Archive for the ‘Collectibles’ Category

Santa Claus and marbles


Christmas Sweatz


Rhett And Link

You get some green sweats

I get some red sweats

Then we switch em up

We’ve got Christmas sweats

You get some red sweats

I get some green sweats

Then we switch em up

We’ve got Christmas sweats

She’s got a green sweatshirt


And got some green sweatpants

They match

That’s just a green sweat suit

You see that every other motherfruitcaking day

He’s got a red sweatshirt


And that’s a red sweatpants


That’s just a red sweat suit

You see that every other motherfruitcaking day

You get some green sweats

I get some red sweats

Then we switch em up

We’ve got Christmas sweats

You get some red sweats

I get some green sweats

Then we switch em up

We’ve got Christmas sweats

He’s so festive

He’s gonna get himself arrested

She’s probably a pro-sleigh rider

I bet she pees apple cider

He’s probably done all his shopping

I bet he actually wears Christmas stockings

Is she texting Santa?

He’s spending time with Amanda

Who’s Amanda?

His step-daughter

He’s in a second marriage

It’s cool

You get some green sweats

I get some red sweats

Then we switch em up

We’ve got Christmas sweats

Yeah, What, Wow

You get some blue sweats

I get some white sweats

Then we switch em up

We’ve got Hanukkah sweats

You get some red sweats

I get some green sweats

He gets some black sweats

Kwanzaa Sweats

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These are two real photo postcards showing the second-class interiors (the dining saloon and the smoke room), of the S.S. Vestris Lamport & Holt Line. The SS Vestris was a steamship, built in 1912 by Workman Clarke & Co. Ltd., Belfast, Ireland. She was accident sinking, on 12 November 1928, with a loss of more than 100 lives.


Monday, Nov. 26, 1928

TIME Magazine

Quietly sank the Vestris, a fortnight ago, some 250 miles east of Hampton Roads, in water two miles deep, beyond hope of recovery. There was no collision, no explosion, no hurricane. She was scuttled, perhaps by negligence.

Dead, or missing and probably dead, are in persons. Twenty-two bodies were recovered. The crew fared better than passengers, 155 out of a personnel of 198 having been picked up by rescue ships. Of passengers 60 were saved, 68 perished.

Not one of the 13 children aboard, and only eight of the 33 women, survive.

Hysterical survivors filled the press with stories of leaking lifeboats, faulty tackle, indifference of officers, mutinous and incompetent crew. Capt. William J. Carey went down with his ship; but those who watched him on the bridge, taciturn, deaf to questions and pleas, wonder why he deferred SOS until 20 hours after danger became apparent.

Meanwhile eight investigations were projected or under way.

The Gold Ship. The Lamport & Holt liner Vestris, built in Belfast in 1912 and measuring 495 feet in length, 10,944 tons, plied between New York and Buenos Aires, stopping at the Barbados and way points. Because shipments of gold, sometimes valued at as much as $3,000,000, were often sent on her between Argentine and New York banks, she was referred to as “the Gold Ship.” She was named for Lucia Elizabeth Bartolozzi Vestris, English actress (1797-1856).

Before her last voyage she was overhauled in drydock at Brooklyn. A minor collision in the Erie basin as she left dry-dock did no more than scrape paint. After this she was examined by three U. S. Department of Commerce inspectors, who spent three days in their work and certified her “seaworthy and equipped according to law.” During the inspection every lifeboat was tested; filled with men, lowered to the water and raised again.

On Saturday afternoon, Nov. 10, the Vestris sailed from her pier at Hoboken, with fair weather and calm sea. Yet one passenger, Carlos Quiros, chancellor of the Argentine consulate in New York, bitter in his criticism of the way the Vestris was handled, says: “She had a list when tied up at the pier before sailing. In fact, we could not sleep on Saturday.”

Saturday evening, Captain Carey did not appear in the dining room for dinner. He was already beginning the vigil that ended Monday afternoon.

Man the Pumps. Early Sunday morning the weather began to thicken, and at 9 o’clock the Vestris sprang a leak. Chief Engineer James A. Adams went below, found water pouring in through an ash-discharger valve, also into the engine room where a pipe had given way. Hardly had these been stopped when it was discovered the Vestris was shipping heavy seas through a coal port.

This last leak was on the port side, but water flowed to starboard because the ship was listing to that side. Sunday afternoon a fourth leak was found in the starboard coal bunkers. By 6 o’clock Sunday evening all the pumps were working, and still the water gained. Two more leaks had developed.

At noon Sunday Captain Carey ordered half speed, according to Engineer Adams, alternating from port to starboard engines.

The gale now was driving. The starboard list increased. In the dining saloon, dishes slid from the tables and chairs toppled over. Officers went about with assuring words. The passengers did not know that a number of cased automobiles had gone crashing through a partition in the hold, toward the starboard side, making matters worse.* They did not know that the stokers were working waist-deep in water, that cabin stewards were bailing there with buckets that might as well have been thimbles.

