Tag: doulton lambeth
Doulton Lambeth Kookaburra Stoneware Pin Tray
Hannah Barlow and Doulton Lambeth
Random Collecting Feature
Doll Decades 1910 -1919: Bolsheviks, Battles And Brassieres
A decade of tragedy; in the space of a few short years, almost ten million young men died on the battlefields of Europe, with 200,000 losing their lives on the fields of Flanders. Yet it was also a decade of triumph and creativity. Pictured right: Ernst Heubach 1910 bisque When King Edward VIII died in 1910, he was succeeded by his son George V and his wife. George’s elder brother had died of pneumonia in 1891, and so George not only took over as heir to the throne, he also appropriated his brother’s fiancée, Princess Victoria Mary of Teck. It seems to have been a happy marriage and by the time they were crowned in Westminster Abbey in 1911, they had six children, amongst them the future George VI, father of our present Queen Elizabeth. George V and Queen Mary (as she was now known) reigned for twenty-six years. Not long after Edward died, the skies were illuminated by a bright light when Halley’s comet made a spectacular reappearance. At one point the earth actually passed through its tail, causing the press to weave sensational tales of cyanide poisoning as the tail contained a poisonous gas. Naturally, it was a false alarm, though some people maintained it was a bad omen, nodding with satisfaction a few years later after two major disasters of the decade – the ‘Great War’ and the sinking of HMS Titanic – seemed to have proved them right. HMS Titanic was launched with great ceremony on 1911, but just a year later struck an iceberg on her maiden voyage and sunk with a loss of 1502 lives. Pictured left: Vectis Effanbee Miss Coquette 1912 During the earliest years of the decade, beautiful German dolls filled the toy shops. Manufacturers such as Simon & Halbig, Schoenau & Hoffmeister, Heubach and Armand Marseille produced vast numbers of bisque china dolls, often finely painted and exquisitely dressed. The Germans had cornered the market at this time, their faster production methods and flair for business gradually squeezing out the French dolls, but when the war started, there were importation restrictions on their goods, including dolls and toys, which meant British and ‘friendly’ countries needed to fill the breach. Pictured right: Vectis WW1 AM Sailor with medals Half-dolls were beginning to be popular during this decade, often referred to as ‘tea-cosy dolls’ or ‘pin cushion dolls’. Some of them were very delicate, made by famous porcelain manufacturers, and they topped items such as cakes, brushes, pin cushions, powder puffs and tea-cosies. In 1913 Mary Phelps Jacob, an American socialite, constructed the first brassiere from two silk hankies and some ribbon, to wear under a sheer evening gown. At last women could discard their restricting whale-boned corsets (though not without a fight by many shocked ladies). That same year, the zip fastener appeared, honed to perfection from a much earlier invention, as well as the crossword puzzle, which at last gave people something to do during their coffee break. And in 1915 a character was dreamed up by Johnny Gruelle, who would bring pleasure to generations of children – Raggedy Ann. Pictured left: Japanese Bisque Doll 1910 The assassination of the Austrian Archduke Ferdinand and his pregnant wife in Sarajevo 1914 was the trigger for hostilities to start. Young men rushed to sign up to fight, all believing it would be a bit of ‘harmless sport’ and be over by Christmas. It wasn’t, of course, and as those fresh-faced youths faced the horrors of the war trenches, their women folk back home had to take over the mens’ jobs in factories, banks, farms and businesses. They were also marshalled to act as auxiliary workers in the armed forces, so freeing the men-folk to fight at the front. The majority of the women had never worked before, and this was an unknown freedom. Not long after the end of the war, women over thirty were given the vote for which the suffragette movement had long been campaigning. The gap in the market due to the hostilities with Germany was swiftly filled by Japan who sent bisque and celluloid dolls to Britain. The majority of these dolls were crudely made of a coarse white bisque. Many little girls enjoyed assembling collections of the smaller dolls which were sold cheaply in toyshops and newsagents. Sometimes the dolls were made completely of bisque, but often their bodies were cloth. These unsophisticated Japanese dolls have a charm of their own, though some of their dolls were very fine and beautifully painted. Pictured right: Deans Rag Dolls Various patriotic dolls, often made from cloth, appeared during the war years, dressed in uniforms such as a ‘Tommy Atkins’ figure to represent a soldier. Sometimes a mother would dress a bisque doll for her child in a replica of her father’s uniform, as a reminder while Dad was fighting at the front. Britain tried to emulate the unavailable bisque German beauties but with little success, with manufacturers such as Goss making various china-headed dolls. Goss dolls were quite pricey, and once the war ended and German dolls were imported again, Goss ceased production. In 1917, the Russian Revolution had led to the abdication of the Tsar, Nicholas II. Refused refuge in Britain, he was murdered by the Bolsheviks six months later, along with his wife and children, as symbols of the old Russia. Over the years, several women have claimed to be Anastasia, the youngest child, who was rumoured to have survived the shooting. Other notable events included the invention of traffic lights in 1911 and parachutes in 1912. In 1919 speedy breakfasts were achieved by the creation of the pop-up toaster. Three years before, the first Women’s Institute in Britain was established in North Wales, while young girls were able to emulate their Boy Scout brothers in 1910 when the Girl Guides’ Association was founded by Sir Robert Baden-Powell. Six years later, he completed the hat-trick by founding the Cubs for younger boys. All in all, this was […]
Louis Comfort Tiffany and Tiffany Favrile Glass
The most famous American name in the history of art glass is Louis Comfort Tiffany (1848-1933), the first and the greatest of his nation to make an original and lasting contribution to the art of glass making.
