The rise of the cult of wine, the growth of the British middle classes in the 18th century and the fact that the dining-room had become the most important room in the house meant that every architect and designer of the time gave a great deal of attention to its decoration and furnishing. As Robert Adam FRSE FRS FSA (Scot) FSA FRSA (3 July 1728 – 3 March 1792) pointed out, the “eating room” was a place ·where the gentlemen, at least, spent a great deal of their time, and its “elegance and splendour” had to be beyond question. The period was one of hard drinking in which comfort and enjoyment were catered for in every possible way. There were special tables, sideboards, and receptacles designed to ensure that liquor was both adequate in quantity and fit to drink. Then, as now, some wines had to be iced, some chilled, and some kept at room temperature, and wine coolers for these purposes were made in many beautiful styles and of many different materials. There is often some confusion between the definitions of what is a wine cistern or cellarette and what is a wine cooler, particularly as they are often very similar in appearance. The cellarette was intended as the name implies to hold a supplemental supply of wine, and was of course kept in the dining-room. It was furnished with a lid and almost invariably it had a lock and key, but it is important to remember that coolers also were sometimes lidded, although in that case they were often fitted with taps in order that the melted ice (from the ice-house) might be drawn off. The available storage space, in shape octagonal , hexagonal, oval, round, or bombe was supplied with a shelf pierced with round holes or else divided into rectangular compartments, and more elaborate examples were fitted with provision for wine glasses in the lid, trays for glasses, and even spaces for decanters and punch bowls. The earliest cellarettes were made in the late seventeenth century, but their popularity reached its peak in Georgian times, when they were designed to stand beneath the side tables that preceded sideboards. They were then usually fitted with castors. Even when about 1780 sideboards were made with fitted cellarette cupboards, the available restricted space was supplemented by separate articles, and a particularly fine example, hooped with brass, partitioned, and lead-lined, is illustrated in Hepplewhite’s Guide. Specimens made of light coloured mahogany and decorated with inlay and stringing were probably made to match sideboards, and are on the whole comparatively late in date. The earliest silver coolers were often very large and heavy, circular or oval in shape, and made to stand on the floor. Such pieces are naturally extremely rare, though not so rare as their predecessors, some as early as the fifteenth century that were made of marble, copper , bronze, or other metals. Generally speaking coolers were designed to match dining room furniture, particularly as regards their legs, which were in the contemporary style of the chairs. Every designer had his own ideas. Adam advocated the use of ormolu mounts in the form of festoons, banding, and satyr heads on either mahogany or rosewood. Chippendale’s “Director” suggests that a cooler should be “made in parts and joined with brasswork,” or even cut from solid wood or marble, while Sheraton (apparently making no distinction between cellarettes and coolers) preferred the sarcophagus style that was so popular in Regency years. Many coolers, though not strictly “cooper made,” were made to imitate his work, and were probably inspired by the humble oaken tub of the butler’s pantry, the iron hoops being replaced by two brass, copper, or silver ones. For easy handling drop ring handles were fitted, usually with lion’s head back plates. In both cellarettes and coolers there are many variations of the ordinary tub shape, mostly differing in detail. We find rare pieces in which two splats are carried upwards above the rim to form pierced or carved handles instead of the usual metal ones, and some have legs which continue upwards outside the splats, and which are reeded or carved to form an effective decorative feature. The legs and the stands provide endless variety and are held by their design to indicate possible date. When the legs are built in the result is stability, but stands are often separate. Instead of legs, especially on the much larger nineteenth century pieces, we sometimes see short bracket or claw feet, though even the bulky sarcophagus form may have rather incongruous cabriole legs. Scroll or ball and claw feet indicate a mid-eighteenth century origin, and on particularly fine pieces the knees of the appropriate cabriole legs are sometimes elaborately carved or fitted with ormolu mounts. A little later