All Sunday Captain Carey was striving to reach by radio the Voltaire, of his own line, bound north and in the approximate locality. Meanwhile, the Voltaire had been instructed to go to aid the laboring Vestris. She could not do so on account of broken propeller and adverse winds.

Beam-ends. By dawn Monday the gale was but a whisper, the sun burst through a sky of scudding rain clouds. But passengers on the starboard side, looking out of their windows, could not see the horizon. “It was like looking down a deep well.” The deck tilted like a barn roof.

At 9 o’clock, Captain Carey, hitherto indifferent to pleas of passengers to “do something,” ordered women and children on deck.

At this time too he sent first general alarm, as far as is known, a C Q radio signal to other ships meaning “everybody listen.” An hour later he sent SOS giving his position. To New York office of Lamport & Holt Line he reported: “During the night developed 32-degree list. Starboard decks under water. Ship lying on beam-ends. Impossible to proceed anywhere. Sea moderately rough.”

U. S. S. Wyoming and several destroyers, as well as various liners, were speeding to the rescue over hundreds of miles. But, 25 miles away, the steamer Montoso, from Porto Rico bound to Boston, kept serenely to her course. She had no radio, did not learn of disaster until she docked.

Lifeboats. On solid land, in Astoria, Anthony J. Lewkowicz, designer of the lifeboat davits and skids with which the Vestris was equipped, gave audience to newspapermen. He declared the lifeboats were unsinkable, the tackle was foolproof. Said he: “With my davits a boat with a full load can be launched safely by one man … in spite of 32-degree list. . . . The average time is 15 seconds.” But lifeboats did capsize and sink; tackle fouled and broke; and some boats, manned by fools or not, took two hours to launch.

At 11:40 a. m. Captain Carey ordered lifeboats lowered. Even now there was no panic among passengers, although several Negro mothers wailed, clutching their babies. Some Negro members of crew became mutinous, plundered sound equipment for their own boats, defied officers and ignored passengers. An officer threatened a raging big buck with his pistol. The Negro seized it and tossed it overboard.

“Women and children first!” cried Captain Carey, haggard and unkempt, in long black coat on the bridge.

Into lifeboats Nos. 2, 4 and 6 on the port side, accordingly, most of the women and children were sent. But the boats caught on plates, would not slide down the ship’s tilted side. A fall gave way and the prow of No. 4 dropped, spilling babies, mothers into the rushing waters. The ponderous arm of a davit broke, pitched into No. 2 as she hung on the side of the Vestris, crushed skulls and arms, smashed through the bottom. Again wail of child and despairing shriek of mother mingled as another boatload was scattered into the grey seethe. Upturned faces blurred, vanished from sight down the long waves.

Frantically the crew struggled to free No. 6 from her wire cables. For two hours they worked without success. When the Vestris nosed under, No. 6, still fast, was dragged down with her; and a third boatload of women and children was strewn upon the sea.

Women and children were first—to drown.

Of other boats on the port side, only Nos. 10 and 14 were picked up by rescuers. On the starboard side, No. 9 was the first lowered. It had been filled by frightened members of the crew. It foundered on reaching the water. Nos. 1, 3, 5 and 13 were found by rescue ships.

Every boat picked up was more or less filled with survivors, from 19 in No. 1 to 43 in No. 3.

As for the motor-driven lifeboat carried by the Vestris and used constantly as a tender, not one word was heard of her.

Man v. Sea. It was 2:30 p. m. when the Vestris lurched on a billow to starboard and rolled under with a gulp, in froth and spume and reeling eddy. A few men, the last on board, sprinted across her horizontal side and dived. Captain Carey watched them, clung to his bridge.

Of the 24 hours that followed, as wretches floundered in tepid waters known to be thick with sharks, Quartermaster Lionel Licorish, flyweight black from Barbados, was hero. To lifeboat No. 14, bobbing on the waves, occupied only by one unconscious man, he swam. Finding no oars he plunged overboard and retrieved some. Then cruising through wreckage he rescued some 20 souls.

The night was stars one hour, rain squalls the next. Across the waste of torn water there shone no lights of a rescuing ship. From time to time, sparingly, flares would be lit in the drifting lifeboats.

A Negro floated on a plank, a clasp knife open in his hand, for sharks or men.

Major Yashio Inouye, military attache of the Japanese embassy at Buenos Aires, dropped his arms, strength forespent in efforts to protect his wife, Mme. Teruko Inouye. Then her strength revived; she held him in her arms for hours, and there he died. So also did Mrs. Norman Batten of Brooklyn support her husband until he died.

But early Tuesday morning a searchlight swept the sea. The rescue ships were now arriving: the American Shipper of the American Merchant Lines, the French tanker Myriam, the North German Lloyd liner Berlin, the battleship Wyoming. Thereafter until Tuesday noon the rescue work proceeded.

