Tag: lomonosov porcelain
Random Collecting Feature
Paddington Bear at 50
Unlike us, bears have discovered the enviable secret of eternal youth. An eighty-eight-year-old Rupert? Ridiculous! A seventy-eight-year-old Mary Plain? Unthinkable! An eighty-eight-year-old Pooh? Preposterous. And as for a fifty-year-old Paddington – you must be joking! How can a bear who creates mischief and mayhem wherever he goes – admittedly a bear whose sole aim in life is to be helpful and polite, but who is unfortunately accident prone, impulsive and always in deep trouble – be well on the way to collecting his bus pass? Bears always find an age with which they are comfortable and stick to it. So, believe it or not, Paddington really does celebrate his fiftieth birthday this year. Pictured left: Paddington Bear by Gabrielle No doubt he will be hosting a party with an iced cake cooked by Mrs Bird, buns and cocoa donated by Mr Gruber, and a ‘here’s one I made earlier’ wobbly jelly from the Blue Peter team. (For many years, Paddington was a regular in the Blue Peter studio.) Of course, there will be a huge pile of sandwiches too, but the vital question is, will they be filled with marmalade – or Marmite? Up until recently, the choice of filling would have been a forgone conclusion, but suddenly our loveable bear has developed a taste for the sticky brown stuff. Of course, he still loves marmalade very much. In fact, when Paddington was first approached by the advertising company he exclaimed, “But I always have marmalade in my sandwiches!” The agency explained, “That’s exactly why we think you would be perfect for the campaign. We want people who normally have something different in their sandwiches to try Marmite.” Pictured right: Paddington Bear with Marmalade Hidden Treasures from Arora Design – each figurine has a secret compartment containing a hidden treasure. So, rather tentatively, Paddington took a sniff, and then a nibble, and finally a big bite. He discovered that he enjoyed Marmite very much indeed, and though it could never really replace his beloved marmalade, it certainly made a jolly acceptable change. The pigeons and the ducks are not too sure, though, as can be seen in the adverts. Michael Bond is not too sure, either, and in a letter to The Times wrote, “Paddington likes his food and tries anything, but he would certainly never be weaned off marmalade”, saying that Paddington’s characteristics are “set in stone and you shouldn’t change them.” In the past he has always tried to avoid any hint of commercialising Paddington Bear, so he added darkly, “Now there’s no going back.” What actually is Marmite? Well, it’s a spread made from yeast extract, vegetable extract, salt and various spices and, as the adverts proclaim, ‘You either love it or hate it’. You certainly can’t be indifferent to that tangy, tongue numbing taste. Although Paddington has been weaned off the marmalade for a while to promote the new, squeezy Marmite, I’m sure it won’t be long before he reverts to his favourite marmalade chunks. A marmalade-free Paddington is about as unthinkable as a Paddington who has lost his duffel coat and floppy hat. When Michael Bond found a small toy teddy bear on a shelf in a London Store on Christmas Eve 1956, he decided to buy it as a present for his wife. He called the bear Paddington. Just for fun, he wrote some stories revolving around the bear, and after a few days realised he had a book on his hands. However, he admits that while he was writing he didn’t consciously set out to write a children’s book – which is good, because, as all Paddington enthusiasts know, the books are far too special to be the sole prerogative of youngsters. Eventually, the book was placed with William Collins and Sons (now HarperCollins), and illustrator Peggy Fortnum was commissioned to produce the delightful sketches which complemented the stories so well. ‘A Bear Called Paddington’ was published in 1958, and as we all know, the rest is history. Amazingly, the Paddington series of books have sold over thirty million copies world wide and have been translated into thirty languages. Pictured left: Paddington Bear by Steiff As the birthday bear’s big day approaches, as well as planning his party shopping list and putting both Marmite and marmalade at the top of it, how else will Paddington be celebrating? For starters, he will be starring in a new book, the first Michael Bond Paddington Bear book to be published for thirty years. Rumour has it that a mysterious stranger will cause Paddington to reflect where home really is – surely he won’t forsake 32 Windsor Gardens and return to darkest Peru? ‘Paddington Here and Now’ will be published in June, while in October, to commemorate the publication of that very first book, HarperCollins will issue a special anniversary edition of ‘A Bear Called Paddington’. And there’s more – in March, as part of World Book Day, a £1 read, ‘Paddington Rules the Waves’, will be amongst the titles on offer. There will be plenty of new Paddington Bear collectables and merchandise this year, too, including a new Steiff creation. As we all know, Paddington was first discovered by Mr and Mrs Brown on Paddington Station, hence his name. The optimistic little refugee was sitting hopefully on a suitcase containing his worldly goods, and Steiff have depicted him, carrying his case, in a limited edition of 1,500 pieces. This 11 inch tall Paddington wears a pale blue coat and is complete with a gold-plated button-in-ear. He is based on the FilmFair Paddington Bear from the television series, a super bonus for fans of the animated episodes. Other items include puzzles courtesy of Hausemann en Hotte/Falcon, while Robert Harrop has produced a gorgeous commemorative figurine of Paddington munching a marmalade sandwich (not a blob of Marmite in sight!). More planned Paddington releases include a commemorative coin, a pewter figurine, clothing, greetings cards, a cookery book and gift wrap, as well as a range of soft […]