came the Chippendale style of square-sectioned legs, with or without the typical C brackets at the joining of the legs to the top of the stand. The so-called Hepplewhite cooler of about 1785 features tapered, often out-sloping legs fitted with metal shoes, and we should expect to find inlaid decoration upon one in Sheraton style. Cellarettes and coolers have many relations. A useful piece of dining-room furniture, probably of Irish origin and now rarely seen, was the wine waiter, a tall case on stand partitioned for bottles and fitted with castors. It was intended to stand beside the dining table, and so served a rather different purpose from either the cellarette or the cooler, as did a form of dumb waiter included in Sheraton’s ” Cabinet Dictionary ” of 1803 intended , so the description reads, ” for use in the dining parlour on which to place glasses of wine, both clean and such as have been used.” Then there are the coolers as we know and use them to-day, intended to hold single bottles, made either of silver or some kind of plate. These urn or vase shaped vessels have two handles but no lids, and being intended partly as side-table ornaments […]
Jumeau was a French company, founded in the early 1840s, which designed and manufactured high quality bisque dolls. It was founded by Louis-Desire Belton and Pierre-François Jumeau in the Maison Jumeau of Montreuil-sous-Bois, near Paris, France. While Belton did not remain with the company for long, under Jumeau’s leadership (and later, under the leadership of his son, Emile), the company soon gained a reputation for dolls with beautiful faces and “exquisite” clothing which replicated the popular fashions of the time. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume c1867 – 26″ (66 cm.) Bisque swivel head on kid-edged bisque shoulder plate, perfectly oval-shaped face with appealing plumpness to lower chin, small blue glass enamel inset eyes with darker blue outer rims, dark eyeliner, painted lashes, mauve-blushed eye shadow, feathered brows, shaded nostrils of aquiline nose, closed mouth with well-defined lips enhanced by accent lines, pierced ears pierced into head, blonde mohair wig over cork pate, kid body with shapely torso, gusset-jointed arms, stitch-jointed legs, ice-blue silk antique gown, undergarments, blue kidskin ankle boots, bonnet. Condition: generally excellent, body sturdy and clean. Comments: Pierre-Francois Jumeau, circa 1867, the portrait-like model was likely created for exhibition at the Paris 1867 International Exposition. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. The Jumeau company first emerged as a partnership between Louis-Desire Belton and Pierre-François Jumeau in Paris in the early 1840s. In 1844, Belton and Jumeau presented their dolls at the Paris Exposition (at which they received an honorable mention), but by 1846 Belton’s name was no longer associated with the dolls, and Jumeau was trading in his own right. A bronze medal in the 1849 Paris Exposition followed, as did an appearance at the Great Exhibition in London in 1851, at which the company was awarded a First Place Medal. Through much of this period, the firm sold only their own dolls to wholesalers, although during the 1850s and 1860s, the company moved into selling wax dolls imported from Britain. Pictured: French Bisque Bebe Triste, Size 14, Emile Jumeau with Original Couturier Costume – 30″ (76 cm.) Bisque socket head with very full cheeks and chin, large blue glass paperweight inset eyes with heavy upper eyelids, dark eyeliner, painted lashes, mauve-blushed eye shadow, brush-stroked and feathered brows with decorative glaze, shaded nostrils, closed mouth with outlined and accented lips, dimpled chin, separately modeled pierced ears, blonde human hair over cork pate, French composition and wooden fully jointed plump body with straight wrists. Condition: generally excellent. Marks: 14 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, the wistful-faced Bebe Triste, circa 1884. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. At the Paris expositions and the Great Exhibition in London, Jumeau dolls received their commendations due largely to the quality of the clothing, and no special significance was attached to the dolls themselves. This changed in 1867, when at the Exposition Universelle of that year, the company was awarded a Silver Medal, and “special mention was made of the doll’s heads”. 