Miscellaneana: Penny toys

A Lehmann clockwork Echo. In production from 1917-1935, it was the most popular of the firm’s motorcycle toys. It has a saleroom value of £400-£600 ($606-$909). Photo Peter Wilson Auctioneers

LONDON – It’s about now that interest in those expensive toys Santa delivered is starting to fade. If they’re still working and in one piece, they eat batteries and anyway, all they do is go either up and down or round and round.

Things were less expensive back in 1899. In an article in The New Illustrated Magazine, one George Wade wrote: “The chief penny toy now most in demand is something of a mechanical kind, either in the shape of a working model or puzzle. The old kind of toy with no movement, but which was simply to be looked at is of no use today. People want moving engines, horses, steamers etc – and they want it for the nimble penny.”

When the article was written, it was already a craze among children and their parents to amass large collections of the penny novelties. Ah, how times change. In a 1957 issue of The Illustrated London News, Leslie Daiken, author of ‘Children’s Toys Throughout the Ages’, wrote: “They are like the cries of London. They belong only to yesterday but two world wars have made the actuality of the penny toy recede into what seems to be antiquity.

“Penny toys! There’s a rhythmic magic in the very phrase that would never sound as hypnotic if we said ‘ha’pennny’ or ‘tupenny’. Penny rattle! Penny whistle! This is the very coinage of late Victorian or Edwardian childhood, surviving only in its storybooks and jingles.”

Never a truer word, but even Leslie Daiken could not have imagined the value of penny toys today. They were sold originally by street hawkers who made them at home using scraps of wood, wire and paper. Then came the industrial might of Germany and the invention of machines to make cheap toys from tinplate. With mass-production, the market boomed, the most notable manufactory being founded by Ernst Paul Lehman in Brandenburg in 1881.

Lehmann toys are among the most coveted by collectors today. Look out for Tap-Tap, a man pushing a barrow, which was one of the firm’s best-sellers, and Tut-Tut, which was an early automobile with a sounding horn. His walking dog and crawling beetle were also popular, all driven by rudimentary clockwork motors.

Sophistication was not a word associated with penny toys. In Dancing Yankee, for example, “by placing the thumb and finger on his ears and pressing down on the top of his hat with the index finger, he shoots out his tongue in scorn, rolls his eyes, and moves his arms and legs as though afflicted with St. Vitus’s Dance” to quote the blurb.

Ancient Masher was another mechanical figure popular throughout the world. “When his string is pulled, the polite gent lifts his hat, which then springs back into place under the power of a concealed India rubber spring.”

Arguably the most popular tinplate penny toy was the climbing monkey chasing a nut up a string, a toy that has been around in one guise or another for much longer than a century. Examples can be found in many countries around the world, involving many different animals, all grappling to climb higher and higher as their string is pulled.

In England at the turn of the century, children were playing with Lehmann models of a London taxi cab and a double-decker autobus. Other cars, trucks and vans followed, as quickly as they rolled off the full-size production lines, while one of the most coveted toys among today’s collectors is the Lehmann Zeppelin airship, which first appeared in 1915. Expect to pay £5,000 ($7,578) or more for an example in mint condition, even more with its original box.

Another favorite was and still is the Mandarin toy of 1903, which has two pig-tailed bearers carrying a sedan chair occupied by an Oriental gent. Here, the clockwork mechanism powering the model is situated in the base of the chair. When activated, it pushes the model along at a rate of knots, the loose-jointed legs of the bearers scurrying to keep up.

World War I ended the German monopoly of tin toy manufacture in the world market, and other countries, notably the U.S., began to catch up where previously they had been left behind.

In fact, German-manufactured toys were virtually boycotted out of patriotism, but Lehmann managed to survive, later under the guidance of the founder’s cousin, Johannes Richter, when the founder’s health began to fail.

In the 1920s, the company employed more than 800 workers producing more than 80 different toys. E.P. Lehmann died in 1934 and the firm suffered another downturn when World War II meant steel supplies were diverted to the country’s war effort.

In 1949, on the division of Germany, the Lehmann factory was confiscated by the Russians, and Richter was forced to flee to West Germany leaving the Brandenberg factory to its fate.

However, in 1951, he managed to open a new factory in Nuremberg and production began once more. He died in 1956, but a third generation of the family continued the tradition of toy making with a company that thrives today, albeit under ownership of the other German giant in the industry: Märklin.

In my own meager collection of old and collectable toys is a modern Lehmann tinplate ladybird that gyrates and spins on plastic wheels, much to the amusement of all who see it. It cost somewhat more than a penny but, being driven by a powerful clockwork motor, thankfully does not require batteries.

