Tag: world cup
World Cup Collectables 2014
Random Collecting Feature
Paddington Bear at 50
Unlike us, bears have discovered the enviable secret of eternal youth. An eighty-eight-year-old Rupert? Ridiculous! A seventy-eight-year-old Mary Plain? Unthinkable! An eighty-eight-year-old Pooh? Preposterous. And as for a fifty-year-old Paddington – you must be joking! How can a bear who creates mischief and mayhem wherever he goes – admittedly a bear whose sole aim in life is to be helpful and polite, but who is unfortunately accident prone, impulsive and always in deep trouble – be well on the way to collecting his bus pass? Bears always find an age with which they are comfortable and stick to it. So, believe it or not, Paddington really does celebrate his fiftieth birthday this year. Pictured left: Paddington Bear by Gabrielle No doubt he will be hosting a party with an iced cake cooked by Mrs Bird, buns and cocoa donated by Mr Gruber, and a ‘here’s one I made earlier’ wobbly jelly from the Blue Peter team. (For many years, Paddington was a regular in the Blue Peter studio.) Of course, there will be a huge pile of sandwiches too, but the vital question is, will they be filled with marmalade – or Marmite? Up until recently, the choice of filling would have been a forgone conclusion, but suddenly our loveable bear has developed a taste for the sticky brown stuff. Of course, he still loves marmalade very much. In fact, when Paddington was first approached by the advertising company he exclaimed, “But I always have marmalade in my sandwiches!” The agency explained, “That’s exactly why we think you would be perfect for the campaign. We want people who normally have something different in their sandwiches to try Marmite.” Pictured right: Paddington Bear with Marmalade Hidden Treasures from Arora Design – each figurine has a secret compartment containing a hidden treasure. So, rather tentatively, Paddington took a sniff, and then a nibble, and finally a big bite. He discovered that he enjoyed Marmite very much indeed, and though it could never really replace his beloved marmalade, it certainly made a jolly acceptable change. The pigeons and the ducks are not too sure, though, as can be seen in the adverts. Michael Bond is not too sure, either, and in a letter to The Times wrote, “Paddington likes his food and tries anything, but he would certainly never be weaned off marmalade”, saying that Paddington’s characteristics are “set in stone and you shouldn’t change them.” In the past he has always tried to avoid any hint of commercialising Paddington Bear, so he added darkly, “Now there’s no going back.” What actually is Marmite? Well, it’s a spread made from yeast extract, vegetable extract, salt and various spices and, as the adverts proclaim, ‘You either love it or hate it’. You certainly can’t be indifferent to that tangy, tongue numbing taste. Although Paddington has been weaned off the marmalade for a while to promote the new, squeezy Marmite, I’m sure it won’t be long before he reverts to his favourite marmalade chunks. A marmalade-free Paddington is about as unthinkable as a Paddington who has lost his duffel coat and floppy hat. When Michael Bond found a small toy teddy bear on a shelf in a London Store on Christmas Eve 1956, he decided to buy it as a present for his wife. He called the bear Paddington. Just for fun, he wrote some stories revolving around the bear, and after a few days realised he had a book on his hands. However, he admits that while he was writing he didn’t consciously set out to write a children’s book – which is good, because, as all Paddington enthusiasts know, the books are far too special to be the sole prerogative of youngsters. Eventually, the book was placed with William Collins and Sons (now HarperCollins), and illustrator Peggy Fortnum was commissioned to produce the delightful sketches which complemented the stories so well. ‘A Bear Called Paddington’ was published in 1958, and as we all know, the rest is history. Amazingly, the Paddington series of books have sold over thirty million copies world wide and have been translated into thirty languages. Pictured left: Paddington Bear by Steiff As the birthday bear’s big day approaches, as well as planning his party shopping list and putting both Marmite and marmalade at the top of it, how else will Paddington be celebrating? For starters, he will be starring in a new book, the first Michael Bond Paddington Bear book to be published for thirty years. Rumour has it that a mysterious stranger will cause Paddington to reflect where home really is – surely he won’t forsake 32 Windsor Gardens and return to darkest Peru? ‘Paddington Here and Now’ will be published in June, while in October, to commemorate the publication of that very first book, HarperCollins will issue a special anniversary edition of ‘A Bear Called Paddington’. And there’s more – in March, as part of World Book Day, a £1 read, ‘Paddington Rules the Waves’, will be amongst the titles on offer. There will be plenty of new Paddington Bear collectables and merchandise this year, too, including a new Steiff creation. As we all know, Paddington was first discovered by Mr and Mrs Brown on Paddington Station, hence his name. The optimistic little refugee was sitting hopefully on a suitcase containing his worldly goods, and Steiff have depicted him, carrying his case, in a limited edition of 1,500 pieces. This 11 inch tall Paddington wears a pale blue coat and is complete with a gold-plated button-in-ear. He is based on the FilmFair Paddington Bear from the television series, a super bonus for fans of the animated episodes. Other items include puzzles courtesy of Hausemann en Hotte/Falcon, while Robert Harrop has produced a gorgeous commemorative figurine of Paddington munching a marmalade sandwich (not a blob of Marmite in sight!). More planned Paddington releases include a commemorative coin, a pewter figurine, clothing, greetings cards, a cookery book and gift wrap, as well as a range of soft […]
