World Collectors Net has featured Jim Beam for many years and for a time we have the very popular Bernie’s Beam Collecting column. If you search Jim Beam on site you can still read the archived columns.
This Jim Beam decanter was produced for the 40th Anniversary of Ducks Unlimited and the decanter reads DUCKS UNLIMITED 40 Four Decades of Conservation Pioneering.
What’s it worth?
The mint decanter has a value of $20-$30.
Here’s a different theme idea for you “why not concentrate on your favourite era; dolls which capture the essence of the decade, even though they might have been made very recently? My favourite era has to be the 1960s. People say that if you remember the sixties, you weren`t there“ well, I remember it, and I was most certainly there! It was a time unlike any other, a decade of colour, movement, music and youth. It was a ‘good to be alive’ time, at least in Britain, and for once, we were proud of our country. We had the Beatles, of course, and Mary Quant, Twiggy, Tuffin and Foale, Biba and Carnaby Street. Walking down Carnaby Street in the mid-sixties, seeing the boutiques, the psychedelic window displays and the mad fashions paraded along the pavement was a crazy experience. It’s easy to recreate the feeling with a collection of dolls in those zany sixties fashions, perhaps adding a Beatle or two for good measure, and maybe displaying the whole lot against an op art background. Load a Sergeant Pepper cd (or play the vinyl version if you want to be truly authentic), dress yourself in a floaty caftan or a psychedelic mini – and there you are, you’ve regressed forty years! There’s a tremendous selection of dolls to choose from, some actually dating from the 1960s while others are modern repros or fashion dolls. The 60’s look can be instantly captured by including a few Twiggy dolls. After all, Twiggy was designated ‘The Face of ’66’ by the Daily Express, and she went on to become the world’s first supermodel. Mattel issued a Twiggy doll in 1965, a vinyl teen just under 11″ high. Though she doesn’t bear a great resemblance to her namesake, she’s very cute, and certainly looks the part in her blue, green and yellow striped mini dress with yellow knee-high boots. Other outfits could be purchased separately, such as ‘Twigster’, an orange and yellow geometric-design mini. Much more recent are Medicom’s series of small, all-plastic ‘Little Twiggy’ dolls standing 4″ high with moulded outfits, and their 10″ doll with moulded hair, dressed in a black and white mini dress, red low-slung belt and pink-spotted tights. The most stunning Twiggy doll must surely be the bisque beauty issued by Franklin Mint in 2001. Standing 16″ high, she really can’t be mistaken for anyone else. Her makeup is perfect, from her ultra long spiky lashes to her pouty lips, while her psychedelic cat-suit really is groovy! Other outfits could be obtained including a lemon yellow mini, and a white dress decorated with metallic rings. Twiggy came with a fashionable op-art ‘trunk’ or wardrobe, decorated with colourful Twiggy decals. In 1960, Barbie had only been around for a year, and was sophisticated in sheath dresses and high heels – not really capturing the British feel of the decade at all. However, Mattel issued a stunning 1960s look Barbie in 2000, dressed in a bright pink fun fur, so typical of the era. This ‘Groovy Sixties’ Barbie is a delight in her drop-waist dress with a print top, white boots and white cap. Amongst the range of dolls by American designer Robert Tonner are the Tiny Kitty Collier series. They mainly wear 1950’s styles, but occasionally stray into the following era, such as ‘Kitty A Go-Go’. Her classic sixties style block printed mini dress is bold and dramatic in two colours – fuchsia and white. In