These days late Victorian and Edwardian penny toys are highly sought after by children of all ages, but in the 100 years or so that have passed since the humble penny was enough to buy them, the value of antique toys has spiraled. Watch out for reproductions, though, which abound.

If you reckon conservatively on paying £1 for each year a penny toy has survived, it’ll give you a fair idea of how much you’re likely to have to pay. And at that kind of money, they are not for playing with. Instead, collectors treat them with reverence and keep them locked away in glass-fronted cabinets, protected from dust and corrosive elements. But they’d make a fine bequest to your grandchildren.

 

 

Crescent City Auction Gallery loaded for major sale Jan. 17-18

Handsome Southern American classical-style carved mahogany full tester bed, 60 inches tall. Crescent City Auction Gallery image

NEW ORLEANS – A two-day estates auction featuring original paintings by the iconic folk artist Clementine Hunter, a hand-colored engraving from the John James Audubon book Birds of America, a pair of Meissen porcelain figural compotes, a 19th century fine carved mahogany full tester bed, and a French ebonized brass inlaid rosewood cave a liqueur will be held Jan. 17-18.

LiveAuctioneers.com will provide Internet live bidding services.

The auction will be conducted by Crescent City Auction Gallery, in the firm’s gallery located at 1330 St. Charles Ave. in New Orleans, starting at 9 a.m. Central time on Saturday, Jan. 17, and 10 a.m. on Sunday, Jan. 18.

Headlining the event will be items from a Tennessee antiquarian, plus select merchandise from numerous Southern estates. “This sale will be a great way to start off the new year,” said Adam Lambert of Crescent City Auction Gallery. In all, 1,230 lots will come up for bid.

The legendary Louisiana folk painter Clementine Hunter (1886-1988) is often referred to as “the black Grandma Moses.” Her bold and colorful images of Southern plantation life are coveted by collectors. Four of her paintings will come up for bid on auction day, all of them oils on board: Brushing Her Hair, circa 1975, Red Bird on a Branch and two titled Zinnias, one circa 1980.

The American classical style carved mahogany full tester bed, made in the South sometime in the 19th century, is impressive and stately, at 112 inches tall by 60 inches wide by 82 inches deep. Also sold will be an American Southern classical style carved flame mahogany double door armoire, also circa 19th century.

The hand-colored engraving titled Great White Heron from the book Birds of America by John James Audubon (1785-1851), was executed by Robert Havell and is watermarked “J. Whatman 1836” from the elephant folio. Unframed, the engraving is 25¼ inches tall by 39½ inches wide. It is engraving No. 57-Plate CCLXXXI. Such engravings are considered highly collectible.

There are not one but two French caves a liqueur (decorative boxes containing decanters and glasses meant for alcoholic beverages) in the auction. One, circa 1870, is fitted for 16 gilt decorated paneled liqueur glasses and four matching decanters. The other is an ormolu mounted ebonized rosewood red boulle model, also from the 19th century.

The impressive pair of Meissen porcelain figural compotes are on winged putto supports on applied floral scrolled bases, with gilt highlights. Both compotes are 22½ inches tall. The sale will also feature sterling silver, including early 20th century presentation pieces, and jewelry items, including diamonds, rubies, emeralds, tanzanites, opals and pearls.

Lots from France will be offered in abundance. These will include a circa 1890 three-piece gilt and patinated spelter and green onyx figural clock set, time and strike, with a figure of “Paix” by J. Germain, plus a matching pair of urn-form candlestick garnitures; and a belle epoque-style gilt bronze six-light chandelier made in the 20th century, 29 inches tall by 24½ inches in diameter.

Period French furniture will also come up for bid frequently throughout the sale. Featured will be a French Empire Louis XV-style carved walnut marble-top commode, circa 1870; a 19th century French Empire style ormolu mounted carved walnut marble-top commode; and a French Louis XV-style ormolu mounted parquetry inlaid marble-top bombe commode made circa 19th century.

Armoires from France will feature a 19th century Empire style ormolu mounted carved cherry armoire; a mid-19th century Louis XV-style carved cherry double door armoire; and a huge Louis XVI-style carved walnut double door armoire. Also sold will be an early 20th century Chinese carved hardwood etagere parlor cabinet with elaborate overlaid bone floral and bird decoration.

One painting expected to generate bidder interest is an 1823 oil on canvas by French artist Jean Joseph Vaudechamp (1790-1866) who was active in New Orleans from 1831 to 1839. The work, titled Portrait of a Man and a Woman, Presumably Baroness Louise Deconchy Receiving Word of Her Husband’s Death in Battle, is signed and presented in a period giltwood and gesso frame.

