Tag: sporting collectables
Random Collecting Feature
Snowstorms, Snow Globes, Snow Shakers, Snow Domes Oh My!
Snowstorms, snow globes, snow shakers, snow domes, whatever you like to call them, are one of those collectables on which you can spend pounds or pence – the choice is yours. At the top end of the scale, you could pay a small fortune for an antique snowstorm, but an interesting and enjoyable collection can be built up with much cheaper examples. The Snowstorms shown here should all be available for under $35/£20. Magical, enchanting and very tactile, these little transparent snowy globes have intrigued children and adults for years. It is virtually impossible to pass a display of snowstorms without picking up at least one and shaking it, to watch the snow whirl madly around before gradually settling. Sometimes they are made from glass, though nowadays more frequently moulded from plastic, and each dome contains an ornamental figure which becomes hidden amongst a flurry of snow or glitter when agitated. They are becoming extremely sophisticated, and many contain musical movements, animated figures, glitter, lights or even a mechanism to do the shaking for you. Some hold tiny fans to whirr polystyrene snow from within. No-one seems to know for sure exactly when snowstorms were first made, but the Victorians enjoyed them and collected them as souvenirs of their travels. Some of the earliest were displayed an ‘all nations’ exhibition in Paris in 1878, and they must have been manufactured for several years beforehand, as the Victorians were very fond of the novelties and by the 1870s were collecting them on their travels. It could be that snowstorms evolved from domed glass picture paperweights – another favourite trinket with people at the time and often bought as a souvenir. Snowstorms were extremely popular in the 1920s and 30s, then again in the 1950s and 60s, when most children would find one in their Christmas stockings. Today, they have re-emerged as a tourist souvenir, on sale at many resorts throughout Britain alongside the sticks of rock and ‘A present from –’ mugs, as well as being a quality collectable sold in gift shops and department stores. Though the word ‘snow’ associates them with Christmas, many have general themes, often summery. Before the advent of plastic, globes were made from glass, using various substances for snow such as ground-up bone, ceramic dust, sand or ground rice, but today both globe and snow are often plastic. Frequently, instead of snow, you will find glitter, tiny coloured beads, stars or confetti – and, apparently, the correct technical term for the snow is flitter! The liquid inside is water, often with an additive such as glycol to slow the fall of the snow, so that it doesn’t sink immediately and swirls for a while. Snowstorms aren’t always round – in the 1940s a German manufacture r experimented with various shapes and decided that a compressed oval shape was less likely to break than the traditional globe. Before then, the majority of snowstorms were spherical and could be viewed from any angle, which meant they needed to contain a three-dimensional sculpture or figurine. With the advent of the new shape, half of the dome was painted (normally blue) to create a backdrop, and flat-backed figures could be used, leading to a saving in labour. Now, the backs of the figures didn’t need to be painted and the figures could easily be stamped from plastic. Although globes are still made, the oval shape is very common, especially for the cheaper plastic ranges. Rectangular, bullet, cube, bottle, octagonal, cylindrical, conical, lantern and egg-shaped are just a few of the other shapes encountered. The subjects of a snowstorm vary enormously. Although we tend to think of Christmas themes – nativities, reindeer, angels, santas, fir trees and snowmen – they can be anything. Particularly popular are Disney characters, often incarcerated amidst elaborate scenes, for example, the restaurant episode from Lady and the Tramp, where the two dogs are linked by a spaghetti strand. Nursery tales are another favourite: the British toy company Hawkins supplies Snow White, Red Riding Hood, Cinderella, The Frog Prince and Hansel and Gretel snowstorms which are made in Germany by the son of the man who invented the compressed dome shape. He still uses the traditional moulds, methods and hand-painted figures, and the designs date back to the 1950s. Interestingly, many other designs inside snowstorms go back several decades – only recently I saw one on sale containing the figure of a little angel with a fawn, identical in every way to one which I was given (and still own) in 1957. Other popular themes for snowstorms are advertising, tourist attractions, animals, fish, ballerinas, houses, butterflies and boats. The majority of the tourist-type snowstorms originate from China or Taiwan, and though at the cheaper end of the market, they shouldn’t be overlooked as the designs are often ingenious. Most new collectors begin with the easily obtainable snowstorms, quickly assembling a clutch of cheap and cheerful mass-produced types made over the last two or three decades. There are thousands to choose from, and often the modern designs are stunning. Many of the most desirable snowstorms originated in Europe. The Erwin Perzy factory, in Vienna, have