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The Conan Books from Gnome Press Price Guide

July 31, 2022 1:11 pm Views: 28

The Conan stories were written by Robert E. Howard and first appeared in the magazine Weird Tales, first appearing in 1932. The stories did not appear in book format until The Gnome Press editions published from 1950 to 1957. They were the first hardcover collection of Howard’s Conan stories, including all the original Howard material known to exist at the time, some left unpublished in his lifetime. We take a look at this collection, along with some auction prices.

the conan books from gnome press by robert e howard — The Conan Books From Gnome Press By Robert E Howard. This set sold for $1,440 / £1,200 on ebay, June 2022.

With the exception of Tales of Conan, which jumped around to offer random episodes from various stages in the protagonist’s career, Gnome’s volumes were structured to display the stories in order of their internal chronology while not being published in the order of prior publications. L. Sprague de Camp completed or altered some of the stories in two of the later volumes (The Coming of Conan and King Conan), and he also adapted non-Conan Howard pieces as Conan tales for another (Tales of Conan).

conan the conqueror gnome press 1950 robert e howard — A very fine copy of Conan The Conqueror from Gnome Press 1950 by Robert E. Howard. Sold for $400 / £328, July 2022.

The first Conan tale written by someone other than Howard, The Return of Conan, namely Björn Nyberg, appeared in the final book of the Gnome edition, which was revised by de Camp.

The Coming of Conan from Gnome Press 1950 by Robert E. Howard. Sold for £110 on ebay, June 2022.

There were seven books in the Gnome Press series of hardback books: Conan the Conqueror (also known as The Hour of the Dragon; 1950); The Sword of Conan (1952); The Coming of Conan (1953); King Conan (1953); Conan the Barbarian (1954); Tales of Conan (1955; originally non-Conan Howard stories rewritten as Conan stories by L. Sprague de Camp) and The Return of Conan (1957; by Björn Nyberg and L. Sprague de Camp).

A near fine copy of King Conan from Gnome Press 1953 by Robert E. Howard. Sold for £140 on ebay, June 2022.

The Conan Books from Gnome Press Price Guide

Conan books first editions from Gnome Press — A set of seven First Edition First Printing Conan books by Robert E. Howard published by Gnome Press. Sold for $3,000 on ebay, October 2018.

As with all books, collectors are looking for very fine editions with dust jackets. Prices for for First Editions First Printings. A good copy of each book is estimated at $110 / £100 with very fine copies upward to $400 / £330. In the current mark serious collectors would pay a premium for near mint copies if any were to come to market. We include some realised auction prices.

