Tag: harrods
Harrods Christmas Bears
Maxwell the Harrods Chritsmas Bear 2009
Random Collecting Feature
Star Wars Revenge of the Sith Collectables
Star Wars Revenge of the Sith Collectables With the sixth Star Wars ‘Revenge of the Sith’ film opening shortly – the merchandise and associated premiums have been finding their way into shops, cereal packets and elsewhere for months. The first Star Wars film ‘A New Hope’ in 1977 was the first film to really tie in with merchandise and and many of the toys and related products from then are now worth considerable sums such as the first series of Kenner figures produced from 1977-1979 included a Jawa with plastic cape which can now fetch around $1,000 if in mint condition. It will be interesting to see if any of the new action figures, toys, comics etc will be as collectable. Pictured right is a StarWarsShop.com shared exclusive Original Double-Sided Episode III Theatrical Movie Poster Hasbro are releasing a number of action figures and toys including limited editions through certain outlets. Target will offer an exclusive Star Wars: Episode III Collector’s Case 5 pack and Toys R Us have an exclusive Anakin Skywalker Starfighter. Pictured left is the Episode III Unleashed Figures 3-Pack, Assortment 1 featuring Anakin Skywalker figure, Obi-Wan Kenobi figure and General Grievous figure. Available to all are a number of action figures that come individually and in various assortments, sets and packages. Often the Limited Editions, exclusives and less popular characters have the most potential to increase in value. Pictured right is the Episode III Deluxe Figure Assortment 1 featuring 2 Anakin Skywalker with Darth Vader tunic and armor figures, 2 Obi-Wan Kenobi with Super Battle Droid figures and 2 Emperor Palpatine changes to Darth Sidious figures. Collectors Cards, Trading Cards and Pins are always popular. The Revenge of the Sith Hobby collectors card set comprises 90 gold foil-stamped. There are a number of special chase cards randomly inserted: etched foil cards, morph lenticular cards, and a number of one-of-a-kind artist sketch cards (insertion ratio of the sketch cards are 1/36 packs). Pictured left Revenge of the Sith Hobby Collectors Cards. Pins and pin trading has become popular over the last few years especially with the growth in Disney Pin Trading. A number of pins have been produced including a number of exclusives such as the Celebration III exclusive StarWarsShop.com pin depicting the famous “Vader in Flames” banner art for the Star Wars event held in Indianapolis. Pictured right Vader in Flames exclusive StarWarsShop.com pin. Disney are pro ducing a incredible collection of Star Wars pins created for their annual Star Wars weekends. These are being released at the Tatooine Traders in the Disney-MGM Studios theme park. Star Wars Weekends 2005 will take place at the Disney-MGM Studios from May 20 through June 12, 2005. Pictured left Star Wars Weekdns Logo Pin features the logo for Star Wars Weekends 2005. Mickey Mouse is putting the finishing touches on Darth Vader’s helmet. Mickey Mouse’s hand is a pin-on-pin. Randy Noble from Disney Design Group designed the logo for this year’s celebration. Premiums normally produce some interesting toys and collectibles and for Revenge of the Sith, Burger King has the promotion. The offering varies from country to country – there are six exclusive toys in the UK (include Darth Vader™, droids R2D2™ and C3PO™, Chewbacca™, the Millennium Falcon and, of course, Yoda™!), and over 30 in the US. The US toys come in several ranges including Pull Backs, Wind Ups, Water Squirters, Plush, Image Viewers and Limited Edition 2 in 1 Darth Vader toy. Pictured above right: the UK Burger King Star Wars toys There should be enough variety to cater for even the most ardent collector and with expectations that this film is the best of the latest trilogy there appears to be more interest. I’m just off to get my Lightsabre. May the Collecting be With You!
Clarice Cliff Teddy Bear Bookends
Clarice Cliff is well known for her range of colourful pottery but she was also responsible for other items such as the Clarice Cliff Teddy Bear Bookends. The Teddy Bear bookends date from the 1930s and were sold in pairs and show a teddy bear sitting holding on to plinth with their legs in the air. The bears wear a ribbon collar and sport a fine bow. The bookends were produced in variations including differing colours of the bears, the ribbon & bows and most importantly the plinth. Patterns on plinths include Sunburst, Black Umbrella, and Blue W. A white bear and green bow are the most common set. Wedgwood re-issued the Clarice Cliff Teddy Bear bookends in a centenary limited edition of 150. The Bizarre bookends show the bears in the popular white form with green ribbon and bow. Clarice Cliff related A look at Clarice Cliff Clarice Cliff Cottage Bookends Clarice Cliff Bizarre Grotesque Masks by Ron Birks
Buttons The World’s Most Popular Collectible Secret!