Mrs. Clara G. Ball, stewardess, and Paul A. Dana, a passenger, swam around together, jesting to keep awake. They were among the last picked up, at noon. As Dana was taken out of the water, a body floated by! Lazily mouthing one foot was a huge white shark. Chief pantryman Jean Gladianos was hauled out of the sea. Said he: “A girl about nine years old came up alongside of me. I grabbed the little head in the crook of my left arm. She smiled up at me. At last she died. She had black hair.” Mme. Inouye and Mrs. Batten, widows, were taken on board the Wyoming. Safe at last in Manhattan, Hero Licorish made grinning appearances on Palace, Broadway, Hippodrome stages. Nathan Straus, philanthropist, proposed $20,000 fund to reward him, offered $250 subscription himself. Carey. The riddle remained, why was no SOS sent out hours earlier? The answer may be sealed behind the level eyes of Captain Carey. His memory today is dishonored by such epithets as murderer, fool, incompetent, even crook. He was 59 and his record was distinguished. He had been a master of transatlantic vessels since 1914, and was 40 years in the service of the Lamport & Holt Line. During the War he served on transports and supply ships, one of which, the Titian, was torpedoed. He was commodore of his line, and was to have taken command of the Voltaire on his next voyage. Passengers hint that he had orders from his superiors to avoid incurring large salvage fees entailed by S O S. A psychiatrist inferred he was bewildered, mentally paralyzed, in the crisis. A charitable supposition is that, relying on Chief Engineer Adams’s statement that he could keep the Vestris afloat he judged an S O S unnecessary.


First to investigate the disaster was the U. S. Department of Justice through District Attorney Tuttle in Manhattan. The first major witness was Chief Officer Frank W. Johnson of the drowned ship. Assigned to the Vestris just before she sailed, he had as part of his duty an inspection of her coal ports to see that they had been closed tight. He testified that he had. entrusted a ship’s carpenter with this duty, not inspected himself.

Chief Engineer Adams testified that as late as eleven a. m. Monday he had reported to Captain Carey that the Vestris’ pumps could keep her afloat another six hours, when Captain Carey expected the U. S. destroyers to arrive.

District Attorney Tuttle commandeered all radio messages exchanged between Captain Carey and his employers.

While the Tuttle inquiry proceeded, other investigations were planned by:

The U. S. Department of Commerce, into its steamship inspection service.

Sanderson & Son, the Lamport & Holt Lines agents.

The British Board of Trade.

The Commerce Committee of the U. S. Senate (Jones, of Washington, chairman).

The Board of New York Insurance Underwriters.

The Central Trades and Labor Council (Manhattan) on a resolution alleging that the Vestris crew was underpaid, incompetent.

The British Parliament.


Alongside the grisly news columns in the New York Times appeared an advertisement entitled: “The Song of the Sea.” It rhapsodized: “Sail on your way while the sea is singing in liquid, low notes the song of the ages. . . . Listen to the music that mariners love.”

This advertisement was not so incongruous as it seemed at first glance. It was an advertisement of the Fall River Line, whose ships ply through placid Long Island Sound and never far from the New England coast.

What effect the Vestris disaster might have on public confidence in deep-sea voyaging other steamship companies estimated as cheerfully as possible. From their standpoint nothing had changed, unless for the better. The sinking of one ship could not alter the seaworthiness of other ships. If anything, it should tend to make ship inspection, discipline and precautions more thoroughgoing than ever. By the law of averages, another great disaster among all the ships of the world was less likely now than a week before.

A few immediate cancellations and some diminution in passage bookings for a while had to be expected, but the carrying public had faith in the traveling public and in itself. Twelve survivors of the Vestris who at once re-engaged passages for South America were witnesses to the probability that most people are as conscious of life’s risks before something happens as they are afterwards. The Vestris disaster lessened no one’s chances of dying in his bed.

* Heavy machines in large cases constituted most of the cargo of the Vestris. Included were: 650 cases automobiles, 600 shipped by General Motors Co. to Montevideo: 240 cases automobile accessories; 68 cases typewriters: 86 cases cash registers: 31 cases truck chasses: 58 cases tractor parts; 66 tractors: and in varying amounts, railroad materials, furnaces, gas engines, steel office furniture, motorcycles, divers hardware. There was considerable mail, including diplomatic correspondence with U. S. consular agents.

Vestris Inquiry

New York – Photo shows captain William Andrew Bambra, former master of the ill-fated Vestris, as he appeared on the stand at the Federal Inquiry into the disastrous sinking of the Lamport & Holt Linen.

“He said Captain Carey, whom he had known for many years, was an excellent seaman, who had a clean record and fine reputation. A number of questions were put to him by Captain Jessup as to how he would act in circumstances similar to those in which Captain Carey found himself. Asked how many tons of water would have been in the ship to give her a list of 32 deg., he said hundreds of tons, possibly a thousand tons. Captain Bambra differed from previous witnesses about the amount of cargo and stores carried by the Vestris.”


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These dolls were purchased as souvenirs in Noord Holland and the costumes are stylised and simplified. The fabrics and decorations are selected to make the dolls aesthetically pleasing. The Dutch girl has a beautiful face– rosy cheeks, and pretty blue eyes that open and close. Her face is hard plastic but looks like bisque. The male dolls wear black harem pants (broek) with two buttons at his waistband, shirts, vests (borsik) and hats. His feet are sitting in wooden shoes (klompen). These dolls were made in the late 1970s.