Alice in Wonderland and the art of Marie Louise Wrightson
At a recent exhibition at the Acorn Gallery, Pocklington we had the pleasure of interviewing a favourite artist of ours at WCN, the very talented Marie Louise Wrightson. Marie’s work and imagining of Alice in Wonderland has caught our attention and her clever use of props, novelties and frames for her art make her an artist to watch. Have you always been a fan of Alice in Wonderland? Being Dyslexic, I have always loved the illustrations in books, for me, they bring the stories to life in so many ways. Alice in Wonderland has always been my favorite book, I think it’s that mix of escapism, fantasy and the wonderful portrayal of the creativity of Lewis Carroll in his story telling. Who is your favourite character? My favorite character has to be the Mad Hatter, because of his love of tea and fabulous quotes. Do you collect Alice in Wonderland books? I have a large collection of of Alice in Wonderland objects and around 70 books, many favorites, but I do have a Russian copy with some amazing illustrations. I am constantly inspired by the drawings, paintings and illustrations from the books, a fabulous resource of imagery. You also create designs featuring wonderful hair arrangements. How did you come up with the idea and how do you select the items that appear? I started painting a grown up Alice with large cups on her head and long hair with all the related objects not long after I graduated from art school. I like creating that almost dream like effect with my figures, a head full of dreams. What else inspires you? I’m a bit of a DC fan and have painted many characters from the comics and films, would love to paint a Bane and Batman piece, many next year. Favorite comic characters has to be Harley Quinn and Cat Woman, always fun to paint. More about Marie Louise Wrightson Marie Louise graduated from Duncan of Jordanstone School of Art, in Dundee, in 2005, having completed her degree in Fine Art and then later her Masters. Marie’s modern twist on a very fine art style has gained her an excellent reputation. Marie was born in Lincolnshire but has lived in Scotland for the past twenty years. Further information You can find Marie on Facebook at https://www.facebook.com/MarieLWrightson/ Marie Louise Wrightson at the Acorn Gallery
George Tinworth – The Greatest Doulton Lambeth Designer
Although Doulton Lambeth boasted many talented designers, there is one that invariably springs to mind when it comes to impressive imaginative sculpture. George Tinworth had an ability to turn his hand from humorous comical mice (click for more on the Tinworth mice) through to impressive biblical scenes. A skilled sculptor, designer and artist, today Tinworth’s work can fetch thousands of pounds at auction making him one of the most respected artists from the Doulton Lambeth factory and giving him a reputation for being one of the most skilled designers of his time. Pictured left: A Rare Stoneware Figure of a Seated Boy modelled seated on a high back chair reading a music book on stepped base, in cream and pale pink glaze, heightened with gilt 10.5cm high, impressed artists monogram and factory marks. Sold for £3,120 at Bonhams, London, 2007. Image Copyright Bonhams. Born into pure poverty on 5th November 1843 at 6 Milk Street, Walworth Common, South London, George was to be the only son out of four who survived past his infant years. His father worked as a wheelwright and although George had taken many jobs at a young age in order to earn a crust, by the age of 16 he began working for his father. It was whilst helping with the wheelwright trade that he started to experiment with his love for drawing and carving, as he would secretly use his father’s tools to practice carving in wood. Tinworth’s mother was aware of her son’s passion and encouraged him to develop his skills, so at the age of 19 he decided to attend the Lambeth School of Art. Pawning his overcoat in order to finance his fees Tinworth became a talented potter and modeller, and this was recognised by the head master John Sparkes, a man who was to become an anchor at the start of Tinworth’s career. After completing three years at the Lambeth School, Tinworth was offered an opportunity to study full time at the Royal Academy. However, this meant that he needed to gain the permission of his father. At first reluctant, his father finally did agree as long as his son still worked for him before and after school days. Pictured right: A rare George Tinworth Doulton Lambeth stoneware mouse group ‘Tea Time Scandal’ Modelled as three mice seated at a table drinking tea and gossiping, whilst a young mouse sits underneath the table, glazed in green and highlighted with ochre and treacle glazed detailing, the base inscribed ‘Tea Time Scandal’. Sold for £2,625 at Bonhams, London, 2012. Image Copyright Bonhams. By the time Tinworth had finished his studying in 1866 he had exhibited many of his works at the Royal Academy and won a number of acclaimed medals but sadly his father had passed away, so it was now Tinworth’s responsibility to support his mother. The obvious solution was to return to the wheelwright trade. Around the same time, Doulton – the family business which produced industrial ceramics such as bathroom fittings and drainage pipes – had decided to diversify their wares by creating decorative art pottery. Henry Doulton, the son of John Doulton was helping his father by working closely with the Lambeth School and its headmaster, John Sparkes. Aware that Tinworth had returned to his former trade, Sparkes was worried that Tinworth’s talent was being wasted so introduced him to Henry Doulton. The inevitable happened and Tinworth was offered a job at the pottery works where he started by decorating their wares. This however, did not last for long as his talent for modelling was soon discovered. Tinworth had an interest for biblical scenes as his mother had brought him up to study the scriptures, and so used this knowledge to produce impressive sculptured biblical works. One of his greatest was the large scale terracotta fountain entitled “Fountain of Life” which was donated by Henry Doulton to Kennington Park. Although collectors are fascinated by his Biblical sculptures it is the smaller works that are collected, especially the “Humoresques” which were first introduced in the 18705. These comical sculptures of animals in human situations were Tinworth’s way of finding light relief in his work and very few were actually produced, which is why they are so eagerly sought after today. Tinworth’s most popular subject matter for these designs is small mice; which were singularly created as paperweights or in groups to portray a humorous story. Pictured left: George Tinworth for Doulton Lambeth A Large Pair of Stoneware Vases, circa 1895 the footed bulbous bodies with flared necks, painted with scrolling beaded design in blue, white, brown and greens 54cm and 55cm high. Sold for £2,400 at Bonhams, London, 2007. Image Copyright Bonhams. “Play Goers”, featuring a family of mice watching if a Punch and Judyshow whilst having music played to them by a one-mouse band, sold at Bonhams for £4,200. Other pieces to recently come up for sale were a pair of stoneware mice candlesticks entitled “Gardener” and “Florist” which again were snapped up by collectors and a comical piece entitled “Cockneys at Brighton” featuring a group of mice in a rowing boat. Although Tinworth’s “Humoresques” were unique works of fun, thus acting as a break from his more serious designs, he also produced many other smaller decorative and figural wares, proving that he could turn his hand to anything. Tinworth’s stoneware figures of children playing musical instruments have becoming harder to find and usually fetch a few thousand pounds, whilst some of his decorative vases can be more affordable for collectors. Easily recognisable by its decoration, Doulton Lambeth ware varies in price depending on whether it has a maker’s mark, who the maker is and how unusual the piece is in shape. Tinworthdesigned pieces can be picked up at both spectrums of the affordability ladder. A stoneware vase in ovoid form recently sold at Bonhams auction for £250 whilst a lemonade set achieved £1,000. Tinworth was one of the main designers responsible for the success of the Doulton Lambeth factory in London and was to […]
Fairy on the Tree – Collectable Christmas Fairies
What will top your tree this year? Will you opt for an English traditional fairy, a continental angel, or play safe and affix a star? Nowadays, it seems almost impossible to buy a tree-topper fairy doll – Christmas stores are full of angels. Where have the wand-waving fairies disappeared too? Fifty years ago, it was a different story. Christmas trees, their pine fragrance filling the living rooms, would invariably have a fairy doll sitting proudly on top of the tree. Sometimes, the fairy would be wrapped away on Twelfth Night, to be brought out again for the next Christmas, but often she would be given to a little girl, who would treasure the doll till her wings fell off and her paper skirt crumbled. The majority of fairy dolls were made from hard plastic, dressed simply in white net or crepe paper, with wings made from silver card. Normally the outfits were enhanced with glitter and tinsel, and they carried a star-tipped wand. Stores such as Woolworths would have piles of fairies on the counter; in those days, it was as essential to have a fairy on your tree as it was to make vast quantities of mince-pies. Fairy dolls are fun to collect, and because so many were made it is still possible to hunt out examples in good condition. Manufacturers such as Roddy, Pedigree, Sarold, Rosebud, Palitoy, Airfix and Tudor Rose all produced small fairy dolls, and often they can be found for just a few pounds. Not much to pay for a piece of British tradition! Frequently, small dolls were purchased unclothed, to be dressed at home. In the 1950s, women enjoyed sewing, and it didn`t take long to create a pretty fairy outfit from a few scraps of ribbon, tinsel and lace. No-one knows when fairy dolls first became part of the British tradition – although greenery was used for centuries to decorate houses at Christmas, the continental idea of an indoor tree didn`t take off in Britain till Prince Albert popularised the idea when he married Queen Victoria. Victorians seem to have promoted the idea of Christmas, fuelled by novels such as Charles Dickens` `Pickwick Papers`, which contained festive scenes of merriment, carollers and plum puddings! Sometimes Christmas puddings even contained dolls – not fairies, but tiny little porcelain people moulded all-in-one, less than an inch high. These `pudding dolls` were popular up to the 1920s, and often turn up (if they weren`t swallowed!) in antique shops and collector`s markets. Early fairy dolls were made from paper, wax, composition, papier-mâché, porcelain or