been producing them since 1900, and their designs are renowned for their simplicity of style, detailed hand-painting, and, especially, the clarity of the specially formulated liquid which allows the ample quantity of snow to stay suspended for well over a minute before re-settling. Another well-known company is a German concern, Koziol, whose globes have been delighting people since 1948, while Walter and Prediger, also from Germany, were one of the first to issue the now commonplace dome-shaped snowstorms. Some traditionalists will only collect the original, glass globe-shape, but the plastic ones can be just as charming. Many collectors prefer the earlier snowstorms, dating from the 1950s or before, and as the majority of these were made from glass they are prone to cracking. At the time they were mostly sold as novelties for children, and consequently may have been stored in […]
Gianni Versace – Fashionable and Collectable
When it comes to elite 20th Century designer offerings one of the most celebrated of them all has to be the late Prince of Fashion – Gianni Versace. His flamboyant, original and controversial creations were vibrant and risqué yet adored by all, including celebrities and royalty. Gianni’s ability to revolutionise the industry by breaking the mould with daring, revealing couture has ensured his place as a design icon whose legacy lives on through the innovative and desirable designer label – Versace. Born on 2nd December 1946, Gianni grew up in Reggio di Calabria, Italy, with his older brother Santo and younger sister Donatella. His father ran a haberdashery and his mother, Franca, was a dressmaker who copied French designs for her clientele. Gianni’s love for fashion was definitely influenced by his mother and at an early age he used to help her source decorative items such as precious stones to elaborate her embroidered dresses. Aged 21 Gianni prematurely left college where he was studying architecture, to return to work with his mother as a designer and buyer. His desire to create clothing ensured that the company started to attract a younger clientele with the first star to wear Gianni’s designs being Miss Italy. After five years, in 1972 Gianni decided to further his fashion career and so made the move to the Italian centre of high Fashion, Milan. It wasn’t long before he was discovered by Arnaldo Girombelli who was one of the most influential names in the Italian fashion industry and owned the label Genny. Impressed by Gianni’s designs Arnaldo offered him work in a freelance capacity, and Gianni set about working with materials such as leather and suede. It wasn’t long before he had made a successful name for himself especially once he had presented his signature women’s collection at the Art Museum and was rewarded with the prestigious Milanese Golden Eye award. Gianni then went on to present his first male collection and was soon to become one of the top ranking International fashion designers. The first Versace boutique was opened in 1978, where Gianni sold his own designs and creations alongside other labels, but it soon became apparent that he was outselling all the other brands. One of his creations in the early 1980s, a metal mesh dress, gained great acclaim and was described as giving the look of mercury dripping over a women’s body. Realising that his designs were flourishing, the next inevitable step was to open more boutiques, which he did all around the world. In 1985 Gianni expanded his ranges by adding the Instante label to his couture collections. More affordable, this enabled Gianni to offer his designs to a wider and younger clientele. Success was also very much due to his brother Santo who was responsible for the financial side of the business and his shrewd acumen allowed Versace The Company, to grow in size extremely fast. Very much a family business, Donatella was also heavily involved on the creative side as she too possessed a flair for design which became a huge influence for her brother. Lifelong partner to Gianni, Antonio d’Amico was also involved with the Versace Empire by working as a co-ordinator on the Instante label and Donatella’s husband, Paul Beck was, and still is, a manager of the Versace Company. This family-run company continued to expand and, as we all know, is now an International Designer Fashion label. Much of this success is down to Gianni’s visions and how he reinterpreted the clothes from original paper sketches into stunning works of art worn by both men and women around the globe. Although all the garments created showed great skill in the way they were cut and tailored, Gianni was not particularly good at drawing. He would roughly sketch his ideas and pass them onto his assistants who would create something that a pattern cutter could work from in order to make the garments wearable. Aside from Gianni’s talent to design extravagance flamboyant clothing he also worked and experimented with contrasting fabrics. Teaming leather with velvet and silk with flannel the result was spectacular, especially when decorated (much like his mother did) with beads or stones. Sexuality was also key to the Versace designs; risqué evocative clothing often combined with vibrant loud prints – the garments oozed sex. A Versace creation is a show piece that looked fantastic on the catwalk and gorgeous on the