You see them every day. They fasten your shirt together, hold your pants up, and maybe make a fashion statement on your new sweater. Buttons! Almost everyone has some buttons stashed away in a box or jar. They can be plain and simple, or truly elegant works of art. Due to our natural hoarding instincts, buttons find their way into nooks and crannies in our homes. It is time for them to step up and take their rightful place as a popular collectible. History of Buttons Buttons have been in use for hundreds of years. In very early times, clothing was fastened with ties or pins, but gradually toggles and buttons as we know them came to be in use. Many ancient burials have included buttons or button-like objects. In the Early and Middle Bronze Age, large buttons were primarily used to fasten cloaks. By the 13th century, buttons were widely in use, mainly as decoration. As most clothing of that time period was closed with lacing or hooks, garments didn’t use buttons as methods of closing on a regular basis until the last half of the 16th century. Most of the buttons from this time period were small, but over the next century or so they became larger and very ornate, often using precious metals and jewels. During the 17th and 18th Century, most buttons were worn by men. By the 18th century, buttons were becoming larger, and had even more elaborate designs. Buttons continued to make a fashion statement and the button-making industry hit such a high standard that the period from 1830-1850 has become known as the Golden Age. As mass production techniques progressed, and new synthetic materials were developed, the general standard declined. From 1860 on, women have been the main consumers of “novelty” buttons. A button is officially an object that can be used to fasten garments, with either a shank (usually a loop) on the back used to sew the button to the clothing, or with holes in the center to allow thread to pass through the body of the button. Design of Buttons Buttons have been made from almost every material found in nature or created by man. Metals are one of the most popular materials, including everything from iron to gold. Another popular material used in button making is mother of pearl, or shell of any kind. Bone, ivory, cloth, glass, stone, cinnabar, horn, antler, leather, papiér maché, ceramic, celluloid, Bakelite, and wood, plus any combination of these, have been used to fashion these miniature works of art. One of the most interesting and misrepresented materials used in buttons is jet. This is a naturally occurring mineral, with a carbon base. It is lightweight and fragile, so surviving examples are very hard to come by. Queen Victoria started a fashion in 1861 by wearing black jet buttons to mourn the death of her husband Albert. Since jet was such a rare and expensive mineral, black glass came to be substituted by the rest of the population for their mourning attire. Consequently, black glass buttons are still very common today, but are often mislabeled as “jet” buttons. Adding to the confusion were a number of companies that made black glass buttons and marketed them as “French Jet.” One way to test whether that black button you found is jet or glass is by giving it the floating test. Glass buttons will sink to the bottom in a glass of water, but the lightweight jet buttons will float. Fashion of Buttons Throughout the years, the decorations on buttons have reflected both the fashion and passions of the time. Nearly everything has been pictured on a button. Animals are one of the most popular subjects, along with plant life and objects like belt buckles and hats. Some buttons are shaped like the item they portray, and are known as “realistics” for their realistic appearance. Others simply had the design engraved, stamped, painted or enameled on the surface of a conventionally shaped button. Many of the antique buttons feature very detailed paintings in miniature. A rare and very unusual type of button is called a “habitat.” These have a metal back, with a dome shaped glass cap. But what makes them special is what is UNDER the glass. These buttons include dried plant and animal material, usually arranged to create a natural looking scene. Sometimes whole insects were used. Because of their age, and lack of preservation techniques used in the past, these buttons are rarely seen, and often in poor condition. A good quality habitat button will often sell for several hundred dollars. People and their many activities is another popular subject. Architectural objects like buildings, bridges and monuments also decorated many buttons. Political candidates, opera stars, and fairy tales are richly represented, and are favorites with collectors. Some buttons even portray risqué subjects. Buttons produced for George Washington’s inauguration are some of the most sought-after buttons in the United States. Uniform buttons fall into a special category all their own. Most of us automatically think of the military when we think of uniforms, but there are an amazing variety of uniforms in our society. Both Police and Fire Departments have their own buttons, often with the name of the city stamped on the front. Bus lines, airlines, shipping lines, city or state employees, hotels, railroads, banks, and even schools have their own unique buttons. A related field is Livery buttons. These buttons were worn by servants in large households, usually in England, and had the family’s coat of arms or crest on it. There are many collectibles related to buttons. It is not unusual to find a button collector that also hunts out belt buckles, cuff links and studs, buttonhooks, netsuke, or bridle rosettes. These are another way to add variety to your collection. Passion One advantage button collecting has over many other collectibles is that many of them are very reasonably priced. They can range in price from a few cents for […]
Ceramiques de Cornouaille – a modern Quimper factory
