Tuesday, November 1, 2016

Random Thoughts and Miscellany on Steiff Markings, 1897 - 1958


Since the inauguration of Steiff marking their products, there have been many changes made in keeping with the times. One primary business reason doing such is to keep their competitors from counterfeiting Steiff’s trade identity. This was very prevalent in Germany during the first decade or two in the 1900s. Competitors would create teddy bears that looked very similar to what Steiff offered. To prevent mistaken identity between one brand and the next, Steiff patented its “Button-in-Ear”, and “Tag-in-Ear”.

From 1897 to 1904: Assorted tags showing the elephant with a raised trunk forming the “S” in the abbreviation “M. St.” (for Margarete Steiff) are attached to the bodies of animals.

From 01/11/1904 to 1905: The first Button-In-Ear was used, namely the use of the elephant button.

From 1905 to 1906: A blank button was used. White tag accompanied this button with the article number printed on it along with the German word, “geschütz” from time to time. Though the blank button was used through 1906, the illust5rate white tag was attached up to approximately 1908.

From 1906 thru 1924: Button with name “Steiff” in upper-case letters are used. The second “f” in Steiff is extended into a long arc. Also, a white tag with the printed article number and “Original Steiff” are used.

From 1921 to 1927: A special red or blue plastic tag was affixed to the Steiff Schlopsnies dolls as a means of identification.

From 1923 through 1926: Button described as above, white tag with printed article number were used. Additionally, “Steiff Original geschütz” (patented) and “Germany Importé d’ Allemagne” were included on the Tag-in-Ear.

From 1926 through 1928: Pendant in assorted sizes were used, with white paper/cardboard interior and metal ring exterior, featuring black lettering.

From 1926 to 1934: Button describe as above, red tag with printed article number. Additionally, “Steiff Original geschütz” (patented) and “Made in Germany” were printed on said Tag-in-Ear.

From 1928 thru 1952: Red edged pendant featuring angular yellow bear’s head. Additionally, the interior featuring pale pink and red lettering.

From 1934 through 1943: Button described as in “From 1926 to 1934”. Yellow tag was used as in “From 1926 to 1934” with identical messaging as the red tag, “Steiff Original geschütz”, abbreviated to “Steiff Orig. gesch” from time to time.

From 1936 to 1950: Button-in-Ear featured a shortened arc from the second “f” in Steiff. Tag-in-Ear as described in “From 1934 through 1943”.

In the early 1900s, Steiff rigorously defended its brand by patenting their Button-in-Ear, Tag-in-Ear, and their pendant, soon to be called hang tags. Because many of Steiff’s competitors (especially in Germany in the early 1900s) exactly or extremely closely duplicated the tag, button or pendant to take advantage of Steiff’s popularity, Steiff began to patent these three items plus many of their design features. Sometimes these patents were ignored by Steiff’s competitors, with Steiff having to go back to court to assert its legal rights.
 

The following is the breakdown of the article numbers of Steiff ear tags:

 

Article Numbers on Steiff ear tags

1905 - 1958

 

1st Digit (thousands) – position / nature

1 = standing

2 = lying

3 = sitting

4 = sitting up / begging / standing on back legs

5 = jointed

6 = young

7 = caricature

8 = ball jointed neck

9 = with clock-work mechanism

 

2nd Digit (hundreds) – type of material

1 = felt

2 = short-pile plush / coat plush

3 = mohair

4 = velvet

5 = lamb’s wool plush / wool plush

6 = cellulose / artificial silk plush (up to 1955) / dralon plush (from 1955 on)

7 = cotton fabric / oil cloth

8 = wood

9 = fur / metal

 

3rd & 4th Digits (tens and ones) – size in cm, e.g.