Collectible Glass Chocolates that Last a Lifetime
From their home studio tucked away on the rural coast of northern California, a pair of sisters create works of art that look good enough to eat. Dinah and Patty Hulet have created stunning art glass that you’ll find in museums, galleries, and the finest gift shops in the world. Both went through college and pursued meaningful careers. While working as a librarian for a chemical company, Dinah found inspiration in the creations of the scientific glassblowers and it wasn’t long before both sisters were fully entranced with the captivating medium of glass art. By the mid-1980s, the sisters created Hulet Glass. They sold their works at local art and wine festivals with plenty of success, but they both felt it best to move to a rural portion of northern California to put their sole focus on creating their art and marketing to galleries and high-end gift shops across the country. Looking at their works, it’s amazing to discover that they are both self-taught in the field of glass art. Dinah excels at lampworking torch methods while Patty’s artistic focus involves the kiln with fusing, casting and pate de verre. What started as a hobby for both women became a full-blown career in art glass. Hulet Glass is now known around the world for upstanding quality and impeccable craftsmanship. Dinah’s portrait murrine have been exhibited in places like the Getty Museum in Los Angeles and the Corning Museum of Glass in Corning, New York. Patty’s pate de verre was represented at SOFA. After years of experience in glass art, they’ve lectured to aspiring glass artists, taught their techniques locally, nationally, and internationally, and Dinah is a past board member of the Glass Art Society. In addition to these accomplishments, the sisters have found the perfect recipe for success in the form of art glass chocolates. Under the name Hulet Glass Confections, Dinah and Patty began creating these delectably-designed art glass treats in 2005. Lavish details make each piece look good enough to eat, perfectly mimicking the look of gourmet chocolates, petit fours, tartlets, cupcakes, chocolate drops, and other delightful treats. The truly astounding embellishments include art glass chocolates topped with nuts that look so real you might attempt to taste them. When they displayed the glass chocolates at the Buyer’s Market of American Crafts in Philadelphia in 2007, buyers responded in a frenzy. Since then, the Hulet sisters have continued to create their art glass chocolates for collectors in the US and around the world. Each piece is crafted by the sisters only. They take great pride in ensuring the precision and quality their glass art brand is known for. A display of gorgeous chocolates adds a touch of class to any room, a symbol of both romance and opulence. As we eat with our eyes, the sight of stunningly-detailed chocolates evokes memories of innocence, love and happy times. Collectors will go out of their way to find a unique piece to add to their Hulet Chocolate collection. Many times when one friend or relative starts collecting, others in their close circle begin to do so as well, creating a partner to assist in tracking down that perfect piece. One look at Hulet Glass Confections and you’ll be amazed these pieces aren’t real gourmet treats. The sisters continue to craft them, coming up with new designs every year to tempt collectors to add to their growing collections. The sisters also devise decorative boxes for their art glass treats, making them the perfect vessel to commemorate special occasions like weddings, anniversaries, birthdays and more. The creations they make are the ideal special gift for anyone that wants to give something unique. The Hulet sisters’ Chocolate Drop is a beautiful piece that can be used as a necklace or ornament and given for holidays like Mother’s Day, Valentine’s Day, or as a sweet treat for teachers at the end of the year. For more details on these great creations visit Hulet Glass Chocolates
Lenci and Art Deco Ceramics
When it comes to design innovation, in my opinion the Italians have always gotten it right. Now this may be a piece of hand blown glass created on the Island of Murano, or a fashion garment that resembles a work of art rather than an everyday outfit. However, for me, the pinnacle was when I recently discovered the Art Deco ceramic offerings from the Italian Lenci factory. Renowned for their beautiful felt dolls which can realise hundreds of pounds from collectors, the Lenci ceramic figurines are also speedily gaining in popularity, thus finally commanding the reputation and respect that is so deserved. Although very little information is available about the Lenci factory, we are aware that it was established on 23rd April 1919 in Turin by Elena (Helen) Konig and Enrico Scavini. We are also know that the factories name ‘Lenci’ is an acronym from the Latin motto ‘Ludus Est Nobis Constanter Industria’ which translated means ‘Play is our constant work.’ Although some believe that Lenci was actually an Italianism of Elena’s pet name ‘Helenchen’ which her friends gave her whilst she lived in Germany. This explanation could also be the reason why Elena adopted the nickname ‘Madam Lenci’ by those who worked at the factory. However, in my mind it does not really matter where the name originated from as it is the actual products that Lenci created which are of far greater importance. In the first instance, the factory began with the production of felt dolls and decorative objects for the children. These dolls were meticulously executed as each was delicately hand painted and possessed a sense of refinement and sophistication rather than being every day playthings for children. The public adored the dolls and they were exhibited all over Europe starting with Zurich, then Paris, Rome and Milan. Even Mussolini congratulated Elena on her doll creations when they were on show at the Monza Biennial Exhibition and the famous entertainer Josephine Baker also fell in love with the dolls, so in return Elena created a special one in 1926 as a portrayal of the star. However, sadly with any production that gains great success and esteem there is the worry that other factories will jump on the bandwagon and create cheaper imitations. This is exactly what happened with the Lenci dolls. The cheaper competition was to be the cause of great financial troubles for Lenci and even though Elena had the opportunity to move production to Japan in order to keep the manufacturing costs down, she refused, and remained insistent that production should stay in Turin. In order for Elena to keep her company alive she made the wise decision to begin production in ceramic figurines. Ceramic production began in 1928 under the original founder’s guidance as Elena had already trained as a designer at Art School before her ma rriage to Enrico. Responsible for designing many of the ceramic pieces herself, Elena did however collaborate with the many other talented and skilled designers which were employed by Lenci such as Sandro Vacchetti, Giovanni Grande, Essevi and Jacobi. Together they worked on many different elements of design and created various ranges; although Elena’s remarkable talent ensured that she instilled the same sense of playfulness into each piece that was already evident in the Lenci doll designs. The ceramic figurines also carried much of the fashionable Art Deco style along with the individual designers own personal distinctive traits. Nudity had become extremely popular during the late 1920’s and 1930’s with the celebration of the female form and so Elena’s “Nudino” range was well received by the public. Supposedly modelled on herself, Elena and the other designers would incorporate the nude in various poses, although the nude girl would always carry the same boyish figural form of a typical 1920’s/1930’s woman. These particular nude designs have become highly regarded with collectors and can achieve thousands of pounds when sold at auction. Recently a nude figurine of a lady wearing a black & white chequered cap with a dog sitting at her knees dating to 1925 realised £1,600 at Bonhams, whilst a1930’s Elena Konig Scavini nude kneeling and wearing only a floppy sun hat sold for £1,000. Lenci frequently used the model of a nude girl on many designs with one of the most well known being that of a young woman either kneeling or sitting on the back of a Hippo or an elephant. Only last year I was fortunate enough in my capacity as an Auction Valuer to discover three rare Lenci pieces at a lady’s house in Essex with one of them being the ‘Nudino Su Ippopotamo’ (Nude on Hippo.) When sold under the hammer it achieved an astonishing £4,600 whilst one of the other pieces ‘Nude in Pond’ depicting a lady bathing in the water with geese and ducks made £1,900. However, the highest recorded auction price for one of Lenci’s nude figurines was achieved for the polychrome figure ‘Abissina’ which was designed by Sandro Vacchetti. This piece realised a staggering £38,400 when sold at Christies in 2005. Aside from the popular nude figurines many other clothed varieties were also produced in the Art Deco style nearly all of which were female figural pieces. “Day Dreaming” a figurine of a fully clothed young girl relaxing in an armchair was created in various colourways and the version depicting a lady wearing a red and white polka dot dress was the third piece that I discovered at the Essex home. When sold at Stacey’s Auctioneers it made a fantastic price of £3,600, proving that even those that are not scantily clad can still achieve remarkable prices. Throughout the 1930’s Lenci were prolific in producing many varied ceramic designs which mainly consisted of figural and animal subjects. The majority still held the Art Deco stylistic traits such as the lady standing on top of the Art Deco building although some such as ‘Angelita alla Corrida’ a pottery figure of a Spanish Dancer and ‘Testa Paesanella’ a bust of a […]