The traditional Quimper faience pottery has been created in the Brittany region since the late 17th century and the tradition continues today with the Henriot Quimper factory. Another factory located in Quimper, Ceramiques de Cornouaille, is also continuing the proud tradition of pottery creation in the region. The Ceramiques de Cornouaille was founded in 1998 by Xavier Dutertre and still mainly produce a personalised traditional Breton bowl which sells very well to the local and tourist markets. However, it is the companies new modern designs based on traditional designs and costumes which have caught our eye. These include the Costume designs by Joëlle Josselin, and the VLGM and Pays Ocean designs by Charles Cambier. Costume Design by Joëlle Josselin These decorations are creations of the painter Joëlle Josselin of the Relecq Kerhuon near Brest, specialist of the costumes paintings of Brittany she created a special range adapted to the porcelain and gave a touch of modernity to these decorations. A very personal style, a dynamic painting that represents very well the modernity of our Brittany, imbued with its tradition. A logic well adapted to the Ceramics of Cornouaille. The colourful designs have a modern approach to the traditional Breton costumes. Pays Ocean Design by Charles Gambier Le pays, on connaît tous, c’est ici bien sur, mais l’océan c’est plus loin, c’est ailleurs, l’un n’allant jamais sans l’autre ! (“The country, we all know, it is here of course, but the ocean is further, it is elsewhere, the one never going without the other!”) VLGM Design by Charles Gambier For more information visit https://www.ceramiquesdecornouaille.com
Strawberry Shortcake Dolls
Strawberry Shortcake Dolls Toy boxes suddenly started to smell delicious in 1980! Delicious fruity scents of cherry, lemon, raspberry, blueberry, lime and – most of all – strawberry filled our homes. Here was a toy we really didn’t mind buying for our children. Pictured right: Strawberry Shortcake The perfume drifted from a series of dolls, of various sizes, who inhabited the ‘World of Strawberry Shortcake’. The most popular sized doll stood five-and-a-half inches tall, was jointed at hip, shoulder and neck, and was made from a hard vinyl. All the dolls had certain characteristics which makes them easily identifiable even today, twenty years later. Their most noticeable feature was their rounded heads, which were slightly larger than they should be, giving the dolls a top-heavy appearance. They all had tiny moulded bumps for noses, and their mouths resembled the letter ‘U’. Each doll had different colour hair, which normally, though not always, gave a clue to the doll’s name. But of course, the most outstanding characteristic of all was the gorgeous perfume. The dolls were marked on the back of their heads ‘American Greetings Corps 1979′, and were made by Kenner. Each doll came with its own little blow-moulded vinyl pet, and they were sold packaged in cellophane-fronted, brightly decorated boxes. The pair cost £4.75, which was quite expensive for the time – they weren’t really pocket-money toys. Picture left: Lemon Meringue, Orange Blossomand Blueberry Muffin Originally there were twelve dolls in the set; Strawberry Shortcake with Custard Kitten, Huckleberry Pie with Pupcake Puppy, Lime Chiffon with Parfait Parrot, Butter Cookie with Jelly Bear, Raspberry Tart with Rhubarb Monkey, Orange Blossom with Marmalade Butterfly, Cherry Cuddler with Gooseberry Goose, Lemon Meringue with Frappe Frog, Blueberry Muffin with Cheesecake Mouse, Angel Cake with Souffle Skunk, Apple Dumplin’ with Tea Time Turtle and Apricot with Hopsalot Bunny. In addition, there were two slightly larger figures who were the ‘friendly foes’ – Purple Pieman with Berry Bird and Sour Grapes with Dregs Snake. All the dolls were beautifully dressed, and it is difficult today to find them complete, because the tiny garments were so easily mislaid. Socks, tights and shoes, especially, were soon lost, and around 1984 Kenner stopped including shoes with the dolls. The boxes were marked accordingly – so it could well be that if you now find a shoeless Strawberry Shortcake, she didn’t have any in the first place! Th e little socks – the ones which fit the babies are minute – are easy to recognise, as they are green and white striped. Green and white are theme colours throughout the World of Strawberry Shortcake, and crop up several times – such as on Pupcake’s ears. Later, more friends arrived – Almond Tea with Marza Panda, Crepe Suzette with Eclair Poodle, Mint Tulip with Marsh Mallard, Cafe Ole with Burrito Donkey, Plum Puddin’ with Elderberry Owl, Peach Blush with Melonie Belle Lamb and, last but not least, the twins Lem and Ada with Sugar Woofer Dog. There was also a strange, smiling pink and white dinosaur called Fig Boot. Pictured left: Strawberry Shortcake Babies Strawberry Shortcake is simple to spot. She has bright red hair, freckles, a floppy hat and a red frock topped with a white pinafore. Today, she is the most commonly found of the dolls, and the one which everyone knows. Angel Cake’s hair is white and curly, and she wears a pale green dress trimmed with white broderie anglaise and a lilac ribbon. Almond Tea has bright purple hair, a lilac trouser suit with yellow floral sleeves and a super yellow flower-shaped hat, while the bespectacled Plum Puddin’s hair is blue, and she is dressed in a pretty purple striped and spotted dress with a spotted hat. The only male doll is Huckleberry Pie, who wears a nifty plastic ‘straw’ hat, and blue dungarees with green and white striped turn-ups. The cute babies are four inches high, and include Apricot, Cherry Cuddler, Apple Dumplin’ and yellow-haired Butter Cookie who is dressed a yellow-flowered white outfit and yellow bonnet. Apple Dumplin’s hair is curly orange, and she wears a yellow romper suit with an apple motif. She also has a yellow mob-cap. Apricot wears a sweet apricot-coloured bib-fronted suit and a hat shaped like a large teacosy, while little Cherry Cuddler has a white dress trimmed with red cherries and a red mob-cap. Pictured right: Berry Baby Blueberry Muffin and Strawberry Shortcake Perhaps the most unusual of the dolls, harder to recognise as a member of Strawberry Shortcake’s world, is the Purple Pieman. Standing nine inches tall, he has a long narrow