Tea Caddies

Isn’t it funny how our habits change as we age. As a young man the only hot beverage I ever consumed was coffee, ‘stand your spoon up’ strong with a splash of milk. As I graduated into middle age, the coffee became a little weaker and a cup of tea was occasionally taken at breakfast time. As I progress further on life’s path, tea is pretty much the order of the day, ‘stand your spoon up’ strong with a splash of milk.

When tea was introduced into Europe in the 17th century it’s popularity rocketed, unheard of profits were made and tea caddies were born. The caddy was such a useful item as it could be kept in the drawing room under the beady eye of the mistress of the house and it could be locked.

Early imported tea was prohibitively expensive for all but the richest in the land, so early caddies were more often than not beautifully made and extremely expensive. The first examples were imported Chinese porcelain and styled like a ginger jar. They had a sliding top enabling tea to be poured in and a rounded cap facilitating easy measurement of a portion.

As tea drinking progressed through the 18th century it’s popularity increased and so did the tea caddies that kept it safe. Originally blue and white Chinese porcelain they were now to be found in wood, Sterling silver, brass and copper. By far the most commonly seen in the salerooms today are the wooden examples. These are a delight to collect, from the plain rectangular to the sumptuous casket. The slightly larger examples had three sections and were fitted with a central blending bowl to mix and blend.

As the 19th century progressed so the price of tea came down. This meant the lock on the caddy disappeared and gradually the tea went from the drawing room to the kitchen and the poor old caddy disappeared for ever.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Children’s Books

As a young father, many years ago, one of my greatest joys was reading bedtime stories. I actually loved most of the stories, but really, really loved the voices I invented for all the characters. I thought the children all loved the voices too, but, as with so many things in life, I was wrong, they did and still do, love the stories though.

I think loving the stories so much is why the children’s book is always so popular in the saleroom. They are timeless and nostalgic and collectors love them. There are only so many that sell for high prices though.

If you are lucky enough to possess a first edition of Harry Potter and the Philosophers Stone this is a valuable item. When Bloomsbury came to print it in 1997 they feared they would make a loss and the print run was very small. The perfect scenario for a marvellous investment, a rare book with a big future demand. Further print runs were needed for that book and so future Harry Potter books had enormous first print runs. The investment opportunity was never repeated.

From the modern to the Victorian. Lewis Carroll’s Alice in Wonderland was first published by MacMillan in 1865 with illustrations from Punch cartoonist John Tenniel. Carroll’s classic is constantly inspiring illustrators to rework the story. Many collectors collect for illustrators and will follow the same story through its many different versions.

Book sales can be hugely influenced by a film version of the said book and this effect can feed into demand for first editions of related titles. For example Tolkien’s Lord of the Rings and a signed first edition of the precursor to the trilogy, The Hobbit, breaking auction records

Those are just three examples which hopefully illustrate three different ways a book can have value.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Penny Toys

As grandchildren continue to be born and so the Dowse dynasty continues to expand, the wallet of the Patriarch no longer has time to grow a moth, never mind a colony, like it used to. Birthdays and Christmas are bad enough, but then there are all those other things…… If only we still had the penny toy.

Cheaply made from pressed tin and very easy to break, these small toys, measuring no longer than five inches, were affordable to all as they really were sold for just a penny by many street pedlars and market stalls who still made a good profit on them.

Penny toys were in production from the 1860s but peaked in popularity around 1900, largely due to the process of transfer colour lithography that was widely available by 1890. It enabled fine detail and colour to be added to sheets of tinplate very quickly and economically making the toys very bright, exciting and desirable to children.

Many of the Penny toys were produced by well-known toy manufacturers and largely in Germany. German-based Distler, for example, started off as a penny tinplate toy manufacturer before expanding its range.

Penny toys were very small and that actually made them quite difficult for children to play with, especially where the toy involved a tiny detachable piece, like a0 driver, which was tricky to take in and out of a car. Vehicles were a dominant subject matter for Penny toys; they would all move, some needed pushing while the more sought after were fitted with a flywheel allowing them to propel themselves. Penny toys were quite often tiny replicas of larger, more expensive tinplate toys on sale at the time.

There is a good collectors’ market for Penny toys, with very good or mint condition being the most important element in value, closely followed by rarity. Early examples tend to be more popular as the quality of production did decline over time as demand grew. Fine lithography and interesting or intricate designs are also keenly collected.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Costume Jewellery

I’ve always been a cup half full sort of chap. Occasionally during my many years on this planet, my cup may have dribbled just below it’s half way point, but usually it can be found languishing between halfway and full. This week however it is overflowing. Easter is here, summertime is here, a hot spell is round the corner, half the adults in the country have been vaccinated and very soon we will be able to socialise once again. Let’s dress up and have some fun, everyone put on your costume jewellery.

