Tag: bonzo
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Beswick Butterfly Plaques
The wonderful Beswick Butterfly Plaques are quite rare and were produced from 1957 to 1963 and were all designed by Albert Hallam. We take a look at these colourful creations with a price guide of sales at auction. There are thought to be nine designs and were made in large, medium and small sizes. Each Beswick Butterfly Plaque had a model number from 1487 to 1495. The model name and number is on the reverse of each butterfly plaque. The wire antennae on the butterflies are quite fragile so complete examples in perfect condition can fetch a premium. List of Butterfly plaques with their model number: 1487 Purple Emperor Butterfly 1488 Red Admiral Butterfly 1489 Peacock Butterfly 1490 Clouded Yellow Butterfly 1491 Tortoiseshell Butterfly 1492 Swallow-tail Butterfly 1493 Small Copper Butterfly 1494 Purple Hairstreak Butterfly 1495 Small Heath Butterfly Beswick Butterfly Plaques Price Guide The collection of butterfly models by Albert Hallam are a rarity among Beswick and most modern collectables in that the prices are stable and rising. The prices for most butterflies are more than during the 1990s when many collectables peaked. Typical prices at auction are shown under each butterfly pictured. A great series and one that looks to be a long term investment.
The Unique and Creative Art of the The House of Rayne
WCN has been a fan of artist Colin Rayne for some time and in this feature we take a look at his varied and unique artefacts. Colin’s work ranges from traditional oil and watercolour paintings to incredible clocks, from sculpture to kinetic art, and from glass sculpture to large scale commissions. Colin Rayne was interested in art from an early age winning prizes for art at school and he was frequently encouraged to copy ‘old master’ paintings. After school, Rayne served an apprenticeship in his father’s dental equipment manufacturing company Norman Rayne Ltd which gave him experience in precision and cinematograph engineering which would serve him well in his creation and design of kinetic art and clocks. Hence, ‘a seemingly unusual alliance’ of the arts and sciences, forms the basis of Rayne’s prolific and uniquely creative and prolific artistic life. Colin had a number of successful exhibitions in London and led to many notable commissions. Early on in the mid 1960’s when Harold Wilson was premiere, London’s Post Office Tower was erected close to Norman Rayne Ltd where Colin was studying design drawing. Colin created an Illuminated Scale Model (1″:30′) of the building with rotating restaurant for the advertising department of P.O. Telecommunications. The resulting publicity, which included a live six minute interview on BBC TV, greatly encouraged him to work independently. In 1983 he was elected a Member of The British Horological Institute and was invited to display two pieces of work in London’s Goldsmiths Hall in 1987. At WCN we believe that the combination of Colin’s art, innovation and engineering are portrayed best in his clocks and kinetic art. One of Colin’s most impressive pieces is the Stonehenge clock. Stonehenge 2000 – Neolithic Time The wall mounted sculpture recreates the most ancient relics of the Stonehenge monument, showing the stones as they would probably have looked when first built. An Arc of twelve ‘Sarcen’ stones in acrylic, light individually, to indicate the ‘hour’, and an ‘Oval’ of acrylic ‘lintel’ stones divided into sixty, indicate the minute. Time showing: 9.23. The inner rings and the ‘Altar’ stone are cut from ‘Spotted Dolerite’ from the Presilli Hills of Wales. (The same location from which the actual monument’s stone was obtained). The clock’s circuitry is based upon 4.193mhz crystal, subdivided into minutes and hours. The 72 LEDs are driven from serial shaft registers; – ‘CMOS’ logic is used. The Stonehenge Horlogical Sculpture is available at £7,500. Colin’s recent works include The Ancient of Days by William Blake inspired by a 10” x 8” print forbook illustration is one of eight, all slightly different. Colin says of the piece “I hope that Blake would be flattered by my tribute to him, were he with us today, and that my followers will find it of interest, and offer some stimulating thought!” In 1983 Rayne moved from London to Brighton and in 2000 created a private gallery The House of Rayne, close to the South Downs which has on display a permanent show of approximately 100 artefacts. For more information including a virtual tour of the gallery visit TheHouseofRayne.co.uk and remember to see the kinetic art page which is of particular interest. The gallery can also be contacted by phone UK + 44.7870125991 and by email to [email protected]
Black Beauties – Black Dolls