Two for the Price of One! Changeable Dolls
We all love a bargain, so it`s a bonus when one doll suddenly becomes two! It`s a lot more common than you might think – many dolls can be altered in appearance, giving extra play value, as well as novelty interest. Children love it when a sad doll becomes happy, or a doll in tatters is transformed into a princess, and numerous people nowadays are building up collections of `transforming dolls`. There are several ways in which a doll can change its appearance. Probably the most commonly-found are the topsy-turvy dolls, which consist of two half-dolls joined at the waist, sometimes with an extra doll attached at the back for good measure. Other transformable types include two-or-three-faced dolls, dolls with interchangeable heads, and dolls whose expressions change because their rubber faces are moulded over a moveable wire armature. The easiest topsy-turvy dolls to find are those made from cloth. Sometimes they are dolls which tell a story, such as Cinderella in rags turning into the belle of the ball with a flick of her skirts, or maybe Red Riding Hood who changes to grandma. The wolf might be incorporated too, giving even more value. The principle in all these dolls is the same – they wear long skirts and beneath them you`ll find another head and body, rather than a pair of legs. Recently, Jellycat, produced a topsy-turvy Alice in Wonderland doll who changes from Alice into the Queen of Hearts. Jellycat dolls are beautifully and elaborately made, and their other exciting upside-down dolls include the Frog Princess, Nursery Rhymes, Cinderella and the Enchanted Garden. Another maker, the North American Bear company, issue dolls which changed from witches to fairies and from Goldilocks to the Three Bears, amongst other innovative designs, while during the 1980s Peggy Nisbet made porcelain topsy-turvy dolls. One was Cinderella, who turned from rags to riches, the other was `My Fair Lady`, which altered from poor Eliza Doolittle to posh Eliza dressed for Ascot. Souvenir Topsy-turvys often seen, such colourful stockinette dolls from the West Indies, whose costumes change when they are reversed. Another form of costume doll has a moulded felt face with painted side-glance eyes, and turns from a Spanish senorita into a peasant girl. A few years ago, an Australian company called Milly Molly brought out a rag doll which turned from white to black, the idea being to promote racial harmony. Their slogan was ‘We may look different but we feel the same’, and the marketing theme was a ‘reconciliation doll for world peace’ The idea behind these charming dolls wasn`t new; the white to black theme has appeared many times, not just in cloth dolls but those made from other mediums too. Topsy-turvy dolls can be cloth, composition, plastic, china or celluloid. The American Madame Alexander doll company made a composition doll – a kind of plaster – in the 1930s, which consisted of a pair of dolls joined at the waist, one sprayed black, the other pink. The first had pigtails of black woolly hair, while the other doll`s hair was moulded and painted. These early Madame Alexander dolls change hands for around £150 in good condition. Plastic topsy-turvys i nclude a Roddy from the 1960s, with joined torsos. This was possibly a prototype, as few are around. A simple way of changing a doll`s appearance is to make a cloth doll with two fronts. This method was used for an attractive doll, Bobby Snooks, made by the US company, ToyWorks in the 1980s. On one side he is a smart soldier, but turn him over and he`s tattered and torn after battle, complete with a plaster on his nose. For years, manufacturers have puzzled how to produce dolls which change their expressions. Swivel-heads were often used in antique china dolls; the doll`s head might have two, or even three, faces, and a twist of a knob turned the head to reveal the desired expression. During the 1970s and 80s, this method was revived and a number of `cheap and cheerful` multi-faced bisque china dolls appeared in the shops. These dolls are now becoming sought by collectors, as the early ones are so expensive. The same technique has been used with plastic dolls. In America, they were particularly popular during the 1950s and 60s, and companies such as Ideal issued a series of them such as a soft-bodied girl with a knob on her head hidden by a bonnet. Her three faces changed from sleep, to smile, to cry. One of the most delightful two-faced dolls of recent times was made by Falca in the 1980s. She was a sturdy, 22 inch baby and her two faces – one happy, one miserable – were beautifully and realistically moulded. In addition, she featured a crying/laughing sound chip which, rather cleverly, would only operate when the correct face was forward! Various companies have made vinyl face-change play dolls from time to time, such as a small, 8 inch, unmarked Hong Kong baby dressed a blue floral hooded suit who featured a large knob on top of his head which, when turned, allowed three expressions. Another doll, `Toni Two`, was sold in packaging which boasted, `Turn my head and I`m mad, turn my head and I`m glad`. Toni Two was a toothy toddler wearing a red striped dress. Doll-designer Marie Osmond has featured two-face dolls in her collector`s range, including Missy, a beautifully-dressed doll in a turquoise gingham frock and mob cap, whose expression can be changed from happy to sad. Another way of changing faces is to model the doll`s head on a wire frame, using thin soft plastic, such as in the case of Mattel`s 1960 `Cheerful Tearful` or their later `Saucy` doll. Cheerful Tearful`s expression changed from a smile to a pout when her arm was raised, and she looked cute. In contrast, Saucy was hilarious. Operated in the same manneA collection of Dressel and Kister shoulder head and half-dollsr, she rolled her eyes, grimaced and made the most […]