street. Another skill that Gianni possessed was being able to turn his hand to any style and then very cleverly using this to market and promote his ranges by loaning the outfits to celebrities who were sure to be photographed. This cost him far less money than taking out an advertisement in one of the glossy magazines but also proved that his designs were adored by the rich and famous. Because of this genius marketing ploy many celebrities around the world have adorned themselves in Gianni’s clothing. We all remember that dress worn by Liz Hurley in 1994 which was fastened along the side with large gold safety pins but Gianni also designed elaborate stage costumes for Elton John and elegant sophisticated gowns for Princess Diana, making him the first ever non-British designer label that the Princess had worn. Although the business remained successful, problems started to occur in the mid 1990s when family arguments between Gianni and Donatella were rumoured. He was also said to have suffered from a very rare cancer of the inner ear but the most devastating event was in 1997 when Gianni was gunned down and murdered by serial killer Andrew Cunanan outside his ocean-fronted mansion in Miami. The killer then turned the gun on himself and committed Control of the company was passed to Santo with Donatella becoming the head of design but the soul heiress was Donatella’s daughter Allegra, who inherited the Gianni fortune aged just 11. Today Versace is still a thriving company with Donatella at the helm, but no one will ever forget the […]
Graceland Elvis Presley’s Home & Graceland Collectibles
Graceland is the name of the 13.8 acre estate and large white-columned mansion that once belonged to Elvis Presley, located at 3734 Elvis Presley Boulevard in Memphis, Tennessee, USA. It is located south of Downtown Memphis, less than four miles north of the Mississippi border. It currently serves as a museum. It was opened to the public in 1982, was listed in the National Register of Historic Places on November 7, 1991 and declared a National Historic Landmark on March 27, 2006. Elvis Presley, who died at the estate on August 16, 1977, his parents Gladys and Vernon Presley, and his grandmother, are buried there in what is called the Meditation Gardens. Graceland History Graceland was originally owned by S. E. Toof, publisher of the Memphis newspaper, the Memphis Daily Appeal. The grounds were named after Toof’s daughter, Grace, who would come to inherit the farm. Soon after, the portion of the land designated as Graceland today was given to a niece, Ruth Moore, who, in 1939 together with her husband Dr. Thomas Moore, had the present American “colonial” style mansion built. Pictured right: This beautifully detailed brass ornament shows a 360 degree view of the Graceland mansion. Elvis purchased Graceland in early 1957 for approximately $100,000 after vacating an East Memphis house located at 1034 Audubon Drive. He moved because of privacy and security concerns, and the opposition of neighbors to the enthusiastic behavior of the many fans who slowly cruised by his home. Elvis moved into Graceland together with his father Vernon Presley and his mother Gladys. After Gladys died in 1958, and Vernon married Dee Stanley in 1960, the couple lived there for a time. Wife-to-be Priscilla Beaulieu also lived at Graceland for five years before she and Elvis married.After their marriage in Las Vegas on May 1, 1967, Priscilla lived in Graceland five more years until she separated from Elvis in late 1972. Pictured left: Thomas Kinkade painting of Graceland marking the 50th Anniversary of the purchase by Elvis Presley. On August 16, 1977, Elvis died in his bathroom at Graceland allegedly of a heart attack, according to one medical examiner report at the time. However, there are conflicting reports as to the cause of his death. According to Peter Guralnick, the singer “had thrown up after being stricken, apparently while seated on the toilet. It looked to the medical investigator as if he had ‘stumbled or crawled several feet before he died.’ ” The author adds that “drug use was heavily implicated in this unanticipated death of a middle-aged man with no known history of heart disease…no one ruled out the possibility of anaphylactic shock brought on by the codeine pills he had gotten from his dentist.” After initially being buried at Forrest Hill Cemetery, and fo llowing an attempt to rob his grave, Presley’s remains were moved to Graceland. The estate has become a pilgrimage for Elvis fans across the world. Graceland architecture and modifications The mansion is constructed of tan limestone and consists of twenty-three rooms, including eight bedrooms and bathrooms. The entrance way contains several Corinthian columns and two large lions perched on both sides of the portico. After purchasing the property Presley carried out extensive modifications to suit his needs and tastes, including: a fieldstone wall surrounding the grounds, a wrought-iron music styled gate, a swimming pool, a racquetball court, and the famous “jungle room” which features an indoor waterfall, among other modifications. One of Presleys better known modifications was the addition of the Meditation Gardens, where he, his parents Gladys and Vernon, and grandmother are buried. The garden was opened to the public in 1978. For more