Black dolls are special, they enhance and enrich any collection of dolls. They provide a focal point, and the eye is always drawn to the black beauties amongst a group of insipid ‘white-skinned’ dolls Pictured right: Lee Middleton First Generation Doll Whether pale chocolate, dark ebony or coffee coloured, black dolls bring contrast to a collection; certainly, a group of black dolls is a stunning sight, and many collectors specialise in them. With older dolls, especially, black versions are often more expensive than their white siblings because manufacturers tended to produce black dolls in smaller quantities than their white counterparts. In the case of some of Britain’s classic dolls, such as Tiny Tears, the black varieties were only sold abroad, while although many modern play dolls come with a leaflet advertising a black version, they are not always easy to obtain. For example, when my daughter wanted a black version of a Hornby/Tyco ballerina doll in the early1990s, Toys ‘R’ Us had to order it specially for her, even though it was depicted on the box as part of the range. Even today, though millions of people in Britain are ‘ethnic’, the vast majority of dolls in an average toyshop are white. Pictured right: Composition Topsy Doll When I was a child, no collection of dolls was regarded as complete unless crowned by a black doll; mine was a 1950s Roddy thumbs-up walker with a soft, black, mohair wig, amber eyes and ‘gold’ earrings. Hard plastic, she stood 12 inches high, and as she walked her head moved from side to side. Recently, I managed to find a replacement, she cost me almost £40, although an equivalent Caucasian version would have been at least £10 less. I have also added a Roddy ‘Topsy’ baby doll, which features three tufts of hair, as well as a larger Roddy bent-legged baby – both of these, too, cost more than the white versions. Many black dolls earn the Topsy name, taken from the popular novel, ‘Uncle Tom’s Cabin’ by Harriet Beecher Stowe. This book, first issued in 1851, did much to popularise black dolls, mainly due to the cheeky little character named Topsy. Years later, baby dolls with three tufts of hair sprouting from their heads became known as Topsy dolls, and were made by various manufacturers, becoming especially popular during the 1930s and again in the 1950s. Pictured right: Daisy Kingdom Daisy Doll Although some black dolls have Negro features, more often they are just a basic white doll painted black or chocolate brown to save the cost of making a special mould and given a black wig and brown or amber eyes. Dolls such as the Zapf black Baby Born make no attempt to depict the correct characteristics, while at the other end of the scale, creations by doll artist Philip Heath, are amazingly-detailed depictions of African children. A German catalogue dating from 1860 reveals that a fifth of the jointed wooden dolls made at the time were black. During the nineteenth century, dolls were often made from black wax or painted papier-mache, but when bisque became popular, manufacturers had problems with the black ones. Eventually they developed a technique to fix the colour during a second firing; before that, the colour tended to chip or flake from the bisque revealing pale patches. By the beginning of the twentieth century, black dolls were produced by manufacturers such as Kammer and Reinhart, Kestner, Heubach Koppelsdorf, Armand Marseille, Simon and Halbig, and others. Many were beautiful, with even colouring as techniques improved. French black dolls, by makers such as Bru and Jumeau, were luxury creations often painted in several different shades of black and brown to create a very realistic skin tone. Production of black dolls increased during the 1920s and 30s, coinciding with the popularity of the baby doll; dolls such as Armand Marseille’s ‘My Dream Baby’ and Grace Putnam’s ‘Bye-Lo Baby’ were created as black versions, though they still had Caucasian features. Black versions of bisque dolls can cost much more than their white counterparts, especially those displaying even colouring. Pictured left: Pedigree HP Boy Doll When composition dolls began to take over from bisque in the 1930s, it was noticeable how the black colouration varied considerably, with some showing a rich hue while others were blotchy and inclined to flake. Amongst the composition dolls were several Topsy types, including a 9 inch cutie with side-glance eyes, a floral romper suit and three woolly pigtails tied with scarlet ribbons, produced by the Gem Toy Co., of America. Several other companies produced dolls with the three-pigtailed style, while the British Cecil Coleman firm issued a crawling ‘Topsy’ in the 1930s. Effanbee, of America, produced their composition Patsy dolls in black as well as white, and these were copied by manufacturers such as Bouton Woolf, who produced ‘Phyllis’, a 12 inch girl. Phyllis was unevenly sprayed and had a strange waxy glaze prone to crazing. I have one of these in my collection, and in spite of her faults she is one of my favourite dolls. Pictured right: Pedigree Kizzie Doll Black dolls were also made from celluloid, until this material was phased out in the 1950s as a fire hazard. Many of these dolls were extremely pretty, and, produced by companies such as PetitColin of France and the German turtle mark Rheinische Schildkrot, were often dressed in ethnic costumes to be sold as souvenirs. Norah Wellings, a British dollmaker working in the 1930s – 50s, was famed for her character-type cloth dolls, and one of her most popular creations was the ‘South Sea Islander’, made from dark brown velvet, and wearing a grass skirt and a smile. The male counterpart sported a bright pair of trousers and a rather toothy grin. Black fabric dolls were also produced by Dean’s, Alpha Farnell, Chad Valley and Merrythought, but the majority are more difficult to find today than their white counterparts. During the late 1940s and early 1950s, not long after the war, […]
Kitchenalia – What’s Cooking In The Kitchen?