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Collecting Conan Paperbacks

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Lotus Pottery

England`s West Country has long been a honey pot for collectors and admirers of pottery – in the 1900s souvenir hunters collected those brown and cream jugs from the likes of Watcombe and Aller Vale, bearing strange mottoes in dialect such as ‘Go aisy wi` it now’. No doubt, at the time, these pieces were as strange and dramatic to those used to seeing fine Wedgwood porcelain, as Troika was to seventies folk reared on a diet of Meakin and Midwinter. Potteries such as Tintagel, Dartmouth, Celtic and Boscastle thrived, and today it seems that every twisty, narrow lane in the area has at least one sign pointing to a ‘studio’. Whether it is the clay, the light, the pasties or just something in the water, the West Country is practically a euphemism for pottery. Amongst the wares, collectors often find vases, jugs and bowls, often unmarked, sporting an unusual grey/green glaze, and bearing a large daisy motif. Immensely tactile, these smooth, definitely hands-on pieces are a delight, yet sometimes dealers seem at a loss to name the maker – they guess at Spanish, and I have even heard them described as ‘Russian`. In fact, these attractive pieces emanated from the Lotus Pottery in Stoke Gabriel, South Devon, in the1960s and 70s, and today are finding favour with enthusiasts who enjoy the way the smooth, flowing forms and muted colouring fits in well with today’s décor. The Lotus Pottery was formed by Michael and Elizabeth Skipworth in 1958, soon after they purchased Old Stoke Farm. This limestone-built farm, set in a garden and cider orchard, was a perfect place for such a venture, with plenty of barns to transform into workshops. Stoke Gabriel is a particularly pretty place, situated on a creek of the River Dart. The centrepiece of the village is the beautiful mill pond. Tourists come from near and far to admire the surroundings and to sample cream teas. For years it was possible to buy stunning Lotus pottery too. Michael and Elizabeth met at Leeds College of Art, and it was there that they formed Loversal Pottery, which they named after Michael’s place of birth in Doncaster. When they moved to Stoke Gabriel they decided on the name of Lotus Pottery, and so were able to continue marking their wares with the initials LP. However, it seems that much of their work, especially smaller pieces, do not bear the initials, while often, even if they are marked, the LP is difficult to see and is easily overlooked. No doubt the attractive surroundings provided plenty of inspiration, and during the twenty-five years or so that Lotus Pottery was in production, Michael and Elizabeth experimented with various techniques, designs, clays, colours and glazes. By 1968, a variety of finishes were available including speckle, Dartside Green, white on red, and blue on blue, while in 1974 a blue on white Loire range was introduced. However, the most characteristic glaze from Lotus was the dark grey/green finish with the daisy motif. It proved one of the top-selling lines for many years, and was known as petal on sage. A blue version, petal on blue, was also obtainable. Sage green was all the rage in the seventies – ‘natural’ colours and stylised designs were very popular, possibly a reaction to the psychedelic, brain-boggling colours and patterns of a few years before – and the vases, bowls, mugs, jugs and assorted kitchenware adorned many homes. The items were normally bought by tourists to the area as a welcome change from the pixies, seagulls and sheep which were sold in most souvenir shops. Lotus ware was stocked by the more discerning retailers! The most distinctive Lotus piece was a stylised bull, smooth and curvy with barely-there features, vaguely resembling the animals produced by the Russian Lomonosov factory in its simplicity. Today, this is the piece that many collectors begin with; not only is it easily recognisable, but its attractive shape allows it to blend perfectly into a modern home. Each bull featured an elongated, arched body with the head lowered. There were no eyes, nose or mouth, but sometimes a few tendrils of moulded hair could be seen between the horns, though most had smooth heads. The legs were very short and narrow, and this was probably the reason why the creatures tend to be unmarked – there was nowhere to impress the LP motif without detracting from the simplicity of the design, and the undersides of the feet were to small to bear a stamped mark. Although at first glance they might appear identical, these bulls vary considerably, especially with regard to the motif which appears on each flank. Usually, the daisy is found, but other designs include a leaf, a fern or a set of interlinked circles. Made in several sizes, from a baby at five inches through to an impressive granddad, thirteen inches long, the shade varies from a grey-green to a rich deep olive. The petal on blue colouration is also very striking, with the blue being a deep, inky colour while the daisy motif is a pale blue/grey. The bull was actually designed by Elizabeth Skipworth in a moment of inspiration; she was amazed at their popularity. A herd of the bulls lined up on a shelf makes a stunning display. Other stylised creatures appeared in this range, though they seem harder to find. They included a bird, owl, cat and a horse’s head, and had the same smooth and glossy appearance. There was also a wide selection of domestic ware such as dishes, egg cups, cruet sets, mugs, jardinières, jugs, vases, bowls, candle sticks and coffee pots. Some of the pieces were impressed with the LP motif in a circle, but many were stamped on the base ‘Lotus Pottery Stoke Gabriel’. However, a large amount bore no mark at all. Lotus was very experimental, and though the petal on sage shade was probably the most popular, they produced various other colours and designs, including a range […]
Queen’s Platinum Jubilee Collectables

Queen’s Platinum Jubilee Collectables – 2022 will be a very special year for Her Majesty The Queen with the celebrations of her Platinum Jubilee. As with many special Royal anniversaries and events there are a lot of special editions, memorabilia and collectables being designed and produced. We take a look at some of the Queen’s Platinum Jubilee Collectables available for this amazing event. Halcyon Days Halcyon Days have created some very special pieces including baubles and a music box. Platinum Anniversary Queen Elizabeth II Toby Jugs from Bairstow Pottery Bairstow Pottery have released a special Platinum Anniversary Queen Elizabeth II Toby Jug. The edition is being released in five colourways: Dark Blue, Green, Grey, Light Blue and Pink. Each colour being one of the Queen’s favourites. Each jug is hand painted and features embellishment completed by using real platinum. The edition has been modelled by Bairstow Pottery’s lead designer Ray Noble. Click for more information Steiff The Steiff Platinum Jubilee Bear is available exclusively from The Danbury Mint. The teddy is being produced until the 2nd June 2023 – the 70th anniversary of Her Majesty’s Coronation. She is being made in a caramel and cream coloured mohair is fully jointed and will measure approximately 10½” (26cm) standing. As a Steiff bear she has the classic Steiff ‘button’ and white tag with red writing attached to her ear and also wears a purple bow and a medal featuring a picture of The Queen saying 70 Golden Years. Her paws are finished with the Queen’s cypher and the dates of her reign. A lovely bear priced at £249 which can be pre-ordered for delivery in August. The Royal Mint The Royal Mint is creating several different sets including a new 50p and a £5 Crown designed by John Bergdahl. The commemorative Platinum Jubilee portrait depicts Her Majesty on horseback and two beautifully decorative reverse designs for the occasion. The collection also includes the first UK 50p coin issued by The Royal Mint to celebrate a royal event, which features a bold, graphical celebration of The Queen’s reign by the design agency Osborne Ross on the reverse. The obverse features the Platinum Jubilee portrait. For more details visit https://www.royalmint.com/ The Royal Collection The Royal Collection is one of the largest and most widely distributed art collections in the world. Running to more than a million objects, it is a unique and valuable record of the personal tastes of kings and queens over the past 500 years. In addition to the well-known paintings, drawings and other works of art, the Collection includes almost the entire contents of all the royal palaces. The Royal Collection create items and collectables for sale online and the shops such as Windsor Castle, Holyrood Palace, and The Garden Shop at Buckingham Palace. A number of Platinum Jubilee collectables and gifts are available including plates, tea sets, crystal, clocks, pill boxes etc. For more information visit The Royal Collection Shop.
Collecting Antique Typewriters