Atelier de poupées – 1950

Dutch Costume

Dutch clothing and costumes originated in the country now called the Netherlands, which has 14 provinces. Every province has its own traditional costumes. The most well-known type of dress, considered the national costume, came from Volendam.

Traditional dress for women includes long skirts, blouses, aprons and shawls or other shoulder decorations.

In almost all provinces, Dutch ladies wore some type of head covering made of fabric or lace. Some of them wore small lacy caps tied under the chin.

The men also wore hats, or fishermen’s caps.

The Marken men wear a blue and white or gray and white. A double-breasted red vest is worn on top, which shows below the shirt. The costume is finished off with gold buttons.

The dutch men are still proud to wear the baggy woolen trousers.

Meisje ik ben een zeeman (Girl I am a sailor)

by De Havenzangers

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This is a wonderful vintage cotton hanky with Donald Duck and his three nephews Huey, Dewey and Louie on a nautical adventure. This little piece of Disney history would look wonderful framed in a vintage frame. It is signed C.Walt Disney Productions in the lower left, and measures about 8.5″ square. Aside from a single hole, the condition is very good.

Other Examples

These images are used to show examples of Donald Duck handkerchiefs:

Interesting Facts about Donald Duck

Hake’s Americana & Collectibles has sold the first Donald Duck model sheet, created in 1934 for the Disney cartoon The Wise Little Hen, for a record-breaking $75,000.

– Donald Duck’s middle name is Fauntleroy.

– Donald Duck comics were never banned in Finland, because the character doesn’t wear pants. That is just an urban legend. In a meeting held in Helsinki regarding youth affairs a candidate for Finland’s liberal party, Markku Holopainen, proposed that the country save money and promote fitness by replacing the Donald Duck comics it was providing to youth with sports magazines, which were cheaper at the time. The proposition was heartily approved by all of those in attendance.

– Donald Duck is the mascot of the University of Oregon.

– Donald has a star on the Hollywood Boulevard Walk of Fame.

– It has been said that Mickey Mouse represents what we should be, while Donald Duck represents what we are.

– Donald’s temperament is the one thing that stands between Donald and Daisy.

– He usually wears a sailor shirt, cap, and a red or black bow tie, but no trousers (except when he goes swimming).

– Huey, Dewey and Louie Duck are the sons of Della Duck (Donald Duck’s sister) and of her husband (who remains unknown). As identical triplets, Huey, Dewey and Louie are impossible to tell apart.

– Today, Donald Duck is recognized by people of all ages, the world over. His face appears on lunch boxes, T-shirts, and thousands of other products.

Donald Duck’s name in…

Arabic: بطوط (Buttoot)

Bulgarian:  Доналд Дък

Chinese: 唐老鴨 (Tang Lao Ya)

Czech: Kačer Donald

Danish: Anders And

Dutch: Donald Duck

Estonian: Piilupart Donald

Faeroese: Dunnaldur Dunna

Finnish: Aku Ankka

French: Donald Duck

German: Donald Duck

Greek: Ntonalt Ntak – Ντόναλντ Ντακ

Indonesian: Donal Bebek

Italian: Paolino Paperino

Japanese: ドナルドダック (Donarudo Dakku)

Korean: 도널드 덕

Latin: Donaldus Anas

Polish: Kacer Donald – Kaczor Donald

Portuguese: Pato Donald

Russian: Donald Dak – Дональд Дак

Sámi: Vulle Vuojaš

Serbo-Croatian: Paja Patak (Serbia); Pajo Patak (Bosnia/Croatia in ex-YU); Patak Pasko (Croatia today)

Slovene: Jaka Racman

Spanish: El Pato Donald

Swedish: Kalle Anka

Turkish: Vakvak Amca – Donald Amca

Vietnam: Vịt donald

Carl Barks

(27/03/1901 – 25/08/2000, EE.UU.)

Carl Barks is the foremost Duck artist of them all, and many consider him as the best comics creator of all time.

Ode to the Disney Ducks

by Carl Barks

They ride tall ships to the far away,

and see the long ago.

They walk where fabled people trod,

and Yetis trod the snow.

They meet the folks who live on stars,

and find them much like us,

With food and love and happiness

the things they most discuss.

The world is full of clans and cults

abuzz as angry bees,

And Junior Woodchucks snapping jeers

at Littlest Chickadees.

The ducks show us that part of life

is to forgive a slight.

That black eyes given in revenge

keep hatred burning bright.

So when our walks in sun or shade

pass graveyards filled by wars,

It’s nice to stop and read of ducks

whose battles leave no scars.

To read of ducks who parody

our vain attempts at glory,

They don’t exist, but somehow leave

us glad we bought their story.