10 = 10 cm

17 = 17 cm

35 = 35 cm

 

Digit after the comma – equipment / outfit

0 = without wheels

1 = soft filling / also with squeaker

2 = automatic voice (growler) / double squeaker / cord-activated voice

3 = music box

4 = simplified

5 = removable saddle

6 = tails / clothing

7 = muzzle / rucksack

8 = steering

9 = removable rocker

b = hot water bottle (waermflasche)

ex = eccentric wheels (Exzenterraeder)

H = neck mechanism / tail turns head (Halsmechanik)

ST = steering (Steuerung)

br = brown

c = caramel

g = gold

w = white

M = girl (Maid)

B = Boy (Bub)

Notes:

Jointed animals are measured sitting down
 

Much to Steiff’s chagrin, the European Court is of the opinion that the button and tag are no longer recognized as a trademark by the typical consumer. Steiff has used both to the point of being ubiquitous, and many Steiff patrons are no longer able to separate Steiff from its competitors based on their button and tag features. 

 

Harald Mallwitz

General Manager

Coppell Collectibles, L.L.C.

Coppell, TX

Consultants to the Teddy bear world

Teddy bear does not come to life until he is loved, but once loved he will live forever

Thursday, September 1, 2016

Glossary of Stuffed Animal Terms


Arctophilia: Etymology, From Ancient Greek ἄρκτος (arktos), “‘bear’”) + φιλία (philia), “‘affection’”)

love of bears, collecting teddy bears (arctophily)

 
Alpaca: a silky wool fabric made from the fleece of the alpaca, a domesticated South American hoofed mammal with a long, soft, silky fleece; related to the llama. Alpaca (Vicugna pacos) is a domesticated species of South American camelid. It resembles a small llama in appearance.
 

Angora goat: An Angora goat is a domesticated goat bred for its extremely long, silky hair, which can be sheared twice annually and spun into mohair. The original Angora goats come from Angora, a region of Turkey, although today they can be found in many regions of the world, and some breeders have crossed the breed with other goats to encourage more hardy characteristics and to create colored Angora goats, with fur in a variety of shades including brown, gray, and black in addition to the classic white.
 

Antique: generally speaking, an object of considerable age valued for its aesthetic or historical significance; in the antiques trade, objects more than 100 years old.
 

Appraisal: an expert estimation of the value, quality and other characteristics of something.

 
Arctophile: a person who collects bears; from the Greek arktos, meaning bear.

 
Artist Bear: a bear from an original pattern designed and made by hand in a limited edition or as a one-of-a-kind.

 
Auction: a publicly held sale at which property or goods are sold to the highest bidder; see also: Christie’s and Sotheby’s.

 
Auction Value: estimated price for a piece to sell at auction (either at an auction house or through an online auction such as eBay); generally less than insurance value and less than retail, but more than wholesale; contingent upon the quality of the auction.

 
Bear Museum, The: world’s first teddy bear museum in Petersfield, Hampshire, England, founded by Judy Sparrow in the early 1980s.

 
Bearabilia: bear-related items, typically non-plush (e.g., plates, ornaments and figurines).

 
Bearaphernalia: see bearabilia.

 
Berryman, Clifford: Political cartoonist who, inspired by President Theodore Roosevelt’s refusal to shoot a bear while on a hunt in Mississippi, drew the political cartoon captioned “Drawing the Line in Mississippi” that appeared in the Nov. 16, 1902, edition of The Washington Post; according to legend, the cartoon inspired Morris and Rose Michtom to create a toy bear in the United States and name it “Teddy’s Bear”.

 
Boot-Button Eyes: see shoe-button eyes.

 
Boston, Wendy: developed and patented the first lock-in safety eyes for bears in 1948; created the first un-jointed, machine-washable teddy bear in 1954.
 

Bruin: a bear.

 
Bull, Peter: actor who, in the 1960s, introduced his philosophy of “bear awareness” and helped to spur an excitement for bear collecting; he went on to write the book Bear With Me, launching his career as an ambassador for the teddy bear.

 
Center Seam:  refers to the seam down the center of some bears’ faces; to use material economically Steiff cut six teddy bear heads from one length of mohair, and a seventh head was then cut in two pieces and sewn together forming a seam down the center of the bear’s face; artists and bear makers still employ this technique at times.