Kitchenalia are items and utensils associated with the kitchen and are now collected. These kitchenalia items range from Victorian copper jelly moulds and glass rolling pins to 1950s/1960s retro items to Kenwood Chef mixers to modern kitchen classics such as Alessi. Unlike other rooms, the kitchen is much more difficult to personalise. Kitchens, especially those in modern houses, tend to consist of rows of white metal appliances with wooden cupboards above. Pictured: Carlton Ware Sheep Mint Sauce Boat Unlike kitchens found in older houses, or those used by our ancestors (to whom many of our modern gadgets would seem alien), kitchens nowadays are often long and narrow, so it’s difficult to squeeze in a traditional dresser, let alone an old-fashioned cooking range or even an Aga. Many people today enjoy the minimalist, almost sterile look of a modern kitchen, but some of us still crave individuality. So how do we achieve it? If you want your kitchen to acquire a retro look, then there are thousands of items out there to accent your kitchen, from original 50s, 60s (and earlier) items of kitchenware through to streamlined 1970s, 80s, 90s and 2000s classics. With cooking being the in-thing right now, thanks to Jamie Oliver, Gordon Ramsay and co., there has been an upsurge of interest in kitchenalia. However smart a modern glass mixing bowl, plastic jug or non-stick saucepan can be, you can’t beat an earthenware bowl, blue striped Cornishware jug or maybe a seventies’ Poole casserole dish for adding a bit of warmth to your kitchen. Pictured: 1970s Kenwood Chef Some people embrace the collecting fad with a passion – they collect egg cups, or cruet sets or old mugs and display them on shelves to create a focal point – while others concentrate on a few, maybe larger items; an old enamel bread bin or perhaps a colourful enamel kettle. Sometimes, these old kettles and pans aren’t suitable for use on a modern hob, but they can still make a decorative statement. I think some of the most elegant of kitchen items are those long, tall sixties’ and seventies’ coffee pots. Many were ceramic, made by companies such as Meakin and Midwinter, while others were in subtle brushed stainless steel. The Russell Hobbs’ 3008 automatic coffee pot from the 1970s, with its wooden handle and tapered body, is still stylish today, and looks much more chic than a contemporary glass and plastic cafetiere. Other electrical items still sought after for modern kitchens include Kenwood Chef food mixers, Russell Hobbs’ stainless steel kettles and early toasters. Larger items too are collected by some people; I still use a 1960’s electric cooker manufactured by English Electric, and would never swap it for an up-to-date one. The solid doors and large, heavy grill pan are rarely found in modern cookers. Besides, the styling is much more ‘friendly’ than the flat, bland surfaces of today’s cooking appliances. Pictured: 1960s T G Green Roulette Kitchen Jars One traditional item still collected today is Cornishware, especially the blue and white striped variety. Originally made by T. G. Green, many look-a-likes appeared when other companies began copying the design after seeing how popular it had become. Fresh and summery, it is said that it gained its name after being described by a West Country salesman as reminding him of ‘blue Cornish skies and white-crested waves’. The blue and white ware was first introduced in the 1920s, and it became an immediate hit. Older or rare pieces are snapped up by today’s collectors. The company was actually based in Staffordshire, and the T. G. Green brand name is still used. In the 1950s, when British pottery design was becoming more ambitious, many designs were produced to coincide with, or were influenced by, the Festival of Britain. Often they had ‘futuristic’ designs based on atoms, or featured exotic scenes, ballet dancers or even items of furniture, such as the iconic ‘Homemaker’ range by Enid Seeley for Ridgway Poteries, which was sold exclusively through Woolworths. Pictured: 1970s Boscastle Salt Pig Another fad was to have different coloured cups and saucers (most people used cups and saucers back then, rather than mugs). By the 1960s, Midwinter, Portmeirion, Meakin and others were filling the shops with their attractive, dynamic designs. Some were stunning, and of course are the ideal kitchen collectable, as they can be regularly used, although it is best not to put them in the dishwasher, as the pattern might fade. I have a soft spot for those ceramics made by the smaller studios, which often you never hear of unless you happen to see a ‘pottery’ sign as you pass by some narrow country lane. You can often find attractive mugs, jugs and pots which look perfect in a kitchen. In the 1960s and 70s I collected various pieces of ‘kitchen’ pottery, mainly from the West Country. One of my favourites is a painted, unglazed ‘salt pig’ from Boscastle Pottery with a delicate tree design, the shape of which resembles the pots used in kitchens centuries ago. The design technique is known as Mochaware and is created by applying ‘mocha tea’, a mix of oxides, to the wet slip. Sometimes tobacco or coffee are used instead. This results in a staining in the formation of a fern-like pattern, and no two are identical. Another absolute favourite of mine is Tintagel ware, especially the soft pink and green ‘eye’ versions, which I think are just beautiful, and the swirly deep green dragon designs.. Fruit bowls, jam pots, jugs, vases, egg cups and cheese dishes – Tintagel pottery was established in 1948, and is still made in the mystical Cornish village, where rumour has it that King Arthur once roamed. There are also those distinctive cheese dishes and other items with hand drawn characters by Toni Raymond. Toni Raymond ware first appeared in the 1950s, and in the 1960s they acquired Babbacombe Pottery. Also collectable are Szeiler animal face dripping pots, Sylvac face pots and the later attractive line […]