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my salt box 2

my salt box 1

This blue and white pottery lidded salt box can be placed on a counter or mounted on the wall. The wooden lid is held in place by small pins. The base is marked with a star and the letters “SB”. The salt box measures approximately 5.9 inches wide by 3.9 inches tall in front and 5.9 inches tall at the back.

my salt box mark

Salt Box

With a culinary history centuries old in England, Germany and France, the traditional salt box holds about one pound of salt and can sit on a counter or hang on the wall. The protective flip-top wooden lid provides easy access to the covered salt. The dry heat coming off the stove helped keep the salt granular instead of lumpy.

2 Stoneware Hanging Salt BoxesBoîte à sel 2boite à sel ancienne 2

3 BLUE AND GREY SALT BOXES.1939 German Pottery Wall Mount Salt BoxBanded ware salt boxblue and white salt glaze, Waffle pattern

boite à sel ancienne 3germany salt boxboite a sel porcelaine

American salt boxAncienne boite a selBlue Onion pattern wall mount salt boxBoîte a sel Faïence de Niderviller

salt box 23saltbox 2germany salt boxes

Boîte a sel en faencesalt box 24Boite à sel Boch La Louvière  RHODIAsalt box 26

WandtopfWillow ware salt boxsalt box with wooden lid

German Blue & White Stoneware Salt BoxGerman Delph Salt BoxEarly McCoy salt box

Stoneware. Salt Boxes.saltboxCzech salt box

German 1930s vintage Delft style salt boxsalt box 22Salzfass aus Keramik mit Holzdeckel

Vintage pearlized salt box SalztopfVintage salt box

germany salt box 2salzhalter1

salt box 21

Salt-Box House

A salt-box house is a type of frame house which is distinguished by having two stories in the front, one story in the back and a huge chimney in the middle. The second floor used to overhang the first floor and the windows were very small. The entrance is situated exactly in the middle of the house.

saltBox Colonial

This architectural style emerged in New England around 1630, and salt-box homes were built well through the mid-1800s.

The name of this style of architecture refers to the containers in which salt was once kept. Salt was at that time a very valuable commodity, and it was carefully stored in containers which often looked much like miniature versions of a salt-box house.

Dibble House, Molalla  - Oregon Salt box

Historic American Buildings Survey James Rainey, Photographer June 6, 1936

“The “Salt-Box House” was built in 1738, and the history of its century and more of usefulness give an opportunity to record many an old order that has changed and custom that has passed away. The name “Salt-Box House” was a colloquial title springing from the resemblance borne by the building to the wooden salt box that hung in the kitchen chimney. The house was set upon a hill near the lovely village of Stratford, Conn., where it may still be seen, in a state of semi-ruin among woodbines and raspberry bushes.

It was built a “plank house”, like others of its periods, the sides being made entirely of wide planks two inches thick, standing upright side by side. “Raising bees” were then in fashion, and the neighbors gathered to help put together the framework of the new building “to the wagging of the fiddlesticks”. Some of the planks were 30 feet long, however, and there was much more work than play to a “raising bee”. The shape of the house, with its deep sloping roof, was according to a fashion established in Queen Anne’s time, when a tax was imposed upon houses of more than one story. The salt-box style gave a one story front and ample space for additional rooms under the roof behind. In this way the tax was eluded, and a very picturesque and individual example of architecture gained “. “Books of the Season” – The New York Times – Published: December 22, 1900.


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my Armand Marseille

Here’s an excellent large example of the German bisque 390 by the Armand Marseille Porcelain Factory, Thuringia, Germany. She has a perfect face and blonde curly wig. Bisque (*) socket head is marked “Made in Germany 390 A11M” and she is 30″ tall.

The wood and composition body (**) is in nice condition, fingers and toes intact. The eyes sleep perfectly and all lid wax is retained. The brows are nicely feathered and she has painted lashes around her eyes. The lips are well shaped and outlined in red, her features are well defined. She wears a very appropriate white cotton dress.

(*) Bisque: A ceramic material that has a matte or unglazed surface. In finer antique dolls, it appears almost translucent. This type of material can be used for the entire body or only the doll’s head.

(**) Composition Body: is a type of material used for antique dolls heads and bodies. All companies tried to protect their techniques, and trade secrets. The detailed formulas or techniques are never expounded. It can be made out of wood pulp, glue, sawdust, flour, rags.

my Armand Marseille mark

Armand Marseille

Armand Marseille, of Sonneberg & Koppelsdorf, Thuringia, Germany was one of the most common antique dolls that are found today. They made certain of their dolls, including the very plentiful 390 and 370 moulds, for a span of over 30 years, and a large variety of character dolls.

Armand was born in 1856 in St. Petersburg, Russia son of an architect, and immigrated to Germany with his family a short while after 1860. They were a Huguenot family, hence the name that sounds like a French name. In 1884 he bought the toy factory of Mathias Lambert in Sonneberg and in 1885 acquired the porcelain factory of Liebermann & Wegescher in Koppelsdorf.

Marseille produced dolls from 1885 until sometime in 1930. At the turn of the century, it is estimated that the AM production was over 1,000 heads a day.