Antique Typewriters Collecting antique typewriters has really come of age in the last twenty years, as the appreciation of antique machines has grown in our technological times of smooth cases and blinking lights. There were a few typewriter collectors fifty years ago but they could have been counted on one hand. Pictured left: Odell 2 ~ Chicago, 1890 This attractive index typewriter is nickel plated with an Art Nouveau styled base. Today there are over 500 typewriter collectors spread around the world. The largest group of collectors are found in the US and Germany, but there is strong interest throughout Europe, especially in Italy, France, Spain, and Switzerland. Most typewriter collectors seek machines from the 1880s and 1890s, the first twenty years of typewriter manufacturing, a time when the fundamental design of the ‘modern’ typewriter had yet to be discovered. During this time there was a major effort by many pioneering machinists and engineers to create a viable typewriter for a world that was ready for this revolutionary machine. There are perhaps 400 different models to collect from this age of experimentation. These typewriters were manufactured in many industrialized countries, in particular the US, England, and Germany. Today, the values of these machines are affected by condition, rarity, and desirability. With prices ranging from a few hundred dollars, to into the thousands for the rare machines. However, for those interested in acquiring an early typewriter at a modest price, there are a number of intriguing and historically important typewriters that can be had for a few hundred dollars, including the Blickensderfer ($150 to $250), Hammond ($150 to $500), and Odell ($400 to $600). Ebay is a good place to look for these and others – click to view Antique Typewriters on ebay. By 1910 the design of most typewriters had become standardized as a result of the emergence of the ubiquitous and brilliant Underwood 1, which appeared in 1897. All typewriters from now on, right up to the invention of the personal computer in the early 1980s, would ostensibly have the same look and function as the Underwood, the age of experimentation was over. An early and unique American typewriter goes to the auction block This November, a very special typewriter went for auction in Germany. It was the typewriter of US inventor Abner Peeler. His very strange typing machine was made in 1866 and is one of the very first typewriters to ever be made. This typewriter was not manufactured though and only one example is known to exist. Mr. Peeler also has the distinction of mailing the first typed letter in the US, which was sent on June 19, 1866. Pictured right: Commercial Visible ~ New York, N.Y., 1898 This attractive machine types from a type wheel, that is easy to remove, allowing for a quick change of font. To make an impression, a spring-loaded hammer behind the carriage swings forward, striking the paper and ribbon against the type wheel. The letter begins “Dear Companion, We are both well. I feel splendid. I am now in the office of Chipman & Co . The machine has been examined by a great may shrewd men and they think it is the greatest curiosity of the age. They also think it is of great value.” The ‘shrewd men’ were right but it would not be his machine that would herald in the age of the typewriter; that would be a few years later in 1874 when the American printer Christopher Lathem Sholes had his very functional typewriter, the Sholes & Glidden, manufactured by Remington & Sons. Mr. Peeler also created the very first airbrush machine and his impressive self-portrait, from a photo, is the first airbrush picture in history. One can read more about the Peeler collection and see his typewriter and self-portrait at www.abnerpeeler.com. The first typewriters ~ a brief history The keyboard provides an essential means for one to communicate and is used by more people today then ever before. Keyboards are arguably one of the most important tools in the world, a tool that represents our personal communication in this technological age. The keyboard truly connects the planet. But what did the first keyboards and typewriters look like and how did they evolve? Typewriters from the 1930s and 40s all look pretty much the same, they “look like a typewriter”. With four rows of straight keys, single shift and front strike visible (type-bars hit the front of the roller allowing one to see what they have just typed). Typewriters have not always looked like this though. Just imagine if you, never having seen a typing machine, were asked to design one. How might it look? In fact, the standard big, black machines that you might be familiar with such the Underwood and Remington were the result of many years of mechanical evolution. Pictured right: Caligraph 2 ~ New York, N.Y., 1882 With no shift key on this typewriter, there are twice as many keys as a normal keyboard; black keys are for capitals and white keys are for lower case. During these early years of discovery, ingenuity and mistakes, over four hundred different typing machines were produced to print the written word. Among them were machines with curved keyboards, double keyboards or no keyboards at all! The first typewriter patent was issued to an English engineer, Henry Mill in 1714. He outlined the concept of the typewriter when he registered a patent for ‘an artificial machine for impressing letters one after another, as in writing, whereby all writings may be engrossed in paper or parchment, so neat and exact as not to be distinguished from print.’ However, this machine was never made. Many experimental typewriters were built and used during the first 75 years of the nineteenth century but none were produced in quantity. This was about to change though, as the technology for mass production had arrived and the need for fast, accurate business communication was growing. What was needed was a person to bring together all […]
Historical Staffordshire Pottery