 
Certificate Of Authenticity (COA): a document that accompanies a piece denoting the name of the manufacturer, artist, date, size of the edition, etc.

 
Christie’s: first auction house to host a sale, in 1993, entirely devoted to teddy bears.

 
Collector’s Price: generally similar to the fair market value, but higher for items that are rare or harder to acquire.

 
Cotter Pin: a two-pronged metal pin used to fasten the disc joints that allow a teddy bear to move its arms, legs and head.

 
Cub: the young of a bear.


Darn (to darn something): to mend a hole in woven/knitted fabric by interweaving yarn with a needle.

 
Designer: a person who makes or designs patterns.


Disc-Jointed: bear’s head and limbs are attached with discs and pins; Steiff’s first disc-jointed bears appeared in 1905 and a similar method is still used by many bear makers today.
 

Distressed: refers to material made or processed to appear faded or played with, giving it a vintage and worn appearance.
 

Double Jointed: generally refers to the joints in some teddy bears’ necks when two joints are used for extra pose ability.


Dry Rot: a decay of bear’s fur or stuffing, resulting in its becoming brittle and crumbling to a dry powder, caused by various fungi.

 
Electric-Eye Bear: lightbulbs were placed in this American-made bear’s eye sockets, and a battery pack in the body lights the eyes when the stomach is pressed; produced in the early 1900s embroidered nose: nose is stitched with thread or floss; the vertical and horizontal stitching and color of the thread can sometimes help to determine the bear’s maker.


Ephemera: objects in the collecting world that were originally considered to be ephemeral by nature, i.e., not made to last, such as postcards or sheet music.
 

Excelsior: fine wood shavings or wood-wool used to stuff early teddy bears; has a tendency to break down and soften with time so it is not used as often in modern bears, with the exception of some replicas and artist-made bruins. See wool-wool.
 

Fair Market Value: price currently being paid for the same item in equal condition.
 

Faux Fur: plush fabric made of artificial fibers; also known as synthetic fur.

 
Felt: nonwoven typically woolen fabric frequently used for a teddy bear’s paw and foot pads.

 
Fiberfill: synthetic fibers, such as polyester, used as a filling.

 
Foot Pad: covering on the sole of a bear’s foot, often made from felt or suede; see also: paw pad.

 
Foxing: foxing is a term describing the age-related spots and browning seen on vintage paper documents such as books, postage stamps, certificates, and so forth. The name may derive from the fox-like reddish-brown color of the stains, or the rust chemical ferric oxide which may be involved. Paper so affected is said to be "foxed."
 

Golden Teddy Award: recognizes the best teddy bears and soft-sculpture animals created by artists and manufacturers; a panel of distinguished judges in the field narrows the entries to six or fewer creations in each category; winners are selected by Teddy Bear Review readers through a ballot voting process.

 
Golliwogg: from Florence Upton’s tales about a mischievous black doll and his Dutch wooden cohorts; often referred to as Golly; first pairing of Teddy and Golly was in the book The Teddy Bearoplane by May Byron (Acme Tone and Engraving Co., England) in the early 1900s.
 

Golly: see Golliwogg.

 
Good Bears of the World: nonprofit organization founded in England in 1969 by James T. Ownby “to bring teddy bears to those who need and want them”.
 

Growler: a “voice box” fitted in a bear’s tummy or side that is activated by tipping the bear back and forth to create a growling sound.


Gusset: the wedge-shaped piece of fabric between the two head pieces on most bears.

 
Gutta-Percha nose: Some other early bears had noses made of a natural wax type substance called Gutta-Percha. This was obviously quite fragile and came off relatively easy over the years no doubt swallowed by some children. Few examples of a Gutta-Percha nose exist today in tact with the exception of a few early Steiff bears. (See PB28).


Hangtag: a thin card tag attached to a bear or hung around its neck to identify the manufacturer; see also: swing tag.

