For the collector the choices are endless – you can collect by shape, by factory, by designer, by colour, by motif or by year.  Clarice Cliff’s design made at the A J Wilkinson factory were avidly collected with the new Bizarre range being especially popular.  Apart from being a surface designer Clarice had also trained as a modeller and she was interested in developing glazes.  The combination of these three makes her designs so interesting.  While Clarice Cliff pottery can be very expensive there are affordable pieces to be had.  Crocus was made from 1928 to 1964 and is one of the most affordable, while Honolulu was only made for about a year and is difficult to find and expensive.

Art Deco caught on very quickly and soon most manufacturers had a handful of colourful geometric designs in their collection.  Shelley Pottery launched several new ranges: Vogue and Mode in 1930, Eve and Regent in 1932 and Oxford in 1934.  Shelley’s pieces have a fine bone china body which was unmatched by any other ceramic manufacturer.

Shelley is famous for its advertising campaign featuring the instantly recognisable Shelley Girl.  This figurine could be seen in many china shops windows during the late 1920s and early 1930s and is now very collectable.  One was sold at auction in the autumn of 2008  for £4,000 and even a damaged one can still fetch £1,600.

Susie Cooper established her own pottery in 1929 where she produced some geometric patterns.  A partnership with Woods and Sons from 1931 enabled her to control shape manufacture too.   Her abstract cubism-inspired designs using blocks of colour are particularly stunning.  The leeping deer was one of the iconic images of Art Deco style and it was used by many potters, including Poole.  Susie Cooper used it and it became part of her backstamp from 1932 until the 1950s.

Royal Doulton also embraced Art Deco and developed distinctive shapes for both tableware and earthenware ranges, such as Fairy, Casino, Dandy and Embassy, but the best known are probably Tango, Syren, Gaylee and Eden.

While Charlotte Rhead was less famous than Clarice Cliff and Susie Cooper her work is still highly sought after.  She worked for Burgess and Leigh, makers of Burleigh Ware from 1926 to 1931 and A G Richardson (Crown Ducal) from 1932 to 1942.  At Burgess and Leigh her work included designs with deco influences such as geometrics and stylised flowers while  at Ducal she developed new glazes.

Among other potters of the era were Carlton Ware with its lustre and oriental-inspired wares and Art Deco table wares.  Myott also adopted the Art Deco style and produced tableware, striking vases, plaques and jugs.  During the 1940s Myott started to manufacture figures for Marcel Goldschneider, an Austrian who had fled to Britain at the outbreak of war.  Many of Goldschneider’s figures and wall masks produced in the 1920s and 1930s were in the Art Deco style.

Most potteries during the 1920s and 1930s produced Art Deco designs and some are better than others and there is a wealth of Art Deco to collect.  The Auction houses tell us that interest in Art Deco remains strong and prices for the rarest  and most luxurious pieces remain high, although prices at the lower end of the market are not what they were – a perfect opportunity for the new collector.  There are bargains to be had!

Not many of these early models have survived due to wear and tear of children playing with them.  From 1903 onwards the teddy bears dominated the Steiff production, but during the 1920 and 30s and 1950s and 60s many toy animals were produced and many of them can be found nowadays.  Steiff animals are superior to any others produced because of their attention to detail, fine materials and very tight quality control.  Really only the English company Merrythought could rival it.

The most common animals were cats and dogs and they are the most likely to be found.  As there are also many collectors of cats and dogs valuation can vary.  Although prices start from as little as £20 – £30, they rise according to size and breed.  Scotty dogs are among the most popular, but you should also look out for Bully the Bulldog – examples can fetch above £200.  Scottie dogs and rabbits are also very popular as are wild animals, especially if they are the kind that can be found in a zoo.  Mockie the hippo can fetch over £50 while 1920s versions of a camel or elephant on wheels can cost up to £800 for a large version.

Strangely woodland animals were not very popular and not that many were made, they are therefore quite rare, but have never really caught on and are very much a niche collecting area.  This could change in the future and they might be worth looking out for.  A 1960s squirrel could cost between £30-£40, but look out for the name – Possy the squirrel may be worth more than Perri or vice versa.  Steiff meticulously recorded names, characters and dates and it is therefore easy for collectors to date their toy and find out its name.

