Most people recognise pieces of Szeiler – even if they don’t know what they are. A contradiction in terms? Maybe, but any visit to an antiques centre or collectables fair will result in the sighting of several of these charming pieces nestling quietly amongst brighter ceramic figures, waiting for their subtle appeal to be noticed. And once you’ve noticed, you’re hooked! Many people must have fallen for one of these attractive sculptures without even reading the backstamp, and only later seen the oval Szeiler logo. A typical Szeiler piece will be a small animal, such as a cat, dog or donkey, modelled in a slightly stylised pose with smooth contours which entice you to touch, and probably it will be decorated in light beige, white, or the palest of blue. Joseph Szeiler was born in Hungary in 1924. Though his original ambition was to become a veterinary surgeon, he was forced to give up his studies at Budapest University because the country was in such turmoil. After fleeing to Austria, he arrived in Britain in 1948, and worked at various potteries in the Midlands, including Wade Heath, where he was employed as a caster. Joseph obviously enjoyed the work because he decided to study ceramics and learn all he could about modelling, until finally he was skilled enough to have his own business. He went to work for an esteemed freelance modeller, C S Lancaster of Burslem, who taught him the various processes involved, including mould making and casting. Joseph also attended evening classes at Burslem School of Art. By 1951 he was in business, working from a small rented room in Hanley, but as he had no kiln he had to carry the heavy boxes of greenware for a mile to the local tile factory which fired the pieces for him. He modelled small creatures, decorating and glazing them himself, and his love of animals is evident in his work. Four years later he had earned enough money to open his own factory at Burslem where he produced not only animals, but also tableware, vases and other small pieces, and employed six people, including two of his fellow countrymen. One of Joseph’s most popular lines was the sad-eyed dog. These melancholy sitting spaniels with ultra-large heads came in a variety of sizes, and are still favourites with today’s collectors, who attempt to get the full range – more difficult than it sounds, as new sizes are still being discovered. It seems that much of the ware hasn’t been fully researched or listed, and though collectors are doing their best by noting everything they find, unknown pieces are still coming to light. Many of the creatures have a ‘cartoon-type’ sweet appearance, such as the spaniels mentioned earlier, and a range of cats (actually referred to as Bighead cats in an early Szeiler catalogue), which came in various colours such as tabby, grey, black or Siamese, and stood two-and-a-half inches tall. A ‘Nightie’ cat was a Bighead standing, wearing a long nightdress, and a Puffy cat was plump and round, and decorated with coloured spots! Another charming model featured a kitten with a drum, demonstrating to perfection Szeiler’s classic beige/ white/blue colouring. Bears included a range of adorable chunky cubs, about four inches tall, sitting upright with their forepaws casually resting on their hindpaws. Another played peek-a-boo by peeping cheekily through his legs. Donkeys must have been in demand, too, judging by the variety produced by the company. Many of them had ultra-long ears, vulnerable to breakage so always check before you buy to make sure they haven’t been repaired. As with the dogs, donkeys can be found in many sizes in both sitting and standing poses. Donkeys pulling carts were also made, once again showing off that attractive colour scheme. The enormous variety of creatures produced by the factory included foxes, zebras, pigs, deer, goats, chimpanzees, kingfishers, penguins and lambs. Giraffes were particularly attractive with caricature type faces and the distinctive beige and blue colouring. Horses, too, were popular and were featured in several poses including grazing, standing, lying and rearing on their hind legs. As well as the sad-eyed character spaniels, numerous realistic models of dogs were made such as corgis, poodles and collies. The catalogue also lists ‘Tubby dog’ and ‘Podgy dog’! A popular piece in the 1960s was a scared mouse inside a brandy glass, with an inquisitive cat attempting to climb inside, and one wonders how many homes still contain those Szeiler-made cat and mice. Some of the animal ranges were fancifully decorated with a floral design, and these could form a super collection on their own. Floral elephants, cows, pigs and, perhaps nicest of all, yawning hippos, would bring a smile to any ceramics display. The Nationality Series was an intriguing range featuring a collection of dogs dressed to resemble various countries. Each little dog was mounted on a base bearing its name written in script, and was modelled with great humour. George was an English bulldog wielding a cricket bat, Ping a Chinese pekinese with a conical straw hat, Gwen a Welsh corgi in traditional tall black hat, Jock a kilted Highland terrier and Pierre, a beretwearing French poodle clutching a baguette. Studio Szeiler also produced an enormous range of tiny white oval vases, edged in gold, each bearing a transfer print. These vases must have been sold in every souvenir shop across the country, judging from the huge amount around today – and they were still being produced in the late 1970s, as they could be obtained commemorating the Queen’s Silver Jubilee. Though lacking the charm of the skilfully moulded animals, they would form an inexpensive collection, and, as with the figures, look best when they are grouped. They measure three inches in height (though some are slightly taller), and would only have held a very tiny posy. The tremendous range of subjects included dogs, cats, owls, butterflies, flowers and birds – it seems that any transfer available was used for these […]
