that I can purchase that particular years exclusive Harrods Christmas bear to add to my growing collection. Pictured right: Harrord Christmas Bear 1986 The tradition of Harrods celebrating each Christmas with a specially designed teddy bear began in 1986 with ‘Snow Bear.’ This 13” snowy white plush bear appeared in the Christmas catalogue wearing a green and red knitted hat on his head which was decorated with Christmas designs and the word ‘Harrods’ in white across the front. He also had a removable matching scarf around his neck but unlike the bears which followed he was not graced with the Harrods logo and was not foot dated on his left paw. An extremely rare and sought after bear the mere fact that he was not foot dated does cause confusion with collectors as a full set of anniversary replica bears were produced in 1995 and this included the replica of the 1986 bear. The differences between the original bear and the replica are that the second issue bear does have the 1986 date and Harrods logo on his left paw and his knitted hat and scarf have a slight variation to the pattern. The Harrods archive department informed me that generally collectors check the ‘tush tag’ – but of course a collector needs to know what the authentic ‘tush tag’ looks like in order to tell if the bear is the genuine original 1986 bear, the 1995 replica or even a copy. In fact even the Harrods archive department are not in possession of the original as the archiving didn’t begin until 1989. Although they have acquired the other early bears this elusive 1986 example is proving almost impossible to find as they seldom appear on the open market and when they do can sell for in excess of £600 – a vast improvement of its original £14.95 retail price tag. This first bear proved such a success that Harrods made the decision to produce an exclusive Christmas bear for each year thereafter which people could only buy during the holiday season. They also decided that the bears would carry the year date and Harrods logo on the left paw. 1987 saw the release of the first foot dated bear, made with beautiful soft brown plush again he wore a festive knitted hat with a green bobble on top and a matching scarf with green bobbles on each end. This bear is also desirable with collectors and some are prepared to pay over £100 to own him. Pictured left: Harrods 1993 Christmas Panda bear In 1988 a cream plush bear – very much along the same design theme as the earlier two – was released however, in 1989 Harrods produced their exclusive bear in the form of a simple white plush polar bear as it tied in with the store’s theme of ‘White Christmas.’ In 1990 Harrods went back to producing the more traditional looking bear until 1992 when a grizzly was released, again to tie in with an American theme. The following year their Christmas bear was a plush panda. During the 1990s the Harrods Christmas bears had become increasingly popular especially with the Japanese collectors. However, these collectors wanted to know more about the bears themselves, whether each had an individual name and what were the stories behind the bears? So in 2003 wearing a bright red duffel coat, ‘William’ was released as the first ever named Christmas bear and in 2004 ‘Thomas’ arrived. However, in order to satisfy the curiosity of the collectors and to celebrate the 20th Anniversary of Christmas bears in 2005, Harrods produced a special booklet for the Japanese market in which all the bears up to that date were retrospectively given names and background stories. The 2005 Christmas bear, ‘Nicolas’ also had ‘20th Anniversary’ embroidered on his right paw and his tag contained his Christmas story which read that ‘Nicolas had grown up in the Scottish highlands of the Harrods Balnagown Estate and it had become a tradition for all his friends, the other Harrods bears, to spend the winter months together in the old mill of the Balnagown Estate by the stream. Here they would celebrate the holiday season, trimming the old mill with Christmas decorations, enjoying a feast of Christmas treats and playing in the snow.’ 2009 sees the newest Christmas bear ‘Maxwell’ join the twenty-four strong hug of furry friends. Made with a super soft caramel coat he has warm chocolate brown eyes and is snugly wrapped up in a cherry red hooded jumper which has embroidered Christmassy items such as a festive tree, gingerbread man and Christmas pudding around the bottom. Maxwell is a friendly little soul and loves shopping at Harrods. His tag says that ‘he buys lots of gifts to make his family and friends smile but because he is so special he is even invited into Father Christmas’s secret Harrods workshop, a place where only select toys are allowed. Together with his friend George (another plush Harrods bear released this year) the two bears travel around the store with their favourite place being the Candy room where they eat lots of colourful sweets and plan their next exciting adventure!” Pictured right: Maxwell the Harrods 2009 Christmas Bear Priced at just £19.95 Maxwell is a definite must-have for any collector of bears. In fact this is one of the reasons that Harrods Christmas bears are so appealing, they tick all the right boxes where collecting is concerned as only one is released each year, they are easy to obtain, are more than affordable for every pocket and aside from being delightful have the probability […]
Pomp, Pre-Fabs And Poodles – Dolls in The 1950s