Steiff also made characters from other collecting areas, such as Mickey Mouse.  Produced from 1931-36, he was made in large and small sizes and with red and blue short trousers.  You should check that he has a tail, whiskers, buttons and tags.  Values can range from around £500 to the low thousands.  A large example in superb condition was sold in 2004 for over £8,000.  Puss in Boots from 1912 can fetch £1,000 with his big felt hat, sword and leather boots.

You might also want to look for a range of animals that were not very popular with children at the time such as Eric the bat, who can fetch £100-£150 and Nelly the snail who can cost up to £200.

When collecting Steiff animals you need to take note of dates.  A Molly seated dog from the 1920s or 1930s can fetch up to £400 in very good condition, whereas a similar example from the 1960s would only fetch up to £60.  There are books and sites on the internet that will help you date your Steiff animals, by recognizing different styles of buttons or early shapes and styles.

The condition of the animals is most important as those were toys and a child’s love can seriously lower the value of the toy.  Bald patches or total loss of hair can reduce value by 75 per cent.  Repairs can also affect value so you should always examine the Steiff animal very closely and always try to buy a piece in very good condition.

It is quite difficult to find genuine Swedish antiques in the UK and you need to find a dealer who specializes in Swedish antiques and furniture and who, ideally, has good connections in Sweden.

In the private rooms of castles and manor houses Gustavian grey furniture was extremely popular.  The grey in question is no single colour and famously changes with the light, the palette ranges from battleship to lilac, from off-white to almost powder blue.  Although Gustavian grey furniture was first made at the end of the 18th century, excellent examples of classic designs were still being made well into the first half of the 20th century.  You should examine the pieces carefully, the more modern examples have thicker legs and less fluted, simpler carving.

Key shapes are oval, square and shield-back chairs, towering curved corner cabinets and plain painted chest of drawers.  You should beware, there are a lot of Gustavian fakes on the market.  Genuine early 1800s pieces have hammered in wooden lugs, while modern copies are built with screws.

The historical province of Dalarna, Western Svealand, is famous for its tradtional folk crafts.  Among the most collectable pieces from that region are the extravagantly hand-painted chests, chairs, tables and cabinets, made in the second half of the 18th and during the 19th century – known as Kurbits furniture.  These Swedish folk furnishings, which very rarely come onto the market in the UK, would have been produced in one the the rural, wooden homes in a village such as Leksand in Dalarna.

Kurbits creations are of exceptional quality – the pine and birch, grown in such a harsh climate, is especially dense, making these furnishings virtually indestructable.  Forms are sturdy, with turned rather than carved legs.

Kurbits pieces were often given as wedding presents and many are marked with the date of the owner’s marriage and their initials, as well as floral decoration and faux woodgrain.  As they are very scarce they are expensive and a Kurbits table and two chairs would cost you around £1,800 for the set, while a side table might cost as much as £1,500

If you find a paper covered wooden box example it is likely to be of an earlier date and more valuable.  Paper coverings that have been printed or embossed are of particular interest and these often have finely printed graphic cards inside.  Examine the number of colours used and the details in the themes as well as moving features – this often means the game is older and of higher quality.

The theme itself is important to desirability as well as value.  Themes based around the home, farmyard animals and the circus are among the most common.  You can buy a game from between 1910-1930, metal framed,  with one of these themes for between £3-£15.  Prices for the rarer themes are more expensive as they are harder to find.  A similar game from the same period featuring a motorist in an early motorcar cound fetch around £30-£40.  As this would be of interest to collectors of dexterity games as well as collectors of automobilia the price will be driven up.

Among the most sought after are advertising themes and values depend on the populairty of the brand.  Look for games where the brand is displayed large or display the particular style of the day, such as Art Deco.  Although the games can often be dated by the style of the artwork you should also look out for any addtional marks.  If you see ‘Germany’ displayed, this indicates a date between1910-1930, and ‘Made in US Zone Germany’ will show that the game was made during the late 1940s to early 1950s during the post war occupation.

