Tag: pot-lids
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Masons Ironstone China
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 […]
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 […]
The Lotus Pottery Bull by Elizabeth Skipworth
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.
American Stoneware and American Redware
The term “American Stoneware” refers to the predominant houseware of nineteenth century America–stoneware pottery usually covered in a salt glaze and often decorated using cobalt oxide to produce bright blue decorations. Pictured right: Fenton & Hancock Water Cooler sold at auction for $88,000 in Nov 2006 at Crocker Farm Inc auctions The vernacular term “crocks” is often used to describe this type of pottery, though the term “crock” is not seen in period documents describing the ware. Additionally, while other types of stoneware were produced in America concurrently with it–for instance, ironstone, yellowware, and various types of china–in common usage of the term, “American Stoneware” refers to this specific type of pottery. Pictured left: Baltimore Stoneware, (H. Myers) Water Cooler, Made By Henry Remmey, Sr. Water Cooler sold at auction for $72,600 in July 2004 at Crocker Farm Inc auctions Stoneware is pottery made out of clay of the stoneware category, fired to a high temperature (about 1200°C to 1315°C). The pottery becomes, essentially, stone. Salt-glazed pottery is a type of pottery produced by adding salt to a kiln to create a glass-like coating on the pottery. At just over 900°C, the salt (sodium chloride) vaporizes and bonds with the clay body. The sodium in the salt bonds with the silica in the clay, creating sodium silicate, or glass. A very commonly employed technique seen on American Stoneware is the use of cobalt decoration, where a dark gray mixture of clay, water and the expensive mineral cobalt oxide is painted onto the unfired vessels. In the firing process, the cobalt reacts to produce a vibrant blue decoration that has become the trademark of these wares. While this type of salt-glazed stoneware probably originated in the Rhineland area of Germany circa 1400’s, it became the dominant houseware of the United States of America circa 1780-1890. Pictured right: Early NY Figural, Stoneware Jar, Inscribed “Bill Remey” sold at auction for $63,250 in March 2008 at Crocker Farm Inc auctions Americans began producing salt-glazed stoneware circa 1720 in Philadelphia, Pennsylvania, and Yorktown, Virginia. By the 1770’s, the art of salt-glazed stoneware production had spread to many centers throughout the United States, most notably Manhattan, New York. There the Crolius and Remmey families (two of the most important families in the history of American pottery production) would, by the turn of the nineteenth century, set the standard for expertly crafted and aesthetically pleasing American stoneware. By 1820, stoneware was being produced in virtually every American urban center, with potters from Baltimore, Maryl and, in particular raising the craft to its pinnacle. While salt-glazing is the typical glaze technique seen on American Stoneware, other glaze methods were employed by the potters. For instance, vessels were often dunked in Albany Slip, a mixture made from a clay peculiar to the Upper Hudson Region of New York, and fired, producing a dark brown glaze. Albany Slip was also sometimes used as a glaze to coat the inside surface of salt-glazed ware. Pictured left: Taunton, MA, Stoneware Figural Cooler, 1834 sold at auction for $34,500 in March 2008 at Crocker Farm Inc auctions While decorated ware was usually adorned using cobalt oxide, American Stoneware potters used other decorative techniques. Incising, a method in which a design of flowering plants, birds, or some other decoration was cut into the leather-hard clay using a stylus, produced detailed, recessed images on the vessels; these were usually also highlighted in cobalt. Stamped or coggled designs were sometimes impressed into the leather-hard clay, as well. Potters occasionally substituted manganese or iron oxide for cobalt oxide to produce brown, instead of blue, decorations on the pottery. In the last half of the nineteenth