It was at the beginning of the reign of Queen Victoria that the Staffordshire potters first produced their characteristic portrait pottery. The young Queen and her family inspired enough pottery models to suggest an important collection in themselves. Pictured right: c1840s Staffordshire figures of Queen Victoria and Albert on horseback. Image from Richard Gardner Antiques. (Richard Gardner Antiques have an excellent selection of Staffordshire Pottery – click to visit) It is clear that these pieces originated in diverse factories although it is proving difficult to pinpoint the whereabouts of manufacture. There are no trademarks to guide us, nor are there old catalogues nor appropriate advertisements extant. A collector will recognise affinities in manufacture and can group the figures accordingly, but only two or three factories have been traced with any certainty. However, we hope to show that perhaps a more important way of classifying the portrait figures is to group them chronologically and by profession. Many of the pieces which we can attribute to the 1840’s show a porcelainous character. They tend to be smaller and more highly coloured than the later ones and are sometimes made in the round. In fact, it is not until a decade later that we consistently find the characteristic flat-back earthenware. The 1850’s were the halcyon days for the potter and his customers, and Crimean time pottery is Victorian Staffordshire pottery at its finest. The Queen comes first in time and importance in the royal list. A model labelled “Victoria,” in the possession of Mr. R. Shockledge, in which she holds orb and sceptre, might well have been made at the time of her coronation. Very soon, and romantically, appear portraits of Prince Albert as well. Both the Queen and her husband occur in numerous forms : standing, sitting, enthroned and also mounted on horseback. Frequently, these pieces were not labelled, but where they are named the inscription is usually ” Queen ” and ” Albert ” or, very rarely, ” Queen Victoria ” and Prince Albert.” We do not know of any piece entitled “Prince Consort ” and if any were made at the time of his death they needed no label. A large model of the Queen, made about 1870 and paired with the Prince of Wales, has the inscription ” Queen of England.” This model was used again, with a fuller inscription, both at her Jubilee in 1887 and her Diamond Jubilee ten years later. The figure became progressively debased in form. As the children arrived the potters became busier than ever. Charming pieces show the Queen seated, both with Prince Albert and alone, holding the infant Princess Royal in her arms. A tiny crown appears on the child’s long clothes. The pieces portraying the royal parents and children mount up like the photographs in a family album. Over and over again the little Princess Royal and Prince of Wales appear, separately with their toys and also playing together in their pony carriage or in one of their fancy boats. Pairs show them riding their goats and their ponies. It was some time before we could recognise these royal children apart and then we realized, of course, that although he too wears a skirt the little Prince always bestrides his steed whilst his royal sister rides side-saddle. From one factory comes a delightful series of the Queen and her husband at play with their children, even teaching them to ride. The royal residences are represented in this portrait cavalcade by Balmoral and Windsor Castle. As the children grow older the Prince of Wales becomes the favourite and there are figures showing him at every stage. Sometimes he is paired with his younger brother, Prince Alfred the sailor. A fine piece, which must have been made about the time of their betrothal in 1858, shows the Princess Royal and Prince Frederick William of Prussia together; and a handsome equestrian pair was made on their marriage. Then come numerous groups and pairs entitled ” Prince and Princess : ” the Prince of Wales and his bride to be, Princess Alexandra. There is a rare and very fine pair, presumably dating from their marriage in the early seventies, of Prince Alfred the first Duke of Edinburgh and the Czar’s only daughter. Most of the sons and daughters of the Queen, and their wives and husbands, are known to have been portrayed. Nor were the heads of foreign royal houses forgotten. At the time we started our collection we found just one figure of a living member of the royal family: Queen Mary shown as ” Princess May,” at the time of her betrothal to the Duke of Clarence of whom a figure also was made. The lively market for royal figures did not exclude numerous other persons from the potters’ lists. Popular politicians were in demand and it is not surprising demand and it is not surprising that numerous figures were made of Peel and Cobden, probably in 1846 at the time of the repeal of the Corn Laws. In fact, a standing figure of Peel has an additional figure of Peel has an additional inscription ” Repeal of the Corn Law.” A seated figure of Cobden shows him with sheaf of corn and orator’s scroll and there is a splendid equestrian figure of Sir Robert Peel made at the time of his death in 1850. A still rarer figure of Peel has his name inscribed on the pillar and an unusual circular base. Pictured right: Staffordshire Pottery figure of Richard Cobden MP (1804-1865). Full-length Staffordshire figure of Richard Cobden, standing, bare-headed. Right hand on his hip, left holding a paper against his leg; a pedestal behind it. (1804-52) M.P. 1841-65. He and John Bright were the principal agitators for the repeal of the Corn Laws. Image part of the National Trust Inventory Number 709134. Visit https://www.nationaltrustimages.org.uk/ for more details. There are at least eleven different models of the national hero, Wellington. They show him first as a soldier, then as an elder statesmen […]
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 […]
Wemyss Ware

