Rupert Harris (UK)

Exhibit : Postcards from Bryant and May

I am Rupert Harris. I live a few miles from the old Moreland’s Match factory in Gloucester, England which Bryant & May acquired in 1913 and was closed in 1976. I have been collecting Bryant & May Hardware and Ephemera for over 40 years. My mother was a passionate collector and I very often accompanied her around the antiques shops, fairs and markets. At the tender age of ten she encouraged me not only to look out for items that may be of interest to her but also to follow her footsteps and become a collector myself; but of what? 

The Moreland’s factory was a landmark that we often passed and was very visible especially at night. For many years including after the closure of the match factory, the neon signage above the main entrance gate continued to brighten the night sky. Still there today, it comprises a pair of crossed matches and went through an ongoing looped sequence of both brown wooden splints lighting up, then the two red match heads, which then both burst into a flickering flame before brief darkness and the repeat of the cycle. 

Some brief research established that Gloucester had previously been the second largest manufacturing centre in the country behind London. The decision to become a phillumenist had been made and the collecting began. Within a year the wise decision, owing to budgetary restriction (pocket money, parent generosity) led to the narrowing of the collection to items bearing the words upon them of ‘Bryant & May’.

Harlequin Matches Third Edition
Harlequin Matches Third Edition

 

 

In 2008 I published a book about Bryant and May’s range of Harlequin Matches which is now in its third edition which adds in even more information about these fantastically colourful matchboxes.

 

 

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Ian Macilwain (UK)

Exhibit : Distilling the essence of a Country onto a label

Scottish Bluebell label 50 x 112 mm, ca. 1961
Scottish Bluebell label 50 x 112 mm, ca. 1961

I was propelled into collecting labels at the age of 12 when, leaning over a fence waiting for the school bus I set eyes on a box of Scottish Bluebell which attracted my attention (I was in Hampshire and this was a rare label to me probably dropped by a soldier, as it was an Army camp). My friend who was with me wanted it for his collection but I decided somewhat selfishly that it would make a good start to mine !!

I joined the BML&BS in 1970 and was a member for ten years, lapsing when I had a wife and children. I specialised in Eastern Europe and had many collector pen pals in The DDR, Czechoslovakia and Poland.

The hobby has never lost its allure and now that I am retired I am revisiting the fantastic archive which the collection had become. Every label carries a story and is like a time capsule to my childhood years.

Maybe with advancing years I will re-find the fascination that I used to have for this unusual hobby. Somewhat ironically I have lived in Scotland for half my life surrounded by more Scottish Bluebells than I would care to count.

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Distilling the essence of a Country onto a label

French matchbox labels, 1970s

Exhibitor : Ian Macilwain

The appeal of matchbox label collecting for me has always been derived from the way in which different countries and cultures represent the same thing.

The style, colour, use of a particular font and level of complexity all reveal something of the national psyche condensed into an extremely small space.

 

Polish matchbox labels, 1970s

 

 

Choosing a subject to demonstrate this was difficult but national costume is a common theme, reflected by the French in a simple classic design and by by the Poles in a colourful rhythm as if dancing.

 

 

 

I have many other countries in my collection but for this Exhibition I have chosen those which most appealed to me. I hope they capture your imagination as they did mine. Click on an image below to enlarge it and see the national costumes of each Country.

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19th century scrapbook albums, 21st century treasure

A page from a late 19th century scrapbook album

Exhibitor : Jesús María Bollo García

Click here for Spanish language version

 

When a Phillumenist comes across 19th century scrapbook album they have in their hands a real treasure chest for two reasons : on the one hand it contains many matchbox labels that are not usually found in the shops or in auctions, and, in addition, an opportunity to spend many hours enhancing their own collections while looking through the beautiful scrapbook.

The most elaborate scrapbook albums (and therefore the real treasures) feature covers either of leather or other materials with sewn and well-bound pages, like the one below.

Who made the scrapbook albums ?

In order to understand how and why these scrapbook albums appear we need to go back to the time when they were made : a world completely different from our current one, in which there was neither light, nor leisure, nor universal free education, nor a living wage, etc. etc.

Workers at Pascasio Lizarbe’s match factory, late 19th century. Photo credit : Archivo Luis Tarazona Vallejo

We need to bear in mind that in the late 19th Century children and young people began working at a very early age and with schedules that would be considered completely unacceptable today (just look at the photos that exist, for example; of the workers of the Pascasio Lizarbe Factory, mostly young girls). A high percentage of the population was illiterate and families had few belongings, with little time to devote to leisure (in Spain the Sunday rest day wasn’t implemented until 3rd June 1904). The typical workday was 14 to 16 hours a day, which was logically not really a stimulus to devote time and money to creating a scrapbook album of matchbox labels.

My conclusion therefore is that the people who made these albums must have come from families of a medium or high status, because they needed money and they needed time for such a detailed artisan undertaking.

How were the albums made ?