Hi Ho, Hi Ho! Snow White Dolls
When we think of Snow White, most of us remember the classic Walt Disney animated film, first released in 1937, and which has terrified small children ever since with its scary witch. However, the story of the film was not something that Disney dreamt up, it was based on a legend and, like similar tales, dates from centuries ago. The Disney version is very like the one which was noted down by the Brothers Grimm in 1857, and is one of the less bloodthirsty versions. One of the earliest written versions stems from 1634, long before the Brothers Grimm discovered it. Not intended for little ones, this tale was gradually enlarged, adapted and added to until it contained such intrigues as an illegitimate baby, cannibalism, witchcraft, lots of blood, murder, poisoning and sexual awakening. Perhaps it is not surprising that when Disney was searching for a suitable subject for his first full-length film, he decided to choose the diluted Grimm version, which he prettied-up and made even more harmless. Even so, it still contains poisoned gifts, attempted murder, witchcraft and the rather dubious concept of a young woman living with seven unmarried men! The Grimm Brothers begin their version with the description of a queen sewing as she watched the snowflakes falling. Not looking at what she was doing, she pricked her finger and a drop of scarlet blood fell. She thought that the red looked pretty on the snow, surrounded by the ebony of the window-frame, and she wished that one day she would have a child with snow-white skin, ebony hair and blood-red lips. In time, the queen did have such a baby, but then died, and the king took a new wife, who became the wicked stepmother. That’s when Snow White’s troubles began; the new queen was jealous and wanted the girl killed, and the story was skilfully and entertainingly brought to life by Walt Disney. When the film was issued, it was a huge success. It was Disney’s first feature film, and the music and colourful cartoons enchanted both children and adults. Many companies, such as Chad Valley, were quick to capitalise on the idea of media memorabilia. The Chad Valley sets were issued in the 1930s, and Snow White stood 16 inches tall, while the Dwarfs were around 6 inches. These calico-bodied dolls had moulded felt faces with painted features, and were very well modelled. Show White wore a pink and blue rayon dress with pink shoes and white underwear, while the Dwarfs had colourful felt outfits. Hair and beards were mohair, and they bore a reasonable facial resemblance to the cartoon versions. If you are very lucky, you might come across a doll with the original card swing tag, but in any case, the dolls should bear embroidered Chad Valley labels on their bodies. Today, a cloth Chad Valley Snow White, together with her Seven Dwarfs, in excellent condition, will cost you in the region of £1000. For most collectors, however, a Chad Valley set is beyond their reach; nevertheless many, more modern but still enchanting, dolls representing the ebony-haired girl and the droll dwarfs are available at just a fraction of that price. A grouping of them makes a particularly colourful collection. Snow White is one of those characters which everyone seems to recognise, and most people have a soft spot for her. The dwarfs are comical in appearance, so a Snow White display is cheerful and bright. Mattel have produced several versions of Snow White over the years, including a very pretty model dressed in her famous blue and yellow gown, which reveals her in a tattered dress, all ready to scrub the doorstep, when the skirt and sleeves are removed. Usually, these Mattel Disney dolls incorporate a Barbie body, but have a specially modelled head to represent the character concerned. For many years the company produced dolls to accompany the various films, but nowadays the dolls are often made by Vivid Imaginations or Simba. In the 1990s, Mattel issued a miniature Snow White, just seven inches high, in their ‘Dancing Princesses’ series. Finely dressed in her traditional yellow and blue clothing, she was mounted on a musical box. Small wheels under the music box enabled her to spin when the box was pushed along. Another Mattel series was the ‘Holiday Princess’ festive set, featuring Disney heroines. Amongst them was a pretty Snow White dressed in a blue bodice and white satin skirt, while the ‘Petite Holiday Princess’ collection contained miniatures of the dolls, with bells sewn into their skirts and a loop to hang them from a Christmas tree. Sets of Dwarfs were also made by the company, including an ingenious Dopey and Sneezy re-enacting a scene from the film when Dopey hid under Sneezy’s long coat. This clever toy had Dopey standing on Sneezy’s shoulders, and wearing an over-size coat which covered Sneezy, making Dopey appear twice as tall. Some of the Mattel dwarfs had colour-change functions; they held a magic ‘jewel’ or other item which changed colour with the application of cold water. The clothes were moulded on to their bodies. Dwarfs seem very popular; a super Sleepy made by Mattel in the 1980s snores as his eyes close. More recently, Vivid Imagination’s sets have include one which depicts them all in their nightshirts! Squidgy all-in-one moulded vinyl sets can also often be found. These date from the 1970s and were probably originally intended as baby toys, but they all add interest to a Disney doll collection. Barbie herself has depicted Snow White several times, as opposed to the character-headed version. A particularly attractive model is the Special Edition Snow White Barbie, from 1999, which depicts her in the classic yellow and blue gown. Barbie has exchanged her blonde hair and pink lips for black hair and bright face paint, and the overall effect is stunning. A doll very similar to Sindy appeared as Snow White, issued by Pedigree in 1978, and it is sought after today by […]