details concerning the decorative arts that makes Elvis’s mansion seem a creation as well as a site, see Karal Ann Marling, Graceland: Going Home With Elvis (Harvard University Press, 1996). Graceland’s “act of faith in serial novelty,” the author argues, synthesized the “intense concern for personal style” that made B. B. King notice a teenaged Elvis in a pawnshop years before he was famous and the fashion sense informing the “theme clothes” of the ’70s — “carapace[s] of sheer, radiant glory.” Graceland grew from 10,266 square feet when originally bought by Presley to 17,552 square feet today. Managers of the complex announced a major renovation project that will include a new visitors center, a 500-room convention hotel and high-tech museum displays. The current visitors center, souvenir shops, the 128-room Heartbreak Hotel, and museums will be torn down and replaced with the new facilities. The project will take approximately 3 years to complete. Elvis Presley at Graceland According to Mark Crispin Miller, Graceland became for Elvis “the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling.” The author adds that Presley’s father Vernon “had a swimming pool in his bedroom”, that there “was a jukebox next to the swimming pool, containing Elvis’s favorite records” and that the singer himself “would spend hours in his bedroom, watching his property on a closed-circuit television.” Pictured left: Plate featuring Elvis at the Gates of Graceland. Graceland was Lisa Marie Presley’s first official home, and residence after her birth on February the 1st 1968 and her childhood home, although her main state of residence was California where she lived with her mother after she divorced Elvis when Lisa was in elementary school. Every year at Christmas time Lisa Marie Presley, and all her family go to Graceland to celebrate Christmas together. Lisa Marie Presley often goes back to Graceland for visits. When she turned 30, Lisa Marie inherited the estate and she sold 85 percent of it. According to Brad Olsen, “Some of the rooms at Graceland testify to the brilliance and quirkiness of Elvis Presley. The TV room in the basement is where he often watched three television sets at once, and was within close reach of a wet bar.” Elvis […]
Armand Marseille Dolls & Other Bisque Dolls
Bisque china dolls are those tranquil faced beauties we see featured on the Antiques Roadshow, with glass eyes, hand-painted features and, often, ‘double-jointed’ limbs.
Weatherby’s Zany Zookies
Zookies are super, large, colourful character-type creatures are great fun to collect. During the 1950s, a number of companies began manufacturing ranges of animals, hoping that people would go on to collect several in a set. Wade introduced their exceedingly popular Whimsies – delicate, realistically-modelled porcelain miniature animals and birds – and a company called J. H. Weatherby & Sons Ltd. in Hanley, Stoke-on-Trent, decided to do the complete opposite, producing a series of sturdy comical animals which they called Zookies. An advertising leaflet from 1957 read, ` People who buy one, buy another and another and buy them for their friends too!` According to records, forty-four different Zookie models were designed, though it`s possible that some of the later ones never made it into production. The average height of a Zookie is four inches, but because of the nature of the modelling – they are stocky, chunky creatures – they appear much larger. Some of them seem to resemble popular Disney characters of the time, while others have comical faces and look just as though they’ve stepped from the pages of a child’s book. Most are colourful, and they all have a high gloss finish, similar to Wade products. It seems that some of the range must have been more popular than others because the tiger, rabbit, elephant, koala and sad dog are much easier to find than, for instance, the pony, pelican or tortoise. The pieces are easy to identify as the majority are marked `Weatherby, England` on the base. Sometimes the word `Hanley` is there, too. Weatherby and Sons Ltd. (who often used the name Falcon Ware), was an old-established company. Founded in Stoke-on-Trent in 1891, they began by manufacturing tableware, toilet sets and vases, later supplying china to the hotel and catering trade. It wasn`t until after the second world war that the company decided to move in to the giftware line. They produced such items as `Chuckleheads` (cups and saucers shaped like animals), `Beasties` (dinosaurs), commemorative items, dwarf figurines and tableware (including a range of small trays) often decorated with 1960s favourite images such as gonks, Butlins and daleks. A range of realistic animal ornaments were also made. The company was not connected with the Falcon Works, Longton, makers of Sylvac. Because of the bulk of the pieces, the creatures tend to look larger than they really are – the giraffe seems tall, yet is only five-and-a-half inches high. He has been modelled in a seated position, with a benevolent expression on his face, and is bright yellow with brown markings. The tiger cub is similarly coloured – he is one of the most commonly-found models, and has an open, laughing mouth. Surprisingly, the zebra also follows the orange and brown colour scheme, rejecting his usual black and white garb for a more-colourful coat. The