Wemyss Ware Wemyss Ware (pronounced Weems) is named after the castle situated on cliffs between East Wemyss and West Wemyss in Fife, which was the home of the Grosvenor family who became patrons of the Fife Pottery in Gallatown, near Kirkcaldy. The Fife Pottery was built in 1817, traditionally the Fife Pottery had paid its way by producing useful domestic wares, and it was not until the 1880s when the production of the hand-painted earthenware, with characteristically bold decoration, recognised today as Wemyss Ware began. The first piece of Wemyss Ware appeared in 1882 on the initiative of Robert Methven Heron. R. M. Heron had studied painting at the studios of the Edinburgh artists of his time and had travelled extensively in Europe. The production of Wemyss style pieces, particularly with traditional subjects such as the cock and hen patterns, had already begun when R. M. Heron brought back to the pottery six continental artists to augment the staff at the Fife Pottery. Five returned, and the one who remained was Karel Nekola, who became chief decorator and instructor at the pottery. Karel Nekola introduced a new style of ware to the pottery which was initially fired at a low temperature in order to produce a soft ‘biscuit’ body which would be able to absorb the colours from the decorator’s brush. It is this initial firing which is responsible for giving Wemyss Ware a body which is very fragile. After being painted and dipped in a soft lead glaze the pottery was again fired at a very low temperature, this time so as to avoid spoiling the brilliant colours. Wemyss Ware was decorated with natural subjects, such as flowers, in particular the red cabbage roses, but also buttercups, honeysuckle, sweet peas, carnations, Canterbury bells, thistles, irises, violets; and fruits are to be found including: cherries, plums, apples, pears and oranges may be seen, but also rare fig pattern, or lemons and grapes. Pictured: A Wemyss ‘Cabbage Roses’ ewer and basin – The basin painted by Karel Nekola, ewer 16cm high, 19cm diameter, both impressed WEMYSS and with green painted Wemyss mark, ewer with blue printed T.Goode & Co mark. Sold at Bonhams, Edinbugh for £275, August 2011. Image Copyright Bonhams. Wemyss Ware was a instant success, and with interest shown in the pottery by the Grosvenor and other Scottish families, Wemyss became an exclusive, expensive product much sought after by the affluent. Thomas Goode & Co. the well-known Mayfair china shop, became the companies sole retail outlet in England. Goode’s would often request special shapes and designs. Pictured: A large Wemyss Ware pig, with sponged black markings, the details picked out in pink, 46cms long, impressed WEMYSS WARE, R.H. & S., and bearing red printed retailer’s mark for T.GOODE & Co. Sold at Bonhams, Edinburgh for £1,995, December 2004. Image Copyright Bonhams. Karel Nekola continued to work at the pottery until disability prevented him and even then continued working at home, using a small kiln which was built for him in his garden, so that at his death in 1915 he had completed 30 years arduous service for the pottery. Edwin Sandland became chief decorator to the Fife Pottery following the death of Karel Nekola. Edwin Sandland, was from a family of potters and was a decorator in the Staffordshire area, and was posted to Perth during the Great War. He joined the pottery until his own death in 1928. New designs were introduced at this time and typical Wemyss motifs were painted over an all-black ground. Another innovation was to paint the design over splashes of various colours thus producing a gaudy effect. At the same time means were successfully found to raise the temperature of the final firing and so produce a glaze which was free from crazing. Despite new designs and new techniques the great economic depression of the 1930s meant that the pottery ceased trading in Fife. Wemyss Ware at Bovey Tracy 1930-1957 Thus the Fife Pottery came to an end in 1930, but Wemyss Ware secured a kind of extended life when the patterns and designs were taken over by the Bovey Pottery Co. of Bovey Tracey in Devon. Here Joseph Nekola, Karel Nekola’s son, following in his father’s footsteps, continued the familiar style of painting on a harder, whiter body, under a brilliant glaze which was free from crazing. A number of pieces produced during this time are marked as “Plichta.” Jan Plichta was a Czech immigrant that sold and exported wholesale glass and pottery, and items he ordered from the Bovey Pottery were marked with his name. Wemyss decorators produced items for Plichta, which sometimes leads to confusion, but in general Plichta items are inferior in quality. One of the lead apprentices at the pottery was Esther Weeks who went onto become head decorator in 1952 when Jospeh died. The pottery at Bovey Tracy closed in 1957. Wemyss Ware and the Griselda Hill Pottery Ltd® In 1985 Griselda Hill started producing Wemyss Ware® back in its birthplace in the heart of Fife. Griselda was inspired by the memory of her grandmother’s Wemyss® pig, which she discovered to have been made locally when she moved to Fife in 1984. The first product was a cat modelled on an example in Kirkcaldy Museum, and over the years since then the Pottery has developed a range of Wemyss Ware® which can easily stand alongside the originals. Pictured: A modern black and white Wemyss Ware pottery cat from the Griselda Hill Pottery Ltd®. This and other cats etc are still available at https://www.wemyssware.co.uk/ As with the original Wemyss Ware®, the success of the Pottery is based on the quality of the hand painting and the beauty of the designs and colours. All the artists have been working at the Pottery for over fifteen years, and have become very skilled at their work. While some new technology has been introduced to minimise production problems and environmental pollution, the techniques of hand decoration remain the same as ever. Being hand painted, each piece is unique. Pictured: A modern small clover Wemyss Ware pottery pig from the Griselda Hill Pottery Ltd®. This and other animals etc are still […]
Star Wars Revenge of the Sith Collectables