century, potters in New England and New York state began producing stoneware with elaborate figural designs such as deer, dogs, birds, houses, people, historical scenes and other fanciful motifs including elephants and “bathing beauties.” A significant percentage of American Stoneware was signed using maker’s marks and, much more rarely, incised signatures. Many pieces can be attributed to particular makers based on the cobalt decoration, clay body, form, etc. The gallon capacity of the vessels was often denoted using numeral stamps or incised or cobalt oxide numbers or hash marks applied in freehand. Pictured right: John W. Bell, Waynesboro, PA, Redware Figure of a Whippet Dog sold at auction for $41,800 in May 2005 at Crocker Farm Inc auctions American Stoneware was valued as not only a durable, decorative houseware but as a safer alternative to lead-glazed earthenware pottery produced in America before and during its production there. This earthenware, commonly referred to today as American Redware, was often produced by the same potters making American Stoneware. Pictured left: “Anthony W. Bacher / 1879”, VA Redware Wall pocket sold at auction for $35,650 in March 2008 at Crocker Farm Inc auctions Stoneware was used for anything we might use glass jars or tupperware for today. It held everything from water, soda, and beer to meat, grain, jelly, and pickled vegetables, and was produced in a very wide variety of forms. These ranged from common jars and jugs to more specialized items like pitchers, water coolers, spittoons, and butter pots, to much rarer banks and poultry waterers and exceptionally unusual pieces like bird houses, animal figures, and grave markers. With the proliferation of mass production techniques and machinery throughout the century, in particular the breakthrough of John Landis Mason’s glass jar (see Mason jar), the production of what had been one of America’s most vital handcrafts gradually ground to a halt. By the turn of the twentieth century, some companies mass-produced stoneware with a white, non-salt glaze (commonly referred to as “bristol slip”), but these later wares lacked, for instance, the elaborate decorations common to the earlier, salt-glazed stoneware. Copyright (C) 2000,2001,2002 Free Software Foundation, Inc. 51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed Related American Stoneware at Auction
Raphaël Kirchner Postcards
Raphaël Kirchner (1876 – 1917) was an Austrian artist, best known for Art Nouveau and early pin-up work, especially in picture postcard format which became extremely popular during World War I. Kirchner attended the Academy of Fine Arts Vienna and began his career as a portrait painter for the fashionable in Vienna. He moved to Paris in 1900, creating illustrations for magazines including La Vie Parisienne, where he worked with other notable artists such as Mucha. Kirchner became best known for his saucy ‘glamour’ postcards of young women which are very collectable over 100 years later. Raphaël Kirchner produced over a thousand published paintings and drawings in his lifetime, mostly in the form of picture postcards. His postcards are very sort after with collectors, from his orientalist Geisha series which had influences of Art Nouveau, East and West, to his ephemeral beauties from La Vie Parisienne to the more realistic erotic young ladies who were the favourites of the European and American soldiers in the Great War who pinned his cards up in the trenches. Raphaël Kirchner postcards were the original pin-ups. It was Kirchner’s witty, accurate portrayal of the seamier, yet perhaps the most exciting and glamourous aspects of Parisian night life–of the world of the bar and of the boudoir–that provided the real road to success for the artist. Kirchner’s alluring, often erotic depictions of the typical Montmartre female in La Vie Parisienne and in watercolours and pastels such as ‘Les Joueuses’ became so popular that the prettiest and most expensive of the ‘Montmartre Girls’ became associated with the artist’s images of them, and were duly dubbed ‘Kirchner Girls’. There are normally 350-400 Raphael Kirchner postcards on ebay click on link to view – Raphael Kirchner postcards on ebay.