 
Heirloom: family possession handed down from generation to generation.

 
Hug: a collection of teddy bears.

 
Hump: a fleshy protuberance on the back of an animal, most often seen on early bears.

 
Ideal Novelty & Toy Co.: first U.S. bear manufacturing company, founded by Morris and Rose Michtom in 1903; see also: Michtom, Morris and Rose.


Inset Muzzle: nose and snout made from a separate, often different, piece of fabric from the rest of the head and face.
 

Insurance Value: generally twice the current market value, sometimes referred to as replacement value.

 
Jointed: generally discs are inserted at each of the bear’s arms and legs and at the neck allowing movement.
 

Kapok: a lightweight, hygenic and soft stuffing material mainly used in the 1920s and 1930s, sometimes used in combination with excelsior.
 

Limited Edition: offered in a restricted number.

 
Materials: in the antiques and collectibles business, refers to what an object is made from, such as mohair, felt or excelsior.

 
Michtom, Morris and Rose: inspired by Clifford Berryman’s cartoon, created “Teddy’s Bear” in 1902; founded the Ideal Novelty & Toy Co. in 1903; see also: Berryman, Clifford and Ideal Novelty & Toy Co.
 

Micro-Mini: opinions vary as to what should be considered a “micro-mini” bear, but typically a bear under 2 inches tall is regarded as such.

 
MIB: Mint In Box, a collector's abbreviation for an item in mint condition.

 
Miniature Bear: opinions vary as to what should be considered a “miniature” bear, but typically a bear under 5 inches tall is regarded as such.

Mohair: a silky textile produced from the hair of the angora goat. It is most often spun into a thread that can be woven, knitted, or crocheted depending upon the application. Mohair is durable, warm, insulating, and light. It also has moisture wicking properties that carry moisture away from the skin of the wearer. The hair of the Angora goat has been used to produce textiles for centuries, and the term mohair entered English usage from the Arabic mukhayyar, referring to a type of woven head cloth.

 
Mottled: to mark with spots or blotches of different color or shades of color as if stained

In describing a teddy bear, “he was mottled brown.”
 

Muzzle: snout.
 

Nap: soft or fuzzy surface of fabric, such as mohair; changing the direction the nap lies when making a bear changes the bear’s appearance.

 
Needle Felting: the process of poking into natural fibers with relatively long needles that have small barbs on them; “dry” felting technique is used to create soft-sculpture bears and other animals and is often incorporated into designs to add detail on paw pads and faces.

 
NIB: New In Box.

 
One Of A Kind: a unique design of which no others have been created (OOAK).

 
Ownby, James: credited as the founder of Good Bears of the World.

 
Paw Pad: covering at the end of a bear’s arm, often made from felt or suede; see also: foot pad.

 
PB55: name of the first jointed bear created by Richard Steiff in 1902; the “55” signifies the product size (55 cm), the “P” stands for plush and the “B” for beweglich, German for “jointed”; Steiff introduced a replica in 2002.
 

Pile: the surface of a fabric with cut or looped upright yarns, or one of the strands in such a surface; mohair comes in a variety of “pile” lengths.

 
Plush: sometimes used to refer generally to non-mohair manufactured bears; fabric of silk, rayon, cotton or other material with a thick, deep pile.

 
Poly-fil: brand name of a popular polyester stuffing used in bears; see also: fiberfill.

 
Port, Beverly: known as the “Mother of Teddy Bear Artistry,” she coined the term “teddy bear artist” and her designs would become the bridge between bears manufactured only as toys for children and the modern age of soft-sculpture bears created as originals for collectors; in 1976, she became the first journalist to devote an entire column to teddy bears; the stories were written with the help of her little companion bear, Theodore B. Bear.

 
Provenance: (1) the history of ownership of a bear, including who owned it, when, where and for how long—all of which, if known and verified, often adds significant value to an antique or collectible; the records or documents authenticating such an object or the history of its ownership; a photograph of a bear with a previous owner is an example. (2) Provenance — the known history of a bear, which may include original photos from the turn of the century with the bear and owner — can increase value by up to 50 percent. The documentation and story of an item is a valuable asset.