Star Wars Revenge of the Sith Collectables With the sixth Star Wars ‘Revenge of the Sith’ film opening shortly – the merchandise and associated premiums have been finding their way into shops, cereal packets and elsewhere for months. The first Star Wars film ‘A New Hope’ in 1977 was the first film to really tie in with merchandise and and many of the toys and related products from then are now worth considerable sums such as the first series of Kenner figures produced from 1977-1979 included a Jawa with plastic cape which can now fetch around $1,000 if in mint condition. It will be interesting to see if any of the new action figures, toys, comics etc will be as collectable. Pictured right is a StarWarsShop.com shared exclusive Original Double-Sided Episode III Theatrical Movie Poster Hasbro are releasing a number of action figures and toys including limited editions through certain outlets. Target will offer an exclusive Star Wars: Episode III Collector’s Case 5 pack and Toys R Us have an exclusive Anakin Skywalker Starfighter. Pictured left is the Episode III Unleashed Figures 3-Pack, Assortment 1 featuring Anakin Skywalker figure, Obi-Wan Kenobi figure and General Grievous figure. Available to all are a number of action figures that come individually and in various assortments, sets and packages. Often the Limited Editions, exclusives and less popular characters have the most potential to increase in value. Pictured right is the Episode III Deluxe Figure Assortment 1 featuring 2 Anakin Skywalker with Darth Vader tunic and armor figures, 2 Obi-Wan Kenobi with Super Battle Droid figures and 2 Emperor Palpatine changes to Darth Sidious figures. Collectors Cards, Trading Cards and Pins are always popular. The Revenge of the Sith Hobby collectors card set comprises 90 gold foil-stamped. There are a number of special chase cards randomly inserted: etched foil cards, morph lenticular cards, and a number of one-of-a-kind artist sketch cards (insertion ratio of the sketch cards are 1/36 packs). Pictured left Revenge of the Sith Hobby Collectors Cards. Pins and pin trading has become popular over the last few years especially with the growth in Disney Pin Trading. A number of pins have been produced including a number of exclusives such as the Celebration III exclusive StarWarsShop.com pin depicting the famous “Vader in Flames” banner art for the Star Wars event held in Indianapolis. Pictured right Vader in Flames exclusive StarWarsShop.com pin. Disney are pro ducing a incredible collection of Star Wars pins created for their annual Star Wars weekends. These are being released at the Tatooine Traders in the Disney-MGM Studios theme park. Star Wars Weekends 2005 will take place at the Disney-MGM Studios from May 20 through June 12, 2005. Pictured left Star Wars Weekdns Logo Pin features the logo for Star Wars Weekends 2005. Mickey Mouse is putting the finishing touches on Darth Vader’s helmet. Mickey Mouse’s hand is a pin-on-pin. Randy Noble from Disney Design Group designed the logo for this year’s celebration. Premiums normally produce some interesting toys and collectibles and for Revenge of the Sith, Burger King has the promotion. The offering varies from country to country – there are six exclusive toys in the UK (include Darth Vader™, droids R2D2™ and C3PO™, Chewbacca™, the Millennium Falcon and, of course, Yoda™!), and over 30 in the US. The US toys come in several ranges including Pull Backs, Wind Ups, Water Squirters, Plush, Image Viewers and Limited Edition 2 in 1 Darth Vader toy. Pictured above right: the UK Burger King Star Wars toys There should be enough variety to cater for even the most ardent collector and with expectations that this film is the best of the latest trilogy there appears to be more interest. I’m just off to get my Lightsabre. May the Collecting be With You!
Wade & Faust Lang