Cluedo Detecting the Value of this Classic Game
In this highly digital age board games are taking more and more prevalence for spending interactive time with family and friends. From this we seem to be digging those family board games we still own from the seventies and eighties out of the cupboards, blowing off the dust and this gets us thinking….. Is this worth selling or playing? What is mine worth? How do I get a valuation? Is mine collectible? One example is the game consisting of the original usual suspects. Colonel Mustard, the Reverend Mr Green, Mrs Peacock, Miss Scarlett, Professor Plum and the (apparently) controversial Mrs White. She was removed from the game in 2016 after it was claimed that having a housekeeper was a ‘dated idea’ and was replaced with Dr Orchid. The artwork was also updated to a more cartoon style. An original 1949 edition of Cluedo, the popular crime deduction game can sell for around £150. But wait, it would have to be unplayed !! Unplayed?? Who, genuinely in 1949 was thinking that this brand new board game would be worth buying, taking home and NOT playing with it in the hope that in seventy years time it will be something of value? Surely these games are there to be played with? A pre loved copy of a board game has more character having stood the test of time. Write in the comments below if you are a board game collector and own the games to play or to simply to have bragging rights that you own a much sought after copy. As a board game collector myself, what interests me more than anything is owning an original copy of a game that has been played with since it was originally produced. The idea that I am now sitting with my family and friends playing a game which was handled and played when it was very first produced? What are your thoughts on this? When looking for an original copy of Cluedo don’t forget that the black and white cover thought to be the first edition is not actually the case. This could affect your expected valuation. Instead you would be looking for a bold, red thumb print under the magnifying glass as in the above picture. This changed to the simple black and white as the additional printing layer of the blood red was far too costly to keep up with the demand for the game. Over the years the art has changed significantly on the box and in the game. From the late 1950s into the 1960s it would look like this. I’m in my mid forties and I remember this art from the late 1960s through the 1970s. More recently Cluedo looks like this. In recent years the game has been franchised into versions from films, specific areas (similar to Monopoly), Disney, comics and more. These include Harry Potter, Nightmare Before Christmas, Charlie and the Chocolate Factory, Ricky and Morty, Sherlock and even a Newcastle and Gateshead edition. These editions are more niche and limited and have the potential to increase in the value. And remember that in the United States the game has simply been called Clue. There is even a spin off film starring Tim Curry which I am a huge fan of. Our research shows that certain online auction sites have varying prices. Why?Because there are two sides to the story. What someone wants for it and what someone is willing to pay. Board game related features How much is my Monopoly worth? Cluedo feature by Rob Edmonds.
Geoffrey Baxter A Glass Designer Whose Work Defines an Era
Glass designer Geoffrey Baxter is one of the most renowned and celebrated designers of his era. His elegant and timeless designs are still popular today, and his work has been exhibited in galleries all over the world. Born in 1922, Baxter started working at the Whitefriars Glassworks in 1954, where he designed for nearly 40 years, finally leaving Whitefriars in 1980. His work is iconic and has defined an era in glass design. Baxter’s timeless designs are characterized by their simplicity and functionality. His work is often credited with popularizing the use of glass in modern design. Thanks to his enduring popularity, Geoffrey Baxter is considered one of the most important glass designers of his era. Baxter went to school at Godalming in Surrey before gaining entry to Guildford School of Art at the age of 14. He spent a brief time at the Guildford Glassworks and later he won a place to study at the Royal College of Art in the early 1950s in the newly established Department of Industrial Glass. He finished with a First Class honours and a travelling scholarship to the British School in Rome in 1953, the first time such an award had been given to an industrial designer. Baxter’s work at Royal College of Art had attracted a lot of attention even before he graduated. Baxter was approached by William Wilson who was the managing director and chief designer at Whitefriars Glass, to work as his assistant. After only a few years he was designing the majority of domestic glass at Whitefriars. Baxter’s Glass Designs and Colours In the 1950s the modern Scandinavian glass was at the front of glass design. Whitefriars had long been at the forefront of British glass design embracing the Arts and Crafts movement, Modernism and the Industrial Art Movement. Baxter’s involvement from the late 1950s helped Whitefriars continue to be at the forefront of British glass design. Baxter’s designs are characterized by their simplicity and functionality and his use of colour and pattern. His designs ranged from contemporary style patterns for cut glass to creating thick-walled free-form organic bowls and vases. Arctic Blue and Ocean Green were two cool new colours he helped to develop in 1959, followed by the darker-toned Midnight Blue and Shadow Green in 1962. The latter were used for a stylish new range of simple mould-blown soda glass vases that were made using two part moulds, and then finished by hand and which were light in weight and had unusual angular profiles. The Whitefriars Blown Soda range was introduced at the Blackpool Show in 1962 (click to learn more about Whitefriars Blown