A Look at Nailsea Glass
Nailsea glass was originally an inexpensive means of introducing radiant colour into farmhouse and cottage. This was because the basic glass was pale green bottle-glass or, from about 1815, crown glass. Such glass was not subject to the excise tax of sixpence per pound levied on flint-glass. Colourful curios in many shades of blue, green, amber and red, which might be flecked, mottled or striped, were made not only at Nailsea in Somerset but by the glassmen of Sunderland, Newcastle, Stourbridge, Wrockwardine Wood in Shropshire, Alloa in Scotland and elsewhere.
Rookwood Pottery and Maria Longworth Nichols Storer
Maria Longworth Nichols Storer founded Rookwood Pottery in 1880 as a way to market her hobby – the painting of blank tableware.
Collecting Horse Brasses
Collecting Horse Brasses. The use of horse brass dates back to the pre-Roman period with a complete set of horse trappings with amulets, found in North Africa in 1932. Although the early forms were mostly made of bronze, some have been discovered made of silver, or gold inlaid and inset with semi-precious stones, those of brass belong to a much more recent period. Just when these brass ornaments began is a matter of conjecture, but it is recognised that they are more or less replicas of trappings that were used in pagan times, before the Christian era. Pictured left: A Collection of Victorian and Later Horse Brasses – Late 19th and Early 20th Century – Comprising one large leather strap with a crowned ‘W’ brass above a column of four single brasses; one long strap with four brasses; four small straps with brass studs and single pendant brasses; eight brasses mounted on leather backings; thirty two loose brasses including an 1882 ploughing prize brass and an 1887 jubilee brass; three swing brass finials, two loose buttons and a leather purse. Sold for £625 at Christies, London , January 2009. Brass was not made in England until the reign of Queen Elizabeth the First, and brass casting which was introduced in the seventeenth century, was not utilised for small objects until a hundred years later. The early hammered pendants of the seventeenth and eighteenth centuries are so rare, that they are highly prized. Horse brasses therefore came into general use about the time of the Napoleonic wars, and were prominently displayed on state occasions, and at festivals, fairs and other happenings of English life. In the coastal areas and Scotland, brasses were often made of nickel as the salt air affected the brass. Pictured right: A Collection of Horse Brasses 19th/20th century – Including examples depicting animals, the coronation of George V and Elizabeth II, together with eleven books relating to collecting horse brasses. Sold for £120 at Christis, London, December 2006. Silver was also used in the manufacture of the “brasses” and used mainly by the wealthy to display family crests or initials. Later horse brasses were cast in moulds or stamping from a sheet of brass. Casting was the earlier method and the studs or getts were used to remove the finished piece from the mould and then attach to the leather or file down. Often the cast brasses have the remains of these getts still showing. Many reproduction brasses also have the impressions of the old studs as an integral part of their manufacture. Pictured left: A quantity of horse brass face-pieces and mounted leather martingales, late 19th or early 20th century comprising; various pierced designs some commemorating Queen Victoria’s 1897 Jubliee and Edward VII’s coronation, other emblems including the geometic sun, crescent moon, the prancing horse, the Prince of Wales feathers, elephant and castle; a quantity of flyterret’s and saddle flyer’s; a selection of brass mounted leather martingale’s and other leather straps. Sold for £823 at Christies, London, July 2003. Horse brasses were used for both decoration and for protection for the horses. Horses were very important and their owners believed that the early amulet designs of the brasses kept evil spirits from harming the horses who were unable to protect themselves. The earliest designs were symbols and shapes which had specific meanings to ward off the evil and to bring good luck. Tradition has it that the ancient Greeks and Romans considered the crescent moon as a sign of good luck. From this belief thousands of horse trappings have borne this device. The sun god whose countenance was revered and held in awe by the ancient Persians who often sacrificed a horse in its honour, was most popular as a symbol. Many of the oldest horse brasses depict the stars, after the manner and belief of the Three Wise Men, who relied on one for guidance. Others include mythological motifs including the sacred lotus and the lyre