Armand Marseille dolls are generally very clearly marked on the back of the bisque head; as an example: Armand Marseille- Germany-390 -A 11 M or something similar, where 390 is the mould number. Many of the dolls are marked with A M instead of Armand Marseille. The vast majority of AM heads are bisque. Armand Marseille supplied bisque heads to many American doll and toy companies and distributors, including Montgomery Ward, Arranbee, Louis Amberg, Wanamaker and Sears, to name just a few of the more familiar, and, interestingly, purchased most of their bodies from other makers.

armand Marseille 390 A11M 3 markarmand Marseille 390 A11M 11 markarmand Marseille 390 A11M 13 markarmand Marseille 390 A11M 14  mark

armand Marseille 390 A11M 1 markarmand Marseille 390 A11M 6 markarmand Marseille 390 A11M 2 mark

armand Marseille 390 A11M 7 markarmand Marseille 390 A11M 4 markarmand Marseille 390 A11M aa mark

armand Marseille 390 detarmand Marseille 390 A11M aaarmand Marseille 390 A11M 14 detail

armand Marseille 390 A11M 2 detailarmand Marseille 390 A11M 4 detailarmand Marseille 390 A11M 5 detail

armand Marseille 390 A11M 20armand Marseille 390 A11M 21armand Marseille 390

armand Marseille 390 A11M 22armand Marseille 390 A11M 7 detailarmand Marseille 390 A11M 6 detail

armand Marseille 390 A11M 3 bodyarmand Marseille 390 A11M 4 bodyarmand Marseille 390 A11M 1armand Marseille 390 A11M 11

armand Marseille 390 A11M 7armand Marseille 390 A11M 8armand Marseille 390 A11M 4armand Marseille 390 A11M 13armand Marseille 390 A11M 9armand Marseille 390 A11M 3

armand Marseille 390 A11M 2armand Marseille 390 A11M 17armand Marseille 390 A11M 5armand Marseille 390 A11M 6

armand Marseille 390 A11M 14armand Marseille 390 A11M 15armand Marseille 390 A11M 15 detail

armand Marseille 390 A11M 16armand Marseille 390 A11M 10armand Marseille 390 A11M 19

antique dolls museum

antique dolls

Norman Percevel Rockwell

Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was a 20th century American painter and illustrator. His works enjoy a broad popular appeal in the United States, where Rockwell is most famous for the cover illustrations of everyday life scenarios he created for The Saturday Evening Post magazine over more than four decades. Among the best-known of Rockwell’s works are the Willie Gillis series, Rosie the Riveter, Saying Grace (1951), and the Four Freedoms series.

In 1977, Rockwell received the nation’s highest civilian honor, the Presidential Medal of Freedom, for his “vivid and affectionate portraits of our country.”

Norman Rockwell’s art reflected an intimate portrait of American life during the 20th century. His themes described universal human experiences ranging from touching moments of childhood to civil rights, America’s war on poverty, and the exploration of space. Norman Rockwell’s art relied on masterful technique, gifted storytelling, humor, compassion.

"Doctor and the Doll" by Norman Rockwell

"Doctor and the Doll" by Norman Rockwell

“The doctor who applies his stethoscope to a young girl’s doll is attempting to acknowledge her world of enchantment. The expression on his face is as serious and concerned as it might be if he were examining the girl herself. Such a willingness to place professional expertise at the feet of childhood magic serves to remind us, again, of things we have forgotten: secret kingdoms inhabited by imaginary beings whose needs seemed as real as those of the people around us. Rockwell’s physician may appear to take the doll’s health seriously as an effort to gain the child’s confidence and trust, but his act of sympathy is also one of grace, accepting his patient’s needs with cheerful serenity.” Neil Harris, from Norman Rockwell: Pictures for the American People, 1999

"Doctor and Doll" by Norman Rockwell - 1942

"Doctor and Doll" by Norman Rockwell - 1942

“To us, illustration was an ennobling profession. That’s part of the reason I went into illustration. It was a profession with a great tradition, a profession I could be proud of.” Norman Rockwell

Norman Rockwell

Norman Rockwell - April Fool Girl with Shopkeeper 1948

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pcj 2

pcj 3a

This Pierre Cardin from 1971 is one of my favorites of all time. A mechanical wrist watch fitted with handwound Jaeger FE-68 movements, the white circular dial with black hands, and plain bezel off-set to a translucent dark blue acrylic circular surround, fitted to a blue strap.

Width of watch head: 1.8 inch / 4.5cm.

pcj 4

pcj 5

pcj 7

pcj 8

Pierre Cardin Space Age

Pierre Cardin gave fashion a constructive and futuristic look, geometric seams and hemlines reminded of robots. His clothes had the trappings of science-fiction and space travel. His fashion was similar to modern sculptures including asymmetries, sometimes it had big necks.

Nurses Uniforms by Pierre Cardin 1970

Pierre Cardin  a


In many clothes there are openings in contrasting colours. His collection was decorated with big zippers and belts. He made dresses out of vinyl, hammered metal rings, broaches of carpenters nails, and diamonds. Knitted catsuits, tight leather trousers, close-fitting helmets and batwing jumpsuits were all in his collections.