Most games are only marked with the country, but some are marked with the maker.  Look out for R Journet whose games are often marked ‘RJ’.  Robert Journet started his first toy shop in Paddington in London in 1878.  His father was making high quality paper covered wood framed games during the 1890s and they became very popular.  After exhibiting at international trade fairs they began to export and the US became a major market.  Frames were covered with bright yellow paper which became the hallmark of the company, but it also used embossed, gilded and red paper.  The bright cards inside displayed vibrant, well-printed artwork.

Journet’s games are also remarkable for their inventiveness in terms of the game itself.  Rather than just having to simply move balls into small holes or indentations, many featured rings, coloured objects or novelty shapes, such as mice which have to be placed into colour co-ordinated slots or positions.

Journet’s games are quite expensive and can cost between £20-£100.  The more colour and interest there is, the more valuable a game is likely to be.  A good example is The Brooch Puzzle.  Here, the aim is to move the ‘8′ shaped rings into the die-cut shaped slot and fill each section with a differently coloured ball to create the brooch.  You would have to pay up to £50 for this.  The Green Eyed Kitty Puzzle is also very popular – here a coloured printed paper covered die-cut wooden cat stands above the yellow background.  The aim is to get as many of the coloured plastic small rings onto his tail as possible.  This particular game was part of a series of 12 made for Woolworth.

Journet’s high quality games have become a niche collecting area and collectors vie to own an example of every one produced.  Many of the games have a list of other games available at the time printed on the back of the box, which is a handy guide for collectors.

As dexterity games were made to be played with, condition is important to the collector.  Stained, torn or damaged paper coverings can reduce value by 50 per cent or more, whereas a mint condition, brightly coloured example could double the price.  Cracked glass will reduce the value, although this can easily be replaced on the tinplate framed examples.  Be careful if the glass is missing, balls or other components may have been lost or the printed artwork may be damaged.  Turn the piece over as many  backs contained small mirrors, if these are undamaged it will add to the desirability.

Dexterity games are easy to find and you will get the best from dealers specialising in antique toys and games.  You might also want to check out your local car boot sales.

These teasets were a huge success when they exhibited in Christopher Strangeway’s shop, as nobody had seen anything like it and there was such demand that Roger and Christopher had to look for a manufacturer in order to fulfil the orders.  Anthony Wood at Cartlton Ware was prepared to take the commission and they were prepared to use a differnt backstamp so that they could distinguish it from its other pottery.

The relationship worked well and for the next 13 years over 50 new designs were produced.  Interesting from a collector’s point of view is the fact that they designs that were least popular when they were first made are the most desirable now.  If you can get your hands on a Moscow Olympics mug, of which fewer than 30 were made, you would have to pay between £350 and £550.  The Carribean teaset would cost you over £400 and the French Maid cup would set you back between £80 and £120.  Walking Ware is going up in price.

A new collector can still put together a small collection for a modes outlay of around £200 to £300.  This would buy you a teaput, milk jug, sugar bowl and some cups.  The original shape egg cups can be bought for £10 to £30 each.

Prices on eBay can vary depending on the time of year, whereas if you buy from a dealer the prices are more stable and you goods should arrive intact.  A reputable dealer can also help you with building up a good collection, advising, finding, buying and selling.  You should also be careful of fakes.  Roger Michell’s wife Julia has written A Collector’s Guide to Walking Ware, which is invaluable for a collector, giving advice on the range, colour, patterns and authenticity of the designs.

The French teaset was first designed for the Brittany studio and has remained very popular.  It can be commissioned in colours and patterns of choice and some of the early ones used a very pretty French lace pattern.  Another teaset was made in 2007 consisting of 12 pieces more in the style of the older Walking Ware.  Every item in this teaset is strictly limited to 100 pieces and all are signed and numbered by Roger.

Both teasets can be bought directly from the potter at lustre.co.uk.  Older items of Walking Ware can be bought from authorised Walking Ware dealer at decorativearts.net and walkingwarepottery.co.uk.