Recycled Fur: real animal hide that is repurposed from a coat, blanket or other item and made into a new item such as a teddy bear.

 
Repair: to bring to a good or sound condition after decay or damage; see also: restore.

 
Replacement Value: see insurance value.
 

Replica: a copy of an original, openly advertised as being a copy; in the 1980s manufacturers, such as Steiff, began making copies of their antique teddy bears; replicas are often made in limited editions.

 
Reproduction: see replica.
 

Resale Value: price to sell an item; usually slightly lower than fair market value since it is a “quicker” sale term.

 
Restore: to bring back to a former or original condition; see also: repair.

 
Rexine: the trade name for a leather cloth made by covering a woven cloth with cellulose nitrate; often used on bears’ paw pads and foot pads in the mid-1900s.


Rod Bear: a bear with metal joints that run through the body; style of jointing was introduced by Steiff and used only in their very early bears.

 
Roosevelt, Theodore: the teddy bear’s namesake, 26th president of the United States; see also: Berryman, Clifford and Michtom, Morris and Rose.

 
Sculpted Nose: noses formed from polymer clay sometimes seen on artist bears.

 
Sealing Wax: sometimes used to make molded noses for teddy bears.

 
Secondary Market: collectibles sold by private collectors or specialty “secondary market” retailers, not the original retailers.

 
Shoe-Button Eyes: black shoe buttons were typically used as eyes for the earliest teddy bears.

 
Soft Sculpture: refers to three-dimensional art such as teddy bears and other animals created with fabric or fibers.

 
Sotheby’s: London auction house that, in 1982, held the first collectibles sale to include teddy bears.

 
Squeaker: a voice box, often fitted in a teddy bear’s tummy, that emits a sound when pressed.
 

Steiff, Margarete: began Margarete Steiff GmbH in Germany in 1880; the company is credited for creating the first jointed mohair teddy bear.

 
Steiff, Richard: nephew of Margarete Steiff, he is credited for designing the first jointed mohair teddy bear in 1902 in Giengen, Germany.

 
Stick Bear: an inexpensive bear, with thin limbs, made in the United States, mainly during the 1930s.

 
String Jointed: bear’s limbs and/or head are attached with string or thread rather than discs; the first Steiff teddy bear was jointed with this method.
 

Sub: stuffing made from cotton waste and used during World War II when other materials, such as kapok, were not available.

 
Swing Tag: a thin card tag attached to a bear or hung around its neck to identify the manufacturer; see also: hangtag.

 
Tableau: (plural: tableaux) a picturesque grouping of objects. See vignette.
 

Tea-Dyed: material is soaked in tea to give it an old or vintage look.

 
Ted: short for teddy bear.

 
Theodore Society: organization dedicated to the promotion and preservation of the teddy bear.


Ultra suede: a brand of washable, synthetic suede-like material frequently used for the paw pads and foot pads on artist bears.

 
Upholstery Velvet: a woven fabric with a very short pile, often used to make miniature bears or for paw pads and foot pads.
 

Ursa: Latin for bear.

 
Ursine: of or pertaining to a bear or bears.

 
Vignette: see tableau.

 
Vintage: characterized by excellence, maturity and enduring appeal; classic.

 
Webbed Claws: four or five large stitches that form the paw claws and are linked with a strand of thread to produce a webbed effect.

 
Wobble Joint: a very loose joint in a bear’s neck that causes the head to bob.


Wood-Wool: see excelsior.

 
Wool Batting: wool fiber in batts or sheets that is used in needle felting; see: wool roving.

 
Wool Roving: wool that has been twisted, attenuated and freed of foreign matter in the stage before its conversion into yarn; used for needle felting, it is more refined than wool batting. See wool batting.