Soda) Baxter’s most iconic designs are his textured range which was introduced in 1967. The Banjo vase (Model No 9681) and Bricklayer vase (Model No 9672) are two of the most popular designs created by Geoffrey Baxter for Whitefriars. The Banjo vase, which was first introduced in 1967, is characterised by its tall, slender neck and bulbous base, while the bricklayer vase takes a more playful approach, with a series of stacked blocks forming its body. The Nuts and Bolt vase (Model No 9668) featured a series of 12 hexagonal and other bolt shapes to the side. The textured pieces came in a range of colours including Meadown Green, Aubergine, Tangerine and Kingfisher Blue. Some colours are rarer than other. Baxter’s Influence on Modern Glass Design Geoffrey Baxter’s work at Whitefriars had a profound influence on modern culture. His unique approach to glassmaking helped to redefine the medium, and his bold use of color and form inspired a generation of artists. Baxter’s work is characterized by a sense of playfulness and experimentation, and his willingness to push the boundaries of traditional glassmaking techniques helped to create a new aesthetic for the 20th century. Today, Baxter’s legacy can be seen in the work of many contemporary artists, who continue to explore the potential of glass as a medium for expression. Related Whitefriars Glassworks Whitefriars Glassworks Price Guide Whitefriars Blown Soda Obituary of Geoffrey Baxter in The Independent
Collecting the Top 10 James Bond Cars
With the 50th Anniversary of the James Bond franchise, the release of Skyfall and the use once again of the Aston Martin DB5 as the Bond car we thought we would look at the toy and collectable cars that have been released over the years to tie-in with the James Bond movies. We are using a nice feature by James Riswick who has written on the Top 10 James Bond Cars. James Riswick has the Aston Martin DB5 as top, here at WCN we are split for looks with the DB5 and for the amazing chase and then turning into a submarine the fabulous Lotus Esprit S1. Also at 4 he has the BMW 750iL from Tomorrow Never Dies, yes a functional car for a spy but not for a Bond car. 1. Aston Martin DB5 — Goldfinger, Thunderball, GoldenEye, Tomorrow Never Dies, Casino Royale, Skyfall Was there really any doubt about No. 1? We could be controversial for the sake of being controversial, but how can you possibly go against the car that started it all? The car that didn’t just have a starring role in one film, but went on to appear in five others? The car dubbed the most famous in the world? Say “James Bond’s car,” and everyone knows which one you’re talking about. Pictured right: Corgi No.261 “James Bond” Aston Martin DB5 taken from the film “Goldfinger” – gold body, red interior with “James Bond & Bandit” figures. Sold for £150 at Vectis Auctions. Image Copyright Vectis. Now, the Aston Martin DB5 wasn’t really the first Bond car. In Dr. No he drove a Sunbeam Alpine and in most books he drove prewar Bentleys. However, the novel Goldfinger actually features an Aston Martin DB Mark III with a few special spy additions like a hidden gun compartment. For the movie, the filmmakers obviously had bigger ideas. Production Designer Ken Adam chose the latest Aston — the DB5 — to outfit with machine guns, an oil sprayer, tire shredders, rotating number plates, a tracking system and, of course, an ejector seat. Despite what you might suspect, Aston Martin didn’t bend over backward to help out. Eon Productions had to twist Aston’s arm just to “loan” the film a development prototype and there wasn’t any sort of product placement deal. The overwhelming publicity generated for Aston Martin by Goldfinger is a major reason such placement deals exist today. Not only did the car shortly thereafter feature in Thunderball, but it went on a worldwide tour to promote both films. Pictured left: Gilbert No.16701 James Bond Tinplate Aston Martin DB5 – from the film Goldfinger and Thunderball, silver with plated trim, black bullet shield. Sold for £340 at Vectis Auctions. Image Copyright Vectis. The car itself would inspire all of the gadget-laden cars that came after it, and made a reappearance years later as the personal car of Pierce Brosnan’s Bond — albeit without the gadgets and a slightly different number plate (BMT 214A versus 216A). In Casino Royale, the modern Bond’s ownership of the car is explained when Daniel Craig wins it in a poker game. Like James Bond himself, the Aston Martin DB5 will return in Skyfall. 2. Lotus Esprit S1 — The Spy Who Loved Me The DB5 is the icon and the original, but if it were our choice for a spy car, the Lotus Esprit S1 featured in The Spy Who Loved Me would be it. Not only does it participate in one of the series’ best car chases, it tops it off by taking a plunge off a pier and turning into a submarine for an underwater boat chase. How cool is that? Pictured right: Corgi No.269 Lotus Esprit “James Bond” taken from the film “The Spy Who Loved Me” – white, black, with “007” bonnet label – Mint including harder to find late issue window box with detachable header card – comes complete with missiles attached to sprue. Sold at Vectis Auctions for £180. Image Copyright Vectis. “I thought its shape could make it a believable submarine,” Production Designer Ken Adam said in the book The Art of Bond. “An American submarine company built it for me. And it traveled underwater — it was not pressurized but it could do 7 knots underwater. Stunt divers with oxygen tanks operated it and we also had it as a model.” Lotus provided seven vehicle “shells” that were used to create the submarine and show individual transformation elements. However, getting fully functional road-going cars proved more difficult. During the making of the film, the second unit realized the only other car that could keep up with the Esprit for car-to-car shots was another Esprit. As it was so early in the car’s production, they were informed that the only other one available was owned by Lotus Chairman Colin Chapman. He was only too happy to loan it to them. The exotic Esprit also proved to be a handful for the stunt driver unaccustomed to midengine dynamics. With director Lewis Gilbert dissatisfied with the speeds being portrayed on film, Roger Becker, a Lotus employee Chapman had personally instructed to aid the production, stepped into drive for many of the featured shots. The result was a ground-breaking action sequence. 