There are many different examples of scrapbook albums, but they all start with large sheets of paper or card onto which the labels are glued. Sometime the labels were laid out in order and sometimes just as they were acquired rows, like these :

But often the “Phillumenist” used their own imagination to enhance the collection by incorporating other items of common “ephemera” such as die-cut cards, prints, chocolate cards. And sometimes they would add their own pen-and-ink drawings :

The creativity, skill and attention to detail of the maker was almost limitless, as these examples show :

As you can see from the first to the last photo the treasure contained in any scrapbook album speaks for itself.

Good luck searching, and I hope you also find your on treasure.

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Three Stars in the Icelandic night sky

Three Stars boxes on sale in Iceland today

Exhibitor : Gísli Jóhann Sigurðsson

Three Stars is a well-known brand around the world, and is still on sale here in Iceland on boxes made by Swedish Match. Over 20 years ago they made a series of skillets with text in Icelandic about nature conservation, which were very popular.

Three Stars is one of the earliest brands that I collected, and it still makes me think about the stars in the Icelandic night sky.

 

Orion’s Belt

School book about Astronomy

When I was a boy sitting in a dark clear winter night on the steps of my home I would gaze up at the sky in wonder. We had been given a map book at school and on the back of it was a star map with instructions on how to use it : look north, hold the book over your head so that the name of the month is read directly through the eyes, and the map will show the starry sky at 10 pm (22.00).

Orion’s Belt. Photo credit: cafuego on Visualhunt

Back then I knew the three bright stars which form Orion’s Belt by their Icelandic name Fjósakonur (Cowgirls).  As I sat on the steps, those three stars were over the peaks of the mountains beyond the fjord, and because I knew these three stars in the sky it was easy to find and learn about the stars around them using this map.

Later I learned that the three stars in Orion’s Belt are called as Alnitak, Alnilam and Mintaka.

 

Summer in Iceland

In the summer here in Iceland the evenings are bright and there is no need for electric lights. On the longest day (21st June) the sun goes down almost to the sea and rises again.  The moment when it is almost down and starts to rise again is very special, and magical.

My hot tub
My summerhouse

Unfortunately there is now so much light pollution in town that you have to drive outside the city to see the stars (or in winter to see the northern lights).

Luckily I have a wonderful summerhouse in the country which I built many years ago with my two brothers in law, where we can lie in the hot tub in the evenings and search for the three stars in the sky.

 

Here is the set of Three Stars skillets with Icelandic text which were on sale in Iceland in the 1980s, together with examples of the same designs used in Norway and Denmark at the same time. Click on an image to enlarge it.

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Blue Cross brand, made in England

Blue Cross matchbox labels made during WWII by J John Masters in London

Exhibitor : Pat Stevens

Early in the 20th century three brands, the Blue Cross, Red Cross and White Cross were imported into the UK from the Nitedals factory in Norway. By 1918 only Blue Cross were imported and over the following years the brand became well established and had several different countrywide promotion campaigns.

During the second world war the production of matches in the UK was government controlled with imports stopped. The J John Masters factory in Barking, near London, produced two runs of Blue Cross labels in order to keep the brand alive. 

In 1981 Nitedals Match Co. stopped trading in London with Blue Cross imported from Sweden for a few years before stopping altogether.

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Surcharges on Portuguese Matchboxes

1911 matchbox with surcharge sticker

Exhibitor : Joel Viana de Lemos

Click here for Portuguese language version

 

It was not until 1895 that Portuguese matchboxes displayed the selling price to the public, and this was because the government stipulated that the newly created national concessionaire Companhia Portugueza de Phosphoros (CP) did so.

1911 surcharge sticker for 2 centavos

With the establishment of the Portuguese Republic on 5th October 1910, the Portuguese currency was renamed from the Real to the Escudo. This meant that CP, and possibly some distributors/sellers, had to change the price of the labels and matchboxes they had in manufacture, distribution or storage. They used Surcharge Stickers and Surcharge Overprints to update the price on their boxes to that new currency. The Escudo was divided into 100 centavos. 

 

1920 matchbox with overprint of 8 centavos in blue
1920 matchbox with overprint of 8 centavos in black

 

In a period of strong inflation between 1918 and 1923 significant and periodic price changes were authorized, which implied the same need  to update the price of labels and matchboxes that were in manufacture, distribution or storage.

 

This time the factory decided to overprint the old price with figures made by steel punches using black oil ink, and the distributors/sellers stamped the boxes in blue ink using numerals made in rubber and stamp pad.

 

In the late 1970s and 1980s there were again high rates of inflation with consequent price increases. The two match factories then in operation in Portugal – the Sociedade Nacional de Fósforos (SNF) and the Fosforeira Portuguesa (FP) – were faced with the same problem as their predecessors, but they had to update bookmatches as well as card matchboxes (skillets), and decided to overprint the new approved price over the old one.

Since 1990 the selling price is no longer displayed on matchboxes or bookmatches in Portugal.