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 first Moomin book was published over 70 years in 1945 and the stories and character have since inspired puppet animations, TV shows, animated series, collectables, collectors items, a museum, Moomin shops, Moomin cafes and even a Moominworld theme park. For collectors of Moomin collectables and merchandise there is especial interest in the Moomin books, Moomin art, vintage Moomon items and the Moomin mug. The Moomin characters and Moominworld were the work Finnish-Swedish writer and artist Tove Jansson. Her stories about the adventures of Moomin family (Moomintroll, Moominpappa, Moominmamma and friends) of white and roundish trolls with large snouts have delighted generations and interest continues today. Tove Jansson was born in Helsinki in 1914 into an artistic family. She studied art from 1930 to 1938 in Stockholm, Helsinki and then Paris and her first Moomin-like character appears in the magazine Garm in 1943. Her first Moomin book was published in 1945 by Söderström & Co – The Moomins and the Great Flood. The first book was a minor success but her next two books Comet in Moominland and Finn Family Moomintroll, published in 1946 and 1948 respectively, saw high sales and assured her fame. Most of the Moomin books were translated into English in the 1950s to the 1970s. The first book Moomins and the Great Flood was only translated into English in 2005 to mark its 60th Anniversary. The character Moomintroll was born out of chance when Tove, on one childhood summer day, discussed literary philosophy with her brother Per Olov Jansson by the outhouse next to their summer cottage in the archipelago. Tove drew the ugliest creature she could imagine on the outhouse wall. That drawing is the first glimpse of the Moomins, although Tove called it a Snork. Source moomin.com The modern interest in Moomins coincided with the release in 1990 by Telecable of a 104 half-hour Moomin animations names Tales From Moominvalley. The series was produced in Japan by Dennis Livson and Lars Jansson and Tales From Moominvalley was eventually sold to over 60 countries. The series was followed by full-length movie Comet in Moominland. The success in Scandinavia and principally in Japan created what has been term The Moomin Boom (muumibuumi in Finnish). The Moomin Books Tove Jansen write 9 books and 5 picture books. The original publication date is given below along with English title. 1945 The Moomins and the Great Flood (Originally: Småtrollen och den stora översvämningen) 1946 Comet in Moominland (Swedish title Kometjakten / Mumintrollet på kometjakt / Kometen kommer) 1948 Finn Family Moomintroll (Original Swedish title Trollkarlens hatt, ‘The Magician’s Hat’), 1950 The Exploits of Moominpappa (Originally: Muminpappans bravader/Muminpappans memoarer) 1952 The Book about Moomin, Mymble and Little My – The first Moomin picture book (Originally: Hur gick det sen?) Some Moomin books – First Edition English book covers 1954 Moominsummer Madness (Swedish title Farlig midsommar, ‘Dangerous Midsummer’) 1957 Moominland Midwinter (Swedish title Trollvinter, Finnish title Taikatalvi) 1960 Who Will Comfort Toffle? – The second Moomin picture book (Originally: Vem ska trösta knyttet?) 1962 Tales from Moominvalley (Originally: Det osynliga barnet) 1965 Moominpappa at Sea (Originally: Pappan och havet) 1970 Moominvalley in November 1977 The Dangerous Journey (Originally: Den farliga resan) 1980 Skurken i Muminhuset (English: Villain in the Moominhouse) 1993 Visor från Mumindalen (English: Songs from Moominvalley) As well as books the Moomins also appeared in comic strip form in a number of papers all over the world originally in 1947 in the children’s section of the Ny Tid newspaper, and internationally to English readers in 1954 in the London’s The Evening News. The Moomins cartoon strip reaches up to 20 million readers daily in over 40 countries. Tove Jansson drew and wrote all the strips until 1959. From 1960, Tove’s brother Lars Jansson drew the strip until 1975 when the last strip was released. The Moomin Mug – Collecting moominmugs Other than books one of main areas of interest is collecting Moomin Mugs (collecting moominmugs). Arabia have been responsible for the Moomin mug since 1990. Arabia are a Finnish ceramics company, founded in 1873 by Rörstrand, who specialize in kitchenware and tableware. The first Moomin mug was released in 1990 and began a series entitled Teema. The Mug Green is also known by the name The Green Comic Strip. The original artwork featured on the mug is from Tove Jansson’s comic strip #8 Moomin Builds a New Life (1956). Tove Slotte was the graphic designer responsible for Arabia’s Moomin products. He used the images from the strip more or less as they were, only removing the speech bubbles. In the same year Mug Blue, Mug Rose and Mug Yellow. The Mug blue is also known by the name Painting Moomins, the mug rose is also known by the name Rose Comic Strip and the fourth Moomin mug is also known by the name Mug yellow, Moominmamma. The early Arabia Moomin mugs are extremely collectable with prices for perfect example of Mug Green being over £400. The other colours also fetch prices from £100 to £300. There is an excellent series of articles on the history behind the Moomin mugs on the moomin.com blog. A visit to a Moomin shop, to their website or a look on ebay will show the wide variety of collectables, books, merchandise and household items that are available. If you have not read a Moomin book do go and find the recent special editions of the original books and immerse yourself in this wonderful fantasy world.