1867 was also the year that Pierre-François’ son, Emile Jumeau, joined the company. By 1873, when they were awarded a gold medal at the Vienna Exposition, the company was producing their own bisque dolls in their factory in Montreuil. Pictured: Extremely rare and large Pierre Francois portrait Jumeau bisque shoulder head fashion doll – Having the features of a character lady, fixed blue glass eyes, with delicate shading to lids, closed slightly smiling mouth, moulded pierced ears and long blonde mohair wig, swivel head to kid leather body with separate fingers, wearing ivory silk and lace two piece gown, under garments, lace up boots and straw bonnet, 66cm (26in) tall. Image Copyright Bonhams. Although the Jumeau firm had won commendations, very few Jumeau dolls can be securely identified dating before the 1870s. However, by 1877 Emile Jumeau had produced the first Bébés (or dolls in the image of a little girl). With realistic glass eyes and “stylish fashions” produced by costumiers, thousands of Bébé dolls were produced for an international market. Pictured: French Bisque Portrait Bebe by Emile Jumeau – 12″ (30 cm.) Pressed bisque socket head, large grey/blue glass inset eyes known as “wrap-around” with spiral threading and pronounced black pupils, painted lashes, dark eyeliner, rose-blushed eye shadow, feathered brows, accented nostrils and eye corners, closed mouth, outlined lips, pierced ears, blonde mohair wig over cork pate, French composition and wooden eight-loose-ball-jointed body with straight wrists, pretty antique aqua silk costume, undergarments, leather slippers. Condition: generally excellent. Marks: 8/0 (head) Jumeau Medaille d’Or Paris (body). Comments: Emile Jumeau, circa 1878. Doll from The Billie & Paige Welker Collection Image Copyright Theriaults. In 1878, the Jumeau company won a Gold Medal at the Exposition Universelle (1878). The award was proudly advertised on the bodies, boxes, shoes and even the dress labels of the dolls. Jumeau won a number of other high awards including the prizes for the best dollmaker at both the Sydney International Exhibition (1879) and Melbourne International Exhibition (1880) in Australia. The dolls were internationally sought after as luxury items and status symbols. The firm also was regarded as an industrial success, with production figures of over three million dolls annually by the mid-1890s. The “Golden Age” of the Jumeau factory lasted for two decades, from the late 1870s to the late 1890s, when the competition from German dolls sent the firm into financial difficulties. The Jumeau dolls from the later 1890s are of more variable quality. German dolls in the 1890s were cheaper than the French, but still well-made and much loved by little girls, even if they were by no means as elegant or graceful in face or costume as the best Jumeau dolls.
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 […]
We are not the only ones who celebrate Christmas – dolls do, too! Often, manufacturers issue their regular lines festively dressed in Christmas colours of red and green, or maybe silver, gold or white. They trim the costumes with white ‘fur’, tinsel, glitter or sparkly sequins – anything to make the doll look more Christmassy. Sometimes a Christmas special is dressed as a fairy, Santa or a character from a pantomime or fairy tale. Usually these dolls are made in limited numbers and, because they are sold for such a short period, eventually become very collectable. Teen dolls are often issued as Christmas Specials, such as the delightful Festive Sindy issued by Hasbro in 1997. She was dressed in a gold-flecked red gown with white fur trim, her hair covered by a fur-edged hood. More recently, Vivid Imaginations produced a Christmas Sindy, only available through Argos. Sindy was dressed in a short red Santa-style mini-dress, worn with a cap and cape, all edged in white fur. This doll is sure to become a future collectable. Barbie features in the ‘Happy Holidays’ collection which began in 1988, in a variety of gowns such as the full-skirted black & silver velvet ballgown worn with a dramatic cerise satin stole, dating from 1998. Her fabulous gowns use luxury fabrics in shades of green, scarlet, gold or white. The smaller dolls in the Barbie range, such as Maura, also often appear in festive mood. A couple of years ago, Maura was dressed as Winter in a pretty white and ice-blue dress scattered with snowflakes, and sporting a fetching pair of teddy earmuffs. Occasionally, dolls are issued in Christmas play sets. A few years ago the enchanting Madeline dolls, based on a character originally created by Ludwig Bemelmans in the 1930s, included a festive set in their range. Madeline is a pupil at a Parisienne school run by nuns, and dolls representing her and her friends were made by Eden in the 1990s, but have now been taken over by Learning Curve. The Madeline Christmas Gift set comprised a seven and a half inch tall doll wearing a santa-type outfit of a red dress edged with white fur and a matching hat, white lacy socks and black shoes. She had a felt Christmas tree and a tartan stocking. Learning