celluloid. Celluloid dolls must have been hazardous, especially when topping a 1920`s tree lit with candles, while the paper variety were probably not much better. No doubt many families played safe by dressing a small composition doll, or perhaps one of the little Japanese coarse-bisque dolls, as fairies – but parents everywhere must have breathed a sigh of relief when electric `fairy lights` became the norm for Christmas tree decorations. In 1957, the Colgate-Palmolive company issued a promotional fairy doll, which was sent in return for soap wrappers and a small sum of money. The doll was hard plastic, and made by Roddy. She wore a white satin dress edged with silver braid, and carried a sparkly wand. Sometimes these dolls turn up, still with the original letter, which reads, `I am sorry that I have been compelled to send you a circular letter, but so great has been the demand for our little Palmolive Fairy Doll that it has been impossible to write to everyone individually.` Imagine getting a polite letter like that from a send-away promotion today! You normally don`t even receive a compliments slip. A doll like this, still mint and with the original letter and box, would probably cost in the region of £30. Some of the prettiest fairies were made by Rosebud. The `Miss Rosebud` dressed jointed dolls are quite expensive to buy today – you would be lucky to find one wearing her original outfit for under £50 – but the straight-legged type of Rosebuds are cheaper, and just as cute. Look out for Rosebud`s cheery pixies, too – nice, colourful dolls to add to a Christmas collection. Airfix, the makers of plastic kits, also made small dolls. Often found are tiny, four-inch high types dressed as fairies in crepe paper skirts. Usually, of course, the skirts are torn and split, so if you can find one in perfect condition, it`s a bonus, and sometimes the paper skirts are topped with net or gauze. The fairies carry wands topped with a glitter-sprinkled cardboard star – later models have plastic stars – and they wear tinsel crowns on top of their moulded hair. These dolls were sold very cheaply in stores such as Woolworths during the 1950s, and one in reasonable condition can be found today for around £10, though a perfect specimen will be more. Mattel brought out a range of Cabbage Patch fairies a few years ago. Too big to go on the tree, they still made a fun collectable, and amongst them were several Christmas specials, including Poinsetta, Holly Berry, Christmas Wish and Snow Magic. In America, a Wal-Mart 2000 exclusive was `Holiday Scented`, wearing an iridescent white dress trimmed with holly leaves and white fur. Her box bore a rhyme, `Holidays come once a year – here`s a friend that`s sweet and dear.` Expect to pay £20 plus for the Christmas special Cabbage Patch fairies. A famous British illustrator of fairies was Cecily Mary Barker, who wrote a series of books in the 1920s. Sixty years later, Hornby toys produced a range of little dolls based on the paintings, and, of course, amongst them was a Christmas Tree Fairy. Prettily dressed in finely-pleated white nylon with a green cross-over ribbon decorating the bodice, this doll can also occasionally be found in a variation of the outfit, made from white lace. Hornby also produced a Holly Pixie. One of the most beautiful present-day fairy […]
Collecting the 1960s
Collecting for me is about amassing items that give you pleasure. Now that may well be a collection of stamps, ceramic ornaments or even toy cars but whatever you choose they are items that either bring back nostalgic memories or you simply purchase them because you love them. For me collecting is also about our social history, all of the items that we buy did at some stage have a reason for their existence. This is why I am fascinated with collecting items from various decades. Many collectors source anything and everything from the 1930s, whilst others crave items from the 1940s and there are those fascinated by the 1950s. In fact, there are collectors for every decade who either cherry pick items or even live their lives as if it was still that particular era from the 20th Century. I prefer to cherry pick as I am still very much a modern 21st Century girl at heart. There are certain aspects from each decade that attract me with the 1960s rating very high on the list. I can usually find items that epitomise this era extremely cheaply like the vivid 1960s tray I bought for 20p at a bootsale. Top Tip: Charity Shops, Bootsales and Garage Sales are perfect places to pick up vintage items for a few pounds. Look for ceramics, glass, fashion and pictures that scream the 1960s. If they are not already sought after they will be very soon. I am also fascinated by 1960s fashion. A mixture of boutique couture such as Biba and Mary Quant, the invention of the mini skirt and an all round fashion revolution – there is much on offer for the keen eyed collector. Designer labels usually come at a cost but there other wonderful fashion items from this particular decade which can be picked up at a reasonable price. I purchased a lovely bright red mini dress on one of the internet auctions for £25 which was a real bargain for a piece of vintage clothing. In fact, vintage is all the rage at the moment and I had the pleasure of meeting Hannah Turner Vokes, managing director of the London based vintage clothes store Paper Dress when I was featured in leading fashion magazine Grazia, last year. Hannah is the ultimate vintage fashion junkie and she wore an amazing disposable paper 1960s mini dress and also brought along a 1960s paper bikini to the photoshoot. Hannah often rummages around bootsales