seal, with unusual black heart-shaped eyes, is probably the longest piece at six-and-three-quarter inches – slightly longer than the sinister green crocodile, who is opening his mouth in a `welcoming grin`. Most substantial of the Zookies is the standing baby elephant, even though his actual height is only four-and-a-half inches. This large-eared creature with his raised, curled t runk, happy face and long-lashed eyes is very similar to Disney`s Dumbo. A seated elephant was also made but is much harder to find. Dogs were the most popular pets during the 1950s, which probably accounts for the variety of canine Zookies – there are seven different models, including one which is the spitting image of Disney`s Tramp, while the sad brown spaniel greatly resembles his girl-friend, Lady. Then there is a happy mutt with sticking up ears, a solemn boxer, a dignified poodle and two mournful dachshunds. Occasionally you might come across the grey and white cat with a ball of wool, but that is quite rare, as is the large blue/grey mule. Other rare Zookies include the tortoise, frog, kangaroo, rabbit holding a flower, ass and monkey. One of the most easily found is the laughing rabbit (some people call him a dog but he definitely has bunny teeth!) wearing either a red or a green jacket with one large button. There seems to be slightly more red jackets than green, but both are common. Another frequently found piece is the koala, though surprisingly he usually sells for double the price of the rabbit, possibly because he is popular with teddy bear collectors. The koala isn`t quite so characterised as the other Zookies, but is very cute and is nutmeg brown. His eyes are smaller than most of the other creatures in the range, and he has the typical, flat koala nose. Another delightful animal is the lamb, who seems to be about to leap. His white and grey fleece has been cleverly moulded to give a nubbly appearance. Usually, the lamb faces to the left but apparently it is possible to find one facing the opposite way. The horse is very spirited with braced legs, large eyes, long tail held high and ears pricked. He has a glossy chestnut coat and a black bridle. Other animals include a fat brown smiling hippo, a delightful camel with splayed legs, a skunk with a raised tail and his paws over his nose, a sideways-glancing monkey and a deer seated in a Bambi-esque pose. Birds aren`t neglected in the Zookie series. A handsome toucan, perching on a branch, has black and white plumage, a red head and long, curved, yellow beak. The two ducks are really comical, and are in complete contrast, as one is long and thin with an open beak and small feet, the other is short and fat with a closed beak and big feet. They are both bright green, the thin one having a red head. According to the Falcon Ware book, the thin duck was available in two sizes. The rather rare pelican is grey, with a yellow bib and beak. He is seated, while the dignified penguin adopts a typical upright stance. It`s strange […]
Leslie Harradine and Royal Doulton
For collectors of Royal Doulton, Leslie Harradine is a well known name having designed some of the most famous and iconic Doulton figures including the Balloon Seller, Scotties, Sunshine Girl and the popular Dickens Series. He was prolific and modelled figures for Doulton from the late 1920s to the 1950s, as well as initially designing vases for the Lambeth Art Studios. His first figure for Doulton was Contentment with model number HN389. In 1929 he created another model Contentment featuring a Mother and Child sleeping (model HN1323). Although known as Leslie Harradine he was born Arthur Leslie Harradine in Lambeth to parents Charles Percy and Jessie Harradine (nee Tealby) in 1887. He first joined the Doulton Lambeth studio as an apprentice in 1902 working under George Tinworth, whilst at the same time studying at the Camberwell School of Arts. He initially worked in the studios on vases and Toby jugs, but his main interest was in clay sculpture and the design of free standing figures. His designs came to the attention of Charles Noke who was Art Director at the time but as he was not able to model figures as much as he wanted or to start his own factory he actually left Doulton in 1912 to start a farm with his brother Percy in Canada. Farming proved difficult, but when possible Leslie continued to create and paint models from clay. In 1916 Leslie and his brother Percy left Canada for the Great War. He was injured and whilst in hospital he met his future wife Edith Denton whom he married in 1917, and the following year became a father to his first child Jessie. Leslie and his family moved back to England in 1918 with the intention of opening a studio in London. Shortly after his return Charles Noke offered Leslie a job as a figure designer at the Burslem. However, the position was refused but eventually he agreed to work on a freelance basis and in 1920 his Royal Doulton figure entitled Contentment was released. Harradine modelled and created figures for Royal Doulton on a freelance basis for over forty years. He had a way of working peculiar to him and probably only allowed because of his undeniable talent and genius – he would decide what to model and when to send those models in to the factory at Burslem, sometimes up to three at a time, on a monthly basis. It