face which contrasts with the round heads of the others, moulded purple hair and eyebrows, and, most distinctive of all, an impressive purple moustache, almost three inches across! His purple trousers are moulded onto his skinny legs, and he wears a turquoise top, white apron and floppy chef’s hat. At his waist hangs a yellow ladle, and his Berry Bird clips onto his arm. Purple Pieman is cinnamon scented. The other friendly foe, Sour Grapes, is a thin lady of similar build to the Pieman, with a pointed chin and high arched eyebrows. She wears a long mauve dress decorated with grapes, and has moulded-on lime green gloves. Sour Grapes has purple hair with blue streaks, a pale lilac chiffon scarf, and she wears a pet snake around her neck. Her legs are purple! Many of the dolls were later issued wearing party outfits, which had fuller skirts than than the basic costumes and though for the most part the colouring was the same, these dresses were very pretty with lots of braid, lace and frills. Cafe Ole’s dress, for instance, was orange-patterned, with a pink bodice, white frill at the hem trimmed with pink ric-rac braid and edged with green lace. She had a matching hat. In addition, a selection of clothes were sold separately; each pack included an outfit for the doll and a matching one for the pet, and amongst […]
A Look at Andy Warhol
The 20th Century has been responsible for some of the greatest changes to the way we live our everyday lives. Fast moving technology gave us the invention of the radio at the beginning of the century to the ipod’s that we plug into today. Interior design has progressed from Formica to Ikea and ceramics from Midwinter to Moorcroft. But it is not just the products that are worthy of status, it is the talented designers that created them, without their initial vision and determination, these products would never have developed into reality and become such a huge part of the world we live in today. One of the most celebrated artists of the 20th Century was Andy Warhol. Born Andrew Warhola, in Pennsylvania USA to Czechoslovakian emigrant’s Ondrej and Julia Warhola, his date of birth still remains a bit of a mystery. Andy always claimed that his 1930s birth certificate had been forged, but we do know that he was born between 1928 and 1931. After graduating as a Batchelor of Fine Arts in 1949, Warhol shortened his name and started work as a commercial artist and illustrator for well-known publications like Vogue and Harpar’s Bazaar. Although foremost his career was as a commercial artist he was desperate to have his work taken seriously and to be seen as a “pure” artist. 1956 was a turning point in his career and already a well-established figure mixing with the elite in social circles, his fascination with fame, celebrities and youth led him into another period of his artistic life. Being obsessed with celebrities (as were most people in the 1960s) he began to paint the Hollywood screen idols. The image that is so recognisable as his work today is that of Marilyn Monroe, she was Warhol’s favourite model although he did not begin to paint her until after her death. Other Hollywood screen idols that he captured during the 1960s were Elizabeth Taylor and Elvis Presley. These paintings were so popular, celebrities endorsed them and each wanted to be painted by him. One of his most famous images is that of the Campbells Soup Tin. He saw the heavily advertised consumer images like the soup tin worthy subjects and was right to – as this particular image has become iconic, being re-produced on many products. The most well known “The Souper Dress.” Was marketed as a throwaway item. This outfit originally cost just $1.25, and featured Warhol’s soup can images which formed a huge part of the “Pop Art” culture. An extremely rare item that if you were to find one in good condition it could cost in the region of £700 to £1,200. Other commercial work produced during this period was Coke bottle tops, Brillo Soap Pads and Heinz Tomato Ketchup bottles. These commercial art images reflected the popular need for consumer mass production and Warhol’s ability to turn a mundane object into art thus ensuring his place in history as one of the founding members of the “Pop Art” culture. Over the course of his career he produced thousands of different pieces and had a team of employees who reproduced his work in his studio, which he named “The Factory”. The most common method used was silkscree n painting because his art could be reproduced time after time, turning “high art” into a form of mass production. Now anything adorning Warhol’s images is highly collected. Originals command serious money but modern day collectable items are more affordable. Most of his original works of art now sit in private collections or are on display in museums around the world. In Pittsburgh, USA is The Andy Warhol Museum, the largest American Art Museum to be dedicated to one single artists work. However, sometimes items do come up for sale. A “Little Electric Chair” pink acrylic silkscreen print sold at Christies Contemporary Art Auction in 2001. Its estimate was $430,000 to $575, 000 but it actually realised $2.3 million. There is something for everyone in the Warhol collecting world and you don’t have to spend a fortune on an original piece as there are many companies producing his products under licence. Crystal Impressions have a range of laser etched crystal blocks in their “Prestige and Special Editions” range, you can choose from Marilyn Monroe or Elvis to the commercial images of the Campbell Soup tin to a Coca Cola bottle. Prices are far more affordable than an original piece of artwork as they start at as little as £39.95 to £49.95 each. The sports clothing company, Adidas, recently produced a Superstar trainer as part of their “Expressions Series” to celebrate their 35th Anniversary. The “Andy Warhol” design, produced in a limited edition of 4,000 shoes sold out instantly. If you bought a pair now on the secondary market they would cost between £70 and £90. There is even an Andy Warhol soft doll, which sells for £15, and a stunning ‘Art Opening with Andy and