The first pattern to become really popular was Marguerite which was made up of white daisies, bluebells and yellow flowers. It was made by the Grimwade brothers at the Winton pottery in 1928.  Other popular patterns were made at Crown Ducal by A.G. Richardson, including Blue Chintz, Florida and Festival.  Many of these pieces were exported to America and Chintz china is still very popular in America today, as well as Canada and Australia.

Although the Chintz pattern was produced by various potteries it is Royal Winton that is best known for it.  More than 60 Chintz patterns were released over 50 years and collectors like the diversity, not only of the patterns but also the many different shapes of the china.  The Summertime pattern, first released in 1936, has been among the most popular over the years.  It’s medley of bright summer flowers has delighted generations and it is highly collectable.  Among the other popular designs are Swee Pea, Anemone and Victorian Rose, while other patterns took their names from English villages.  Chintz china became especially popular after the second world war when the population were pleased to have something colourful in their homes again.

Chintz patterns that sell particularly well are Julia, Shelley’s Melody and Welbeck and although some small pieces may be bought for around £5 you would have to pay between £150 and £200 for a Melody vase.

During the 1950s and 1960s the public’s taste changed and this was reflected in the Chintz patterns, the flowers were larger and the colour richer and the Peony and Morning Glory designs were using deep reds and blues.

Chintz china does not get bought en mass, like some other collectables and that could be because of changing tastes.  Quaint floral patterns do not mix well with the minimalist lifestyle that has now been popular for a few years.  It is, therefore, possible to build up a collection in slow time and you can afford to search for the patterns you really like.  While Royal Winton are among the most expensive of the Chintz china pieces you might want to check out Chintz china from other potteries.  Shelley’s Empire and the W R Midwinter Springtime range are lovely and will cost you less.

There are many opportunities for the collector – you could either collect all pieces of a particular pattern, or pick something like a milk jug and then collect jugs in their various patterns.  Be careful to examine pieces for cracks or chips before you buy, also bear in mind that strong colours can fade over time.

The Derby factory has put out a number of limited edition series and many of them are hand-painted.  Not being slow in following a current trend they commissioned a series of plates depicting Jane Austen’s favourite flowers as well as something to remember Mr Darcy by, namely a vase named after his estate at Pemberley, from the popular Jane Austen novel Pride and Prejudice.

There is nothing new in this – the Derby factory has always been able to combine fine artistry with commerce and therein lies the secret of its success.  Derby have always been keen to encourage their designers to try out new techniques and also to liaise with other potters and ceramicists.

The Derby paperweights are extremely popular – since they were launched in 1981 with a series of five birds and a rabbit – there have been new paperweights each year, except for 1982 and 1984.  They use the Imari style of decoration, as used for tradtional Japanese porcelains.  New figures are added to the collection every year and they are often limited editions.  Royal Crown Derby have a Collectors’ Guild and members receive advance notice of new pieces and also receive free gifts.

From time to time Derby will resurrect a design that has previously been withdrawn, as happened with the Chaffinch in 2008.  While the original was designed by Robert Jefferson, the new decoration was done by Sue Row.  Derby also launched a new series in 2008 with a popular pets theme, the first wo being a Hamster and a Guinea Pig.

Collectors of Royal Derby have a huge collection to choose from.  There are several hundred paperweights including many rare examples.  Identification of pieces is not too difficult – Royal Crown Derby is marked with a cipher which identifies the year, the first being 1880.  The 2008 paperweights are marked with the Roman numerals MMVIII while 1981 was marked with XLIV (44), a system which was used until 1999.  After the millenium they used the Roman numerals for the relevant year, which makes identification quite simple.

The first recorded pie funnel was manufactured in 1880 by Dean and Morris and it was made in three sizes.  Since then 44 different patents and registered designs have been recorded in Britain and many of these can still be bought today.  One of the earliest recorded figures was a blackbird, registered in 1933 in Australia by Grace Seccombe as a Pie Crust Lifter.  A J Wilkinson (Clarice Cliff) registered a blackbird pie funnel design in 1936 and many of these were produced, including the all white wartime version – some were stamped Wilkinson, Newport Pottery or, later, Midwinter.