An oil wash painting by the renowned Georgia-born New Orleans artist Alexander J. Drysdale (1870-1934), titled Moss Draped Oaks, 1917, pencil signed and dated, is one of two works by Drysdale in the auction. Also selling will be a signed watercolor painting by Robert M. Rucker (Louisiana, 1932-2001), titled Buck and Hunter in the Woods. It is 28 inches tall by 9 inches in width.

A watercolor work by Will Henry Stevens (Louisiana/Indiana, 1881-1949), best known for his modernist views of Louisiana lowlands and deltas, titled Hilly Lake Landscape, 9½ inches by 11½ inches, will cross the block. Also up for auction will be an unsigned oil on Masonite painting by Clarence Millet (Louisiana, 1897-1959), titled The Turpentine Still. Millet was regarded for his simplistic realist style.

Lots 1-750 will be sold on Saturday, and lots 751-1,230 will come up for bid on Sunday.

Crescent City Auction Gallery, LLC is always accepting quality consignments for future sales. To consign a single item, an estate or a collection, call them at 504-529-5057 or email them at info@crescentcityauctiongallery.com.

 

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Indignant letter by Titanic survivor coming up for auction

The RMS Titanic in Cork Harbor, Ireland, prior to her maiden voyage. Image courtesy of Wikimedia Commons.

BOSTON (AFP) – An indignant letter from a British aristocrat who survived the sinking of the Titanic in 1912 is coming up for auction in the United States next week.

Lady Lucy Duff-Gordon, a target of public outrage after she fled the doomed ocean liner on a nearly empty lifeboat, penned the two-page letter in London a month after the disaster.

“How kind of you to send me a cable of sympathy from New York on our safety,” the fashion designer wrote to a stateside friend.

“According to the way we’ve been treated by England on our return we didn’t seem to have done the right thing in being saved at all!!!! Isn’t it disgraceful.”

New England auction house RR Auction, which regularly handles Titanic memorabilia, said Monday the letter could fetch as much as $6,000 at the live auction in Boston on Jan. 22.

The sale will follow a week of online bidding.

Duff-Gordon, 48, and her husband, Sir Cosmo Duff-Gordon, 49, were traveling first class on the Titanic on its ill-starred maiden voyage from Southampton, England to New York.

They became the subjects of derision when it emerged that their lifeboat carried only 12 people, including seven crew members, despite having room for 40 people.

Some 1,500 died when the Titanic went down off Newfoundland on April 15, 1912 after hitting an iceberg, in what remains the most storied maritime tragedy of all time.

The couple were alleged to have bribed the crew in order not to go back to rescue other survivors – a claim that a British inquiry concluded was unfounded.

They were the only passengers called to testify before the inquiry, conducted by the British Wreck Commissioner in London from May through mid-July 2012.

Ultramodern concert hall in Paris nearly ready for tuning

Grande salle. © Philharmonie de Paris – Didier Ghislain

PARIS (AFP) – Paris is known for its many Belle Epoque cultural landmarks – ornate museums, gilded theatres, the stately Eiffel Tower. But its brand-new concert hall opening Wednesday undoubtedly comes from a different era.

The ultramodern, multilayered, crested structure, designed by leading French architect Jean Nouvel and planted in the northeast of the French capital, would not look amiss in a glittering, modern desert city like Doha or Dubai.

The stage of its main, 2,400-seat concert hall is enveloped by the audience, with sweeping, curved balconies surrounding it on all sides, designed to give concertgoers both better views and acoustics.

This is La Philharmonie, Paris’s new, bigger home for orchestral events.

It’s an ambitious bid to retain the city’s standing in a world where emerging nations are increasingly building their own massive temples to culture.

“It’s utterly right that Paris should have a big auditorium for classical music,” the director of the Paris Opera, Stephane Lissner, said.

Wednesday will see its opening with a gala concert attended by French President Francois Hollande. His presence after last week’s carnage by Islamist gunmen in Paris and resulting massive weekend rally is a testament to the importance of the concert hall, both financially and in terms of prestige.

The project took eight years and 386 million euros ($455 million) to build – a budget blown out to three times its initial estimate by inflation, its inherent complexity and a desire to make it a lasting monument like the capital’s 37-year-old Pompidou Centre or France’s National Library (Bibliotheque Nationale) opened in 1996.

Yet even now, despite the efforts of 600 workers toiling day and night to meet the government deadline, La Philharmonie is not entirely finished.