is said that the other designers and painters would all gather round eagerly when his monthly shipment was unpacked to see what he had “come up with this time”. Many iconic and popular models were created, as well as series of models including those already mentioned earlier in the feature the Balloon Seller, Scotties, Sunshine Girl and the popular Dickens Series but also figures from his rendition of The Beggars Opera, and the famous and slightly risque models of The Bather. Many of Harradine’s models stayed in production for many years but some only for a year or two. These models are often the rarest and sometimes the most valuable. Harradine’s last model for Doulton was The Beggar with a model number HN2175 and was released in 1956 and was produced until 1962. Arthur ‘Leslie’ Harradine died on 6 December 1965, in Gibraltar at age 78, leaving an amazing legacy of models and designs that makes him one of the world’s finest modellers. Related George Tinworth – The Greatest Doulton Lambeth Designer
Pomp, Pre-Fabs And Poodles – Dolls in The 1950s
Pomp, Pre-Fabs And Poodles – Dolls in The 1950s by Sue Brewer Just as a black and white film explodes into technicolour, this decade dawned grey, but ended in dazzling colour. This eventful ten years gave young people more power that ever before, and propelled Britons into a completely new lifestyle. Though the war had ended five years previously, many goods were in short supply and some rationing was still in force. Bomb sites scarred many areas, and thousands dwelt in ‘pre-fabs’ – prefabricated buildings designed as emergency accommodation for those who had lost their homes during the bombing. Britain needed something to cheer her up, and the Festival Of Britain was a great start. Held in 1951, on London’s Southbank alongside the Thames, and dominated by the Dome of Discovery, it featured all that was new in design. Towering above the site was the Skylon, a delicately-shaped edifice which was illuminated at night, and which entranced me as a child. Millions of people thronged the festival, which spilled over into nearby Battersea Park. One of the great attractions there was the Guinness clock, a marvellous timepiece which featured toucans and other creatures popping out of windows and doors on the quarter-hour. Ideas seen at the exhibition gradually filtered through into people’s lives – geometrical designs were in vogue, bright colours, and, conversely, black and white patterns. The most famous 1950s ceramics’ range is probably ‘Homemaker’, which featured black and white drawings of coffee tables, cutlery, settees and lamps. Homemaker, designed by Enid Seeney, was made by Ridgway and sold in Woolworths stores throughout the country in the mid-fifties. Black pottery ‘African’ hands and figurines were in vogue, as was formica, spindly-legged furniture, coloured ‘atom’ knobs on small fixtures, ballet scenes on crockery, open-plan living, and poodles on everything! In 1953, patriotism was truly to the fore – Queen Elizabeth II was crowned in Westminster Abbey. Union Jacks fluttered from lamp posts, commemorative mugs were give to school children, and street parties were held throughout the country. Young and old sat down to enjoy cakes, sandwiches and jellies, and to raise a toast to her Majesty in tea or lemonade. People crowded the front rooms of those fortunate enough to own television sets to watch the beautiful young Queen ride in a fairytale coach along the Mall from the palace, and to see the Archbishop of Canterbury place the crown upon her head in Westminster Abbey. For one lady, Peggy Nisbet, the Coronation proved a career change when she was inspired to dress small dolls which were sold through the prestigious Harrods store. Little could she have known that those small dolls would be the start of a huge concern, which would go on to produce millions of Peggy Nisbet costume dolls over the next three decades. Naturally, other manufacturers jumped aboard the bandwagon, most notably Pedigree Toys, who issued an 14 inch hard plastic doll called Little Princess. Th is doll had blonde, curly hair, just like the toddler Princess Anne, and her outfit was designed by Norman Hartnell, the man responsible for the Coronation gown. Pedigree also issued a ‘Bonnie Charlie’ doll, presumably modelled on Prince Charles, and a slender, teen-type called Elizabeth. All these dolls are very much sought-after today by collectors. Hard plastic was extensively used in the world of doll manufacturing for much of the 1950s. Developed during the war, it was enthusiastically embraced by toy makers, being light, colourful and cheap to produce. It rapidly replaced the older-style composition dolls, and many beauties were made during this time. Towards the end of the decade, however, an even more revolutionary product, soft vinyl, was introduced. Vinyl enabled the hair to be rooted directly into the head, and didn’t crack when it was dropped. Soon vinyl replaced the hard plastic, though for a time, dolls often sported vinyl heads on hard plastic bodies as the new machinery was expensive to install. Barbie, the most successful doll of all time, made her debut in America in 1959, created by Ruth Handler. This sophisticated curvy teen in her black and white striped bathing costume, was a sensation, though she was scarcely known in Britain until