the 1960s this style was often seen in black and white; in fact, I had one! Another creation is ‘Mod Togs’, a white sleeveless mini over a black and white striped top, while mix ‘n’ match ‘Kit and Caboodle’ contains a white mini quartered by a wide black stripe and a super lilac pvc mac with long matching boots. These outfits appeared about three years ago, and all fit well into a 1960’s collection. An absolute must in a 1960’s theme collection is Sindy. Sindy was Britain’s first 12” fashion teen, and her clothes reflected the trends. The classic is, of course, ‘Weekenders’, an outfit designed by Sally Tuffin and Marion Foale, who were very much in vogue. ‘Weekenders’ reflected the patriotic feel of the era with its red, white and blue striped matelot top, blue jeans and white sneakers. Authentic 1960’s Sindys are still obtainable at doll fairs or on internet auctions, or you could go for the stunning porcelain replica issued by Danbury Mint in 2006. Just like the original Sindy, she wears a ‘Weekenders’ outfit. Another option is the British Airways’ range of retro cabin crew Sindys; one wears a delightful representation of a 1967 white paper dress decorated with large flowers, finishing the look with a flower in her hair. During the 1960s, this outfit was sported by stewardesses on BOAC flights between New York and the Caribbean. Perhaps the designers who have most captured the 1960’s feel are Doug James and Laura Meisner. In 1999, they introduced Willow and Daisy, two glamorous girls wearing over-the-top outfits. They included ‘Ladybug Concert’ – an obvious play on the Beatles – consisting of a stunning white pvc getup topped with a matching ‘baker boy’ cap; a psychedelic hippie trouser suit called ‘Rock and Roll’; ‘Carnaby Street’; a lime green and lemon pvc mini with translucent panels, and ‘An Art Opening With Andy and Edie’. This tribute to Andy Warhol and his muse, Edie Sedgwick consisted of a vivid Warhol print pvc dress. Daisy’s black hair was cut in a geometric style, and the look was completed with a huge pair of turquoise earrings. The series was discontinued in 2002, but last year an associated range appeared, dressed in similar sixties’ quirky fashions, such as guitar wielding ‘Troubadour’ in a military style red and blue jacket, and ‘Sunflower’ in a lemon chiffon mini, crocheted hat and colourful velvet boots. Australian designer Jan McLean, issued a group of porcelain ‘Lollipop’ dolls a few years […]
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 […]
Copper jelly moulds are among the most attractive and popular of all kitchenalia. The humble copper jelly mould came in a variety of shapes and sizes and became more and more elaborate over time. The moulds that were part of the batterie de cuisine of the larger houses sometimes bore the name of the house or their owners initials. Moulds were made of copper and tinned on the interior and were used for the wide range of world recipes developing in the Victorian era including many jellies such as Constantia jelly and desserts such as Dutch Flummery and sponge puddings. Copper jelly moulds shapes varied from simple round forms, fluted forms, castellated forms, vertical asparagus forms, and animal shapes. The Alexandra Star shaped mould was named after Queen Alexandra Queen to King Edward VII. Some were created in tiers making larger moulds and some have central hollows to allow the creation of ring desserts. Copper Jelly Mould Price Guide / Value Guide Famous names in the creation of copper moulds include Benham and Froud, Copeland and Henry Loveridge. Fine copper jelly moulds remain collectables and prices vary depending on quality, maker, size and condition.
One thing that often appeals to us collectors is a sense of order.