3. Aston Martin V8 Vantage — The Living Daylights With Timothy Dalton taking over the part for 1987’s The Living Daylights, the Bond producers were eager to use elements that tied the film to those that came before it. At the same time, Aston Martin was facing hard times (not exactly an uncommon occurrence) and was thrilled to rekindle the relationship that had made it so famous. Pictured left: Western Models No.ML1 “James Bond” Aston Martin V8 taken from the film “The Living Daylights” – grey, chrome trim, complete with side skis – Mint including lift off lid box and outer carded sleeve – harder issue to find. Sold for £140 at Vectis Auctions, February 2010. Image Copyright Vectis. The Aston in question was a Volante that Q’s boys in the workshop somehow “winterize” to become a regular Vantage coupe. Probably best to overlook that one. […]
Buddy Holly Memorabilia – The Day The Music Died A Look at Buddy Holly Collectibles
Charles Hardin Holley was born in Lubbock, Texas to Lawrence Odell Holley and Ella Pauline Drake on Labor Day, in 1936. The Holleys were a musical family and as a young boy Holley learned to play piano, guitar and violin (his brothers oiled the strings so much that no one could hear him play.) Pictured left: Buddy Holly – A Gold Record award, circa late 1950s, for Buddy Holly’s Peggy Sue. Presented in a glass enclosed, green velvet frame. 12 x 12 in. (30.4 x 30.4 cm.) sold for $11,875 against an estimate of $3,000 – $4,000 at Christies rock and pop memorabilia auction, 30 November 2007, New York, Rockefeller Plaza. He was always known as Buddy to his family. In 1949 Buddy made a recording of Hank Snow’s ‘My Two-Timin’ Woman’ on a wire recorder “borrowed” by a friend who worked in a music shop (not, as is often reported, a home tape recorder)[citation needed], his first known recording. During the fall of that year he met Bob Montgomery in Hutchinson Junior High School. They shared a common interest in music and soon teamed up as the duo “Buddy and Bob.” Initially influenced by bluegrass music, they sang harmony duets at local clubs and high school talent shows. In Lubbock, Holly attended Hutchinson Junior High School, which has a mural honoring him, and Lubbock High School, which has numerous features to honor the late musician. His musical interests grew throughout high school while singing in the Lubbock High School Choir. Autographs of Buddy Holly and The Crickets, in blue biro on a piece of paper additionally inscribed The Crickets, mounted with colour picture, 26.5 x 18cm (10½ x 7in) overall Sold for £478 at Bonhams – Rock and Roll and Film Memorabilia, 16 Nov 2004, Knightsbridge, London. Holly turned to rock music after seeing Elvis Presley sing live in Lubbock in early 1955. A few months later on October 15, he opened on the same bill with Presley, also in Lubbock, catching the eye of a Nashville talent scout. Holly’s transition to rock continued when he opened for Bill Haley & His Comets at a local rock show organized by Eddie Crandall, who was also the manager for Marty Robbins. Buddy Holly – An ivory linen-effect two-piece stage suit, the jacket with deep patch pockets, the inside edge of the cuff on the right-hand sleeve showing signs of wear [presumably from playing the guitar]; the loose-fitting trousers with front pleats and narrow turn-ups, the right-hand trouser pocket inscribed inside in blue ballpoint pen, in an unidentified hand, Buddy Holly; accompanied by two corresponding black and white machine-print photographs of Holly on stage during the 1957 U.S. Tour (printed later), 11x16in.(28×40.2cm.) and 11x14in. (28×35.6cm.) sold for £10,575 at Christies pop and collectable guitars, 26 April 2001 London, South Kensington As a result of this performance, Holly was offered a contract with D ecca Records to work alone, which he accepted. According to the Amburn book, his public name changed from “Holley” to “Holly” on 8 February 1956, when the Decca contract he signed misspelled his last name. That spelling was then adopted for his professional career. Among the tracks recorded for Decca was an early version of “That’ll Be The Day”, which took its title from a phrase that John Wayne’s character said repeatedly in the 1956 film, The Searchers. Decca wouldn’t publish his recordings, though, and dropped his contract. But they also insisted he could not record the same songs for anyone else for five years. An autographed Buddy Holly and The Crickets UK Tour programme, 1958, the back cover signed in blue and black ballpoints by all three and the front additionally signed in blue ballpoint by Buddy Holly sold for £1,140 at Bonhams Entertainment Memorabilia auction, 18 Jun 2008 Back in Lubbock, Holly formed his own band, although at that time it had no name and would only later be called The Crickets and began recording at Norman Petty’s studios in Clovis, New Mexico. Norman had music industry contacts and believing that “That’ll Be the Day” would be a hit single, he contacted publishers and labels. Brunswick Records, a subsidiary of Decca, signed The Crickets. Soon after, they signed Holly as a solo artist on another Decca subsidiary Coral Records. This put Holly in the unusual position of having two record contracts at the same time. Before “That’ll Be The Day” had its nationwide release, Holly played lead guitar on the single “Starlight”, recorded in April 1957, featuring Jack Huddle. The initial, unsuccessful version of “That’ll Be The Day” played more slowly