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), 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 […]
Collecting Communion Tokens and small Communion Tokens price guide. Communion tokens were round or oval in shape, and they were given to individuals who took communion in churches during the 17th, 18th, and 19th centuries. Presbyterian worship in Scotland is particularly associated with them, but they may also be found in England, the United States, Australia, Canada, New Zealand, Germany, the Netherlands, Switzerland. The Communion tokens were used to identify those who were entitled to receive Communion. The minister would give the person a token before giving them Communion. When Communion was being given, the individual would show the token to the Communion steward. There are a number of reasons why communion tokens were used. First, communion tokens ensured that only those who were members of the church and who had been properly instructed in the faith were able to receive Communion. This was important because Communion is a sacred act in which Christians partake of the body and blood of Christ. Second, communion tokens helped to prevent Communion from being taken by those who might not appreciate its significance or who might abuse it in some way. Finally, communion tokens served as a tangible reminder of an individual’s commitment to the Christian faith. Though communion tokens fell out of use in the 18th century, they remain an important part of Protestant and Calvinist history. Communion tokens remind us of the importance of maintaining a proper understanding of Communion and of our commitment to the Christian faith. They were also used as a means of identifying Communion members who had been away from the church for a period of time. They were also given to children when they were first admitted to communion. Often, these tokens would be made of metal or other durable materials and would be worn around the neck or on a keychain. The most common materials were metal, wood, and bone. In some cases, Communion Tokens were also made of other materials such as stone or glass. They could have holes in the centre and so could be strung together. Tokens were often engraved with a Christian symbol or the initials of the person who received the Communion Token. Communion tokens were collectibles even back then and people would try to get as many different ones as possible. There are many different types of communion tokens that can be found. Some have biblical scenes or symbols on them, while others have the name of the church or the year they were made. Messages on tokens would include biblical quotes such as ‘This Do In Remembrance of Me’ and ‘Let A Man Examine Himself’. Today, they are still collected by some people as a hobby and for the most part can be acquired fairly inexpensively.
Space 1999 remains a cult classic and we take a look at some of the Space 1999 collectables, Space 1999 merchandise and Space 1999 toys that have appeared over the years.
Copper jelly moulds are among the most attractive and popular of all kitchenalia. The humble copper jelly mould came in a variety of shapes and sizes and became more and more elaborate over time. The moulds that were part of the batterie de cuisine of the larger houses sometimes bore the name of the house or their owners initials. Moulds were made of copper and tinned on the interior and were used for the wide range of world recipes developing in the Victorian era including many jellies such as Constantia jelly and desserts such as Dutch Flummery and sponge puddings. Copper jelly moulds shapes varied from simple round forms, fluted forms, castellated forms, vertical asparagus forms, and animal shapes. The Alexandra Star shaped mould was named after Queen Alexandra Queen to King Edward VII. Some were created in tiers making larger moulds and some have central hollows to allow the creation of ring desserts. Copper Jelly Mould Price Guide / Value Guide Famous names in the creation of copper moulds include Benham and Froud, Copeland and Henry Loveridge. Fine copper jelly moulds remain collectables and prices vary depending on quality, maker, size and condition.