Mary Shelley’s Frankenstein – 200 years of Frankenstein books, collectables and toys
200 years of Frankenstein books, collectables and toys With the 200th Anniversary of the publication of Mary Shelley’s Frankenstein, what better time than to look the work that still inspires new editions, collectables and toys. Authored by Mary Shelley (30 August 1797 – 1 February 1851) when she was just 19 years old, Frankenstein: or, The Modern Prometheus was first published in London in 1818 to a mixed reception. Frankenstein tells the story of gifted scientist Victor Frankenstein who succeeds in giving life to a being of his own creation. However, this is not the perfect specimen he imagines that it will be, but rather a hideous creature who is rejected by Victor and mankind in general. The Monster seeks its revenge through murder and terror. The book is much more complex than the modern re-workings and films that most of us know the story through and is Number 8 in The Guardians Top 100 Best Novels. The first edition of Frankenstein was published in three volumes on New Year’s Day 1818, anonymously and dedicated to William Godwin. The Shelley’s Ghost exhibition at the Bodleian says of the book “According to When Shelley sent the fair copy manuscript of the novel to the publishers, Shelley made clear that it was not his work, but did not reveal who the author was: ‘I ought to have mentioned that the novel which I sent you is not my own production, but that of a friend who not being at present in England cannot make the correction you suggest. As to any mere inaccuracies of language I should feel myself authorized to amend them when revising proofs.’ Nevertheless, when they saw the dedication to Godwin some readers, including Sir Walter Scott, speculated that Shelley was the author.” (Details of the Shelley’s Ghost exhibition are still available online and includes information on not only Mary Shelley and her drafts of Frankenstein but also Percy Bysshe Shelley, William Godwin and Mary Wollstonecraft – visit https://shelleysghost.bodleian.ox.ac.uk for more details). The first edition of 1818 was issued in an edition of just 500. A second edition appeared in 1822 to cash in on the success of a stage version, Presumption. A third edition, extensively revised, came out in 1831. For collectors the ultimate would be a first edition but this is one of rarest and most valuable books. Very few Frankenstein first editions come to market: a rebound first edition sold for $58,000 in April 2017 at Heritage Auctions. The most exciting edition to come to market was an edition actually inscribed to Lord Byron himself. The edition was presented to market by Peter Harrington Rare Books – the exact sale price is unknown but expected to be in excess of £350,000. Early editions of the book are sort after especially the third edition in October 1831 which included a new 8-page introduction by the author, and was issued with the first part of Schiller’s The Ghost-Seer! as volume 9 of Bentley’s ‘Standard Novels’. This was also the first single edition as well as the first illustrated edition. A very good clean copy was sold by Forum Auctions in May 2017 for £2,600. For many people the Frankenstein that they recognise is from the 1931 film of the same name, where Boris Karloff played the monster. The Frankenstein horror monster film from Universal Pictures was directed by James Whale and adapted from the play by Peggy Webling. The movie stars Colin Clive, Mae Clarke, John Boles and Karloff, and features Dwight Frye and Edward van Sloan. The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort with uncredited contributions from Robert Florey and John Russell. The make-up artist was Jack Pierce. A hit with both audiences and critics, the film was followed by multiple sequels and has become arguably the most iconic horror film in history. The iconic posters and lobby cards from the movie are amongst the most collectable and expensive of all the Frankenstein items. In 2015 the most valuable Frankenstein movie poster ever sold at public auction by Heritage Auctions. The poster was found in a long closed and boarded-up projection booth in a Long Island theater and is the only 6-foot example from the 1931 Universal horror classic known to exist. The poster sold for an amazing $358,000 (click for more details on the poster). The same company also sold another rare 1931 Frankenstein poster for $262,900 (click for more details on the poster). Although the 1931 movie version of Frankenstein is iconic one that most merchandise and collectables are based on, the first Frankenstein film adaptation was made by Edison Studios in 1910 and written and directed by J. Searle Dawley, with Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create his creature in a vat. The monster haunts the scientist until Frankenstein’s wedding night, when true love causes the creature to vanish. For many years, this film was believed lost. The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley’s novel. This film is now considered a lost film. There was also at least one European film version, the Italian Il Mostro di Frankenstein (“The Monster of Frankenstein”) in 1921. The film’s producer Luciano Albertini essayed the role of Frankenstein, with the creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. The film is also now considered a lost film. (Source Wikipedia). Frankenstein has featured in hundreds of films since 1931. My favourites would be those featuring Abbot t and Costello and the films by Hammer. The Frankenstein Hammer films included The Curse of […]