to find her bargains and this seems to have paid off as the dress cost just £9 and the bikini which she bought off of an internet site was a steal at £7, both of which are worth considerably more especially if sold in a specialist vintage store. Top Tip: Look for unusual items like paper clothing as these are becoming harder to find and collectors crave them. Jewellery is also a favourite for me and I was lucky enough to find a Mary Quant Daisy ring from a collectors fair a few years ago for £50. I have never seen this particular design before as it has beautiful blue enamel and the daisy actually opens to reveal a perfume container underneath. So this particular item fits into collecting 1960s, costume jewellery and vanity items like ladies compacts. Handbags and shoes from the 1960s are also keenly acquired by collectors and over the years I have bought many vintage examples with one pair costing just £2. Kaleidoscopes of colours they certainly make me stand out in a crowd when I wear them. These can be picked up quite cheaply like the wonderful yellow floral shoes and matching clutch bag that I bought from a bootsale for £25. When originally made these shoes and handbag formed part of the new 1960s fashion bug of ladies matching their shoes to their bags, otherwise known as The Total Look. It is not just the fashions and accessories of the swinging sixties that get collector’s hearts racing as there was much more on offer from this vibrant decade. In 1963 the Cornish pottery Troika was established by Benny Sirota, Lesley Illsley and Jan Thomson. They made attractive, yet usable art pottery which today has stormed the collectors market with people pay thousands for one of the rare plaques or sculptural Aztec heads. There are still more affordable pieces available with coffin vases and marmalade pots selling from £80-£100 upwards. So if you are looking for something dating from the 1960s that fits well into today’s environment Troika pottery is definitely an option. Toys are also a popular area of collecting and the 1960s didn’t fail to produce. The Sindy doll was launched in 1963 and many of her outfits were created by leading fashion designers such as Sally Tuffin and Marion Foale. One of my favourite pastimes is hunting out Sindy doll outfits as each replicates the fashions of the time and as I adore fashion this is just an extended way of me indulging my passion. Fact: The boys weren’t forgotten as Action Man was launched in Britain in 1966. The 1960s had so much to offer and I have literally just touched the tip of the iceberg where collecting this decade is concerned. Revolutionary in so many ways we mustn’t forget the music – especially The Rolling Stones and The Beatles. An area really worth indulging in if you can afford to collect some of the original memorabilia. Then of course 1966 supplied us with a host of World Cup memorabilia, not forgetting of course the charismatic British spy James Bond (played by Sean Connery) who first graced the silver screen in 1962 when Dr. No was released. So rather than just concentrating on one specific topic area of collecting like books, film or sporting memorabilia – take a look at what is on offer from the various 20th Century decades. Unless of course you lived through the 1960s and are now cursing the fact that you threw away […]
Board Game Reprints
You may find that you have a copy of a board game that sounds familiar, but the game itself and the artwork may look dated and different from the versions you have seen more recently. From time to time even modern hobby board games get to the age where they are reprinted. New artwork may be added, extra gameplay or player counts added or maybe even changed with a whole new theme altogether. When this happens the value of the original versions of the board game can rocket in value as copies can become rare and sought after. Martin Wallace is a renowned British board game designer and his board games are quite famous for getting reprinted and updated. The values of his first editions can increase whenever word gets out that he will be bringing out a new edition of a previous game. His collaborations for theme are of fine pedigree, from Neil Gaiman’s work to Terry Pratchett’s Discworld! I own this very game as it was one of the first games my partner bought for me when we started getting into the modern board gaming hobby. This game was picked up for a mere £30. You will now see it listed at a higher value, for sale online for over £100. Purely because it is not produced any more. The game itself is out there, but was re themed in London as Nanty Narking. I won’t be selling my copy of Discworld Ankh Morpork any time as we love the game. However I will be looking to pick up a copy of Nanty Narking as it does look like a good re skin and you can pick it up for around £60. Another fine example of reprinted games is War of the Ring. A battle between the Fellowship and the dark forces of Sauron through Middle Earth, trying to gain possession of The One Ring. A very popular second edition of the game is available and first editions are available, but not as highly sought after. One edition of the game is the Collectors’ Edition. Limited to only 1500 copies in the world and printed in English and German, this edition has exclusive 3D painted figures and structures and is encompassed in a huge wooden case. There is currently a special edition of this game listed on eBay for $3,900 (around £2,750) making this a HUGE outlay for any collector. Board game related features How much is my Monopoly worth? Cluedo Detecting the Value of this Classic Game Cluedo feature by Rob Edmonds.