Nouvel said “several months” would be needed for the final touches to be complete. But once they were, “it will be one of the most remarkable symphonic buildings existing.”

The rush to get the concert hall operational has meant everything might not be quite the way it should be for the VIP opening-night crowd.

“You must not judge the acoustics from the first concert,” warned Paris Orchestra director Bruno Hamard. “Even a Stradivarius must be tamed.”

He added: “Most probably, the result will be very good. But it will become exceptional with time.”

The main hall’s acoustics were designed by two masters in the field: New Zealand’s Harold Marshall and Japan’s Yasuhisa Toyota.

The idea to have the stage surrounded by seats, like in Berlin’s Philharmonie, is to have the farthest spectator just 32 meters (105 feet) from the orchestra conductor instead of 47 meters in Paris’s Salle Pleyel, located on the other side of the city near the Champs-Elysees and until now the premier concert hall in Paris.

The decision to put the new Philharmonie in Paris’s northeast 19th arrondissement, a still largely working-class area rapidly becoming a trendy neighborhood, was for various reasons.

Space – a rare commodity in Paris – was available in the Villette park there, where it will be part of the existing Cite de la Musique complex, and

it is close to Paris’s top Conservatory of music training future talent.

Perhaps more importantly, though, is the geographical outreach to younger French people who feel excluded from concerts by the elite, much older crowd that usually attend.

To that end, Philharmonia tickets are to be sold much cheaper than had been the case when orchestras played at the previous halls in central Paris. The building was also designed so people could walk up on its roof.

Next weekend the public will be able to discover the new Philharmonie on free open days.

“To be honest, Paris had some grand, historic concert halls. But the Philharmonie promises a peerless live experience in terms of acoustics,” said Douglas Boyd, the British conductor who in July will take up the baton over Paris’s Chamber Orchestra at the Philharmonie.

De Buck Gallery presents Dion Johnson: ‘Chromatic Momentum’

Dion Johnson, 'Exchange,' acrylic on canvas, 32 x 36 inches, 81 x 91 cm - 2014. De Buck Gallery image.

NEW YORK – De Buck Gallery presents an exhibition by Los Angeles-based painter Dion Johnson, titled “Chromatic Momentum.” The exhibition will be on view at the gallery through Feb. 14. An opening reception in the presence of the artist will be held Thursday, Jan. 15, from 6-8 p.m.

There’s a sharpness to Johnson’s spectrum, whose astringent kick gets echoed in the crisp edges of the snuggly abutted shapes his colors take. Their sizzling intensity is similarly keyed up by the lovely weirdness Johnson generates with their out-of-whack juxtapositions, which somehow come off as even more gorgeous for their oddball precision.

Despite the evocative heat that radiates from Johnson’s radically saturated paintings, there’s an implacable cool to their bands and swoops of color. The razor-sharp lines pin-stripers apply to customized low-riders also lie behind Johnson’s compositions, in which the thinnest sliver of some strange tertiary expands gradually to become a kind of slender penmanship that then morphs into an aerodynamic shape with so much muscularity that it seems to be three-dimensional.

Johnson’s new paintings have been described as the high-def version of So-Cal abstraction. The pleasures Johnson brings to paint on canvas and paper have a lot in common with those that high-def technology brings to movies and monitors and photographs and billboards and phones: imagery sharper and more vivid and optically stimulating than previous versions. In Johnson’s hands color gets souped up and super-charged.

For sales inquiries, contact the gallery at sales@debuckgallery.com or phone 212-255-5735.

De Buck Gallery is located at 545 W. 23rd St., New York, NY 10011.

Nelson Atkins photo exhibit salutes U.S. armed forces

Judith Joy Ross, American (b. 1946). ‘P.F.C. Maria I. Leon, U.S. Army Reserve, On Red Alert, Gulf War, 1990.’ Gelatin silver print (printed 2006), 9 11/16 x 7 11/16 inches. Gift of the Hall Family Foundation, 2012.28.5.

KANSAS CITY, Mo. – Past and present connect in “American Soldier,” a selection of photographs of United States servicemen and women dating from the Civil War to recent conflicts in Iraq and Afghanistan. The exhibition opens at the Nelson-Atkins Museum of Art in Kansas City on Jan. 23 and represents men and women from the Army, Navy, Marines and Air Force. It runs through June 21.

“These powerful photographs convey emotion and information simultaneously,” said Julián Zugazagoitia, CEO and director of the Nelson-Atkins. “The body language and facial expressions of these subjects suggest raw emotions, bringing civilians closer to understanding the indescribable experience of war.”

The 50 photographs in “American Soldier” were made for different purposes, taken by photojournalists, official military photographers, artists and documentary photographers.