A Small Thought – Small Pieces of Carlton Ware and other Potteries
Emerging from the Dark Ages, scholars concerned themselves with matters of magic, issues of theology and creative – if nonsensical – arguments such as the Flat Earth Theory. Pictured right: W&R Carlton Ware 3″ NEW MIKADO 2814; 4 3/4″ CHRYSANTHEMUM 2930; 6″ PARROT 3018 vases Among those who queried the absurd, Thomas Aquinas is thought to have been the first to ask that fabulous, unanswerable question, How many angels can dance on the point of a very fine needle, without jostling one another?” Perplexing himself with such paranormal nitpicking must have been disappointing, for it appears that the number of angels has never been ratified. Perhaps he should have gone out more? But just as medieval mystics exercised their brainpower on these metaphysical musings, similar unfathomable mysteries still abound in the 21st Century and cannot be dismissed. For instance, fervent Carlton Ware collectors may reflect upon spatial complexities, not to mention the impracticable infinite, in asking, “How many pieces of china can Carlton Ware enthusiasts stuff into their cabinets before a collection reaches critical mass?” Contemplating this conundrum is indicated if one is confronted by the incredible shrinking domain combined with an ever-expanding Carlton Ware display. Drastic solutions may therefore be considered: stop collecting altogether and live in minimalist bliss; or buying a stately home – none of which is possible at this time. Other options are taking up philately instead; or pruning ruthlessly and with great sorrow. Nevertheless, a more pleasant – albeit somewhat temporary – measure is to think small and buy petite, pint-sized, even miniscule pieces; and consequently live happily for a lot longer. Fascination for miniatures has featured in the art of many civilisations throughout the ages. Over the centuries Far Eastern and Asian cultures produced quantities of fine, intricately carved figurines and minute, bejewelled curiosities; these delicate trinkets are collected worldwide today for their beauty and fine craftsmanship. One example is the Japanese netske (or netsuke), a small toggle that was used to counterbalance the container (or inro) worn suspended from a sash by men to store items of everyday use, in the absence of pockets. The netske became an item of high fashion, skillfully wrought from ivory or wood into teeny animals, birds and sea creatures, portraits of dancers and demons or droll cameos of characters from everyday urban life. These superbly crafted netske are avidly sought after by collectors and continue to be worn by the Japanese on ceremonial occasions. Diminutive and decorative works of art, including mini-portraits painted on porcelain, were produced, admired and sought after throughout European high society for hundreds of years; however the Victorians, who obsessed over just about everything, took the art of the miniature to new heights. Divine, yet useless knick-knacks, for example the ubiquitous cameo, exquisite little sewing kits or tiny booklets bound in gold and studded with precious stones – enclosing nothing more than pages of ephemera such as weather forecasts and phases of the moon (a classic combination of the sublime and ridiculous) – were all the rage. From its inception in 1890, the Carlton Ware works naturally produced something for everyone: from the gloriously huge – Derek and Jane’s magnificent 25″ jardinière and stand (first showcased in CW3’s quarterly magazine The Carlton Comet issue 5), to the tiniest – this rare, BROWN LUSTRINE handled pot which stands a mere 1½” high, shown here with a 2½” BLACKBERRY butter pat dish and a 1½” Clarice Cliff Autumn Crocus quatri-footed dish. Souvenir ware was manufactured for ease of transportation, and was therefore characteristically of minimal dimensions. This area of collecting is a category of its own and was the subject of an article in Newsletter # 22. Many potteries produced tiny replicas of their larger wares, some perhaps as tradesmen’s samples. These small pieces demonstrate how their patterns were reduced accordingly, while others depict only a portion of the overall design. W&R 3″ spill vases Back row: Carlton Ware MIKADO 2881; MAUVE LUSTRINE; MIKADO 2881 Middle row: PARROT 3027; Cubist Butterfly 3190 Front row: Moonlight Cameo 2946 Crown Devon’s Sylvan and Royal George Lustrine were first introduced at the 1924 British Empire Exhibition at Wembley. The sailing dinghy on this tiny blue Lustrine snuff box represents only a small element of the overall seascape depicting a majestic galleon in full sail. The elegant and enduring Crown Devon Royal George pattern commemorates an historic and mighty 18th century 100 gun warship of the same name. Crown Devon snuff boxes Left: pale blue