Breakfast Wares

Between us, my wife and I have five siblings. We are in the fortunate position of, not only being on speaking terms with all of them, but actually being on very friendly terms with all of them. Having spent, what seems like a lifetime dealing with deceased estates I have sadly met many families where this is not the case. I always find it very sad when families are no longer friends.

At the beginning of the twentieth century a very famous family had a very famous disagreement. Let me take you back to 1894 and introduce Dr John Kellogg, who ran a sanatorium. Amazingly and completely by accident he created the corn flake as he attempted to improve the diet of his patients. Sensibly he applied for a patent that same year and all in the proverbial sanatorium garden was rosy.

Now, those wonderful flakes of corn became so popular that Dr John’s brother, Will Keith Kellogg, set up the Kellogg Company to produce Corn Flakes and sell them to the general public. Then, unfortunately, it happened. In 1906 Will and John fell out over sugar which Will wanted to put in the Cornflakes and unbelievably this led to a life time rift and the success of the company was left to Will Kellogg.

Even though the Cornflake craze didn’t happen overnight, slowly and by the 1930s a change in breakfasting habits was definitely happening. The great British public now required new ceramics to enjoy the first meal of a new day. Cereal bowls, toast racks, teapots and for the lucky ones, all on a tray to be served in bed.

These breakfast wares are popular collectors items today, especially investable designers like Clarice Cliff and Susie Cooper. The rarer the pattern, the more exciting the purchase.

What a shame it was that the Kellogg brothers couldn’t have stayed friends and marvelled together how their simple flakes of corn were influencing Britain’s pottery designs.

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.

Tinplate Toys

When I watch our older grandchildren playing with their toys they just don’t seem to cherish them in the same way that I remember cherishing my childhood toys. Now maybe I was just a sad old toy cherisher or maybe attitudes have changed slightly. If attitudes are changing and us oldies cared more for our toys, just imagine then how much those late Victorian and Edwardian children must have cherished their exciting new tin plate toys.

The best tinplate toys combine fine detailing, period styling and renowned makers and it was in the early 19th century that they began to exceed the popularity and manufacture of their wooden counterparts. They are amongst the earliest mass produced toys available.

The toys were made from sheets of tinplated steel which was cut out, shaped and then decorated, making them cheaper and easier to produce than the wooden toys of the period. The late 19th and early 20th centuries are considered the ‘Golden Age’ of the tinplate toy.

Many of the important makers were German, with the most sought after including Marklin and Bing although the American makers Marx and Strauss are also keenly collected.

Before the 1890s tinplate toys were hand painted which ensured a high level of detail. This detail included boats with portholes that opened and very realistic rigging and motor cars with lamps, doors that opened and rubber tyres. These examples, although inexpensive in their day, are amongst the most highly prized by collectors in the saleroom.

From the 1900s the painting was largely replaced by the printing technique of colour lithography which used a transfer. It was faster and more economical but it made the toys lighter and less complex. However the prices for such examples are still relatively high, depending of course on type size and condition.

As with most collectables the key to value is rarity, quality and condition and this coupled with the desire of ownership ensures that the tinplate market is always very buoyant.

Senior Valuer Michael Dowse

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

Jennens and Bettridge

Last weekend saw my wife and I entertaining one of our grandchildren and me suddenly remembering papier-mâché at school. Out came the flour and water and in no time we had a couple of bowls covered with sticky strips of paper and a mess everywhere. I started to explain to our little charge about papier-mâché furniture, but interest in the subject soon waned.

Papier-mâché furniture became popular in the Victorian period of the 19th century. The decoration is japanned or varnished onto a mostly black background.

Papier-mâché furniture was produced by a number of makers but they largely remained anonymous. However, Jennens and Bettridge is one company whose name is synonymous with papier-mâché. In 1816 they took over the firm of Clays in Birmingham and from then on began the great age of japanned papier-mâché for which they are now famous.

Their earlier pieces tended to be smaller items such as bottle coasters, writing slopes, trays, glove boxes and fans. Once the market had accepted these smaller items they began to experiment with larger pieces which included furniture like dressing tables and cabinets.

Pieces by Jennens and Bettridge do carry the company mark, usually impressed on the reverse beneath a crown. No other papier-mâché companies are known to have signed their wares.

Decoration is usually hand painted and elaborate, showing flowers, birds or on occasion even full landscapes. Giltwork was commonly incorporated into the design and used on borders and rims of furniture. Mother of pearl inlay was another typical feature and this was introduced by George Souter at Jennens and Bettridge in 1825.

The condition of japanned papier-mâché items is a crucial factor in estimating their value. Papier- mâché needs to breath and is liable to crack and warp if not given sympathetic conditions. The effects of central heating can be truly devastating on a piece. Beware, because restoration is very difficult and often unsuccessful.

Senior Valuer Michael Dowse

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