Pierre Cardin 1970

Pierre Cardin Bull's-Eye Halter Skirt

Pierre Cardin b


After designing collarless suits for the Beatles in 1963 and Nasa Spacesuits in 1970, Pierre Cardin launched his very brief Espace watch line in 1971. He was inspired by space travel in 1961, the cosmonaut Yuri Gagarin was the first man in space. Made of metal blocks, lucite cubes, layered disks, contouring arcs, smoky crystals, bold stripes or flying saucer-shaped Futuro domes, most are very rare and all are mechanical watches fitted with handwound Jaeger FE-68 movements.

1971 Cardin Jaeger Thick Distortion Crystal1971 Pierre Cardin Jaeger 21971 Pierre Cardin Jaeger Movement 9

1971 Pierre Cardin Jaeger Movement 101971 Pierre Cardin Jaeger Movement  101971 Pierre Cardin Jaeger Space Odyssey

1971 Pierre Cardin Jaeger1971_pierre_cardin_espace1971Cardin Jaeger C Shaped Case




CARDIN10cardin moonCARDIN

pierre cardin jaegerpierre cardin jaeger 1971pierre cardin jaeger 2pierre cardin jaeger 3

Pierre Cardin/Jaeger Marks

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pierre cardin jaeger mark 3pierre cardin jaeger mark

1971 Pierre Cardin Jaeger int

Pierre Cardin

Pierre Cardin

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Postcards represent a major category in the world of old paper collectibles.
What to collect can be divided roughly into two categories. There are view-cards representing scenes of various locations, which form the bulk of cards produced. And then there are topicals that represent everything else. Topicals can be distinguished by their physical appearance, the method of printing, and most often the subject matter depicted. The topics that are popular with collectors constantly shift over time.
Opera cards fall into a number of categories: opera houses, opera singers, pictures of real productions or artist’s fantasies.
Within my online album you will find part of my opera’s postcard collection.
In the years before movies became ingrained in popular culture, opera played a more important role. Any educated person would have been familiar with at least the most well known operas, their composers, and major performers. G. Ricordi & Co. published hundreds of opera-themed postcards that the public collected and mailed with especial enthusiasm.
Casa Ricordi is a classical music publishing company founded in 1808 as G. Ricordi & Co. by violinist Giovanni Ricordi (1785-1853) in Milan, Italy. Its classical repertoire represents one of the important sources in the world through its publishing of Rossini, Mascagni, Donizetti, Bellini, Verdi, and Puccini.
The company decided in 1874 to create an in-house printing operation to promote its music. It began by installing the most advanced German lithographic presses and hiring a brilliant master, Adolf Hohenstein, to train a staff of Italian artists. Under the tutelage of Adolf Hohenstein, a brilliant stable of graphic artists emerged at Ricordi. Artists including Leonetto Cappiello, Luigi Emilio Caldanzano, Ludovico Cavaleri, Marcello Dudovich, Adolfo Hohenstein, Franz Laskoff, Achille Beltrame, Leopoldo Metlicovitz and Giovanni Mataloni brought Art Nouveau, known as Stile Liberty in Italy, to a world class level.
With almost two hundred years of history behind it, Casa Ricordi is the oldest Italian music publishing firm still in business.

“Iris” by Adolf Hohenstein and

Giovanni Maria Mataloni – 1898


This is the complete collection of postcards from Iris. These beautiful cards were designed by Adolf Hohenstein and Giovanni Maria Mataloni, for the world premiere of Iris. Art nouveau accents and neglected style combine to make this a truly special set. They were allegedly published twice, once with a blank back and once with a printed back.

Iris is an opera in three acts by Pietro Mascagni to an original Italian libretto by Luigi Illica. Its first performance was at the Teatro Costanzi in Rome on 22 November 1898.

Adolf Hohenstein (1854-1928)
Russian by birth, he studied art in Vienna, where he produced his first paintings. After numerous journeys (during which he stayed in India, where he decorated the homes of the local nobility), he arrived in Italy in 1879. He settled in Milan, the economic and industrial capital of the newly formed Italian state, and began working as a set designer and costumier at La Scala, with excellent results. This brought him into contact with important composers. Soon, however, he began working in the field of graphics, becoming coordinator of editorial promotion for Ricordi. Giulio Ricordi appointed him as art director, with a project that included the creation of covers for libretti and musical scores, posters, playbills and postcards. This was the context in which Hohenstein produced his designs, including those for Iris, La Bohème, Falstaff, Tosca and Madam Butterfly. Hohenstein was also responsible for the macabre deathbed sketches of Verdi drawn at various hours. He worked for Ricordi for about fifteen years. His cultured and refined style was never strongly influenced by the trends of the period: art nouveau, for example, makes an appearance only in a few decorative elements.