Edie’ Daisy doll, which is rare, and can cost £50 upwards. If this is still a little high for your pocket then you could purchase a copy of the “Velvet Underground” album for around £15 to £20, as this “Banana” cover was another famous design. Warhol would have appreciated these interpretations of his work in modern day collectables, as he was an obsessive collector himself. Well known for frequenting the flea markets looking for bargains he was also a common face in auction houses and loved buying off of local dealers. After his sudden death in 1987 when gall bladder surgery went terribly wrong he left behind a townhouse with 30 rooms. He had only been able to live in two of the rooms because the rest were crammed full of objects that he had collected. Well known for his extensive collection of cookie jars, he also had items ranging from Tiffany Glass Lamps to a Fred Flintstone watch, celebrity autographs to his 600 time capsules, which he filled with everyday materials that reflected his life. […]
A Rather Weary Doll – Robert Tonner’s Ellowyne Wilde
Ellowyne Wilde is a doll with attitude, a world-weary doll with an unusual take on fashion. There is something about Ellowyne’s languid, lazy, rather bored approach to life which makes me smile. And many of her costumes are stunning – though what else would you expect when they are designed by American doll artist Robert Tonner, as is Ellowyne herself? The Ellowyne Wilde doll stands 16 inches high, and has 12 points of articulation. She is made of a high quality vinyl with rooted saran hair and hand-painted features, although recently a few dolls have appeared featuring inset eyes. Ellowyne wears unusual designer clothing made from top quality fabrics, and is a very pretty doll with a wistful face. She was launched in October 2006 into an unsuspecting doll community who sensed here was something different, a bit special. As her in-depth website explains, ‘Along with her unique fashion sense, she suffers from chronic ennui (a feeling of weariness and dissatisfaction – hence the therapy sessions), reads Sylvia Plath, writes poetry, believes you are what you eat so enjoys whipped cream and Nasturtiums; and lives in a stately Victorian home in San Francisco, which sits on a fault line.’ Her tongue-in-cheek website is a joy, littered with our ennui-sufferer’s poems and comments. It points out, ‘She’s ready to conquer the doll world – if only she had the energy’. Here, you can read about her in-depth therapy sessions where, ‘With boredom as her greatest foe, she wallows in a sense of woe’. Ellowyne doesn’t seem to mind that her therapy sessions are shared on her website for all to see, because ‘I’m just too tired to worry about it,’ is what she might say to critics.’ https://www.wildeimagination.com Robert Tonner, who based his creation on anime drawings, designer shoe ads, and eclectic fashion art, says, ‘She’s different from anything I’ve ever designed before. I think she speaks to everyone’s darker brooding side.’ Hmm, well, it could be dark and brooding, or it could just be that she needs a good telling off and a gentle push to get her on her feet! Whatever, Ellowyne’s costumes are stunning. The basic doll line comes wearing her underclothes, and the three available hair colours are blonde, brunette and auburn. As well as the rooted hair types, wigged versions are available, and there are numerous wigs in zany colours from green to purple and pink to plum, to give Ellowyne a totally new look (and maybe shock her from her boredom!). Dolls can be bought ready dressed, while, in addition, there is a good selection of outfits and separates to suit her in a vast range of styles, from demure to freaky. Amongst the dressed dolls, ‘Red, White and Very Blue’ is a stripy blue and white sweater dress with a matching hat, blue striped stocking and scarlet shoes and bag, while ‘I Wait Alone’ is a very pretty white lace dress trimmed with white ribbons, worn over a spotted dress. ‘I look around my house divine Old clocks, antiques, and things that shine; It seems the clocks they tick and moan A lonely song – I wait alone.’ In ‘Tarnished’ Ellowyne wears an appliqued organza tiered skirt and a knitted jacket with fabric flowers. She has sparkly stockings and ribbon tied pink shoes, while in ‘Invisible Ink’ she has a full tulle black skirt, black jacket top, white jumper, masses of jewellery and long sneaker boots. Ellowyne’s ‘Tatters’ outfit is a dusky pink shirred skirt and a ribbon woven top, with lots of hanging pieces of fabric to reflect the name. Ellowyne, though languid, has found the energy to make friends. Her best friend is Prudence Moody. Prudence has, apparently, ‘an upbeat mood, and is the bright spot in Ellowyne’s sometimes woeful life. With her undeveloped psychic sense, and her own unique fashion style, it’s no wonder she and Ellowyne are best friends’. Prudence has several outfits of her own, and she can wear Ellowyne’s things too. One of the prettiest Prudence dolls is ‘ESPecially Prudence’, who has auburn hair with pink streaks, and wears a tiered skirt, tulle underskirt, white t-shirt, plaid silk jacket, tights, knit hat, short lace-up boots and beaded jewellery, all in shades of lavender, pink and plum. Other Prudence dolls include a blonde version, called ‘C’est La Vie’, wearing a print floral dress, black shrug, boots and a large floppy beret. Prudence also indirectly gives rise to one of my favourite dolls – Ellowyne Wilde wearing ‘Prudence Dressed Me’, which has Ellowyne forsaking her frills and wispy look for a black wig, clashing multicoloured mini dress and black and white stripy sleeves and socks – completely out of her comfort zone! Recently another friend has appeared, Amber, who has apparently been Ellowyne’s ‘frienemy’ since childhood – lots of rivalry there. ‘Essential Amber-Wigged Out’ comes complete with two wigs, and a two-piece outfit. There is also a male doll, Rufus Rutter. Apparently, Rufus is the young handyman who works for Ellowyne’s grandmother, and he harbours feelings of unrequited love for Ellowyne, writing melancholy poems in the hope of winning her heart. Of course, Ellowyne is so busy being languid, that she doesn’t notice she has a suitor, especially one whose ‘heart is filled with pain’. Rufous, 17 inches tall, can be obtained in skinny black jeans, white t-shirt, button down shirt and grey hoodie, and can also be bought more smartly dressed, on his way to woo Ellowyne, in a raincoat and black trousers, carrying an umbrella, flowers and box of chocolates. As previously mentioned, outfits can be purchased separately for the Ellowyne Wilde dolls; amongst them such creations as ‘Somewhere Under the Rainbow’ (pleated skirt, gloriously patterned velvet long-sleeved top, purple tights and gold boots) and ‘She Wallows in White’, a satin outfit with a magnificent large brimmed hat, reminiscent of the 1930s. ‘Royal Blues’ is a long belted leather-look jacket and printed skirt, ‘Winter Blahs’ has a fur-lined coat, shaggy fur boots, stripy top and short skirt, […]