A growing interest in lace collecting has also created a renewed interest in old pillow lace bobbins. Lace bobbins have always been a decorative adjunct to lace making and although functional and fairly standard in form the bobbin flourished in its decorative charm with carving, colour, material and decoration making up for the deficiency in variety of form. Within this slender compass there was room for invention and even humour and romance in the phrasing of the inscriptions. The art of pillow lace-making was introduced into England in the middle of the sixteenth century. At that time pillow lacemaking as an industry was well established on the Continent and in 1563 the first of a great many Protestant refugees, many of them lace-makers, fleeing from religious persecution arrived in England, persecution arrived in England, along the south coast. For various reasons many of these refugees wandered inland and settled in areas notably in Bedfordshire. The emigris taught the art to their new neighbours in England and gave to them what later became a great rural craft. Unlike lace makers in the traditional centres of lace making in Belgium, Flanders and France who used large numbers of identical, plain bobbins, each bobbin on the pillow of an English lace maker was different. Hand carved or turned on a treadle lathe, bobbins were commonly made of wood or bone and could be intricately carved, painted, inlaid with pewter, wire-bound or inscribed with names and dates. (Lace makers’s bobbins, Mackovicky) . Many people took to lace-making and the area of the new industry grew so that it eventually included the whole of Bedfordshire and Buckinghamshire and large parts of the adjoining counties, and so became known as the Midland Lace-making Industry. The lace was a creation of great beauty. The bobbins used for making lace took on special characteristics in this area and they themselves became works of art. Their attractive design and decoration alone make them worthy of collecting and study. The inscribed bobbins give us a very clear and intimate story of the lace-makers. Little has been recorded of the lives of these cottage workers: it is through the bobbins they have left that we can build up a story of their everyday existence. The Pitt Rivers Museum in Oxford has a collection of lace bobbins, lace samples and lace pattern bought by Henry Balfour from a Mrs. M. Butler in 1903. The collection does give an insight to the life and work of a lace maker. The feature by Nicolette Makovicky of Wolfson College is a very interesting read. However, it is Mrs. Butler’s bobbins that allow us some insight into her work and her life. Every bobbin she used was unique; different people would have given them to her and she would have personalized them by adding her own decoration. Of the collection, five stand out. All have the typical shape for East Midlands bobbins – long (3-4 inches or 9-10 centimetres), ending in a decorative ring of beads called a ‘spangle’, or ‘jinkum’ in parts of Oxfordshire. Bobbin making was a profession and while most lace makers were female, bobbin makers were invariable male. Although it was unusual for bobbin makers to mark or sign their work, collectors have been able to identify the work of enough makers to see that the profession often ran through several generations of the same family. (Lace makers’s bobbins, Mackovicky) . Three examples from Mrs. Butler’s collection. The most common form of inscribed bobbins are those with just a Christian name. Sometimes a full name is given with the place of abode and the date. The bobbins inscribed to commemorate hangings are interesting. Here are three of them: ” Joseph Castle, hung 1860 “Castle murdered his wife at Luton.” William Worsley hung 1868 “” William Worsley hung 1868 “Worsley was tried with Levi Welch for the murder of William Bradbury at Luton. Worsley’s execution was the last public one in Bedford. ” William Bull hung 1871 ” — Bull murdered an old lady named Sarah Marshall at Little Staughton. Bull’s execution was the first privately carried out in Bedford. Bereavements are recorded on bobbins inscribed like tombstones — ” William Church died April 5th, 1866, aged 63,” ” Mary Ann Betts born October 24th, died March 21st, aged 37 1873 “—” Agnes Mary Read my sister died 25th September 1870.” Romantic inscriptions are plentiful — ” Love buy the ring,” ” My love for thee no one can tell,” — ” I love my love because I know my love loves me.” True love did not always run smooth, some bobbins clearly indicate heartaches—” Tis hard to be slited by the one as I love,”” Tis hard to love and not be loved again,”—” I once loved them that never loved me.” Bobbins are made of either wood or bone because the materials were suitable, cheap, and easy to obtain. There are some unusual bobbins made of both wood and bone jointed together. One specimen of this type inscribed—” I long to wed the lad I love ” indicates there were obstacles, either financial or parental, in the way, or perhaps it was just impatience. Many of the bobbins that are not inscribed are of great interest.The fancy turned ones are good The fancy turned ones are good examples of turners art in miniature. A great variety of ornamentation can be found, bobbins are dyed in many different colours, carved, bound with fine brass wire, and inlayed with wood or pewter. Sometimes small coloured beads threaded on fine wire were bound round the bobbin. The most popular of the carved bobbins are those that are known as Church Window Bobbins. A Trolly bobbin is a large wood bobbin with several loose pewter rings round it, and was used to carry the thicker thread which outlines the design on a net ground. It is on the bone bobbins that most of the inscriptions are to be found, the wooden ones usually have nothing more than a […]