Lustrine Royal George; Right: Rouge Sylvan Lustrine Butterflies (2½” diameter x 1¼” high) Daisy Makeig Jones for Wedgwood Flying Humming Bird mottled blue and orange lustre bowls (front: 2½” diameter x ¾” high; back: 1½” diameter x 1″ high) The stunning Sylvan Lustrine and its sister design Rural Lustrine also enjoyed continuing popularity over many decades. The wonderful Sylvan butterflies, hand-enamelled in brilliant colours on mottled blue or ruby lustre ground, were wreathed by lavishly gilded ivy leaves and, on larger pieces, fluttered past gold “pointillist” style tree trunks. Crown Devon Lustrine Royal George & Sylvan Lustrine Butterflies snuff boxes (2½” diameter x 1¼” high) Created for Wedgwood in 1917 by the celebrated artist, Daisy Makeig Jones, Flying Humming Birds formed part of the Ordinary Lustre series, which preceded her fêted Fairyland Lustre ware. Numbers Z5088 and Z5294 were allocated to the Flying Humming Birds patterns which, with their own exclusive border of Flying Geese, became a highly successful range. Wedgwood Flying Humming Bird bowls pattern Z5294 with Flying Geese exterior border Children’s or dolls’ tea sets were produced over the years but few survive, having been sacrificed whilst fulfilling the purpose for which they were intended. For this reason, an entire vintage children’s tea or coffee set is a rarity and, to remain intact, must have been carefully replaced in its box once the well-intentioned benefactor had departed; or stored reverentially in a cabinet, safe from the clumsy attentions of its young and rightful owner. This delightful Carlton Ware children’s tea set […]
The Time Tunnel Collectibles
The Time Tunnel remains a cult classic and we take a look at some of the The Time Tunnel collectibles, The Time Tunnel merchandise and The Time Tunnel toys that have appeared over the years. We also look at some auction results and some guide prices. The Time Tunnel was created by Irwin Allen and was his third science-fiction television series (after Voyage to the Bottom of the Sea and Lost in Space). It was set around time travel and starred James Darren as Tony (Dr. Anthony Newman) and Robert Colbert as Doug (Dr. Douglas Phillips) as the two Time Travellers. The Time Tunnel ran for one season of 30 episodes from 1966 to 1967. The Time Tunnel and Project Tic-Toc The series is set in 1968, two years into the future from the actual broadcast season, 1966-67. Project Tic-Toc is a top-secret U.S. government effort to build an experimental time machine, known as The Time Tunnel due to its appearance as a cylindrical hallway. The base for Project Tic-Toc is a huge, hidden underground complex in Arizona, 800 floors deep and employing more than 12,000 specialized personnel. Project Tic-Toc is in its 10th year and at a cost of $7.5 billion (equivalent to near $60 billion in 2022) and is under threat of being cancelled. After an ultimatum is delivered either the project sends someone into time and return him during the course of his visit or their funding will cease. Tony volunteers but he is turned down by project director Doug Phillips. Defying this decision, Tony sends himself into time and finds himself on the maiden voyage of The Titanic. The Time Tunnel team can see where Tony is and when he gets locked up Doug follows to rescue him. From then onwards they travel to various time periods for many adventures. The Time Tunnel View Master set (Sawyer’s B491) features 3 reels showing 21 views from the Rendezvous With Yesterday which was the pilot episode. A complete set in very good condition is estimated at $50. The Time Tunnel Gold Key comics – this ran for two issues. Issue 1 featured The Assassins set in April 14th 1865 and features the assassination of Abraham Lincoln, The Lion or the Volcano? set in August 24th 79 A.D. Pompeii and see Tony and Doug in a Roman adventure and Mars Count-Down set in 1980 and features a trip to Mars. . Issue 2 featured two stories The Conquerors in which Doug and Tony end up in the future and discover a plot to go back in time and help the Nazis win World War II and The Captives in which the pair end up stuck in the middle of a conflict between Indians and General George Custer. As with most comics condition is a major determinant of value. Issues in Near Mint condition are valued at $80 for Issue 1 and $40 for Issue 2. The Time Tunnel Game was produced by Ideal Based on ABC Television Network Series. The copy pictured was sold by Hakes Auctions for $420 in 2012. The sets see the game travel from Prehistoric Era, The Middle Ages, 19th and 20th Century and The Future. The first player to complete voyages through all four time periods wins. Very few come to auction so we would expect a near mint example to be highly sought after. The Time Tunnel Spin to Win Game was produced by the Pressman Toy Co and was one of the Spin Cycle Series of games. The copy pictured was also sold by Hakes Auctions for $132 in September 2009. As with The Time Tunnel Game very few come to auction so we would expect a near mint example to be highly sought after. The Time Tunnel Trading Gum Cards Where Historic Events and Periods did The Time Tunnel visit? Tony and Doug become participants in past events such as the sinking of the Titanic (Episode 1 Rendezvous with Yesterday), the attack on Pearl Harbor Epiode 4 The Day the Sky Fell In), the eruption of Krakatoa (Episode 6 Crack of Doom), Custer’s Last Stand (Episode 8 Massacre), the Battle of the Alamo (Episode 13 The Alamo) and even the signing of The Magna Carta and meeting Robin Hood (Episode 16 The Revenge of Robin Hood). General Kirk, Ray, and Ann in the control room are able to locate them in time and space, observe them, occasionally communicate with them through voice contact, and send help. With no concern for the Time Continuum, Tony and Doug meddle in time through the ages. The Time Tunnel Disc Cards Did Tony and Doug Escape the Time Tunnel? When the series was abruptly cancelled in the summer of 1967 by ABC, they had not filmed an episode in which Tony and Doug are safely returned to the Time Tunnel complex. Autographs and signed items from the stars are an essential in a collection of The Time Tunnel Collectibles. Further information Voyage to the Bottom of the Sea Collectibles https://www.thetimetunnel.com/ lots of information on the series