Most Wade collectors know the name of Faust Lang. They know that there were a number of figurines made before the Second World War, which now cost a small fortune, that were modelled by Faust Lang. They know that to discover an authentic Wade Faust Lang figure in perfect condition at a reasonable price would be a great ‘find.’ So just who was Faust Lang and what is so special about his figures? To see a figurine modelled by Faust Lang answers the second question as his models are so full of life and movement and always so very detailed. Unlike any other modeller who worked for Wade, Faust Lang modelled his figurines in wood, sometimes taking many weeks to complete a commission. In fact he never actually worked for Wade but was commissioned by them to produce his masterpieces. Faust Emanuel Lang was a Bavarian, born in Oberammergau in 1887, the son of Andreas Lang, a local wood carver.The beautiful town of Oberammergau is in southern Germany and probably best known for its Passion Play held there every ten years in commemoration of the town being delivered from a plague which decimated Europe in 1632. Both Faust and his father were players in the spectacular at various times but woodcarving was in their blood and it was in this that Faust excelled. In 1911 Faust married an English girl from Brtistol, two years his junior. They had met two years earlier when she was travelling through Europe with her mother and sister in a horse drawn caravan on an adventurous holiday. After their marriage Faust and Una spent the next twenty-two idyllic years together in Oberammergau and it was there that their only child, a son was born in 1925. During the 1st World War which started in 1914, Faust was a medical orderly in the German army and when he came home in 1918 the years were very hard with food shortages and rampant inflation. Faust was a keen sportsman and proficient skier whose relay team won a bronze medal at the first modern Winter Olympics held in Garmisch-Partenkirchen in 1922. In the uncertain times of Germany in the 1930s and probably with the memories of the 1st World War still fresh in their minds, the family decided to move to England in 1934. They initially lived in Mawgan Porth near Newquay in North Cornwall moving to St Ives in 1950. Faust Lang became a British citizen in 1938. In 1938 Faust Lang met a certain Harry Adams, a Scotsman on holiday in Mawgan Porth who had a connection with Wade. Adams recommended Faust to the company who commissioned him to carve a series of what were to become amongst the most beautiful and prestigious figurines ever produced by Wade. The figures were finished in the ‘Copenhagen’ style. With the coming of the Second World War in September 1939, all giftware production was halted at the Wade factories and Faust Lang’s short but productive connection ended. In fact he had already completed a small bust of the thirties actress and singer Gracie Fields which although blocked and samples had been made, never went into production.Faust Lang joined the thriving artist’s colony in St Ives in 1950 and spent the rest of his life in England. He died in 1973 and is buried in St Ives. For more details and images please visit CS Collectables
A Brief History of Tobacco Pipes & Pipe Collecting

Since history began man has attempted to smoke various burning herbs in different ways, but the first appearance of the pipe, functioning on the principle of the familiar briar, is a matter for conjecture. Pictured left: An American Indian Stone Pipe With Lead Inlay To The Bowl And Stem 6In. (15Cm.) Long. Sold for £1,320 at Christies, London, The Fine Art of Smoking sale, May 2006. Image Copyright Christies. The earliest known pipes have been discovered in the neolithic barrows of the Mississippi valley, and were made of porphyritic and other hard stone, tubular in shape or consisting of a tube with a central bowl. Many of these pipes, which are over 5000 years old, are elaborately carved with representations of animals, and from that time to this day, a lot of care and artistry has gone into the making of pipes all over the world. The Maya tribes, who migrated from North America to the Yucatan peninsula and other parts of Mexico before the Christian era, have left in their stone carvings representations of priests smoking pipes of a similar design—a design not far removed from the modern American Indians’ calumet, or pipe of peace. Excavations in many parts of Europe have led to the discovery of iron and earthenware pipes, used for smoking herbs other than tobacco, which was only introduced into the ” Old World ” in the sixteenth century, while many of these finds are attributed to the first and second centuries A.D. Pictured left: A Haida Argillite Pipe – The Bowl Carved As A Head, The Stem With Bird And Figure – 6in. (15Cm.) Long. Sold for £2,640 at Christies, London, The Fine Art of Smoking sale, May 2006. Image Copyright Christies. The first Europeans to smoke tobacco pipes were sailors of the Columbus expedition and those of other navigators of the time such as Vespucci and Magellan, who, having adopted the habit from the Indians, brought home with them calumets and tobacco. The custom and ” the weed ” spread from Spain and Portugal to France— where it was introduced by the French ambassador to the Portuguese court, Jean Nicot, whose name is perpetuated in the plant’s botanical name, Nicotiana Tabacum. From France it spread to the Low Countries and thence to Britain. Sir Walter Raleigh did much to popularise the habit of smoking the pipe in England, but it is difficult to ascertain whether he actually introduced it, or whether this distinction belongs to his great contemporaries and fel- low sailors, Drake and Hawkins. It is, however, an established fact that pipe smoking was common in this country before the end of the sixteenth century and the pipe makers of London became an incorporated body by 1619. The pipe found its greatest vogue in the nineteenth century, when some of the most beautiful specimens were made and this vogue grew as the century advanced becoming quite a cult with our Victorian grandfathers. The following passage from ” The Diary of a Nobody” by George and Weedon Grossmith, published about 1880, illustrates this fact: ” Cummings unexpectedly dropped in to show me a meerschaum pipe he had won in a raffle in the City, and told me to handle it carefully or it would spoil the colouring if the hand was moist.” The materials used for making pipes were many and varied—the main reason for their selection being suitability— but there were cases when the only substances available at the time and place were used. The neolithic stone pipes have already been mentioned. While these were made of hard stone, a softer type of rock was used until quite recently, to make pipe bowls, in Palestine. This is a dark grey bituminous limestone found on the western shores of the Dead Sea and these pipe heads were used in conjunction with a long wooden stem. Soap-stone bowls were often made for the calumet which had a stem of reed or painted wood about 21 feet long, decorated with feathers. The Eskimos have fashioned pipes out of reindeer antlers, while in parts of central Europe the antlers of red and fallow deer were used for the same purpose. Pictured right: An Eskimo Walrus Ivory Pipe Incised With Fishing Scenes, Inscribed Autsis Look 16½.In. (42Cm.) Long. Sold for £5,040 at Christies, London, The Fine Art of Smoking sale, May 2006. Image Copyright Christies. Glass has been used from time to time, and the best known specimens were produced in the first half of the nineteenth century at the Bristol and Nailsea works, in all the delightful shades for which these factories were noted. These glass pipes—be they of clear glass with white or coloured symmetrical waves, or of an opaque milky-white texture with blue or red waves—were very attractive but it is doubtful if any but the smallest were ever smoked. Some of the very large ones—up to four feet long, with a bowl capable of holding a pound of tobacco — were most probably used to adorn some Georgian or early Victorian tobacconist’s window. Corn-cobs suitably dried and toasted, fitted with a short straight stem of wood or cork and a bone mouthpiece, have enjoyed long popularity in the United States. Calabash, which is a fruit of the gourd family, has been used for making bowls and was much smoked in this country during the 30 or 40 years preceding the first world war. The rim of the pipe and the end of the stem, where it adjoins the curved amber or ebonite mouthpiece, were generally protected by a silver band and the pipes can be dated from the hallmark carried by the silver. Early in the nineteenth century, a Budapest shoemaker is supposedto have discovered the process of waxing a mineral white in colour, soft, chemically a silicate of magnesia, quarried mostly in Asia Minor and known as ” meerschaum” (a German word meaning sea-froth) because of its light weight. Pictured left: Finely carved meerschaum pipes. Image Copyright Christies. This discovery meant that the material could now be used for making pipes, the wax treatment […]
Collectible Glass Chocolates that Last a Lifetime