Curve introduced large Holiday Madelines – soft cloth dolls dressed in red or green Christmas outfits. The German company, Zapf, makers of Baby Born, Annabell and Chou Chou, produce Christmas outfits for their dolls each year. Recent BabyBorn festive get-ups have included a dark red velour dress worn over Christmas-patterned tights, finished off with a jaunty, star-trimmed velour hat, a red long-sleeved dress with a matching flower-trimmed head band, and an unusual white and blue creation. A Christmas play set was also amongst the recently-discontinued Zapf Baby Born Miniworld series of dolls. This tiny baby doll, just four and a half inches tall, was dressed in a sweet red fleecy outfit and white bib embroidered with a Christmas motif. She wa s seated on a soft red beanbag with her teddy, beside a Christmas tree, and her box was designed to look like a festively-decorated nursery. Until recently, Zapf made excellent designer dolls, and amongst them was Rolanda Heimer’s Siggi, a nineteen inch tall baby with blonde hair. He was dressed in fleecy red hooded jacket with a knitted clown motif, and beige cord trousers. He came with a cd of Christmas carols. Anne Geddes ‘Baby Santa’ was issued a few years ago and is now quite difficult to find. Anne is famous for her photographs of babies dressed as animals, flowers and insects and a whole range of dolls based on the photos were made by Unimax, including rabbits, bears, butterflies and sunflowers. Baby Santa is a smiling, slightly podgy baby doll wearing a red Santa outfit. The box bears photographs of the real babies on which the doll was modelled. Woolworths often produce dolls in Christmas themed outfits, recently they were selling Christmas Holly, under their Chad Valley label, a sweet-faced sixteen inch baby dressed in a red dress, Santa hat, green bag and with adorable crocheted red shoes. Cabbage Patch Kids have featured in several Christmas issues over the years, including a 1990s Special Edition set of Holiday Babies by Mattel. Dressed in various outfits, such as a red needlecord dress trimmed with lace, a delightful white satin dress with a net overlay sprinkled with gold stars, or green corduroy shorts and a red tartan waistcoat, these are an excellent addition to a festive collection. Mattel also produced Christmas Cabbage Patch dolls in their Garden Fairies series, including some Wal-Mart exclusives. Poinsettia, Winter Holly and Winter Lily were obtainable in the UK, but the Wal-Mart versions were sold in the US, so aren’t often seen in Britain. These sweet dolls are ‘Holiday Scented’! Soft dolls by companies such as Ty and JellyCat are often found, and many stores and supermarkets sell Christmas specials, such as the cloth dolls sometimes sold by Tesco at Christmas. Ty’s Beanie-Boppers, with names such as Jolly Janie, Holiday Heidi, Merry Margaret and Christmas Carol, wear festive outfits. Carol has a green long-pile jacket over a gold-spotted red velour mini-dress trimmed with long-pile ‘fur’ and thigh-length boots. Her blonde hair is crimped and curled, and she has a Santa hat to match her dress. A similar range are the smiley eight inch character dolls from Jellycat, such as Princess Icecapade, obviously ready for the winter freeze with her ice-skates, and Holly Blooming Babe (wearing a holly-leaf skirt with a red berry belt). Toys ‘R’ Us have featured Christmas specials in their line of eleven and a half inch Jessica teen dolls. She has appeared in a long red gown with gold panels and a white fur cape, or a sophisticated white satin dress with a black bodice and stole. Vivid Imaginations have produced Holiday Bratz dolls, in both large and the ‘Baby Bratz’ versions, dressed in beautiful, frothy […]
Bernard Leach the Father of British studio pottery
Masons Ironstone China The 19th Century saw a massive growth in the British pottery industry with the production of functional, durable and decorative ceramic tableware. The durable nature of the pottery being produced and the ability to use transfer-printing, meant that customers still wanting Oriental patterns could now have the patterns on a much more dense, and stronger “china”. Pictured: A Mason’s Ironstone Part Dinner Service Late 19th Century, Impressed And Black Printed Ironstone China Marks Each piece with a figural chinoiserie vignette within a paper scroll and oyster ground punctuated with floral sprays and cartouches of precious objects. The set comprised over 100 plates, platters, dishes etc. Sold for $50,400 at Christies, New York, 2006. Image Copyright Christies. The manufacturing process could also be scaled up and the production moved to large factories, the cost of items was reduced and a new market of aspiring middle classes could now afford household china for everday use. This