Here is a selection of surcharge stickers, surcharge overprints, matchboxes, bookmatches and skillets showing the range of methods used by the factories to update the prices on their stock. The Catalogue number of each item is also indicated (e.g. CP 73). Click on an image below to enlarge it.

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Scheinost cylindrical boxes

Two complete Scheinost boxes, late 19th century, 5 cm high x 2.5 cm diameter
Two complete Scheinost boxes, late 19th century, 5 cm high x 2.5 cm diameter

Exhibitor : Vladimír Steiner

The main focus of my collection is matchbox labels from the match factories situated in my region. Matches were first made in Czechia in the mid 19th century, and the two most successful factories were in the town of Sušice near Pilsen which were owned by Mr. Vojtěch Scheinost and Mr. Bernard Fürth respectively.

Photo credit : nezjištěn (neznámí), Public domain, via Wikimedia Commons

 

The subject of this Exhibit is boxes which Mr Scheinost made for export to Serbia, in the middle of the 19th century. The boxes are cylindrical, with labels attached around them, and are now very rare.

In the effort to strengthen the export to Serbia, Mr. Scheinost registered 11 trade marks in the years 1876-77 for labels that showed important events from the history of the Serbian nation. The upper part of the labels have writing : Narodna palidrvca (= National Matches).

Scheinost boxes were exported for many more years to Serbia and that is why more variations of this set exist.

 

 

Here are some cylindrical Scheinost labels from my collection, click on an image below to enlarge it and see the labels.

In more recent history, in 1878-79 the Balkan countries broke free from Turkish domination with help of Russia and the independent Kingdom of Serbia was founded.

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Porcelain Matchstrikers by Conta and Boehme

A pair of multicoloured Conta & Boehme porcelain matchstrikers #4248. Glazed finish.
A pair of multicoloured Conta & Boehme porcelain matchstrikers #4248. Glazed finish.

Exhibitor : Alan Downer

Friction matches were an essential item for obtaining a “light” (flame) during the second half of 19th and throughout most of the 20th century. They are small and could be dangerous if not suitably handled or stored. This led to many designs of match holder, produced in which to store them. This exhibit shows one such type, Porcelain Matchstrikers made by Conta & Boehme at their factory in Poessneck, Germany. This factory was responsible for many porcelain pieces, but my interest is in their matchstrikers.

The matchstrikers were designed to hold a quantity of strike-anywhere type matches, in common use, which could be struck on any rough surface. To be classed as a “matchstriker” they must have a ridged area onto which it was intended to light a match and a receptacle to hold matches. Some models were produced as a “pair” and some were “single”. Most have a factory mark on their base, together with a model number and in some cases a mark of the artist that painted them. Many of them are multicoloured and include a small painted flower in their design.

Some models can also be found in ‘blue and white’ and in ‘green and white’. Some models were made in various colourways and in different sizes. Some are captioned in gold, blue or black script, although the majority of the matchstrikers were not captioned. Most are highly glazed. They were highly fashionable at one time, but being of German origin fell from favour following the wars with Germany in the 20th century. Over the years many were removed from display in homes in Britain and the United States of America where they were most popular. Being made of fine white porcelain, then decorated and glazed, they can be easily damaged. The years have not been kind to many of the survivors, suffering chips, breakages and poor repairs. There are many models to be found, and a collection of them, especially in perfect condition, makes a fine display.

The front and back views of a pair of multicoloured Conta & Boehme porcelain matchstrikers #4288. Note, the painted flower in their design, receptacle for holding matches and ridged area for rubbing strike-anywhere type matches. Glazed finish.
A “single” model, caption “The Daily News” #4277. Glazed finish.

 

 

 

 

 

The term “Fairings” is often used for Conta & Boehme pieces. However, the term was coined for the captioned Porcelain pieces. Most of the Porcelain Matchstrikers made by Conta & Boehme are not captioned. “Fairings” are usually the earlier pieces given at fairs as prizes. I believe that the Matchstrikers were mainly later editions, probably sold mostly in shops in Britain and probably also exported to America to be sold in shops. Therefore, I do not usually refer to them as “Fairings”. This term is a bit like “go-to-beds” which is a term used later than the production of the items. A catchy, fashionable term, but not exactly a correct description.

The porcelain factory in Poessneck of Johnann Tobias Albert started to produce successful pieces in 1802, after a couple of years of experimentation. The factory was sold to Albrecht (Albert) Wilhelm Ernst Conta and Christian Gottlieb Boehme in 1814. The factory continued to produce porcelain pieces under the name “Conta & Boehme” until it closed in 1931. The production dates of Conta & Boehme Porcelain Matchstrikers is unclear, but which would be after 1850 and most likely up until the factory closed in 1931. The earlier Matchstrikers produced exhibit Victorian influence in their design.

Here are some Matchstrikers from my collection, click on an image below to enlarge it and see the Matchstrikers.

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