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 […]
Nightmare Before Christmas 25th Anniversary Collectibles & Toys
Wow! 25 years ago Disney released WCN’s favourite Disney film The Nightmare Before Christmas. The cult film from Tim Burton and has certainly stood the test of time to become of Disney’s best franchises and we would say has had some of best and coolest merchandise, collectibles and toys. With the Nightmare Before Christmas 25th Anniversary well underway, we take a look at what Jack Skellington, Oogie Boogie, Sally and team have on offer in the way of Nightmare Before Christmas 25th Anniversary Collectibles & Toys. Lets start with this fantastic figure by Jim Shore. The figure is called What a Wonderful Nightmare and blends Disney Magic with traditional folk art to create a great piece featuring Jack Skellington, Sally, Zero, Mayor, Lock, Shock, and Barrel. Two classic games Operation and Monopoly have been released in 25th Anniversary editions. Operate on Oogie Boogie in Operation and explore Jack’s Tower, Oogie Boogie’s Casino, Dr. Finkelstein’s Laboratory, and Sally’s Alley in Monopoly. Funko have released some excellent editions including Mystery Minis, Snow Globes, Plushies, a super deluxe vinyl figure of Jack Skellington with Zero, Vinyl, Pen Toppers and more! Some cracking Nightmare items. The collections feature all the main characters including Jack Skellington, Sally, Dr. Finklestein, the Mayor, Pumpkin King Jack, Lock, Shock, Barrel, and Scary Teddy. Funko have also released a number of anniversary Vinyl Pops as well. With the film covering both Halloween and Christmas there are of course some ornaments and tree toppers including Jack Skellington and Sally Legacy Sketchbook Ornament and a Jack Skellington Tree Topper showing Jack as Sandy Claws. There are also exclusive editions at the Disney Parks and various Disney worldwide stores. Ultimately it is all down to the movie itself and there are a number of special 25th DVD and Blu-Ray releases that will keep fans happy. A special thanks to Tim Burton and all involved for this wonderful film.
A look at Grimwades Royal Winton Chanticleer Series
The Grimwades Royal Winton Chanticleer series first appeared at the British Industries Fair in February 1936. The range of realistically moulded cockerels and hen, in warm colours, were a popular addition to the breakfast table and was produced for many years. Grimwades described the range as ‘distinctive novelties’ on their advertising leaflets. Chanticleer is French for cockerel and items from the Chanticleer series are sometimes marked on base with Chanticleer while others are marked Rooster. A few examples and smaller pieces such as cruets are unmarked. The range included various teapots, hot water jug, sugar and cream, milk jug, marmalade with cover, sugar sifter, cheese cover and stand, 3 and 4 piece cruet and condiment sets, 3 and 5 bar toast racks, jam, covered butter, mint boat and stand, and dessert plate. Except for the toast rack, the Chanticleer items produced were in the shape of the bird set on a grassy green base. They were also available in different colourways, with the hand painting adding variations to the pieces. The teapot, for example, can be found in streaked and speckled shades of a golden brown, with the tail and lower body feathers highlighted in soft green. Alternatively, a rich, dark blue combination was used with bands of scarlet emphasising the tail feathers. These tail feathers curve down to create the handle of the tea pot, with the spout being formed by the open beak of the bird. Sugar shakers were either golden brown or a pale yellow lightly streaked with red, the wings being a light grey and the breast cream. As mentioned the toast racks differed from the rest of the range by not being designed to be on a grassy mound. The toast racks were main in green and yellow and featured a cockerel decorating either end. Two toast racks were produced: a 3 bar toast rack and 4 bar toast rack. The cruet and condiment sets included: a 3 piece set featuring salt and pepper pots on a base and show the cockerel standing with his head held high, while the hen stares into space; whilst the 4 piece condiment set