Lotus Pottery
England`s West Country has long been a honey pot for collectors and admirers of pottery – in the 1900s souvenir hunters collected those brown and cream jugs from the likes of Watcombe and Aller Vale, bearing strange mottoes in dialect such as ‘Go aisy wi` it now’. No doubt, at the time, these pieces were as strange and dramatic to those used to seeing fine Wedgwood porcelain, as Troika was to seventies folk reared on a diet of Meakin and Midwinter. Potteries such as Tintagel, Dartmouth, Celtic and Boscastle thrived, and today it seems that every twisty, narrow lane in the area has at least one sign pointing to a ‘studio’. Whether it is the clay, the light, the pasties or just something in the water, the West Country is practically a euphemism for pottery. Amongst the wares, collectors often find vases, jugs and bowls, often unmarked, sporting an unusual grey/green glaze, and bearing a large daisy motif. Immensely tactile, these smooth, definitely hands-on pieces are a delight, yet sometimes dealers seem at a loss to name the maker – they guess at Spanish, and I have even heard them described as ‘Russian`. In fact, these attractive pieces emanated from the Lotus Pottery in Stoke Gabriel, South Devon, in the1960s and 70s, and today are finding favour with enthusiasts who enjoy the way the smooth, flowing forms and muted colouring fits in well with today’s décor. The Lotus Pottery was formed by Michael and Elizabeth Skipworth in 1958, soon after they purchased Old Stoke Farm. This limestone-built farm, set in a garden and cider orchard, was a perfect place for such a venture, with plenty of barns to transform into workshops. Stoke Gabriel is a particularly pretty place, situated on a creek of the River Dart. The centrepiece of the village is the beautiful mill pond. Tourists come from near and far to admire the surroundings and to sample cream teas. For years it was possible to buy stunning Lotus pottery too. Michael and Elizabeth met at Leeds College of Art, and it was there that they formed Loversal Pottery, which they named after Michael’s place of birth in Doncaster. When they moved to Stoke Gabriel they decided on the name of Lotus Pottery, and so were able to continue marking their wares with the initials LP. However, it seems that much of their work, especially smaller pieces, do not bear the initials, while often, even if they are marked, the LP is difficult to see and is easily overlooked. No doubt the attractive surroundings provided plenty of inspiration, and during the twenty-five years or so that Lotus Pottery was in production, Michael and Elizabeth experimented with various techniques, designs, clays, colours and glazes. By 1968, a variety of finishes were available including speckle, Dartside Green, white on red, and blue on blue, while in 1974 a blue on white Loire range was introduced. However, the most characteristic glaze from Lotus was the dark grey/green finish with the daisy motif. It proved one of the top-selling lines for many years, and was known as petal on sage. A blue version, petal on blue, was also obtainable. Sage green was all the rage in the seventies – ‘natural’ colours and stylised designs were very popular, possibly a reaction to the psychedelic, brain-boggling colours and patterns of a few years before – and the vases, bowls, mugs, jugs and assorted kitchenware adorned many homes. The items were normally bought by tourists to the area as a welcome change from the pixies, seagulls and sheep which were sold in most souvenir shops. Lotus ware was stocked by the more discerning retailers! The most distinctive Lotus piece was a stylised bull, smooth and curvy with barely-there features, vaguely resembling the animals produced by the Russian Lomonosov factory in its simplicity. Today, this is the piece that many collectors begin with; not only is it easily recognisable, but its attractive shape allows it to blend perfectly into a modern home. Each bull featured an elongated, arched body with the head lowered. There were no eyes, nose or mouth, but sometimes a few tendrils of moulded hair could be seen between the horns, though most had smooth heads. The legs were very short and narrow, and this was probably the reason why the creatures tend to be unmarked – there was nowhere to impress the LP motif without detracting from the simplicity of the design, and the undersides of the feet were to small to bear a stamped mark. Although at first glance they might appear identical, these bulls vary considerably, especially with regard to the motif which appears on each flank. Usually, the daisy is found, but other designs include a leaf, a fern or a set of interlinked circles. Made in several sizes, from a baby at five inches through to an impressive granddad, thirteen inches long, the shade varies from a grey-green to a rich deep olive. The petal on blue colouration is also very striking, with the blue being a deep, inky colour while the daisy motif is a pale blue/grey. The bull was actually designed by Elizabeth Skipworth in a moment of inspiration; she was amazed at their popularity. A herd of the bulls lined up on a shelf makes a stunning display. Other stylised creatures appeared in this range, though they seem harder to find. They included a bird, owl, cat and a horse’s head, and had the same smooth and glossy appearance. There was also a wide selection of domestic ware such as dishes, egg cups, cruet sets, mugs, jardinières, jugs, vases, bowls, candle sticks and coffee pots. Some of the pieces were impressed with the LP motif in a circle, but many were stamped on the base ‘Lotus Pottery Stoke Gabriel’. However, a large amount bore no mark at all. Lotus was very experimental, and though the petal on sage shade was probably the most popular, they produced various other colours and designs, including a range […]
John Wyndham Novels and First Editions