Pomp, Pre-Fabs And Poodles – Dolls in The 1950s by Sue Brewer Just as a black and white film explodes into technicolour, this decade dawned grey, but ended in dazzling colour. This eventful ten years gave young people more power that ever before, and propelled Britons into a completely new lifestyle. Though the war had ended five years previously, many goods were in short supply and some rationing was still in force. Bomb sites scarred many areas, and thousands dwelt in ‘pre-fabs’ – prefabricated buildings designed as emergency accommodation for those who had lost their homes during the bombing. Britain needed something to cheer her up, and the Festival Of Britain was a great start. Held in 1951, on London’s Southbank alongside the Thames, and dominated by the Dome of Discovery, it featured all that was new in design. Towering above the site was the Skylon, a delicately-shaped edifice which was illuminated at night, and which entranced me as a child. Millions of people thronged the festival, which spilled over into nearby Battersea Park. One of the great attractions there was the Guinness clock, a marvellous timepiece which featured toucans and other creatures popping out of windows and doors on the quarter-hour. Ideas seen at the exhibition gradually filtered through into people’s lives – geometrical designs were in vogue, bright colours, and, conversely, black and white patterns. The most famous 1950s ceramics’ range is probably ‘Homemaker’, which featured black and white drawings of coffee tables, cutlery, settees and lamps. Homemaker, designed by Enid Seeney, was made by Ridgway and sold in Woolworths stores throughout the country in the mid-fifties. Black pottery ‘African’ hands and figurines were in vogue, as was formica, spindly-legged furniture, coloured ‘atom’ knobs on small fixtures, ballet scenes on crockery, open-plan living, and poodles on everything! In 1953, patriotism was truly to the fore – Queen Elizabeth II was crowned in Westminster Abbey. Union Jacks fluttered from lamp posts, commemorative mugs were give to school children, and street parties were held throughout the country. Young and old sat down to enjoy cakes, sandwiches and jellies, and to raise a toast to her Majesty in tea or lemonade. People crowded the front rooms of those fortunate enough to own television sets to watch the beautiful young Queen ride in a fairytale coach along the Mall from the palace, and to see the Archbishop of Canterbury place the crown upon her head in Westminster Abbey. For one lady, Peggy Nisbet, the Coronation proved a career change when she was inspired to dress small dolls which were sold through the prestigious Harrods store. Little could she have known that those small dolls would be the start of a huge concern, which would go on to produce millions of Peggy Nisbet costume dolls over the next three decades. Naturally, other manufacturers jumped aboard the bandwagon, most notably Pedigree Toys, who issued an 14 inch hard plastic doll called Little Princess. Th is doll had blonde, curly hair, just like the toddler Princess Anne, and her outfit was designed by Norman Hartnell, the man responsible for the Coronation gown. Pedigree also issued a ‘Bonnie Charlie’ doll, presumably modelled on Prince Charles, and a slender, teen-type called Elizabeth. All these dolls are very much sought-after today by collectors. Hard plastic was extensively used in the world of doll manufacturing for much of the 1950s. Developed during the war, it was enthusiastically embraced by toy makers, being light, colourful and cheap to produce. It rapidly replaced the older-style composition dolls, and many beauties were made during this time. Towards the end of the decade, however, an even more revolutionary product, soft vinyl, was introduced. Vinyl enabled the hair to be rooted directly into the head, and didn’t crack when it was dropped. Soon vinyl replaced the hard plastic, though for a time, dolls often sported vinyl heads on hard plastic bodies as the new machinery was expensive to install. Barbie, the most successful doll of all time, made her debut in America in 1959, created by Ruth Handler. This sophisticated curvy teen in her black and white striped bathing costume, was a sensation, though she was scarcely known in Britain until the 1970s. Girls in the United Kingdom were less mature than their American counterparts, and although teen dolls were gradually arriving, they were softer-featured and tended to wear the everyday fashions of the time – flared skirts, blouses, smart coats and dainty hats. Even in their early teens, girls still read ‘Girl’ comic, filled with colourful comic strip adventures featuring nurses, schoolgirls or ballet dancers – children were unsophisticated in those days. Palitoy issued a tie-in ‘Girl’ doll, who wore a white dress patterned with the logo of the comic. Her knickers and hair-ribbon bore the same motif while her belt had a plastic ‘Girl’ head as a buckle. At the beginning of the decade, teen girls dressed like their mothers, often wearing twin-sets and pearls, but as the fifties progressed, they rebelled. Permed hair gave way to ponytails, and skirts were full, often with layers of net or ‘paper nylon’ petticoats beneath. ‘Pedal-pusher’ trousers, which ended at mid-calf. were in vogue for a while, as were ‘sloppy Joe’ sweaters, but, on the whole, girls still had a very feminine look – the love-affair with blue denim was not, as yet, widespread. Music-wise, Rock ‘n’ Roll was in – Bill Haley and Elvis Presley were listened to on large 78 rpm records which broke when they were dropped. However, Britain had its own teen stars too, especially Tommy Steele who appeared on the ‘6.5 Special’ tv programme every Saturday, rocking to the music. Teddy Boys loved Rock ‘n’ Roll, and wore narrow drainpipe trousers, long jackets and winklepicker shoes, combing their hair into a quiff. Skiffle groups, who performed on guitars, washboards and broom handles affixed to tea-chests, were also extremely popular. As the decade progressed, television grew to play a large part in people’s lives; programmes were followed so avidly that […]