Costume jewellery made from non precious materials is often more evocative of its age than precious jewels. Worn since antiquity when the Romans excelled at glass imitation gemstones, this “secondary” jewellery exhibits impeccable craftsmanship and clever use of strong period style at relatively low cost. Costume jewellery sold now usually dates from the late 18th, 19th and 20th centuries and is by and large British or European.

Jewellery set with cut and polished lead glass in imitation of gemstones was first created in France in the 1730s by the jeweller Georges Frederic Stress. This paste jewellery was often cut and backed with foil to give colour and depth and then set in silver in dish like coilet settings. These jewels were popular in France and Britain and in Spain they were even worn in court.

Paste jewellery is very collectable and reasonably priced, although Georgian paste is considerably more valuable than the mid to late Victorian examples and will always realise higher prices, especially the earrings.

Pinchbeck, which is an alloy of copper and zinc, was invented around 1720 by the English watchmaker, Christopher Pinchbeck, as a substitute for gold. It was the perfect partner for paste, as it could be intricately chased, engraved and coloured just like fashionable gold work. Popular designs included wide mesh bracelets, muff chains and hair ornaments. Other imitations exist but genuine Pinchbeck is characterised by its rich burnished colour and matt surface.

Later 19th century gilt metal, often erroneously called Pinchbeck, was ideal for less expensive versions of fashionably extravagant jewellery, lockets, bracelets and brooches.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Duesbury Derby

When John Noakes was a presenter on Blue Peter it was one of the finest periods in the history of Blue Peter. When Jaguar produced the E-type Jaguar it was one of the finest periods in their history and when Kellogg’s Rice Krispies first snapped, crackled and popped onto the shop shelves in 1928 many said it was the best period for the Kellogg company.

Every company has its finest period and the same can be said for the Derby Porcelain Factory.It all began in 1786 when William Duesbury the younger succeeded his father and steered the factory through its best and most significant period. The young William was a multi talented man. He possessed a wonderful eye and an enviable appreciation of the artistic, but almost as important were his very effective managerial skills. Production was aimed at only the wealthiest customers with every piece finished to the very highest standard.

Derby specialised in cabinet wares, particularly cups and saucers or cabaret sets (too expensive to use and produced simply to be admired). Derby’s glaze was creamy white and very soft, producing a delightful and subtle feeling, unlike other English porcelain. Consequently the demand for Derby of this period today is higher than many other porcelains.

The decoration in panels or reserves was created by some superb artists including Zachariah Boreman and Thomas Hill focused on landscapes, Richard Askew famous for figures and William Billingsley, the greatest of all English flower painters. Derby rediscovered the charm of botanical designs and flower prints were also copied onto dessert services.

Sadly William Duesbury died far too soon, at only 34, but he left a factory which had become one of the finest in Europe.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Royal Worcester Animals

There is something just a tiny bit unsettling about walking through a field of cows. Recently, on a hike through the glorious Derbyshire countryside my wife and I found ourselves in just such a field, with the said cows approaching us at what can only be described as a fast gallop. Without hesitation or consultation we both struck up our own gallops and bounded for the safety of the style exit.

The whole exciting experience with our cows meant that the rest of the walk was taken up by me regaling my wife on the wonderful Worcester animal figures championed by Kerr and Binns.

In 1851 W. H. Kerr and R. W. Binns purchased the Worcester company, which had been producing some of the most wonderful wares since the mid 18th century and started a new era in it’s history. The new owners introduced a new material, Parian, into the manufacture of Worcester porcelain. This material was long lasting, more easily coloured and gilded and most importantly very adaptable to produce the detailed modelling that Worcester is valued for in salerooms today.

This naturally led to an expansion in the production and consequently the demand for figurines which up until then had not been a primary element of Worcester sales. They began trading as Worcester Royal Porcelain Company Ltd. in 1862 and employed trained sculptors rather than factory workers to do their modelling.

Royal Worcester Animals are still very popular today. Collectors often collect in series including British Birds, Prized Cattle and Tropical Fish or more exclusive examples such as Netsuke Animals. Alternatively the more devoted collector may collect works by a particular modeller including James Alder, David Fryer or Dorothy Doughty who was most famous for her Bird collections.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Goss Crested Ware

As I drive across this wonderful county of ours in search of the Antique, I listen to all sorts of things in my car. Spotify, library books on line, a somewhat selective approach to radio two, local radio, radio four and radio four extra, to name but a few. Last week I happened to be listening to a program about successful entrepreneurs who have made it very big. It seemed to me that each had a very good starting idea and were in the right place at the right time, but they all had something else. To use an unfortunate phrase, they had an ‘X’ factor.

In the world of the Antique, one such man was Adolphus Goss. Well, Adolphus, bless him, made the most of the late Victorians and their sudden love for seaside travel. He gave them all something to buy and take home from their seaside excursions. He gave them crested ware.