and about half an octave higher than the hit version. Holly managed to bridge some of the racial divide that marked rock n’ roll music. While Elvis made black music more acceptable to whites, Holly won over an all-black audience when the Crickets were booked at New York’s Apollo Theater (though, unlike the immediate response depicted in the 1978 movie The Buddy Holly Story, it actually took several performances for his talents to be appreciated). Buddy Holly’s electric guitar and amplifier, the 1953 Gibson Les Paul ‘gold-top’ model with maple top, mahogany back, neck and headstock, rosewood fingerboard with crown markers, Kluson machineheads with plastic tulip pegs, P90 pickups, trapeze wrapover tailpiece, in original Gibson case; and a Gibson Les Paul model ‘G’ amplifier, original Jensen speaker, Buddy Holley scratched into bacj from Bonham’s Rock n’ Roll & Film Memorabilia including James Bond, 16 Nov 2005, Knightsbridge. After the release of several highly successful songs in 1958, Holly and the Crickets toured Australia in January and later the United Kingdom. That same year, he met Maria Elena Santiago (born 1935 in San Juan, Puerto Rico) while she was working as a receptionist for Peer-Southern Music, a New York music publisher. According to a romanticised version of the truth encouraged by Maria Elena, he proposed to her on their very first date. She initially thought he was kidding, but they were married in Lubbock on […]
Wade and Disney – The Wade Hat Box Series
Disney and the Wade Hat Box Series Wade and Disney are two of the hottest collectable names around – so a combination of both makes for something really special. In 1955, Walt Disney’s Film Lady and the Tramp was released and was a tremendous success, combining an appealing story, enchanting animation, and songs by Peggy Lee, one of the greatest singers of the era. It was no wonder that Wade approached Disney for permission to use the character designs for a new series of porcelain figurines. In the Film Lady was given as a Christmas gift hidden in a hat box, and so each model was similarly packaged in a small, round, striped cardboard box. Naturally, the series was called ‘Hat Box’. The first four figurines were released in 1956 and retailed at 2/11d (30p) each. This set, all from Lady and the Tramp, included the two title characters, plus Jock the scottie and Trusty the bloodhound. They were nicely modeled and painted, and stood around one and a half to two inches tall. In this early set, Jock wasn’t wearing his familiar tartan coat, but later he was given a blue coat which was subsequently changed to green. The characters proved popular and over the next few years more figurines from Lady and the Tramp appeared in the shops. Eventually the set included Scamp the naughty puppy, as well as Peg, Dachie, Toughy and Bons, all dogs from the film. Also available were those two evil Siamese cats, Si and Am, Si in particular looking really sinister as he revealed his sharp feline toothypegs. Characters from other films were produced too. Favourites such as Bambi and his Friends Thumper the bunny and Flower the skunk as well as Pegasus the little winged horse from Fantasia and Dumbo the elephant with the over-large ears, all appeared as china figures in the Hat Box series. In the early 1960s Wade introduced ten new figurines, and the price rose to 3/6d (33p). Because this last set had a short production run, many are now extremely rare, and some are commanding prices of a hundred pounds or so, which seems a lot of money for a two inch high figure. The characters included dogs from 101 Dalmatians – Rolly, Lucky and the Colonel – and also the cat, Sergeart Tibs. But it is The Sword in the Stone set that contains the most highly-prized figurines of all – Merlin the Wizard in his alter-egos of caterpillar, turtle or hare, as well as Madam Mim the hen, Archimedes the owl, and the Girl Squirrel. Just a couple of years later, the Wade Hat Box series was discontinued. Merlin as a turtle is now the most wanted, and most difficult to obtain, Hat Box figurine. Sixteen years later Wade must have had second thoughts, because they reissued seven of the original figures – Lady, Jock, Scamp, Peg, Dachie – now called Dachsie – Bambi and Thumper. Tramp was also reissued, but this was a new version, seated instead of standing, and didn’t seem to capture the charisma and impudence of the original street-wise dog. Also the modeling on this new figure wasn’t as fine, and it was smaller, out of proportion with the others In the set. The original standing Tramp is now becoming quite scarce, because the long lanky legs are delicate and so are easily broken. The other designs remained the same, apart from slight colour variations which are difficult to distinguish unless you can compare both versions side by side. For instances Peg’s fringe was beige in the new model and yellow in the original, while Scamp’s ears were now pink inside instead of mauve. Thumper’s flower changed from dark to light orange, Bambi’s eyes from dark to light brown and Jock’s mouth from purple to pink. Wade also released four models from The Fox and the Hound. These were Big Mama the owl, Tod the fox, and Copper and Chief, two of the dogs. Some of these models came in small round boxes made from plastic. The others were in cardboard boxes brightly decorated with Disney characters. Now the series was just referred to as ‘Disneys’. Today, prices very greatly for Hat Box and Disneys figurines, but the more common ones such as Lady, Peg or Bambi are around £15-£20. As a follow-on from the first Hat Box series, Wade produced a series of extra large Disney characters, similar to the smaller models’ except for Jock, who was standing instead of sitting, and Lady and Tramp who now both sat. These models were around five inches tall, and became known as ‘Blow-ups’ amongst collectors. They’re very collectable, some of them changing hands for two hundred pounds or more.