Having already attained the accolade and recognition for being France’s premier jeweller, by 1905 Rene Lalique had begun to focus his attention to the possibilities of commercial art glass. Additional impetus came in 1907 after being approached by Francois Coty, the celebrated parfumier, and his neighbour in the fashionable Place Vendome. Coty asked Lalique to design the embossed gilt paper labels for various perfumes, whereupon legend has it that Lalique took umbrage and only agreed on the strict understanding that he was also commissioned to design the actual glass bottles. In agreeing to this demand Coty could hardly imagine how this would send his business into a veritable overdrive, such was the response and increase in demand for those perfumes retailed in bottles designed by Lalique. At this time such bottles were manufactured by Legras et Cie as Lalique did not then have the sizeable glassworks needed for mass production, although Coty had also used the services of the Baccarat factory in previous years. The dramatic success of this venture resulted in a growing procession of recognised perfume companies approaching Lalique in the quest of emulating their competitor’s success. Such pre war commissions came from household names such as Roger et Gallet, Worth, D’Orsay, Arys and Rosine amongst others. Today these early bottles are keenly sought after by collectors as they manage to encapsulate their designer’s uncanny ability of transforming a utilitarian object into a desirable work of art. Such vessels allowed him to develop designs that borrowed from nature whilst making great play of both the mystical and magical elements readily evident in such Coty commissions as ‘Cyclamen’ and L’Effleurt de Coty (The caress of Coty), with the former later reworked with two additional forms of button stopper. Lalique soon recognised that the demand for stylish perfume bottles was big enough for his own ‘Maison Lalique’ creations that were available for the purchaser to then fill with an essence of their own liking. The combined ranges became so extensive that many collectors are content to restrict their collections to just perfume bottles. Initially he had made use of a small glass furnace located on his country estate at Clairfontaine on the outskirts of Paris, but the increase in demand dictated that he should acquire a larger facility. In 1909 he purchased a much larger concern at Combs la Ville that allowed for greater mass production with an estimated workforce of about 50-100 craftsmen and where output continued until closure until 1937. However it was the setting up in 1921 of the present day glassworks in Wingen sur Moder near to Strasbourg in the Alsace region of eastern France that allowed production on a truly grand scale, this time with a workforce that exceeded 500. Rene Lalique might be recognised as a designer who invariably thought ‘out of the box’ and one who recognised the almost limitless possibilities offered by such an elastic medium. In years gone by he has, on the odd occasion, suffered the indignation of having his creations labelled as nothing more than moulded glass. Fortunately, with the passage of time, collectors and design historians alike give a secondary consideration to the method of production and now place primary importance on both design and effect. Lalique was to show himself to be the absolute master of exploring the potential of glass whilst ready to embrace the growing technology and chemical science that allowed him to invariably remain several steps ahead of any would-be competition. The publication in 1932 of his illustrated trade catalogue, reprinted in recent years and an essential for collectors and enthusiasts, manages to give some indication of the sheer variety available to the discerning public of those interwar years. Within the pages, alongside the perfume bottles, can be found boxes, sculptures, paperweights, car mascots, clocks, lighting and all manner of tableware, dishes, bowls, architectural fittings and even glass jewellery. Perhaps the most readily available and affordable, depending on size and colour, are his vases, bowls and dishes, which are amongst the majority of his wares that tend to surface in many of today’s auctions. Desirability here is also decided by rarity and the all important condition of a piece. Having no wish to scaremonger it is worth pointing out that the present day market place has its fair share of repaired or doctored pieces. Consequently it is always prudent