of Apollo. Pictured right: A Group Of Twenty-Two English Horse Brasses, late 19th/early 20th century, of various shapes and sizes now mounted in a giltwood frame – frame: 18in. (45cm.) high, 63in. (160cm.) wide (22). Sold for $1,673 at Christies, New York, October 2003. British horse brass designs included: bull’s head with horns, and the horse, either rampant or passant on the Saxon banner. Clubs, hearts, diamonds and spades in their turn have all been made use of on brasses. Only occasionally are seen brasses in the shape of crosses unless they are of modern make. Any old pendants bearing this Christian sign are presumed to have survived from the days of the Canterbury pilgrims. Later the brasses began to portray more obvious designs and represent current subjects and events, often grouped together on leather straps to tell a “story” about the owner or his trade. Pictured left: A large collection of horse brasses – length of longest strap 20in. Sold for $183 at Bonhams, Los Angelese, Feb, 2010. Farmers would have agricultural objects like a tree, an owl or barnyard fowl. Some brasses would illustrate, the marks if various trades, when churns, barrels and even a railway engine would be rep-resented. It should be realised, however, that there is a subtle difference between old brasses and those of today. Early types were worked by craftsmen who used solid plate and faithfully reproduced exact replicas of horse brasses which had been used from time immemorial, and rarely did they deviate from the traditional designs. Pictured right: A quantity of 19th and 20th century brass horse brasses to include RSPCA merit brasses from 1927, 28, 29 & 33, a London Cart Horse Parade brass 1907 and assorted others. Sold for £192 at Bonhams, February 2008. Horse brasses have often been employed to indicate the calling of the owner. On farms of titled gentry, this fact would be shown by brasses bearing the family crest or some heraldic device such as a bear, lion, unicorn or elephant; in hunting circles the stag, fox or hound would be appropriate. The demand for horse brasses parallels the use of the […]
Collecting Elvis Presley Memorabilia
Elvis Aaron Presley was born on January 8, 1935 in Tupelo, Mississippi. He died aged 42 on August 16, 1977 but during his short life and since his death he has become one of the most well known cultural icons of modern times.
Doll collecting – How Do You Begin?
Recently, a friend said, ‘I’d like to collect dolls. But there are lots of different kinds. How do I start and what are the best to buy?’ This really had me thinking; it’s a difficult query to reply to as there’s no easy answer. The first thing to establish is why my friend wants to collect – if it’s for investment purposes, my reply will be, “Don’t!” That isn’t to say there is no money to be made in the doll collecting world – a lady I know must be rubbing her hands with glee at the moment having just sold a mint in box Pedigree doll (which originally cost £5) for over £650! While anyone who still owns their childhood Blythe doll could, with a bit of luck, be sitting on a nice little earner of £500 upwards. I’m sure that if you ask Kathy Martin which bears to collect, Mark Hill which glass to collect or Tracy Martin which handbags to collect, they will all tell you the same – “Buy those which you really love (as long as you can afford them!).” There is no point in buying items which you dislike purely because they might possibly rise in value in ten years time – after all, you have to live with them until then. If you invest in an ultra rare, mint, perfect doll, but it happens to be one of those types which scares you even before you placed your bid, well, yes, you might possibly make a profit in a few years – but in the meantime, you’ll have turned into a nervous wreck, with the doll haunting your dreams and scaring all your friends away! Stick with what appeals to you, and you’ll be fine. What if you decide you want to collect the kind of dolls you like, but the trouble is, you like them all? Well, firstly, welcome to the club, most doll collectors face this exact dilemma! Sometimes you can narrow it down a bit. Maybe, fashion is your thing and the new fashion dolls, especially those by the American designers such as Tonner, will fit the bill. There are many ranges of exquisite dolls to choose from, whether you decide to go for the 1940s look as worn by Mel Odom’s Gene, 1950s chic encapsulated in such dolls as Tonner’s Kitty Collier, 1960s zany styles as demonstrated by the new Doug James range of Gabby and Violet teens, or ballet and theatrical glamour found in the stunning range by Clea Bella. All of these dolls are worth checking out by fashion fans. If, however, your fashion tastes are more simple, then you might prefer to begin your collection by seeking out old Sindy, Barbie, Daisy, Tressy and Tammy dolls. All of these have their fans, and it is still relatively