Before the appearance of the pie funnel people would have used an egg cup or even a stick of macaroni.  As pies come in different sizes and depths so do pie funnels and they were often produced in sets.  Among these sets are the Adcock Crust Support, Ventilator and Fountain.  These early pie funnels often had wide chimneys for venting the steam from beneath the crust, but also for adding additional stock to the pie during the long, slow cooking process.

If you want to collect pie funnels you are in luck as once upon a time every household in Britain would have had one or several of these pie funnels.  As diet and cooking styles have changed over the last twenty years the pie funnel is no longer an everyday object and is probably stuck somewhere at the back of a cupboard or drawer. 

Some pie funnels have fetched quite high prices but you should be able to start a collection for a small amount of money.  Check out your local auctions and car boot sales and you should be able to get some of the plain pie funnels quite cheaply.  You might also want to check out the internet auction sites and these are useful for researching prices.

Some of the famous china manufacturers such as Spode, Royal Worcester, Denby, Shelley and Grimwade have all produced pie funnels on a commercial basis but it was Grimwade that produced the widest variety of funnel designs, five of which are patented or design registered.  Among them are the ‘figural elephant pie funnel/ring holder’, which was produced in white and grey, to the ultimate ‘Bleriot Pie Divider’ produced in three different sizes, which separated the pie dish into two parts so that two different meats or fruits could be baked in the same pie.  Each of these dividers came with their own specific patented pie dish.

‘The Improved Pie Funnel’ was produced by Grimwade and it is quite rare and it sold so well that an updated version was produced and named ‘The Improved Popular Pie Funnel’.  These came in various sizes, advertising early grocery and china shops as well as department stores around the world, from T W Robinson Co Ltd of Moose Jaw in Canada to Ritchies of Dunedin in New Zealand as well as from all over the UK.

White the majority of pie funnels are made from pottery there is also quite a selection made from Pyrex glass, aluminium and plastic.  The majority of the early pie funnels were produced commercially by larger potteries that manufactured a wide range of white ware, but later the smaller potteries produced limited editions of real works of art.  In the forefront was Stuart Bass, who has produced over 300 different designs since the mid-1970s.

A book called British Pie Funnels has been produced to try and fill in some of the gaps concerning the tradtional British pie funnel as there has been little written on the subject.  This provides a handy background for any new or experienced collector and some of the illustrations should prove useful when hunting for pie funnels.

Silver handled buttonhooks would initially have been sold as part of of a dressing table set that would have included other items for good grooming, such as brushes, combs and a mirror.  Many of the silver handles were heavily embossed with all sorts of flourishes, reflecting the Victorian taste.  From a collector’s point of view the most valuable items are those that include birds, animals, cherubs and other subjects.  This type of buttonhook can be expensive but there are also bargains to be found.

Buttonhooks were made in a variety of sizes ranging from just under 2.5cm (1in) to 60cm (24in) long.  The various sizes were made for the various garments, the smaller buttonhooks would be for gloves while the larger ones would do up the buttons on your boots.  Most buttonhooks have shanks made of steel to make them strong.

Although some of the more ornate buttonhooks can command high prices, many can be found for under £20 due to the fact that many were made and they have no practical use nowadays.  Unless you’re looking for rare buttonhooks your best bet is probably antique shops and fairs and auctions. 

Very small buttonhooks, sometimes called glove hooks are very popular with collectors.  These would make a wonderful display arranged in a picture frame.  Despite their popularity silver handled glove hooks can be found for as little as £10 to £15, although very ornate examples would cost more.

When purchasing buttonhooks you should examine them carefully to establish whether the handle has been taken from another item such as a hairbrush or paper knife.  You should also check for dents and splits in the handle since silver is delicate and prone to damage.  You should also study the hallmark and if you want to become a serious collector you should go equipped with an eyeglass and a pocket guide to English hallmarks.