the 1970s. Girls in the United Kingdom were less mature than their American counterparts, and although teen dolls were gradually arriving, they were softer-featured and tended to wear the everyday fashions of the time – flared skirts, blouses, smart coats and dainty hats. Even in their early teens, girls still read ‘Girl’ comic, filled with colourful comic strip adventures featuring nurses, schoolgirls or ballet dancers – children were unsophisticated in those days. Palitoy issued a tie-in ‘Girl’ doll, who wore a white dress patterned with the logo of the comic. Her knickers and hair-ribbon bore the same motif while her belt had a plastic ‘Girl’ head as a buckle. At the beginning of the decade, teen girls dressed like their mothers, often wearing twin-sets and pearls, but as the fifties progressed, they rebelled. Permed hair gave way to ponytails, and skirts were full, often with layers of net or ‘paper nylon’ petticoats beneath. ‘Pedal-pusher’ trousers, which ended at mid-calf. were in vogue for a while, as were ‘sloppy Joe’ sweaters, but, on the whole, girls still had a very feminine look – the love-affair with blue denim was not, as yet, widespread. Music-wise, Rock ‘n’ Roll was in – Bill Haley and Elvis Presley were listened to on large 78 rpm records which broke when they were dropped. However, Britain had its own teen stars too, especially Tommy Steele who appeared on the ‘6.5 Special’ tv programme every Saturday, rocking to the music. Teddy Boys loved Rock ‘n’ Roll, and wore narrow drainpipe trousers, long jackets and winklepicker shoes, combing their hair into a quiff. Skiffle groups, who performed on guitars, washboards and broom handles affixed to tea-chests, were also extremely popular. As the decade progressed, television grew to play a large part in people’s lives; programmes were followed so avidly that […]
Blue Mountain Pottery
Blue Mountain Pottery I believe in synchronicity. Wandering around antiques centres and fairs, as is my want, my eye had been caught on a number of occasions by some rather good ceramic animals and vases decorated with an interesting vivid green, flowing glaze. Forms were lively, or strongly stylised, and the variety of dripping green tones in the glazes had caught my attention due to my interest in West German ‘Fat Lava’ ceramics of the 1960s-70s. However, I didn’t recognise the marks or the initials ‘BMP’, although they did reveal that the pieces were made in Canada. Not being ‘my thing’, I promptly filed them in my mind for later research. The £20 being asked for a large stylised fish stayed firmly in my wallet. Pictured right: A Blue Mountain Pottery ‘Angel Fish’ vase, shape No.58 designed by Dennis Tupy, with a graduated green dripped glaze, the base moulded ‘BMP CANADA’. 17.5in (44cm) high Price Guide: £60-120 Two months later I found myself in Toronto, Canada, and visiting my good friends Conrad Biernacki of the Royal Ontario Museum, and Holly Gnaedinger of ‘Twice Found’ in the wonderful Mirvish Village. Remembering the fish, I asked them, and their eyes widened and mouths fell. Hadn’t I heard about the hottest new trend in Canadian collecting? No I hadn’t! I needed to know more – synchronicity had struck. By the end of my stay, I was wishing I had bought that fish. The ‘BMP’ marks I had asked about stand for the Blue Mountain Pottery, which was founded by Czech immigrant Josef Weider (1909-71) in Collingwood, Ontario just after WWII. It took its name from the neighbouring Blue Mountains, which are a haven for tourists and skiers. Founded to provide a steady income and work throughout the year for those that lived there, the pottery also turned out a product that could be sold to the seasonal visitors as useful souvenirs. The pottery took on fellow Czechs Dennis (Zdenek) Tupy as mould maker and Mirek Hambalek as glazer, and produced vases, ashtrays and bowls. A range of animals was also produced, and it was these that I had spotted in the UK. The vast majority of pieces were made using a local red clay and a slip-moulding process, where liquid clay was poured into a mould before firing. This allowed for identical forms to be produced swiftly and economically. The most characteristic, popular and prolifically used glaze was the streaky and flowing green glaze I had seen, and is said to have been inspired by the mountains’ spruce and pine trees. Blue and brown were also popular. Due to the two-step, brushed and dipped production process that was achieved by hand, the glaze effect on each piece is unique. The Blue Mountain Pottery glaze formulas themselves were complex and specially developed by the company. Although other companies attempted to copy their success, many being founded by ex-employees (including Tupy himself), none matched the success of Blue Mountain. By 1955, the company had established itself firmly and sales and production levels had expanded considerably. This expansion continued into the 1960s, and Weider sold the successful company in 1968. After a further sale and various financial problems, it was then bought by Robert Blair in 1968. As well as being successful within Canada, over 60% of the company’s production was exported abroad, 40% of that to the US, with much of the remaining 20% going to the UK and Europe – hence why we see it here. Whilst the 1980s and early 90s continued to be strong