move supplanted the more delicate Chinese style porcelain that was common at the time. One such material was ironstone – a hard, dense and durable, slightly transparent white earthenware. The first form of ironstone was thought to have been manufactured by William Turner around 1800 at the Lane End potteries at Longton, Stoke-on-Trent. A number of potters were experimenting and it was also known as semi-porcelain, opaque porcelain, English porcelain, stone china and new stone. Pictured: A William Mason blue and white dessert-plate and three Mason’s Ironstone dishes Circa 1820, the dishes with printed and impressed MASON’S PATENT IRONSTONE CHINA marks The dessert-plate printed with the ‘Furness Abbey’ pattern, within moulded arcading and broad borders of scrolling cartouches of landscapes divided by passion-flowers and convolvulus, the dishes of leaf-shaped form with double-scroll handle, printed with the ‘Blue Pheasant’ pattern (all with riveted repairs and slight chipping, and staining to first) The first 7½ in. (19 cm.) diam., the second 9 5/8 in. (24.4 cm.) wide (4). Sold for £688 at Christies, London, 2009. Image Copyright Christies. Ironstone was first patented in 1813 by Charles James Mason, the son of Miles Mason. The Mason’s were a family of potters and had been developing a number of potting techniques at their works at Lane Delph, Fenton. The patent was No. 3724 was for a process for the “Improvement of the Manufacture of English Porcelain’, IRONSTONE PATENT CHINA”. The initial patent was for 14 years and was not renewed. Other companies such as Davenport and Hicks, Meigh & Johnson started producing similar wares. Pictured: Eight Mason’s Ironstone Jugs Circa 1825-35, Black Printed Marks Of octagonal form and graduated in size, painted with Oriental figures within shaped cartouches on an iron-red tiled ground The tallest 7½ in. (19 cm.) high (8). Sold for £688 at Christies, London, 2009. Image Copyright Christies. At the time the patent was taken out the ownership of the company was transferred to Miles Mason’s two sons and became known as G. & C. Mason or G. & C. Mason & Co. Family members include Miles Mason, his sons William Mason and Charles James Mason, and George Miles Mason.The company enjoyed enormous early success and continued to introduce new wares and designs. However, a change in fortunes saw Charles James Mason declared bankrupt and the firm close in 1848. Charles James Mason started a new factory at the Dasiy Bank Pottery but he died in 1856. At that time all the Mason patterns and moulds passed to Francis Morley. Morley and the Ashworth family formed a partnership during the period 1858-60, at the Broad Street works in Hanley. In 1862 Morley retired and passed everything to Ashworth including the Mason patterns, copper plates, moulds and trade marks. The company was acquired in 1884 by John Shaw Goddard and remained in the Goddard family until 1973 when the firm joined the Wedgwood Group. Masons Ironstone Related Masons Ironstone at Auction The Mason Family of Potter MILES MASON Miles was born in December 1752 in the village of Dent, Yorkshire. By 1769 he had moved to Chigwell where he was a neighbour of the Farrar family. On 13th August 1782 he married Ruth Farrar at St. Gabriel’s, Fenchurch Street. He was aged 30 but she was only 16 years old. After the marriage Miles became tenant-in-chief of a fine house and other properties at Chigwell Row, Essex which had previously been let to his late father-in-law by the Lord of the Manor of Barringtons. Apparently he never lived there. On 8th September 1783 Miles became a Freeman of the Glass-sellers’ Company and took the Livery on 23 September 1784. He was the founder of the Mason company and was producing porcelain of a high quality from the early 1800’s. He started by taking over the business of selling imported china which had been started by Richard Farrar, his father-in-law, in London in about 1783. Much of the porcelain sold was of the shape and design of the very popular Chinese export market porcelain. At this time a producer of such wares was called a ‘chinaman’ – a producer of china. By September 1784 he had taken over the china business of Richard Garrett. In 1793 he moved with his family from Fenchurch Street to 41 Finsbury Square and it was at this time that he was master of a City Livery Company. In 1796 Miles had moved to 25 Queenhithe near Blackfriars and it was a this time that he became a partner in three different partnerships and was involved in the manufacturing and retail sides of the pottery trade. One partnership was with Thomas Wolfe of the Islington China Manufactory, Folly Lane, Liverpool, a manufacturer of earthenware, a second with James Green of Upper Thames Street, London, a wholesale pottery-dealing company and thirdly a partnership was formed with George Wolfe so that he could make eartherware at Lane Delph. In June 1800 he dissolved the partnership with Thomas Wolfe, due to the heavy duties that were imposed by the Government in 1799 on […]