Designer Collecting – Yves Saint Laurent
Considered as one of the greatest fashion designers of the 20th Century, Yves Saint Laurent, sadly passed away from a brain tumour in June of 2008. The last of the traditional Parisian courtiers he was not only a celebrated fashion designer but also an artist whose legacy will live on through the luxurious garments that he created. Born as Yves Henri Donat Mathieu Saint-Laurent on 1st August 1936 in Oran, Algeria. Yves father worked as an insurance broker and his mother was fanatical about clothes which rubbed off on her young son Yves who would spend much of his youth flicking through the pages of glossy fashion magazines such as Vogue. At the age of 17 Yves travelled to Paris in order to pursue his passion for fashion. Studying at the L’Ecole de la Chambre Syndicale de la Couture in Paris, just three months into his course Yves was snapped up in 1953 after a 15 minute interview with Christian Dior. Initially Yves worked as Dior’s assistant but when Dior suddenly died of a heart attack in 1957 Yves became Chief Designer of the House of Dior at the tender age of 21. His first collection ‘Trapeze’ was revolutionary, attracting International recognition. A believer that elegance and style were the key ingredients to couture, this line sported the Trapeze dress which had narrow cut shoulders and wide swinging skirt. A welcome change to the face of couture as for years women were restricted to wearing tight fitting clothes and girdles. This inspirational collection catapulted Yves Saint Laurent into overnight stardom. Throughout his career Yves star had risen and fallen depending on his collection at the time. In 1960 Yves designed The ‘Beat Look’ for Dior, but this collection was to attract negative responses as the pale zombie faces of the models, adorned with leather suits and coats, high pullovers and knitted caps were too controversial for the fashion press. He was instantly replaced as chief designer and asked to leave the fashion house of Dior Shortly after Yves was drafted into the military service, an experience that shattered the designer as he often suffered with severe bouts of depression. Within a year he was medically discharged due to a nervous breakdown. This illness was to forever mark his career. At an early age he had been bullied because of his homosexuality and because of this he constantly suffered with both physical and mental illness through much of his life. His romantic and business partner Pierre Berge is once quoted as saying that “Saint Laurent was born with a nervous breakdown.” However, this illness was not to keep Yves from returning to his love of fashion and in 1962 he presented the first collection under his own name. This collection consisted of a double-breasted blazer with gold buttons, which was worn with white Shantung silk pants. It took 80 dressmakers and tailors working day and night in three workshops to produce however, the hard work paid off as this collection once again brought Yves Saint-Laurent’s name back into the fashion domain. In 1963 he was heavily influenced by the ‘Op Art’ movement and produced a line of clothes with this particular look and in 1965 he created the iconic ‘Mondrian’ dress. Based on a painting by Piet Mondrian this particular dress is brightly coloured against thick black lines, a signature design of Yves Saint Laurents it has become the Holy Grail for fashion collectors. By 1966 Yves collections were such a success that he opened his first Rive Gauche boutique for ready-to-wear fashions. It was during this period that he also designed the ‘Pop Art’ dress and in the boutique could be found rails of clothes inspired by the Pop Artists of the day. The ‘See Through’ looks were another inspired range at this time and again showed how revolutionary and ahead of his time Yves was with his creations. Yves also loved to use ethnic inspired designs in his garments, which is evident in his 1967 Spring/Summer “African,” “Safari” and “Carmen.” This was an example of how Yves excelled at keeping his finger on pulse by producing exciting modernist pieces combined with traditional refined French couture. Another example of his expert visionary was the famous “Smoking Jacket” Tuxedo for women. Once again, turning fashion on its head and proving that women can look just as elegant and sophisticated in a suit otherwise worn by men. In 1971 Yves posed nude for an advertisement of his new YSL aftershave and in 1977 he launched the female ‘Opium’ perfume. A provocative advertising campaign with the model Jerry Hall it encapsulated a sex, drugs and Rock-n-’Roll lifestyle. Today this is one of the most successful scents on the market and even the bottle has become collectable in its own right. The Metropolitan Museum of Art, New York in 1983 held a retrospective of his work, which was to be a great honour as this was the first ever exhibition to be held at the museum for a living designer. Dubbed ‘The Pied Piper of Fashion” Yves Saint Laurent had broken the mould, not only for the diversity of his collections but also for making high fashion accessible. Yves stunning creations also ensured that he was awarded with the Legion d’Honneur in 1985 after shows being held at the Hermitage in St. Petersburg and in Beijing. Hailed a National Treasure one of the most sensational events that Yves Saint Laurent showed at was the 1998 World Cup Final. As France became excited about their final match against Brazil Yves led 300 models onto the pitch to take centre-stage for an on field retrospective of his work. In 2002 Yves, aged 65 announced that he was retiring from fashion – a sad end of an era for those in the fashion industry. He had already sold the rights to his label to the Gucci group three years earlier and felt that it was an appropriate time to retire because in his opinion fashion was […]