Geoffrey Baxter A Glass Designer Whose Work Defines an Era
Glass designer Geoffrey Baxter is one of the most renowned and celebrated designers of his era. His elegant and timeless designs are still popular today, and his work has been exhibited in galleries all over the world. Born in 1922, Baxter started working at the Whitefriars Glassworks in 1954, where he designed for nearly 40 years, finally leaving Whitefriars in 1980. His work is iconic and has defined an era in glass design. Baxter’s timeless designs are characterized by their simplicity and functionality. His work is often credited with popularizing the use of glass in modern design. Thanks to his enduring popularity, Geoffrey Baxter is considered one of the most important glass designers of his era. Baxter went to school at Godalming in Surrey before gaining entry to Guildford School of Art at the age of 14. He spent a brief time at the Guildford Glassworks and later he won a place to study at the Royal College of Art in the early 1950s in the newly established Department of Industrial Glass. He finished with a First Class honours and a travelling scholarship to the British School in Rome in 1953, the first time such an award had been given to an industrial designer. Baxter’s work at Royal College of Art had attracted a lot of attention even before he graduated. Baxter was approached by William Wilson who was the managing director and chief designer at Whitefriars Glass, to work as his assistant. After only a few years he was designing the majority of domestic glass at Whitefriars. Baxter’s Glass Designs and Colours In the 1950s the modern Scandinavian glass was at the front of glass design. Whitefriars had long been at the forefront of British glass design embracing the Arts and Crafts movement, Modernism and the Industrial Art Movement. Baxter’s involvement from the late 1950s helped Whitefriars continue to be at the forefront of British glass design. Baxter’s designs are characterized by their simplicity and functionality and his use of colour and pattern. His designs ranged from contemporary style patterns for cut glass to creating thick-walled free-form organic bowls and vases. Arctic Blue and Ocean Green were two cool new colours he helped to develop in 1959, followed by the darker-toned Midnight Blue and Shadow Green in 1962. The latter were used for a stylish new range of simple mould-blown soda glass vases that were made using two part moulds, and then finished by hand and which were light in weight and had unusual angular profiles. The Whitefriars Blown Soda range was introduced at the Blackpool Show in 1962 (click to learn more about Whitefriars Blown Soda) Baxter’s most iconic designs are his textured range which was introduced in 1967. The Banjo vase (Model No 9681) and Bricklayer vase (Model No 9672) are two of the most popular designs created by Geoffrey Baxter for Whitefriars. The Banjo vase, which was first introduced in 1967, is characterised by its tall, slender neck and bulbous base, while the bricklayer vase takes a more playful approach, with a series of stacked blocks forming its body. The Nuts and Bolt vase (Model No 9668) featured a series of 12 hexagonal and other bolt shapes to the side. The textured pieces came in a range of colours including Meadown Green, Aubergine, Tangerine and Kingfisher Blue. Some colours are rarer than other. Baxter’s Influence on Modern Glass Design Geoffrey Baxter’s work at Whitefriars had a profound influence on modern culture. His unique approach to glassmaking helped to redefine the medium, and his bold use of color and form inspired a generation of artists. Baxter’s work is characterized by a sense of playfulness and experimentation, and his willingness to push the boundaries of traditional glassmaking techniques helped to create a new aesthetic for the 20th century. Today, Baxter’s legacy can be seen in the work of many contemporary artists, who continue to explore the potential of glass as a medium for expression. Related Whitefriars Glassworks Whitefriars Glassworks Price Guide Whitefriars Blown Soda Obituary of Geoffrey Baxter in The Independent
Sampson Mordan Propelling Pencils