In the past at WCN we have written about Collecting various classic comedy stars and acts such as Chaplin, Laurel & Hardy etc. With the recent TCM Presents … There’s No Place Like Hollywood (November 2014) auction and on reading about the Robert Edward Auctions amazing Three Stooges posters sale (April 2015), and with 2015 being the 85th Anniversary of their first film Soup to Nuts (1930) we decided to investigate and create a feature on the Three Stooges themselves. In this feature we have a brief look at who the Three Stooges were, take a look at some of the collectables available including some rarer and unusual items of memorabilia and ephemera. We also browse the official Three Stooges Store ‘knuckleheads’, and we check out the amazing prices being recorded for early Three Stooges trading cards. Pictured: The Three Stooges Monopoly – It’s time to wheel and deal with Curly, Larry and Mo, the kings of slapstick. Enjoy this classic game of risk taking and deal making as you compete to own memorable locations from the Three Stooges films. Laugh out loud as you buy Moronika and Mildew College; sell Rutentuten’s Tomb and the Los Arms Hospital; and trade Gypsum Goode Antiques and the Cannonball Express. Don’t be a “featherbrain imbecile” and go bankrupt! This hilarious trio is yours for the taking! “Step aside nitwit, I’ll show you how to do this.” Includes six collectible tokens: Derby hat, Mallet, Seltzer bottle, Pipe wrench, Cream pie and Violin. Slaps and eye pokes not included. “Woob, Woob, Woob!”. Available from knuckleheads.com. A selection of The Three Stooges Zippo Lighters About the Three Stooges The Three Stooges were an American vaudeville and comedy act of the mid–20th century (1930–1975) best known for their numerous short subject films, still syndicated to television. Their hallmark was physical farce and slapstick. In films, the Stooges were commonly known by their first names: “Moe, Larry, and Curly” or “Moe, Larry, and Shemp”, among other lineups depending on the films; there were six active stooges, five of whom performed in the shorts. Moe and Larry were always present until the very last years of the ensemble’s forty-plus-year run. Pictured: A Three Stooges Pillsbury promotional poster 1937. U.S. promotional poster, linen-backed. Advertising the Three Stooges Moving Picture Machine, a Pillsbury’s Farina cereal promotional item; also advertising the Stooges’ Columbia shorts. Provenance: Estate of Moe Howard; Collection of Joan Howard Maurer and Paul Howard. Literature: Reproduced in The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer, and Greg Lenburg (Chicago: Chicago Review Press, 2012), p. 117. The first Three Stooges promotional item, a set of hand puppets, appeared on the market in 1935; this advertisement was printed two years later. The Moving Picture Machine was a cardboard projector accompanied by frames from Stooges’ movies which could be cranked through it. Participating theaters ran contests for these machines at Stooges’ matinees. In 1937, the Three Stooges were at the height of their first wave of success at Columbia, producing such classics as Hoi Polloi, Three Little Beers, and Disorder in the Court. 27 x 41 in. Sold for US$ 4,000 (£2,636) at Bonhams, New York, 2014. The act began as part of a late-twenties vaudeville comedy act, billed as Ted Healy and his Stooges, consisting of Healy, Moe Howard, his brother Shemp Howard, and Larry Fine. The four made one feature film entitled Soup to Nuts before Shemp left to pursue a solo career. He was replaced by his younger brother Jerome (Curly Howard) in 1932, and the trio eventually left Healy to launch their own act, billed as The Three Stooges. Pictured: Heavenly Daze Columbia, 1948. Lobby card poster. Duotone lobby card showing the classic trio at the office. In this short, Shemp has died but returns to Earth to teach the other Stooges a lesson and gain entry to Heaven. Provenance: Estate of Moe Howard; Collection of Joan Howard Maurer and Paul Howard. 