to purchase from a respected dealer or auction house. As a broad generalisation, unless considered a rare design, simple clear and frosted glass examples tend to be the least desirable. The addition of coloured staining or ‘patine’ helps to accentuate the definition of a design and adds both to the attraction and value. Again, another word of caution, as some pieces have been subjected to modern day staining. In order to determine old from new it is essential to build up an understanding of the original staining used as well as be aware that such early stains were liable to wear, whereas the modern colours have so far proved permanent. Opalescent glass, i.e. the inclusion of an internal milky blue effect that is invariably synonymous with Lalique glass, is more desirable, with value often enhanced by the intensity of the internal colouration. The overall effect is determined by the thickness of the glass that plays host to a chemical reaction that occurs during the cooling process. Lalique is known to have preferred the use of a demi-cristal which incorporated half the usual 24% of lead oxide used by makers of lead crystal such as St Louis and Baccarat. Demi-cristal offered a less white and softer grey hue to the metal – glass is actually a super cooled liquid but technically referred to as a ‘metal’. It also allowed for greater definition when using expensive steel moulds and was relatively lighter than lead crystal. The milky blue effect was all down to incorporating a tiny amount of cobalt oxide into the glass mix plus two specific fluorites that acted as opacifying agents. When heated, the […]
If you are a fan of the works of William de Morgan, then a visit to the Ashmolean Museum in Oxford should be on your itinerary. The De Morgan Foundation has on semi-permanent loan, since 2017, a fine collection of William de Morgan works. The display includes tiles, dishes, and vases, and works from different periods and factories. Below are some images from the collection. William de Morgan Related Ashmolean Museum, Oxford – https://www.ashmolean.org/ De Morgan Collection – https://www.demorgan.org.uk/ William De Morgan – the Arts & Crafts Pioneer William De Morgan Price Guide
Arthur Gredington was one of the leading animal modellers of the 20th Century, not only for Beswick but in the world of ceramics . He was responsible for the creation of nearly 400 models (well over 400 with pieces he collaborated on), some of which will probably be in your own or a relatives china cabinet. Arthur Noel Gredington (1903-1971) was born in 1903 and after studying at the Royal College, at the age of 32, he took a position in 1939 at Beswick as their first resident modeller. Prior to this modellers at Beswick were employed on a freelance basis. His first model was a Deer on Base (model no 696) which was produced in a natural, flambe and blue glazed editions. He was able to design any animal but his speciality was horses and dogs. The 1938 Epsom Derby winner Bois Roussell was the subject of Gredington’s first racehorse and breeders reproduction model for which Beswick were to become famous. Later racehorse models included the famous Arkle. Beswick often produced different colourways of models including Bois Roussell which as well as the original brown was also produced in grey. With variations and colourways the range of Gredington horse models available to collectors is over 200, whereas the actual number of actual designs created is around 70. Gredington’s realism and accuracy in his models made them very popular with collectors and his champion models were especially sought by the farming community. Gredington was also responsible for many comic and licensed designs. These include the Cat Orchestra and Courting Penguins in 1945, In 1948 Beswick secured the right to reproduce a range of 10 Beatrix Potter earthenware characters, the first of which was Jemima Puddle-Duck which was designed by Gredington. Other character included cartoon, storybook figures, character animals and even designs for Disney including the Seven Dwarfs. When Gredington retired in 1968 he left a legacy of creations which are still collected today. Arthur Gredingtona and Beswick related Beswick Girl on Jumping Horse No 939 Beswick Zimmy Lion Price and Value Guide
On a recent trip to Brittany and the magnificent Mont St Michel I came across a wonderful display of modern Quimper Faience Pottery and notably Henriot Quimper. Many of the designs and colours were instantly recognisable and based on the traditional The Petite Breton pattern, but there were also many new modern and very attractive patterns. The handpainted French faience known as Quimper Pottery (pronounced “cam-pair”) was founded by potter Jean Baptiste Bousquet and has been manufactured in Quimper, Brittany, France since 1690. The Locmaria area of Qimper had an abundance of clay, a navigable river and skilled labour and was to be an ideal place for Jean Baptiste Bousquetto build his kilns. The firm was known as HB Quimper. In 1772, a rival firm was founded by Francoise Eloury known as Porquier. A third firm formed in 1778 by Guillaume Dumaine which was known as HR or