Every good, middle or upper class Victorian gentleman worth his salt would have owned one. A small silver propelling pencil, perhaps attached to an Albert chain with a fob watch on the other end and stored in a waistcoat pocket, or kept with a notebook for a day’s important jottings. These retractable, sliding pencils were not inexpensive, and as such were bought or received as prestigious gifts and kept for a lifetime. They were made in enormous variety, with the size, shape, materials and level of decoration being a display of both your wealth and tastes. A little like today’s mobile phones or handbags, I suppose. Pictured: A Victorian gold and hardstone mounted propelling pencil, by Sampson Mordan & Co. Estimate £250-£350. Image Copyright Bonhams. Although there were many makers and retailers, there’s one name that jumps out as being bound inextricably with these pencils, right back to their inception and development in the early 19th century. That name is Sampson Mordan, famed and (once) famous silver and goldsmith. However, having said this, all is not so clear. The precise details of the development of this indispensable writing tool lie with someone else. Pictured: A Victorian Sampson Mordan & Co, London 1895 propelling pencil – A good quality Victorian fully hallmarked silver sliding Propelling Pencil, the cylindrical body with deep foliate scroll engraved decoration, an engraved cartouche with the owners name, the screw-off seal terminal set with a bloodstone. The image is Copyright of Steppes Hill Farm Antiques who have a speciality in pens and writing equipment. Visit https://www.steppeshillfarmantiques.com to view their site. As with many important inventions, the name of the real brain behind it is not the one that is most widely known. In this case, the real inventor was an engineer called John Isaac Hawkins. An interesting and innovative man who shared his life between the US and UK, Hawkins was also responsible for developing a polygraph and an upright piano, as well as conjuring up the name ‘bi-focals’. Hawkins had seen that most pencils were made from a long lead bound in wax and rope or fabric, or cased in wood or metal. As they were used, they needed to be sharpened, requiring extra tools. Surely the lead could be placed in a mechanism allowing it to be telescoped out on a spiral as it wore down through use? This would also then allow all manner of elaborate cases to be developed, widening the market for his invention. So, in 1822, the twist-screw mechanism behind most propelling pencils was developed. Precisely what Mordan had to do with this is, I believe, as yet unknown, although he is credited as co-inventor despite apparently having had little experience of inventing or engineering himself. However, Mordan had studied under another inventor, Joseph Bramah, who also had a hand in developing writing instruments, so perhaps he met Hawkins and grew his knowledge this way. Pictured: A Victorian Sampson Mordan & Co novelty propelling pencil c 1880 – A rare Victorian novelty silver Propelling Pencil formed as a 19th century Golf Club, the pencil emerging from the handle with a twist mechanism. The image is Copyright of Steppes Hill Farm Antiques who have a speciality in pens and writing equipment. Visit https://www.steppeshillfarmantiques.com to view their site. Whatever, Mordan was able to acquire the total rights to the design in the same year. Quite why Hawkins sold them outright so quickly to Mordan is a mystery. Some say that Hawkins was primarily an inventor and engineer and was not interested in business, and there is evidence to back this up. To use two clichés, Mordan took the bull by its horns and really went to town. He built a highly successful business that, by the mid 19th century, was arguably unrivalled in terms of its expertise, skill and inventiveness. Many thousands of examples were produced with their cases ranging in form from simply decorated cylinders to novelty shapes such as owls and even people. However, by the early 20th century, people began to turn their back on Mordan’s costly confections. The development of brightly coloured plastics, and the rise of famous names such as Parker, Waterman and MontBlanc, sounded the death knell. People wanted more, for less, and they could have it. When the Mordan factory was bombed during WWII, the final end came. Even so, the company he founded lives on today, having been bought by traditional maker Yard-O-Led, part of the Filofax group. Despite what I have said above, and the precious materials used, the majority of examples found will have values of somewhere between £40 and £400. This really isn’t expensive for what they are, when you think about it. After all, these are made from solid silver or solid gold, and were made entirely by hand with skilled use of machines for certain tasks, including making the finely engineered internal parts. Just think how much similar work would cost today if you walked into, say, Asprey? There are four primary concerns when thinking about value. Firstly, there is the material. Solid gold is obviously more valuable than solid silver. It would have cost considerably more at the time, so is rarer today as fewer would have been sold. High (18) carat gold is even scarcer, particularly in fine condition as gold is a comparatively soft and easily worn material in high carats. Look closely too, as there are three colours of gold; yellow, green and rose/pink. The addition of precious stones is also a sign of rarity. Whilst small turquoise cabochons were often used during the 1860s & 70s, and seed pearls can also be found, precious stones such as rubies and sapphires are much scarcer. A pencil like the tiny one shown here combines all of these– three colours of solid gold, pearls and precious stones – rare indeed. In fact, only four have ever been seen by collectors. Other materials found on Mordan pencils include ivory, tortoiseshell and carved wood. Despite its humble origins, carved wood can be quite rare, particularly if […]
Children’s Books of the 1940s
During the Wartime years of the 1940s, and for a few years afterwards, books for adults and children alike were economy editions, due to paper shortages and restrictions.