periods for the company, it was forced to close in 2004 due to falling orders, the factory lease ending and competition from Far Eastern makers. Blue Mountain Pottery – The Gen There are three main considerations towards value; the glaze, the shape and the size. Glaze is one of the more important considerations. In general, the stronger and more tonally varied the colour, the better. Green is the most common and the most characteristic, followed by blue. Other glazes can be rare. Amongst the most desirable today are ‘Harvest Gold’ and ‘Cobalt Blue’, but rarer glazes include the grey ‘Slate’ and ‘Mocha’, with their mottled matte and dark, almost mirrored, effects. However, a superbly varied flowing green glaze on a good form may fetch as much as a poor example of the much rarer ‘Slate’ glaze. A couple of ranges are also worth keeping your eyes peeled for. Look out for the desirable ‘Apollo’ range, with its pitted and dripped orange, cream and brown glaze. Inspired by the surface of the moon and released shortly after the moon landing, the range also competed with West German ceramics flooding into Canada. A good example can fetch as much as £80 to dedicated collectors. More Canadian in theme is the ‘Native Artist’s Collection’ that was inspired by Inuit, or native Canadian tribal, sculptures and art. Marked out in black on a mottled beige ground, there are nine designs on 11 shapes to collect and prices can easily go over the £100 mark for a visually impressive piece. Although you’re unlikely to see one here, unless it had been brought back as a souvenir, keep an eye out for ‘studio’ pieces made in the pottery’s travelling demonstration area. The ‘holy grail’ for many collectors, many were made by the talented potter and decorator Dominic Stanzione and can fetch up to £200 or more. The form is also important. I was taken by the curving stylish vases and jugs that represent the mid-century modern style so well. Many of these were designed by Dennis Tupy, one of the most important names connected to the pottery – and indeed Canadian pottery of the period. Prices range from £20-50 or so, depending on the quality of the glaze, the shape and the size. Stylised, and stylish, animal sculptures are also popular, with a focus on elegant elongation. Values range from as little as £15 and can rise to over £100. Perhaps the most characteristic and desirable of these is […]
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.
Muriel Spark, Her Novels and The Prime of Miss Jean Brodie
Dame Muriel Spark (née Muriel Sarah Camberg) was born in Edinburgh on the 1st February 1918, and 2018 is the centenary of her birth. She is most famous for her sixth novel, published in 1961, The Prime of Miss Jean Brodie, with its eponymous title character, the free spirited Miss Jean Brodie. She was placed placed her eighth in The Times list of the ‘50 greatest post-war writers’. Muriel Spark began writing poetry in her early teens at school. At the age of 19 she left Scotland for Southern Rhodesia to marry Sydney Oswald Spark, thirteen years her senior whom she had met at a dance in Edinburgh. In July of 1938, she gave birth to a son Samuel Robin Spark in Southern Rhodesia and having left the marriage, Spark supported herself and her son there. Spark began writing seriously after the war, under her married name, beginning with poetry and literary criticism. In 1947 she became editor of the Poetry Review. In 1953 Muriel Spark was baptised in the Church of England but in 1954 she decided to join the Roman Catholic Church, which she considered crucial in her development toward becoming a novelist. Her first novel, The Comforters, was published in 1957. It featured several references to Catholicism and conversion to Catholicism, although its main theme revolved around a young woman who becomes aware that she is a character in a novel. Spark was to publish four more novels Robinson (1958), Memento Mori (1959), The Ballad of Peckham Rye (1960) and the The Bachelors (1960) until The Prime of Miss Jean Brodie in 1961. Brodie was to become the novel that she would forever synoymous with. In the novel Spark displayed originality of subject and tone, making extensive use of flash forwards and imagined conversations. Muriel Spark Novels and Price Guide These prices are a reflection of the market as of 15th January 2018. As with most modern first editions condition of the dust jacket is critical to the valuation. The Comforters (1957) Robinson (1958) Memento Mori (1959) The Ballad of Peckham Rye (1960) The Bachelors (1960) The Prime of Miss Jean Brodie (1961) The Girls of Slender Means (1963) The Mandelbaum Gate (1965) The Public Image (1968) The Driver’s Seat (1970) Not To Disturb (1971) The Hothouse by the East River (1973) The Abbess of Crewe (1974) The Takeover (1976) Territorial Rights (1979) Loitering with Intent (1981) The Only Problem (1984) A Far Cry From Kensington (1988) Symposium (1990) Reality and Dreams (1996) Aiding and Abetting (2000) The Finishing School (2004) Reference Celebrating Muriel Spark and writing about post traumatic stress – Radio 4 a look at the work of Muriel Spark and discussion with William Boyd and Alan Taylor (14 January 2018) Dame Muriel Spark – A great British novelist, and the waspish creator of The Prime of Miss Jean Brodie – obituary on The Guardian (17 April 2006)