New Hall Porcelain
No porcelain has been more misunderstood than that made at the New Hall factory at Shelton. It is by no means scarce, but very obvious specimens of it (on the present knowledge of its characteristics) are still sometimes ” identified ” as Lowestoft, Torksey, Wirksworth, ” cottage Bristol,” or conveniently as one of the several porcelains whose existence in notable quantities is open to doubt. Alternatively, such a porcelain as that which was made by Miles Mason, when unmarked, is often called ” New Hall,” with some excuse so far as the later ” bone paste ” of the latter factory is concerned. Just as Liverpool was once the repository, as it were, of doubtful mid eighteenth century pieces, so is New Hall, all too often, of similarly puzzling ones of the early nineteenth. The beginnings of true New Hall porcelain were prompted by the early nineteenth century policy of the Staffordshire industry of supplying to working folk the kind of ware which had formerly been made only for the wealthy and the middle classes. The Potteries had always concentrated on the making of fine earthenware, the only eighteenth century porcelain maker of note being Littler of Longton Hall. So when Champion’s patent for making hard paste ” was apparently purchased in 1781 by a company of five Staffordshire potters, something quite new was set afoot. Available evidence seems to show that production was first at Tunstall, but that a year later, owing to dispute between the partners, a move was made to the Shelton works of Hollins, War burton, & Co. The next important date is about 1801, when John Daniel joined the company. It was soon after then that the making of ” bone china,” the standard ware of the Potteries, began. It is impossible to set hard and fast dates for a sudden change over from the old Bristol paste to the new (both 1810 and 1812 have been suggested) and it is more reasonable, and probably more accurate, to suppose that both were made side by side until about 1815, after which year the bone paste only was used until the closure between 1825 and about 1830. Certainly there is reference in an 1812 catalogue to ” real china.” How can this ” real china ” be identified? Despite the fact that Champion’s patent had been bought the New Hall ware made under it is not of such good quality as fine Bristol, being more like the ” export ” Chinese as typified by “Chinese Lowestoft.” There is a similar greyness in the New Hall paste, though less pronounced, and it is seldom disfigured by the ” pits ” and firecracks that so often detract from the Oriental. Whereas the thin Chinese glaze is commonly minutely pitted, that of the English factory is uniformly thin and clear, though often ” bubbled ” inside the foot rim. Apart from the body, consideration of the decoration is usually sufficient to suggest Chinese or New Hall provenance. That upon the former, though inferior to that upon the ware intended for home use, is nevertheless marked by fine, detailed brushwork, whereas the English decoration consists for the most part of simplified, conventional, almost careless patterns. Much Chinese ” export ” ware, in deference to Western preference, carries decoration in which details are picked out in gold, but this was sparingly used at New Hall, being reserved for compara tively few patterns. Finally, much New Hall ” hard paste ” porcelain can be identified by the presence of a mark, a painted pattern number in black, brown, orange, pink, or green, sometimes pre ceded by a script capital N or the letters ” No.” Naturally enough, at first at any rate, many Bristol shapes and patterns were retained; but as time went on, in keeping with quantity produc tion, a limited range of both was decided upon, notably as regards the tea wares which appar ently comprised al most the whole output. Let us first consider the tea pots, of which four shapes are well known. (1) Vertical sides to a lobed, diamondshaped section, earshaped handle, eightsided spout, convex lid with inverted pear shaped knob pierced with a steamhole, and fit ting snugly inside a projecting, upright rim. (2) Waisted, elliptical section, ordi nary ovalsectioned spout, convex lid with flattened top, solid knob, and wide flange projecting beyond the rim, and with a steamhole at one end. (3) Vertical sides to a plain oval section, same spout as No. 2, and the same lid fitting flush inside the rim, but with the steamhole in front, midway be tween knob and rim. (4) Boatshaped body, rim flar ing high and wide and blending into the upper handle terminal, with the same lid as Nos. 2 and 3. It was the usual practice to provide each teapot with a stand, shaped to fit the section. The cream jugs correspond in shape to the pots, but two additional shapes are known. One is very common indeed, and was one of the inherited Bristol models, shaped like a helmet, and not to be confused with a similar Lowestoft form, and the other is shaped like an inverted truncated cone with a waisted neck, wide flaring lip, and thick, solid base. It should be noted that the jugs belonging to the lobed teapots often have downward tapering, instead of vertical sides. Generally speaking, decoration followed on the same lines throughout the life of the factory, always with emphasis on sim plicity. Apparently there was little attempt at novelty, although a patent was taken out in 1810 by Peter Warburton for printed decoration in gold, in a style somewhat reminiscent of Spode work. This lone experiment in transfer printing (for it is surpris¬ing that greater use was not made of a process which has always offered such a quick, easy aid to cheap production) resulted in some attractive engravings of scenery and rustic life in purple as well as in gold, which on the later New […]