Giovanni Maria Mataloni (Roma, 1869-1944)
The imagery and chiaroscuro shadings typify not only Mataloni’s work but that of Metlicovitz and Dudovich from about 1898 to 1910. But far from being an imitator, he in fact preceded those colleagues at Ricordi printing, where he arrived in 1890. He brought Art Nouveau to Italy.



Metlicovitz’s art nouveau “Tosca” set – 1900



Here’s a set of the opera Tosca done by renowned illustrator Leon Metlicovitz, and published by Ricordi. It consists of twelve postcards. The images were originally created in watercolor form.


Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou’s drama, La Tosca. The work premiered at the Teatro Costanzi in Rome on January 14, 1900.



The earliest postcards from this set are numbered:

060 – Tosca laying over Cavaradossi’s body.
061 – Angelotti, an escaped political prisoner, takes refuge in a side chapel.
062 – Tosca hovering over the tortured Cavaradossi.
063 – Tosca with knife after stabbing Scarpia.
064 – Inside the church.
065 – Tosca and the dead Cavaradossi alone on top of the Castel      Sant’Angelo.
066 – Scarpia offering his hand to Tosca.
067 – One of Scarpia’s henchmen delivering news.
068 – Cavaradossi painting while the sacristan looks on.
069 – Scarpia offering holy water to Tosca.
070 – Cavaradossi kissing Tosca.
071 – Cavaradossi in front of the firing squad.


Leopoldo Metlicovitz (Trieste, 1868 – 1944)
Like Hohenstein, he was a commercial artist, lithographer, painter, and graphic artist. He did many opera designs and many of his creations found their way to posters, postcards, and other paper media to advertise new operatic works or Italian products. His postcards can be identified by an “LM”.



“La Colonia Libera” by Achille Beltrame – 1899



Seven full-color souvenir postcards depicting the various scenes from the opera “La colonia Libera”, signed by Achille Beltrame.



Pietro Floridia (1860-1932)
Studied with Beniamino Cesi, Paolo Serrao and Lauro Rossi. As a young student he wrote and published several compositions for piano and at the age of 22 he produced his first opera “Carlotta Clepier”. After the Great success of “Maruzza” he composed “La Colonia Libera”, an opera based on Bret Harte’s “M’Liss” with libretto by Luigi Illica. This opera had its debut in Rome at the Costanzi theater (now called Teatro Dell’opera) on May 7Th 1899.


Achille Beltrame (Arzignano, Vicenza 1871 – Milan 1945)

A pupil of Giuseppe Bertini, in Milan, Achille Beltrame was the most famous and celebrated illustrator in Italy in the first half of the 20th Century. Beltrame edited most of the cover pages of the magazine “La Domenica del Corriere”, published by the Milanese newspaper “Il Corriere della Sera”, from its foundation in 1899 until 1945.


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This is a great old hard plastic doll house kitchen furniture set, in white with the blue bottom, dates from the 1950’s. Set includes a fridge and stove. They are marked “A Plasco Toy Co, Made in USA”.


Plastic became the choice material for American doll house furniture manufacturers, in the 1940’s during World War II. Wood and metal were necessary materials in the war effort and therefore the new process of plastic moulding became more widely integrated into the domestic marketplace. The hard plastic items could be intricately detailed including the maker’s name. Plastic is still being used today because of its durability and its low labor cost of production. Renwal, Ideal, Plasco, and Marx made hard plastic doll house furniture in the 1950s and, as the pieces are usually marked, can be easily identified by the collector.

There have been several standard scales in dolls houses over the years. Children’s toy houses during most of the 20th century were three quarter scale (where 1 foot is represented by 3/4 of an inch), also known as 1:18 (1′ equals 18″), 3/4-scale furniture was most often made from plastic.

For the last century, dolls houses have primarily been the domain of children but their collection and crafting have also fascinated a large number of adults.


Some Examples of Plasco toys





Plasco Toy Co. marks





1950s American Kitchen






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The survival of each postcard image printed up to 100 years ago depended on the quantity printed and whether the were collected by people who preserved them. Then if they were passed down through several generations of family members before being sold to an antique dealer, they may have survived. The number sold of each image depended on the popularity of the scene or attraction.









Chinese New Year by the Chinese Calendar
The Year of the Ox

In the Chinese zodiac, twelve animals are used to denote the year of a person’s birth: rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and pig. This is called a person’s shengxiao (sheng means the year of birth, xiao means resemblance) or shuxiang. This year, 2009, is designated the Year of the Ox (1) or year 4706 in the Chinese lunar calendar. The upcoming Chinese lunar New Year will fall on January 26, 2009. The Ox, or the Buffalo sign symbolizes prosperity through fortitude and hard work. Those born under the influence of the Ox or Buffalo are fortunate to be stable and persevering. The typical Ox is a tolerant person with strong character.
Beneath the placid and unpretentious exterior of the “Earth Ox” lies a heart of gold and a willingness to bear heavy burdens that might overwhelm others.

(1) 己丑 Ji Chou: Ji is the sixth of the Ten Celestial Stems and Chou is the second of the Twelve Terrestrial Branches










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