John Wyndham (full name John Wyndham Parkes Lucas Beynon Harris) was a British science fiction author who wrote several classic novels, including The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos. His works are highly collectible, especially in first edition form. Here we take a look at the value of John Wyndham first edition books published under his own name during his lifetime. John Wyndham was a British author who wrote science fiction novels and short stories. He is best known for his novel The Day of the Triffids, which was adapted into a film in 1962. Wyndham was born in 1903 in England. He began writing science fiction in the 1920s, but did not achieve commercial success until the publication of The Day of the Triffids in 1951. The Day of the Triffids, in particular, is considered a science fiction classic. It tells the story of a massive attack by alien plants that leaves humanity struggling to survive. The Day of the Triffids was first published in 1951, and a first edition can sell for upwards of £5,000 / $7,000. As with all first edition books the dust jacket condition is everything and prices vary greatly. John B. Harris and John Beynon However, Wyndham had actually been writing stories and short stories since 1925 under several aliases and pseudonyns. In 1927 he published a detective novel, The Curse of the Burdens, as by John B. Harris, and by 1931 he was selling short stories and serial fiction to American science fiction magazines. His debut short story, “Worlds to Barter”, appeared under the pen name John B. Harris in 1931. Subsequent stories were credited to ‘John Beynon Harris until mid-1935, when he began to use the pen name John Beynon. Three novels as by Beynon were published in 1935/36, two of them works of science fiction, the other a detective story. He also used the pen name Wyndham Parkes for one short story in the British Fantasy Magazine in 1939, as John Beynon had already been credited for another story in the same issue. The Kraken Wakes John Wyndham’s second novel was The Kraken Wakes which was first published in 1953, originally published by Michael Joseph in the United Kingdom in 1953, and first published in the United States in the same year by Ballantine Books under the title Out of the Deeps as a mass market paperback. . The novel is about an alien invasion of Earth by creatures known as the “Kraken”. The Kraken are giant sea creatures that are able to telepathically control humans. They use their powers to create a world-wide flood, which forces humanity to evacuate to the moon. The novel was well-received by critics and is considered to be one of the classic science fiction novels of the 20th century. It has been reprinted several times and has been translated into multiple languages. The Kraken Wakes is considered to be one of Wyndham’s most accomplished works. The Midwich Cuckoos John Wyndham’s The Midwich Cuckoos is a classic of British science fiction. First published in 1957, it tells the story of a group of children who are born with strange powers after a mysterious event in the village of Midwich. The book has inspired many writers and has been adapted for movies and TV series many times. A first edition in near fine condition with near fine dust jacket estimate £2000 / $3,000. Did you know? Wyndham began work on a sequel novel, Midwich Main, which he abandoned after only a few chapters. The Chrysalids, Trouble with Lichen and Chocky Price Variations In writing this feature as with many that include price guides it is always apparent that their is massive variation in prices even for similar books and objects. The prices given here are for near fine copies, so copies in excellent order. First editions of The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos will always be popular and sort after. Bibliography of books published in his lifetime under the name John Wyndham The Day of the Triffids (1951) The Kraken Wakes (1953) The Chrysalids (1955) The Midwich Cuckoos (1957) Trouble with Lichen (1960) Chocky (1968) Related BBC interview and feature with John Wyndham
George Tinworth’s Mice
We thought it would be fun to take a closer look at George Tinworth and his humorous comical mice. For a more detailed account on the life and work of George Tinworth visit George Tinworth – The Greatest Doulton Lambeth Designer. Here we look at some of the Tinworth mice and mice groups and their values. A rare George Tinworth Doulton Lambeth stoneware mouse group ‘Tea Time Scandal’ – modelled as three mice seated at a table drinking tea and gossiping, whilst a young mouse sits underneath the table, glazed in green and highlighted with ochre and treacle glazed detailing, the base inscribed ‘Tea Time Scandal’. Sold for £2,625 at Bonhams, London, 2012. Image Copyright Bonhams. A similar model also sold at Bonhams in April 2014 for £2,750. George Tinworth For Doulton Lambeth a Set of Five Mouse Chess Pieces, circa 1890 – comprising a King/Queen, a Rook and three Pawns in a pale green glaze 8.2cm, 8.8cm and 6.5cm high each with ‘G.T’ monogram, the King/Queen with Doulton Lambeth mark. Sold for £3,125 at Bonhams, London, October 2014. Image Copyright Bonhams. George Tinworth for Doulton Lambeth ‘The Cockneys at Brighton’ a Figural Mouse Group, circa 1880 – with mice modelled in a rowing boat at sea, titled to base 11cm high. Sold for £3,360 at Bonhams, London, Sep 2009. Image Copyright Bonhams. George Tinworth for Doulton Lambeth A stoneware model of a mouse on a bun, circa 1905 – 7.2cm high, impressed factory marks, incised artist monogram (SR). Sold for £1,920 at Bonhams, London, March 2009. Image Copyright Bonhams. George Tinworth for Doulton Lambeth A Stoneware Model of a Mouse on a Bun, circa 1880 – the mouse glazed in a deep blue, the bun in a dark treacle glaze 7cm high, incised artist monogram ‘GT’ (restoration to ears). Sold for £937 at Bonhams, London, April2012. Image Copyright Bonhams. George Tinworth for Doulton Lambeth ‘Waits and Water’ a Good Mouse Group, circa 1885 – modelled with three musicians standing below an open window about to receive an unexpected reward for their playing, in salt glaze with green and blue, on titled base 13.5cm high, artist monogram. Sold for £4,000 at Bonhams, London, April 2013. Image Copyright Bonhams. Books on George Tinworth
Hannah Barlow and Doulton Lambeth