Raggedy Ann Dolls the original storybook doll
Raggedy Ann Dolls by Sue Brewer @bunnypussflunge Raggedy Ann Dolls are one of the great American classic dolls. Instantly recognisable with her beaming smile, red triangular nose and round black eyes, Raggedy was originally a storybook doll. Unlike the majority of dolls which are devised purely for commercial reasons, Raggedy Ann was created for the nicest reason of all – she was created through love. Her creator was an artist and storyteller called Johnny Gruelle, who told the tales and drew the delightful pictures to entertain his small daughter when she was ill – or so the story goes. However, the anecdotes woven around the creation of this charismatic doll have become embellished, contradicted and disputed over the years, so no-body really knows for certain. Johnny’s small daughter was named Marcella, and one anecdote has it that while she was playing in the attic she discovered an old cloth doll with a faded face, which had belonged to her grandmother. Her father drew a new face onto the doll, and it was she who became immortalised as Raggedy Ann. Marcella was enchanted, and from then on, Raggedy Ann became her constant companion, inspiring her father to tell stories to the little girl about her doll. Tragically, Marcella died when she was still quite young from a smallpox vaccination which became infected, and it was then that Johnny took the decision to publish the stories which she had loved, for other children to share – it was his tribute to his daughter. He patented and trademarked the Raggedy Ann design in 1915. Over the years, numerous editions of the books have appeared, though they have never been as popular in Britain as they are in the United States. Other characters have been introduced too, perhaps the most famous being her brother Raggedy Andy, Beloved Belindy, Uncle Clem and the gloriously-named ‘Camel With Wrinkled Knees.’ The stories tell how Raggedy Ann, a sweet kindly doll – because she has a candy heart – comes to life when humans aren’t around, and has great adventures with her brother, Andy. First in the series was ‘Raggedy Ann Stories’, which was published in 1918 by the P. F. Volland company, who later followed up the success with a character Raggedy Ann doll. The rest is history. More stories followed; Raggedy Ann’s Magical Wishes, The Paper Dragon, Raggedy Ann in the Deep Deep Woods and Raggedy Ann and the Left-Handed Safety Pin amongst many, many others. Raggedy Ann dolls have been made for almost as long as the books have been published. Apparently Johnny Gruelle persuaded his family to make some cloth dolls to accompany the earliest of the books, maybe for shop display purposes, we can’t be sure now. One delightful rumour said that each doll was given a candy heart which read ‘I Love You’, just as Raggedy Ann has in the story books. So far, this hasn’t be proved – old dolls don’t seem to contain any remnants of candy, though it is a charming idea. Many people, especially in America, concentrate on Raggedy Ann and Andy, forming immense collections of dolls and other memorabilia. The dolls have been made by manufacturers such as Volland, Knickerbocker, Russ, Playskool and Dakin. One hangtag reads, ‘These stories – infused with a father’s pure, simple love – became immortal.’ The early Raggedy Ann dolls often had brown hair, and less of a caricature face than later Raggedy Anns. Volland dolls were made during the 1920s and 30s, and many are highly prized, while even those from some of the later companies, Knickerbocker for instance, are increasing in price, especially in America where Raggedy Ann is one of the most famous character dolls. In Britain, she is much less-widely known, and frequently gets muddled with the ‘Orphan Annie’ character who later became the star of a musical and movie. Raggedy Ann is often dressed in a pinafore worn over a cotton print frock and stripy red stockings. Perhaps the most expensive of the early dolls, occasionally found today, is Beloved Belindy, a plump black doll wearing a headscarf. She appeals not only to Raggedy Ann enthusiasts but to the collectors of black dolls as well. Recently, R. John Wright, the famous creator of exquisite felt toys and dolls, produced a beautiful version of the young Marcella, holding her Raggedy Ann. Standing 17 inches high, the little girl has a pensive expression, and is dressed in a yellow print dress and straw bonnet, which is tied with a wide blue ribbon. She clutches her beloved Raggedy Ann. R. John Wright has also created particularly jaunty versions of both Raggedy Ann and Andy, 17 inches high, made from pure wool felt. He maintains that they are the most authentic Raggedy Ann & Andy dolls ever made. As Raggedy Ann is such a traditional character, and, being a rag doll, is relatively easy to make, thousands of home-made copies have appeared over the years, some of them excellent, others very basic. Beware when you are buying a doll which you haven‘t examined, especially if buying from ebay, because it is all too easy to be fobbed off with a copy. Having said that, many collectors are happy with the copies too, feeling that they are all part of Raggedy Ann’s history. A special museum devoted to Raggedy Ann Dolls opened in 1999 in Arcola, Illinois. Called The Johnny Gruelle Raggedy Ann & Andy Museum, it is the only officially licensed Raggedy Ann & Andy museum in the world. The museum also sells dolls, books and memorabilia. And in 2005, Raggedy Ann celebrated her 90th anniversary, prompting several companies to produce commemorative versions of the doll. Johnny Gruelle, who died in 1938, eventually became known as ‘The Raggedy Ann Man’ – he would no doubt be astounded could he know that his sweet creation was still widely collected and very much loved today. Raggedy Ann Dolls values and Raggedy Ann Dolls price guide Realised prices at auction give a reflective price […]