Henriot Quimper. The pottery made by the three companies was similar featuring the Breton peasants and sea and flower motifs. In 1913, Porquier and Henriot merged with HB joining the others in 1968. The company was sold to a US family in 1984. More changes followed and in 2011 Jean Pierre Le Goff purchased the company and changed the name to Henriot. Henriot Quimper continues the tradition producing the traditional patterns featuring the Breton figures as well as many new more modern designs. The superbly talented resident artists at Henriot still hand-craft every piece of Quimper Pottery. Historically, the Quimper factories hosted artists in their studios which continues to this day. Quimper pieces are still produced from casts and works by major artists who have created works for the various Quimper factories, including Berthe Savigny, Louis Henri Nicot, R. Michaeu Vernez, Rene Quillivic, Beau & Porquier & George Robin. In addition, contemporary artists, such as Paul Moal and Loic Bodin continue to work with Henriot. Further details Henriot-Quimper : Actualité
John Wyndham (full name John Wyndham Parkes Lucas Beynon Harris) was a British science fiction author who wrote several classic novels, including The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos. His works are highly collectible, especially in first edition form. Here we take a look at the value of John Wyndham first edition books published under his own name during his lifetime. John Wyndham was a British author who wrote science fiction novels and short stories. He is best known for his novel The Day of the Triffids, which was adapted into a film in 1962. Wyndham was born in 1903 in England. He began writing science fiction in the 1920s, but did not achieve commercial success until the publication of The Day of the Triffids in 1951. The Day of the Triffids, in particular, is considered a science fiction classic. It tells the story of a massive attack by alien plants that leaves humanity struggling to survive. The Day of the Triffids was first published in 1951, and a first edition can sell for upwards of £5,000 / $7,000. As with all first edition books the dust jacket condition is everything and prices vary greatly. John B. Harris and John Beynon However, Wyndham had actually been writing stories and short stories since 1925 under several aliases and pseudonyns. In 1927 he published a detective novel, The Curse of the Burdens, as by John B. Harris, and by 1931 he was selling short stories and serial fiction to American science fiction magazines. His debut short story, “Worlds to Barter”, appeared under the pen name John B. Harris in 1931. Subsequent stories were credited to ‘John Beynon Harris until mid-1935, when he began to use the pen name John Beynon. Three novels as by Beynon were published in 1935/36, two of them works of science fiction, the other a detective story. He also used the pen name Wyndham Parkes for one short story in the British Fantasy Magazine in 1939, as John Beynon had already been credited for another story in the same issue. The Kraken Wakes John Wyndham’s second novel was The Kraken Wakes which was first published in 1953, originally published by Michael Joseph in the United Kingdom in 1953, and first published in the United States in the same year by Ballantine Books under the title Out of the Deeps as a mass market paperback. . The novel is about an alien invasion of Earth by creatures known as the “Kraken”. The Kraken are giant sea creatures that are able to telepathically control humans. They use their powers to create a world-wide flood, which forces humanity to evacuate to the moon. The novel was well-received by critics and is considered to be one of the classic science fiction novels of the 20th century. It has been reprinted several times and has been translated into multiple languages. The Kraken Wakes is considered to be one of Wyndham’s most accomplished works. The Midwich Cuckoos John Wyndham’s The Midwich Cuckoos is a classic of British science fiction. First published in 1957, it tells the story of a group of children who are born with strange powers after a mysterious event in the village of Midwich. The book has inspired many writers and has been adapted for movies and TV series many times. A first edition in near fine condition with near fine dust jacket estimate £2000 / $3,000. Did you know? Wyndham began work on a sequel novel, Midwich Main, which he abandoned after only a few chapters. The Chrysalids, Trouble with Lichen and Chocky Price Variations In writing this feature as with many that include price guides it is always apparent that their is massive variation in prices even for similar books and objects. The prices given here are for near fine copies, so copies in excellent order. First editions of The Day of the Triffids, The Kraken Wakes and The Midwich Cuckoos will always be popular and sort after. Bibliography of books published in his lifetime under the name John Wyndham The Day of the Triffids (1951) The Kraken Wakes (1953) The Chrysalids (1955) The Midwich Cuckoos (1957) Trouble with Lichen (1960) Chocky (1968) Related BBC interview and feature with John Wyndham