features salt, pepper and covered mustard pot on a base and has the cockerel in the same proud pose, accompanied by two hens, one as before, the other shown head down, pecking for food. The male bird always sports a large scarlet comb and scarlet wattle, while the hen has only the merest suggestion of a comb. The base resembles a grassy field, the carrying handle depicting a fence. The images below show some of the variations in colour. Grimwades Royal Winton Chanticleer Series Price Guide / Value Guide Prices for pieces with no defects and good colour. We have seen great variations in prices especially in online shops. The prices below Chanticleer Teapot £40-£80 / $60-$120 3 Piece cruet set £40-£80 / $60-$120 4 Piece cruet set £50-£80 / $75-$120
Collecting Pinky and Perky
Pinky and Perky were two adorable puppet characters that first appeared on the BBC in 1957. The two puppets starred in their own show which at its peak had a television audience of 15 million. In this Collecting Pinky and Perky feature, we take a brief look at how the puppets were created and explore some of the Pinky and Perky collectibles and Pinky and Perky merchandise over the years. The creation of Pinky and Perky In 1948, Jan and Vlasta Dalibor were living in London as Czech immigrants. Jan was a painter and sculptor and Vlasta an actress. Vlasta suggested that Jan created some pig puppets. Drawing inspiration from their homeland’s traditional puppetry, and where pigs were a symbol of good luck in Czechoslovakia, they created two pig characters initially called Pinky and Porky. The piglet puppets were party of a puppet show that appeared in the Summer Season ay Heysham. The show and the puppets Pinky and Porky were discovered by Margaret Potter, the wife of producer Trevor Hill. There was an issue around the name Porky and eventually, it was Margaret who renamed Porky to Perky. So the duo became Pinky and Perky. The show itself was set at their own fictional TV station “PPC TV” where they would sing, dance and perform comedy sketches usually with a human host. Actor John Slater worked with them as a straight man for many years, enduring soakings from water pistols and similar pranks. Other human companions included Roger Moffat, Jimmy Thompson, Bryan Burdon and Fred Emney. The Pinky and Perky look and Sound Pinky and Perky looked exactly the same with Pinky sporting red clothes and Perky wearing blue. However, as the show was made in black and white, to differentiate the two, Perky would often wear hat. Pinky and Perky enjoyed a very successful recording career releasing a number of records. They used their high-pitched voices to lip-sync along with contemporary pop music. Pinky and Perky spoke and sang in high-pitched voices, created by re-playing original voice recordings at twice the original recorded speed; the vocals were sung by Mike Sammes while the backing track was played at half normal speed. Pinky and Perky and The Beatles Pinky and Perky also traveled overseas and had some success in the USA appearing on The Ed Sullivan show six times. In 1964 Pinky and Perky actually shared were on the same show as The Beatles, where they performed “You Must Have Been a Beautiful Baby” and “Speedy Gonzalez”. The Pinky and Perky Show had various other puppets including a parody of The Beatles called The Beakles. These were an Avian looking band with Beatles style haircuts. Other puppets in the show included Topo Gigio. The show ran from 1957 to 1968 on the BBC and the moved to ITV from 1968-1972. A CGI Pinky and Perky show was released in 2008. The pair have had a influence on modern culture and have been referenced in TV shows such as The Good Life, The Goodies and Call the Midwife. For many people of a certain age, Pinky and Perky is a reminder of their childhood and a symbol of British culture. Pinky and Perky collectibles and Pinky and Perky merchandise In addition to their starring roles on television and their legendary music career, Pinky and Perky have also appeared on countless pieces of merchandise and collectibles over the years. From t-shirts and coffee mugs to lunch boxes and puppets, there’s no shortage of ways to show your love for these beloved characters.