“In looking at work online, in galleries, and as part of other museum exhibitions, I noticed that several contemporary photographers are making poignant and somewhat unusual portraits of American servicemen and women,” said April M. Watson, curator of the exhibition. “These photographs are complex in their portrayals: The subjects suggest vulnerability, fear and loss as well as heroism and strength. Since we have in our permanent collection many iconic images—from the Civil War, World War II, and the Korean War—I thought a show that included these historical photographs, as well as contemporary works, might create a fresh, interesting dialogue about the way photographs over time have shaped our perceptions of military personnel and the cultural values they are seen to embody.”

Although from different time periods, and used in various contexts, these images, seen collectively, resonate as valuable reminders that certain aspects of the human experience of war are ongoing.
 This exhibition coincides with the city-wide commemoration of the 100th anniversary of World War I.

Last call: British armor collection leaving Louisville museum

A display in the Great Hall of the Frazier History Museum. Image courtesy of the Frazier History Museum.

LOUISVILLE, Ky. (AP) – The Frazier History Museum in downtown Louisville is giving visitors a last chance to see the Royal Armouries exhibit before it returns to England.

The exhibit has been on loan from the National Museum’s collection of arms. It has been on display since the museum opened a decade ago. It closes on Jan. 19.

Included in the collection is the armor of the 16th-century poet and soldier, Sir Philip Sidney, who was killed in battle in 1586.

The exhibit’s items will be packed up and sent back to the National Museum of Arms and Armour in Leeds, England. Some of it will go on display at the Tower of London.

The Frazier Museum says the two museums are exploring opportunities to continue to work together after the exhibit closes.

Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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Mastodon bones dug from backyard donated to museum

Graphical reconstruction of a mastodon based on bony structure and paleontological texts. Image by Sergiodlarosa. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported license.

BELLEVUE TOWNSHIP, Mich. (AP) – Two Bellevue Township men are donating dozens of mastodon bones they unearthed to the University of Michigan Museum of Paleontology.

Neighbors Daniel LaPoint Jr. and Eric Witzke spent four days in November digging up 42 bones from the prehistoric mammal. The men plan to keep a few of the bones found in Witzke’s backyard and give the rest to the museum later this month.

The Lansing State Journal reports the museum’s director, Daniel Fisher, made trips to confirm and examine their discovery.

Fisher says the bones are from a 37-year-old male mastodon and are between 10,000 and 14,000 years old. He says the museum will be able to narrow the exact within 200 or 300 years once it has received the bones.

About 330 confirmed mastodon bone discoveries have been made in Michigan.

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Information from: Lansing State Journal, http://www.lansingstatejournal.com

Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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Documentary film visits Hilton Head before development

The Baynard Mausoleum, built in 1846, is the oldest intact structure on the island. Four Revolutionary War patriots are buried in the cemetery. Image by MoodyGroove of English Wikipedia. This file is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported license.

HILTON HEAD ISLAND, S.C. (AP) – A new documentary tells what Hilton Head Island was like before it was developed into a resort.

The Island Packet of Hilton Head reports the film, Hilton Head Island Back in the Day: Through the Eyes of the Gullah Elders, includes the recollections of more than a dozen natives.

They tell what island life was like before the first bridge from the mainland was built in 1956. The film also makes a case for preserving the Gullah culture of descendants of slaves on the sea islands.

The founder of the Gullah Museum on Hilton Head, Miller Cohen, says most stories of the culture are oral and the film allows native islanders to share those stories.

Producer Carrie Hirsch hopes the film can be screened at the Atlanta Film Festival.

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Information from: The Island Packet, http://www.islandpacket.com

Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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Vintage tommy gun nets $25,000 for sheriff department

Thompson Model 1921 with Type C drum magazine. Image by Hmaag. This file is licensed under the GNU Free Documentation License.

WEST POINT, Miss. (AP) – The auction of a .45-caliber Thompson submachine gun has netted $25,000 for the Clay County Sheriff’s Department.

The Daily Times Leader reports the tommy gun, manufactured in 1936 and donated to the sheriff’s office in 1945, was sold to a Newellton, Louisiana, man.

Sheriff Eddie Scot says bidding ended last Thursday.

Scott says the money will used to buy weapons for deputies.

Currently, deputies are responsible for purchasing their own guns, which can cost up to $1,000 dollars each.

Scott says the weapons purchased with proceeds from the sale will go to the patrol division and the special response team.

The tommy gun became infamous from its use by both law enforcement officers and criminals like Al Capone. It’s now popular among gun collectors.

Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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