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]
My Little Pony Collecting Animals hold a strong appeal to many young people as they grow up. This is especially true of animals that many children will never have for their very own. Horses are a favourite, as are the mystical unicorn and pegasus, who hold their own appeal from the realm of fantasy. To bring these dreams of ownership to life, Hasbro introduced a line of soft plastic horses with brushable manes and tails – My Little Pony. From their start in the early 1980’s, My Little Pony horses were immensely popular. Not only could young people finally have the horse of their dreams, but the dream for the “perfect” stable could finally be realized. Along with their wonderful hair, each pony had its own unique symbol on its rear, usually something to match its equally unique name. Every Pony had its own brush and ribbon, so even if it was the first in the herd, the new owner could enjoy brushing and braiding the hair. The beginnings of the Pony family were modest, but soon became more flamboyant. Starting out in one pose, the first set of six were later labelled the “classic” Ponies for their simplicity in coloring, design and names. Subsequent Ponies were created in many different poses, including sitting, walking, trotting and rearing. For every possible horse attitude or gait, a Pony was made. The world of horses and myth were becoming more and more real. The Pony family kept expanding to include every variation a child could want for their growing stable. After the initial ponies, unicorns, and pegasi, then came babies, big brothers, friends, sisters and sea ponies. With each new set, various colors and themes were introduced. Rainbow-haired Ponies were the beginning, but soon came twinkle-eyed, fuzzy, full-body symbols, scented and even glow-in-the-dark! Now there really was a Pony for almost everyone, and collecting was running full force. As with any toy set, accessories were added to make playtime even more fun. Ponies had buildings to dance, play, live and sleep in. Outfits made beauty pagents or careers possible, for both adult Ponies and babies. Hair accessories for the Ponies were not in short supply, either, when the hair packets were produced. For the ultimate transition to fantasy play, two human dolls were created as companions to the Ponies–Megan and her younger sister Molly. Each came with her own pony, but could ride on almost any other. Collectors could pretend to be Megan, and ride and have their own Pony adventures. As with other toys in the ’80’s, My Little Pony also had special mail-in offers for unique Ponies or prizes. For an extra treat, one could join the My Little Pony Fan Club, with a membership kit including a badge, stories and games for the collector. The Club and the exclusive Ponies could only be obtained by collecting and mailing the horseshoe points on the backs of Pony packages. Suddenly, mail was eagerly anticipated! Even though it had been very successful, My Little Pony did finally experience the end of it’s popularity. After ten years, and the release of the anniversary set of Ponies, they were retired. Many young people that had grown up with them were now adults, and the younger collectors had many other toys to choose from. The beloved toys so many had cherished were now garage sale fodder and toys for the very young to play with. However, all was not lost for the Ponies. In 1997, Hasbro tried to revive the flame that never quite died. They modernized the Ponies by making them smaller, using a harder plastic and giving them unique accessories for each Pony. Once again they tried the Pony market. Unfortunately, for those that were in love with the original Ponies, these smaller and more petite second generation Ponies just didn’t fill the same space. After only two years of production in the U.S, My Little Pony was once again discontinued. Their bright colors, symbols and brushable hair just weren’t enough to overcome the dramatic body style change. Now that the Internet is firmly established and communication between collectors is no longer as costly, a silver lining has emerged for the world of My Little Pony. With worldwide access, many collectors were surprised to discover that some ponies were made only for foreign markets! Now not only were there domestic Ponies to finish collecting, there also was a whole new batch of foreign Ponies to find. In addition, with the discovery of foreign first generation Ponies came the discovery that second generation Ponies were still being made in other countries. The few U.S. collectors that did adore the littler Ponies could expand their collections from different markets. With the added boost to foreign production, the second generation Ponies may just have found a way to ensure success for several more years. Through all the changes and the childhood years of many people, My Little Pony has managed to carve out a special place in the hearts of many. It’s not easy to forget their sweet little faces, pretty names and symbols, or the hours of fun playing with them. Their demand is still great, and hopefully, through work and determination, they can be saved from extinction for the next generation. All collectors, both old and new, find obtaining only a few of these ponies very difficult. With hundreds now to choose from, it’s too easy to find several that are just too adorable to pass up. ©Copyright 1999, all text and photos (by C. Kolleth). Thanks to Kim Shriner for her use of Dream Valley for reference, and to the other “Pony People” that helped with this page through their ideas and critiques.
From the late 19th Century through to World War 1, the German factory, Wurttembergische Mettalwaren Fabrik (more commonly known as WMF) was one of the most prolific in producing stylish, evocative and elegant designs in commercial continental pewter and silver plate metal ware.