W. H. Goss & Co first produced crested ware in 1888 from their “Falcon Works” pottery in Stoke-on-Trent. A typical piece of Goss crested ware had a white, creamy glaze and a coloured transfer of a Coat of Arms. A genuine Goss has a printed mark, featuring an image of a falcon above the name “W. H. GOSS.” Hundreds of different pieces were made from traditional vases to top hats, clogs and tiny kettles.

The success of their heraldic china souvenir business was huge, with large scale production needed to meet high demand. It is believed that by 1910, approximately 90% of homes had a piece of Goss crested ware adorning their mantelpiece or sideboard. Adolphus Goss built up a huge network of Goss agents across the country to market and sell their crested ware. It began with the up- and-coming seaside resorts, but very quickly every town and city had its arms produced on Goss china ready for the tourist trade.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Collectors Clubs

This week something very exciting occurred. The newspaper contacted me to say we had a letter from an interested reader. What was interesting was that it came from a collectors club and only last week I had written about collecting.

It wasn’t, as it turned out, my most interesting and highly informative missive relating to collecting that had caused our reader to get in touch, but an earlier penned and equally captivating discourse on the joys of Old Hall stainless steel. Now, as it happens, there was an ulterior motive to our interested reader’s contact, but it was non the worse for that.

The messenger wished to draw attention to a specific collectors club. This made me realise that I had missed a very important ingredient which could be used to help bake the perfect collector; the collectors club. These clubs are everywhere and they are a vital link between a novice in his or her collecting field and a seasoned professional.

What was the club our interested reader wanted me to mention? It was a flourishing club for Old Hall, which our intrepid reader runs. The website he gave us was www.oldhallclub.co.uk. Needless to say I went on the website and it takes you through a myriad of useful information for the novice and the seasoned collector.

The moral of the story is, use the collectors clubs. No one knows more about their subject than the gallant founts of knowledge who run these wonderful institutions. From egg cups to fork lift trucks, they are out there. Last week I ended on the worry of boring family and friends with your collection, which in some instances can be a real possibility. That will never happen with a fellow club member.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Collecting

It is many years since I have mentioned my DIY skills, but last weekend they once again came to the fore. My wife had decided that the repositioning of some of our paintings was imperative and so my drill was searched for, dusted off and along with a somewhat frayed extension, plugged in. Unlike many men, I only possess one drill bit and mainly through lack of interest, have never managed to acquire the correct plastic plug to fill the hole in the wall it makes. The result; my holes are a mess and only half of them are successful.

“I think they look fine where they are” I suggested. “Fine” was a silly choice of words and a discussion ensued. My argument was that we should put our efforts into researching some new artists and genres and replacing some of the paintings we have. This, I explained, would be a double helping of joy as we would have the excitement of the sale and the satisfaction of the purchase. I have to say I did well and we are now looking for some new pictures to hang on existing hooks.

The whole episode made me think generally of the joys of collecting. Collecting is different from investing, financial gain is not the object. Pick a subject that is of interest or has always held a fascination. Don’t choose a genre that is so rare examples never appear or one so common the market is flooded. Enjoy the research and always keep the first piece purchased, this will show how far the collection has progressed in the years that follow.The investor is always interested in the perfect example, but the collector is interested in just the example.

The auction room is a wonderful place to expand knowledge and enhance collections. In these present Covid times everything is virtual, but descriptions are still there and bidding is possible, full catalogues with numerous illustrations are available. With fingers crossed, post vaccination, things will get back to normal and that is the time to touch and examine as many examples as possible.

One word of warning. All collectors must learn to recognise when someone is losing interest in the collection they are waxing lyrical about. Nothing is more interesting than hearing an informed collector on a subject that is of interest to the listener. But, nothing is more boring…….

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.

Candelabra

This Christmas , like many people all over the country, my wife and I will be basking in our own company. For us this will be the first time in our married life this has happened. The question on both our lips has been the same. Do we bring out the candelabra?

Candelabra follow the styles of the candlestick, but they are rare before the late 18th century and if found will generally only have two detachable arms. By the end of the 18th century candelabra are more common and fashion dictated that the number of arms found on their detachable tops increased, initially to three but by the middle of Victoria’s reign five, six and more were common.

The three branch candelabra was a common sight by the end of the 18th century. These were tall and they grew in size until their peak in the Regency period. The decoration, as explained, followed the candlestick and around this time decoration of fluting was enclosed by beaded borders.

It is important to ensure that the decoration of the main body matches that of the detachable branches, therefore ensuring the candelabra is all original and not a marriage of two parts. As in life there are good and bad marriages, but with the candelabra ever a top and bottom living together in complete love and perfect harmony will never be as good as a completely original example.

On the early candelabra the branches could be removed and the central stem used as a candlestick. On later examples this dual usage was impossible because the stems grew too high and the nozzles too wide to hold a candle.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering in auction, or you simply would like a valuation, please get in touch with us, full details can be found on our company website.