easy to pick up good examples without laying out too much money – a Sindy, for example, in her original Weekenders outfit, or a Quant Daisy wearing her trendy Bees Knees get-up, can be bought for the price of a meal out. Barbie and Sindy are still being made, so you could add some you really like to your collection just by popping along to your local toy shop. Maybe, though, it’s the older dolls which really appeal to you – it must be said that some of the bisque dolls from the 1920s and before are stunningly beautiful, with large glass eyes, creamy smooth porcelain cheeks and rosebud mouths. To me, it is a really special feeling to hold one of these old dolls, to imagine the children who played with her and the history they witnessed, a nd, especially, to marvel at the way a china doll which has been loved and played with by generations of children, can still be so fresh and perfect. Antique dolls are often expensive – yet, some modern dolls can cost just as much, if not more. If you are hoping to collect antique dolls, now is a very good time to buy. At present, many of the more commonly-found old dolls have dropped in price, possibly due to an influx on the market as elderly owners decide to part with their possessions; look out for makers such as Armand Marseille, Ernst Heubach, Simon & Halbig and Schoenau & Hoffmeister, all of whom made delightful and popular dolls. At present it is possible to buy a reasonable antique doll in good condition for around £150 from a dealer or fair. I would never recommend that you buy any antique doll without inspecting it first, unless the seller is someone known to you who you trust implicitly. When you find an antique doll which you really love, ask the seller if there are any cracks, including hairlines, chips or other damage (normally this should have already been noted on the tag attached to the doll). Check to see whether the wig is original (a replacement isn’t necessarily a problem, as long as it isn’t a modern nylon wig), and ask if you can remove some of the clothing to check the condition of the body. Sometimes you will find there are scuffed toes or missing fingers; most collectors are not overly concerned with minor play damage such as this, and some will accept a hairline crack if it doesn’t detract from the doll’s beauty. Antique dolls aren’t always made from china, there are some very beautiful wax dolls about. Many people dislike wax dolls as they find the wax likeness to human skin rather creepy for comfort, while often the faces tend to craze which can give them a sinister air. Anther reason they are out of favour is because they can dry out in modern centrally-heated homes. Nevertheless, wax dolls can be very pretty, and often not particularly expensive. With a little care, they can make an excellent and interesting collection, as can celluloid dolls, which, though prone to dents, and which, being inflammable, mustn’t be put near a naked […]
Collecting the Escape from Colditz board game
Originally released in 1973 this highly competitive, strategy card and dice driven board game can be found as a newer version almost fifty years on. However, there is still a market for the first edition. Set during the real-life eponymous daring escape from Colditz prison, one player takes the role of a German security officer, and the other players will play the Allied prisoners looking to escape. Fascinatingly, the game was inspired and co-created by Major P.R. Reid who was one of the few British soldiers to successfully escape from Colditz Prison during the Second World War. Although used, original 1973 copies of the game printed by Gibson Games of London can still sell for around £40 and is considered highly collectible. A newer version was produced by Osprey Games for those interested in playing this classic game and sells new for around the same price as the original. So you could always sell your old copy and invest in the shiny reprinted version. Otherwise, those who are nostalgic for this classic game can easily pick one up on the secondhand market. Action Man Escape from Colditz This set is very collectable and if you are able to find a set in perfect condition and complete it will sell for over £500 / $700. Even empty boxes in very good condition can sell for £80 / $110. The Action Man Escape from Colditz Set was released in 1974 was part of a range built upon the success of the BBC TV Colditz series and the popularity of Action Man at the time. The Escape from Colditz box set included the uniforms of the Escape Officer and a German Sentry – basically a paired down German Stormtrooper, along with detailed Colditz accessories, including a self- assembly German cardboard sentry box with barrier, and forged escape papers. The set was also released in a 40th Anniversary Edition. This set has a secondary market estimate of £150-£250 / $225-$375 Escape from Colditz board game feature by Rob Edmonds.