From their home studio tucked away on the rural coast of northern California, a pair of sisters create works of art that look good enough to eat. Dinah and Patty Hulet have created stunning art glass that you’ll find in museums, galleries, and the finest gift shops in the world. Both went through college and pursued meaningful careers. While working as a librarian for a chemical company, Dinah found inspiration in the creations of the scientific glassblowers and it wasn’t long before both sisters were fully entranced with the captivating medium of glass art. By the mid-1980s, the sisters created Hulet Glass. They sold their works at local art and wine festivals with plenty of success, but they both felt it best to move to a rural portion of northern California to put their sole focus on creating their art and marketing to galleries and high-end gift shops across the country. Looking at their works, it’s amazing to discover that they are both self-taught in the field of glass art. Dinah excels at lampworking torch methods while Patty’s artistic focus involves the kiln with fusing, casting and pate de verre. What started as a hobby for both women became a full-blown career in art glass. Hulet Glass is now known around the world for upstanding quality and impeccable craftsmanship. Dinah’s portrait murrine have been exhibited in places like the Getty Museum in Los Angeles and the Corning Museum of Glass in Corning, New York. Patty’s pate de verre was represented at SOFA. After years of experience in glass art, they’ve lectured to aspiring glass artists, taught their techniques locally, nationally, and internationally, and Dinah is a past board member of the Glass Art Society. In addition to these accomplishments, the sisters have found the perfect recipe for success in the form of art glass chocolates. Under the name Hulet Glass Confections, Dinah and Patty began creating these delectably-designed art glass treats in 2005. Lavish details make each piece look good enough to eat, perfectly mimicking the look of gourmet chocolates, petit fours, tartlets, cupcakes, chocolate drops, and other delightful treats. The truly astounding embellishments include art glass chocolates topped with nuts that look so real you might attempt to taste them. When they displayed the glass chocolates at the Buyer’s Market of American Crafts in Philadelphia in 2007, buyers responded in a frenzy. Since then, the Hulet sisters have continued to create their art glass chocolates for collectors in the US and around the world. Each piece is crafted by the sisters only. They take great pride in ensuring the precision and quality their glass art brand is known for. A display of gorgeous chocolates adds a touch of class to any room, a symbol of both romance and opulence. As we eat with our eyes, the sight of stunningly-detailed chocolates evokes memories of innocence, love and happy times. Collectors will go out of their way to find a unique piece to add to their Hulet Chocolate collection. Many times when one friend or relative starts collecting, others in their close circle begin to do so as well, creating a partner to assist in tracking down that perfect piece. One look at Hulet Glass Confections and you’ll be amazed these pieces aren’t real gourmet treats. The sisters continue to craft them, coming up with new designs every year to tempt collectors to add to their growing collections. The sisters also devise decorative boxes for their art glass treats, making them the perfect vessel to commemorate special occasions like weddings, anniversaries, birthdays and more. The creations they make are the ideal special gift for anyone that wants to give something unique. The Hulet sisters’ Chocolate Drop is a beautiful piece that can be used as a necklace or ornament and given for holidays like Mother’s Day, Valentine’s Day, or as a sweet treat for teachers at the end of the year. For more details on these great creations visit Hulet Glass Chocolates

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