The Cottages of W H Goss
Of all the varieties of china manufactured by the firm of W. H. Goss, the cottages and other small buildings have probably the greatest appeal. They are accurately modelled, of a fine translucent body, well decorated and are not disfigured by a transfer crest. It is these two latter criteria which are used, quite arbitrarily, to define the term ‘cottage’ in this article. Pictured: Three W H Goss Cottages including the First and Last House in England, small with green door, Shakespeare’s House, small full length, one chimney damaged, and Anne Hathaway’s Cottage. Estimate £100-£150. Image Copyright Bonhams. Plain white pieces, whether parian, or glazed with a crest, have not been included. Thus the series of lighthouses has been omitted, as have any uniformly coloured buildings. It was in 1883, just over 20 years after the founding of the firm of W. H. Goss, that the well-known heraldic china was introduced, with an eye to catching the popular market, although the more costly jewelled china and parian ware continued to be manufactured. So successful was this venture that, about 1893, Goss started a new line for his wider public, which was apparently an immediate success. This consisted initially of models of three cottages, Ann Hathaway’s, Burns’, and Shakespeare’s. Pictured: A WH Goss model of Robert Burns’ cottage. Estimate £60-£80. Image Copyright Bonhams. Perhaps, at this point, there seemed little need to increase the range, and new models were at first very slow in being issued. The Manx cottage and the ‘Window in Thrums’ were issued about 1898, and in 1908 a further model, of the First and Last House at Land’s End, was produced. All these models were produced in two sizes, the larger being designed to be used as a nightlight. The choice of subject was intended to make as wide an appeal as possible and was mainly confined to well-known tourist attractions, though Goss’s liter ary interest is evident throughout, and models associated with Shakespeare, Dickens, Johnson, Wordsworth, Barry, Thomas Hardy and Izaak Walton are included. The period from 1910 to 1915 was one of intense activity, and no less than 15 new models were announced. These, as the earlier ones, are distinguished by having a registered design number, a practice which was discontinued in July 1914. The firm’s fortune started to decline during the First World War, but new models continued to be issued. As a group these were labelled ‘Copyright’, until about 1922, when any reference to protection of the design was omitted, although all the models were clearly labelled with the name W. H. Goss and the trademark, the Goss hawk, a kind of falcon which was taken from the family crest. In addition, every model bears a brief inscription as a form of identification. Some, particularly the earlier models, also bear an impressed mark, W. H. Goss, but this is not, as has been suggested, a reliable method of dating. A collection of eleven W H Goss cottages, early 20th century – Comprising two large cottages ‘Model of Burns’ Cottage’, 14.5cm wide, and ‘Model of Shakespeare’s House’, 18.5cm wide,and nine smaller examples ‘Ann Hathaway’s Cottage’, ‘Charles Dicken’s House’, ‘Prince Llewelyn’s House Beddgelert’, ‘Rt. Hon D Lloyd George’s early home Criccieth’, ‘St. Nicholas Chapel, Lantern Hill, Ilfracombe’, ‘A Window in Thrums’, ‘Old Maids’ Cottage at Lee, Devon’, ‘The House at Lichfield in which Dr Samuel Johnson was born’ and ‘Model of oven in which Goss porcelain is fired’, printed black marks. Estimate £800-£1000. Image Copyright Bonhams. The exact date of issue of the pieces is by no means easy to establish. As long as the registered design numbers were used, it is quite straightforward to find the approximate first date of issue. From 1914, the only evidence readily available is from the Goss Records, which were small catalogues listing all the so-called ‘special models’, covering heraldic ware as well as cottages, parian busts and many other types. The last two editions of these Records were issued in 1914 and 1921 with a slim supplement in 1918, so that any exact dating is impossible from the simple list of new models that was issued. The 1921 Record, for example, lists six models as being in preparation, but for the last six, no documentary evidence is available. The lists given here represent an attempt to place the models roughly in order according to the first date of issue. With the exception of the last piece, John Knox’s house, it is likely that all the models were issued well before the firm sold out in 1929. The buyer had also acquired several other china firms, together with their moulds, and a num ber of their products were issued, marked with the Goss trademark, which had a well-deserved reputation for quality. As regards the cottages, these were mainly very inferior models of Shakespeare’s and Ann Hathaway’s cottages, in various sizes, crudely coloured and bearing the original Goss transfer label. John Knox’s house, how ever, having no counterpart in the for mer range, bears the later style of trade mark, ‘W. H. Goss, England’, which applied to new designs after 1929. Although, as the lists show, there are only about 40 different subjects, my own collection comprises about 115 recognisably different varieties, either Because of different size, different colour, or depending on whether the models are matt or glazed. For example, of the first 17 subjects listed, that is, of those first issued up to about 1912, 15 are found both glazed and unglazed. The Newquay Look-out House, being akin to a lighthouse, and having little colour ing, is invariably glazed, while the First and Last Post Office has so far not been seen glazed, although it may well exist. None of the subsequent subjects has been found in the glazed state and it is postulated, with some supporting evi dence, that all models were issued glazed for a limited period around 1912. The glaze has the effect of protecting the paint, so that the glazed models are normally found in outstanding […]