When considering the talented designers of the Doulton Lambeth factory, there is one woman whose impressive works cannot go unmentioned. Hannah Barlow was not only one of the most innovative and skilled designers of this famed factory but also a pioneer in her own right due to the fact that she was the ever first female artist to be employed by the South London based Doulton Lambeth Studio. Pictured right: A pair of Hannah Barlow stoneware deer and stag vases impressed marks — 38cm. high. Sold for £2,820 at Christies, London, August 2000. Born into a family of nine children in 1851, Hannah lived in Bishop’s Stortford with her Bank Manager father, Benjamin and his wife. At an early age Hannah already had a talent for drawing and would take walks in the surrounding countryside to sketch the plant and animal life that resided there. This interest in nature was something which would stay with Hannah throughout her life and became the subject matter that was so prolific in all of her future works. Realising her talent for art, in 1868 Hannah enrolled in the Lambeth School of Art to progress this skill. It was a few years later in 1871, that, along with other fellow students, Hannah began to work for the local Doulton Lambeth pottery which had recently diversified from producing industrial ceramics to more elaborate art pottery and decorative wares. Great artists such as George Tinworth, Frank Butler and Hannah Barlow would skilfully decorate the salt-glazed brown stoneware vessels that Doulton were now creating and were allowed to choose the type of decoration themselves and what shape of vessel to apply this design to. Although Hannah was to be the first female designer employed by Doulton she was not the only talented artist in her family to join the British factory. Both her brother Arthur and sister Florence also possessed an artistic flare and attended the Lambeth School of Art, before joining their sister, and furthering their careers by working alongside her for the Doulton pottery. The two sisters, Hannah and Florence, both shared a love of nature, so it was agreed early on in their working careers, that Hannah would concentrate on designs inspired by animals whilst her sister indulged her passion for flowers and produce floral designs. Pictured left: Hannah Barlow for Doulton Lambeth – A Pair of Salt-glazed Vases, circa 1895 each vase incised with three bulls and two horses grazing within a rugged country landscape 28.5cm high, with impressed Doulton Lambeth mark and incised artist’s monogram. Sold for £1,062 at Bonhams, London, April 2014. Both were extremely talented artists and their work was very realistic. Each would initially sketch a design then using the technique of Sgraffito (incising) they would apply the design into the wet clay of a vessel before it was fired. Every piece that was produced by the artists at the Doulton studio was hand-decorated, thus ensuring that each item was unique in design, technique and decoration. Hannah excelled at creating illustrations of animals with some of her favourite subjects being British farm animals such as sheep, horses and pigs. Many examples of her work have sold for respectable prices at salerooms all over the world; her works of art are highly sought after by collectors. Recently a shallow bowl dating to 1883 sold at Bonhams Saleroom for £2,300. Artistically incised with pigs and hens this piece is synonymous with Hannah Barlow and as such, commands a price that is expected for this female designer’s work. Another example, also sold at Bonhams. were an outstanding pair of early vases dating to 1873. These twin handled vessels were incised with six Trojan Style horses which showed them cantering and galloping across fields. An unusual example, this vase sold for a staggering hammer price of £4,800. Pictured right: Hannah Barlow for Doulton Lambeth – An Early Salt-Glaze Jug with Horse, 1874 incised with a horse portrait and stylised leaf decoration 25.5cm high, with impressed Doulton Lambeth mark and incised artist monogram Sold for £325 at Bonhams, London, April 2014. Aside from the more common domestic farm animals, Hannah was inspired by many different living creatures. Her work was often embellished with countryside inhabitants such as rabbits and foxes, but she also liked to draw and incise more exotic animal motifs such as lions and kangaroos. This Australian inhabitant first appeared in 1878 on a tea service and proved popular so Hannah continued to apply this motif to all sorts of other various shaped vessels. It is said that Hannah was possibly inspired to sketch and decorate pieces with kangaroos because of the preparations for the Sydney International Exhibition which took place in 1879. Wherever Hannah gained her inspiration, her skill became evident when she would expertly sketch a scene that almost came alive when applied to the various vases, dishes and jardinières that she worked on. Hannah’s talent for drawing, combined with her skilled eye for design ensured that each piece created was not only a stunning ceramic work of art but also a living window into the animal kingdom. Her work was worthy of a place on the wall in an art gallery. Pictured left: Hannah Barlow (Fl.1871-1913) & Florence Barlow (Fl.1873-1909) Pair Of Vases, Circa 1890 stoneware, hand decorated, incised with rabbits, and pâte-sur-pâte painted birds, impressed Doulton Lambeth, incised artist’s monograms, numbers 443 & 742, assistants marks 7¾ in. (19.7 cm.) high. Sold for £4,375 at Christies, London, September 2009. Hannah was prolific in her work during the forty years that she was employed by the British Doulton Studio, and was responsible for creating some of the most innovative and finest designs in stoneware. An accomplished artist, not only is she remembered as one of the most celebrated designers of the 19th Century but also as a pioneering female ceramicist whose work will hopefully continue to command the prices that are so deserving. Fact File Doulton & Co was founded in 1815. In 1871 Henry Doulton set up the Lambeth Studio in South London Hannah Barlow indulged her passion for animals by […]