14 x 11 in. Sold for US$ 937 (£617) at Bonhams, New York, 2014. Thee Stooges Trading Cards The 1959 Three Stooges Fleer card set will be of the highlights for a fan and collector of The Three Stooges. This set is also noted as the most popular non-sports trading card set. There were 96 cards in the set and it was released in 1959 just as the Stooges were beginning to appear regularly on TV. The 1959 Fleer cards feature scenes from the comedic trio’s short films shown in movie theaters from the 1930s through the 1950s. Pictured: Curly single No #1 in the set the Holy Grail of the set The Professional Sports Authentication, PSA for short who have been responsible for grading over 23 million collectibles has a great feature on the Three Stooges cards: The 1959 Fleer Three Stooges set consists of 96 cards, each measuring 2-1/2” x 3-1/2”. Each card front bears a color drawing of the comedy trio – Moe, Larry, and Curly – individually or in a scene from one of their shorts. A thin border surrounds each stylish, horizontal image with a caption printed in black ink at the bottom border. Card backs have a humorous quotation that complements the comical adventure on the other side. Fleer published the cards on both a white and a gray cardstock, with the gray versions more difficult to find as most have deteriorated over the passing decades. However, the white versions are more sought-after due to their clean appearance. The scarcest individual cards are single print run variation that carried checklists on the revers (#16 “You Can’t Keep Your Money,” #63 “Curly The First Thing,” and #64 “You Won’t Fool Anybody”), with only slightly more than 200 total copies known to still exist. Not surprisingly, the other key cards in the set belong to the Stooges themselves – Curly (#1), Moe (#2), and Larry (#3) – with each vertical card consisting of a bust shot with biographical information on the reverse. Prime examples the card “Let Me Know When My Number Comes Up (#33) is difficult to find due to centering issues. The last card, […]
The Lotus Pottery bull is a design by potter Elizabeth Skipworth, that was produced in the 1960s and 1970s. The design is based on the ancient Chinese art of pottery and features a stylized bull with intricate patterns on its body. The bull was glazed with the main colour being an olive-green which was popular at the time. Other glaze colours included blue and rarely white. Patterns on the bull included most commonly flowers but also petal, leaf, circles, foliate seaweed and spirals. The bull was made in four sizes from 12.5cm (5 inches) to 32.5cm (5 inches). The Lotus Pottery Bull is glazed in a deep blue color, and the bottom of the pottery is stamped with the Lotus Pottery logo. A few a wax resist design to expose the red clay body with patterns including spiral and flower. The bull is considered to be one of Skipworth’s most iconic designs, and it has been reproduced by several different companies over the years. The Lotus Pottery Bull Price Guide / Value Guide Although these look fantastic and are a design icon most of the bulls only sell for £10-£20 / $12-$24. Rarer blue and white glazes sell for up to £40 / $48. Size does not make too much difference, so the main difference is price is colour and pattern.
Ida Rentoul Outhwaite Her Fairies and Postcards Ida Rentoul Outhwaite (1888 – 1960) was an Australian illustrator of children’s books and most noted for her work depicting fairies. Born on 9th June 1888 in Carlton, Victoria to Rev. Dr. John Laurence Rentoul and Annie Isobel. She married Arthur Grenbry Outhwaite on 8th December 1909 and thereafter was generally known as Ida Rentoul Outhwaite. Her works can be signed in a number of formats including I.S.R. and at some point changed this to I.R.O. She also occasionally used I.S.R.O. and full spellings rather than abbreviations. Her first illustration was published by New Idea magazine in 1904 when she was just 15 years of age – it accompanied a story, entitled The Fairies of Fern Gully, written by her older sister, Anne Rattray Rentoul. In the years that followed, the sisters collaborated on a number of stories. Following her marriage to Grenbry Outhwaite in 1909, she also collaborated with her husband – most notably for The Enchanted Forest (1921), The Little Fairy Sister (1923) and Fairyland (1926). In a number of cases, her children – Robert, Anne, Wendy and William – served as models for her illustrations. Outhwaite worked predominantly with pen and ink, and watercolour. Her work was very popular in her native Australia combining a love for fairies and native wildlife including koalas, kookaburras and kangaroos. Her work was made even popular in the UK when Queen Mary wife of George V by sending postcards to her friends in the 1920s. Her illustrations were exhibited throughout Australia, as well as in London and Paris between 1907 and 1933. She died in Caulfield, Victoria, Australia. There are normally 150-250 Ida Outhwaite postcards on ebay click on link to view – Ida Outhwaite on ebay. Values of Outhwaite postcards in very good condition vary from £10-£50 each. Ida Rentoul Outhwaite Postcard Price Guide
Cats are surrounded with superstition, black cats especially so. In ancient Egypt, cats were revered, the black ones being most omnipotent of all.