As silver tarnishes easily you should keep your silver handled buttonhooks behind glass.  If they do become tarnished you can easily clean them, either with one of the commercial products on the market or a bicarbonate of soda solution, but remember that too much polishing will eventually damage the silver.

Reading Silver Hallmarks

You should learn to recognize the marks you would expect to find on English sterling silver – they are as follows:

• The lion passant (denoting the silver is sterling ie 925 or 92.5 per cent)
• The maker’s mark that identifies who made the item
• The assay mark showing where the item was assayed; there are different emblems for different assay offices
• The date letter, which indicates the year the piece was made – there are hundreds, that’s why you should have your guide handy
• The duty mark, a sovereign’s head, which you will find only on silver made between 1784 and 1890

Once you understand these marks you’ll be able to tell the difference between sterling silver and EPNS immediately.  Although the latter used lots of marks on their products and tried to make them look like hallmarks they won’t fool you if you know your silver hallmarks.

Colley Shorter soon realised that he was looking at a fantastic marketing opportunity, there was not just the brandable personality of Clarice Cliff but also the concept of ‘by women, for women’ which would appeal to his predominantly female customers.  Each piece has the inscription ‘by Clarice Cliff’ on its base and in 1930 Clarice was made Art Director of the Newport Pottery, the first woman in the Potteries to hold such a high position.

The original Bizarre tableware was traditionally shaped as the underlying pieces were still in the shape of the Victorian fashion.  Once this had all been used Clarice was able to design shapes that suited her modern, Art Deco inspired patterns.

While the Athens and Globe shapes were still fairly traditional her Conical shape was based on triangles, pyramids and cones and was very differnt from anything else on the market and therefore proved a huge success.  Other potteries such as Shelley and Burgess & Leigh (the makers of Burleigh Ware) soon produced their own variations of the Clarice Cliff design.

Teasets were among the most popular pieces and these were sold at modest prices for regular use.  Particularly popular were the Clarice Cliff Early Morning or Tea for Two sets, comprising two cups and saucers, a teapot, milk jug, sugar bowl and one side plate.  These were designed for husband and wife to have early morning tea and toast or biscuits – hence the one plate for sharing.  These Early Morning sets were popular wedding gifts.  If you can find one of these in good condition you would probably have to pay several thousand pounds.  Among the most popular of Clarice Cliff’s teaware shapes is Stamford  with its charateristic flate-sided teapot and solid handled cups.  The angles and curves are the epitomy of the Art Deco style and the flat-sided teapot was ideal for displaying the Clarice Cliff pattern.

Clarice Cliff did not restrict herself to teaware, her pieces also include chargers, large jugs, pitchers and vases as well as figurines, maskes, bookends, candlesticks and beakers.  These were made in smaller quantities and were more expensive.  They are therefore quite difficult to find and command a high price.  The larger pieces provided a good canvas for Clarice Cliff patterns and they are highly desirable, especially the Lotus and Iris shapes – you would have to part with several thousand pounds if you can find one.  A very fine example of Clarice Cliff’s work is the Conical sugar sifter.  If you can find a good example in a rare pattern it would cost over £1,000.

One of the instantly recognizable features of Clarice Cliff’s pieces is its golden coloured glaze.  This was known as Honeyglaze and was made by Wilkinson through the addition of one percent iron oxide to a clear glaze.  Most of Clarice Cliff’s work was glazed with Honeyglaze before being decorated.  The coloured enamels were painted on after the piece had been glazed and fired, it was then fired again to harden the enamels.

Clarice Cliff designed around 2000 patterns, too numerous to mention here, but considered to be among her finest are Crocus, Red Broth, Luxor, Orange Melon and Trees and House.  The prices for Clarice Cliff have increased considerably over the last twenty years and you are unlikely to find a bargain.  The fact that the public has been made aware of the value by popular TV antiques programmes is keeping the prices high.  If you want to start collecting Clarice Cliff you should do some research and gain some understanding of her work.  I would also suggest that you buy pieces from reputable dealers, as there are quite a few fakes on the market.