Crackers About Christmas
Crackers About Christmas by Tracy Martin No festive dinning table would be complete without one of our greatest British traditions – Christmas crackers. Each year we all gather around and politely ask the person sitting next to us if they would pull a cracker. Then out floats the corny jokes, the even more tacky gifts and of course the unflattering coloured paper hats. Whether this is a tradition you love or loathe collecting unused Christmas crackers is an explosive collectors market which would never have existed if confectioner Tom Smith hadn’t discovered a sugar coated sweet. Tom Smith – The Bon-Bons Tom Smith discovered the ‘bon-bon’ (sugared almond) sweet whilst on a trip to Paris in the 1840s. Wrapped in twists of coloured paper he realised this sweet would sell well in London as up until that point most were sold loose in paper bags. Proved right the bon-bon was a renowned success but only over the Christmas period with the problem being sales virtually stopped once the festive season had come to an end. In order to encourage orders all year round Tom added a small love moto which he placed within the paper. Once again sales were most successful around Christmas so with this in mind Tom decided to develop his seasonal sweet wrapping and cash in. A flash of inspiration came one day after he had thrown a log onto his burning fire as a big crackle exploded from the log which made Tom jump. This sound was the necessary spark that he had been looking for in order to enhance his ‘bon bon’ and make it more desirable to the buyers. The only problem being that Tom had to find a way to recreate the bang which would add excitement to this sweet. An Explosive Success After two years Tom finally discovered that if a strip of saltpetre, something that is familiar in today’s crackers, was pasted to two pieces of thin card at each end was pulled the friction created a spark and then a crack. He had to do much experimenting though because sometimes they burst into flames, thus ensuring Tom had a few burnt fingers. By 1860 Tom Smith had finally perfected his cracks resulting in his ‘Bangs of Expectation’ being born. Keeping the sweet and the moto inside but adding this noise gave his new confectionary a little more excitement which proved popular with the children and amusing for the adults. The buyers couldn’t get enough of this new novelty sweet and he became inundated with orders. Tom then began to refine his concept. He kept the moto but no longer placed sweets inside the paper, instead he added surprise gifts. Tom then renamed his new innovative novelties as Cosaques because the noise made was similar to the sound of the Cossack’s cracking whips as they rode through Paris during the French and Prussian wars. The Cosaques or as we know them today -crackers, were such a phenomenal success that Tom took the idea overseas. This wasn’t such a good move as one Eastern manufacturer stole his idea, copied it and shipped a consignment of crackers to Britain just before Christmas. Tom was horrified but wouldn’t be beaten so he set about designing eight different varieties of cracker, working day and night with his staff they were ready in time for Christmas and were distributed right across the country. After this there was no looking back as Tom was now the biggest manufacturer of Christmas crackers. Cracker Collecting When it comes to the serious business of collecting Christmas crackers there are a few key things that collectors look for. The design on the cracker and the box imagery is important, also what novelties can be found inside define much of the rareabilty and of course the obvious point that people only want boxed ones that haven’t been pulled. As with collecting anything condition is also important and the better the condition – i.e. not too much fading to the crackers or box, no tears and still with their surprises inside – the more money can be commanded. Early Crackers Throughout the Victorian period there were many themes to the boxes of crackers with Japanoserie being one of the most prolific. Inspired by the popular operas of the time such as Madame Butterfly and The Mikado these cracker boxes were decorated with images of Japanese Geisha girls and inside the surprises were miniature versions of Japanese pottery. These Japanese inspired crackers continued right thought to the outbreak of the First World War and Tom Smith crackers often featured Oriental themes. Topical events were also often used such as the ‘Votes for Women; Suffragettes. There were two different boxed sets produced – the ‘anti’ packs which made fun of the women and the ‘pro’ packs which joined allegiance with the women as they were made in the purple, green and white house colours of the Suffragette movement. However, even if a few boxes of these crackers survived they would be near impossible to find as both collectors of Christmas crackers and those that collect Suffragette memorabilia would be fighting to own them. The ‘Bank of Love’ crackers released by Tom Smith in 1884 was a popular choice with young people holding parties as the crackers box depicted a bank where you find love. So if the party hosts or guests were looking for a potential wife or husband these crackers was the perfect ice breaker. The same design was also reissued as the ‘Toy Bazaar’ and ‘Lowther Arcade.’ The early 20th Century brought a whole host of fresh ideas for cracker box imagery and the crackers themselves. On 22nd November 1922 the archaeologist and Egyptologist, Howard Carter discovered the tomb of Tutankhamen in the Valley of the Kings. On 16th February 1923 he opened the tomb and first saw the sarcophagus of this Egyptian King. This discovery fuelled the public’s interest in Egyptology and Tutankhamen ephemera were available everywhere – including on boxes […]
World War 1 Allied Commanders Toby Jugs by Sir Francis Carruthers Gould for Wilkinson
Released during the Great War from 1915-1919 was an impressive set of eleven toby jugs based on the Allied Political and Military leaders by Wilkinson after designs and caricatures by Sir Francis Carruthers Gould. Each of the figures holds an item or is an item and has associated words e.g. Lloyd George holds a cannon shell with the words Shell Out on it (full list below). The set is extremely well designed, made and coloured and each molded figure was polychrome enameled and gilded. The features the retailers mark Soane & Smith, who were based in Knightsbridge. Lord Kitchener, holding a jug inscribed ‘Bitter for the KAISER’, 25cm high Admiral Beatty, holding a shell inscribed ‘Dread Nought’, 26.5cm high Field Marshall Haig, seated upon a tank, titled ‘Push and Go’ to the base, 27cm high Admiral Jellicoe, holding a jug inscribed ‘Hell Fire Jack’, 26cm high Marshall Joffre, holding a shell inscribed ’75mm Ce Que Joffre’, 25.5cm high Lord French, holding a jug inscribed ‘French Pour Les Francais’, 26cm high Lloyd George, holding a shell titled ‘Shell Out!’, 25cm high Marshall Foch holding a champagne bottle inscribed ‘Au Diable Le Kaiser’, 31.5cm high General Botha, holding a jug inscribed ‘Loyalty’, 26.5cm high Woodrow Wilson, with an aeroplane on his lap, the base inscribed ‘Welcome! Uncle Sam’, 27cm high King George V, holding a globe, the base inscribed ‘Pro Patria’, 30cm high A fabulous and rare set not often seen for sale as a full set.