 
Yes/No Bear: first introduced by the German bear company Schuco in 1921, the bear has a mechanism in it causing it to nod its head “yes” when the tail is moved up and down and shake its head “no” when the tail is moved side to side.

Monday, August 1, 2016

Mohair: From Angora Goat to Exquisite Fiber


Many of you have undoubtedly heard of Mohair, but may not know what it is, or where it comes from. The following is an introductory to Mohair with some facts few may be aware of. Yes, there is a Texas connection to your Mohair Teddy Bear.

 
mohair: http://www.wisegeek.com/what-is-mohair.htm

Mohair is a silky textile produced from the hair of the angora goat. It is most often spun into a thread that can be woven, knitted, or crocheted depending upon the application. Mohair is durable, warm, insulating, and light. It also has moisture wicking properties that carry moisture away from the skin of the wearer. The hair of the Angora goat has been used to produce textiles for centuries, and the term mohair entered English usage from the Arabic mukhayyar, referring to a type of woven head cloth.

  

Mohair Council of America

From the importation of a small flock of seven does and two bucks, the United States has developed into one of the two largest producing nations in the world with an annual production of two million pounds. The other principal mohair source is South Africa and Turkey. Texas, with a herd of 200,000 goats is the primary mohair region of the United States, producing 90% of the total US mohair. The main region is on Edwards Plateau in Southwest Texas, where the mild dry climate and hilly, brushy terrain are particularly well suited for raising Angora goats due to their dry mountain origin. Additional range and animal husbandry studies now allow Angora goats to be raised in many states of the Union.

 
 


•Mohair yarns & fabrics have an outstanding luster and shine.

•Mohair fabrics are wrinkle resistant.

•The mohair fiber has a high affinity for dyes.

•Mohair fabrics tend to be moisture resistant.

•Mohair fabrics are extremely flame retardant.

  

Mohair Care & Helpful Hints

Mohair is truly an exquisite fiber, and with its delicate appearance it is often a surprise to discover just how durable and hard wearing it can be. Like most luxury fibers, mohair requires proper handling, but when treated in the correct way it can last for a very long time.

For hundreds of years, the teasel has been used to raise the "nap" on mohair and records indicate that in Ancient Egypt a natural teasel was used to comb mohair cloth worn by pharaohs. Teasels are still grown in certain areas in England but nowadays it is more practical to use a small brush to groom both knitted and woven garments. It is very important that mohair be treated with extreme care - gentle coaxing rather than firm strokes is advisable to ease out tangle and create the lovely fluffiness for which mohair is renowned.

Mohair upholstery velours usually do not attract a great deal of dirt, as they are anti-static, and an occasional brushing of the pile will maintain its luster, but stains such as fruit juice and coffee need to be treated immediately with a dry foam cleanser or mild detergent. Liquor and spirit stains should be treated with pure alcohol, and when cleaned, the fabric may be rinsed in cool water, dried and carefully brushed in the direction of the pile. Any irregularities in the pile may be solved by steaming, using either an iron or the spout of a kettle, held approximately 6" away from the fabric.

Follow these simple guidelines and your mohair, whether knitted or in fabric form, will provide many years of enjoyment:

•Wash in tepid water and mild "hand washing" detergent.

•Gently squeezed out - never pull or wring.

•Lay flat to dry.

•Garment may be tumble dried in a pillowcase as long as a low and gentle program is used.

•Store garment in a cool dry place - Do not store in plastic.

•Do not spray perfume directly on garment, especially if it is white.

•To reduce shedding, place in dryer on "Air Fluff" setting and tumble dry for 10-15 minutes.

•Try to avoid friction spots such as shoulder bag or armrests.

•Do not keep knitted mohair garments on hangers - Fold and store on a shelf.

•To fluff up garment, lightly shake or gently brush down with hand.

If you have additional information or stories of angora goats or mohair, email us at Coppell Collectibles. It may be included in a possible future entry in this blog.

 

Harald Mallwitz

General Manager

Coppell Collectibles, L.L.C.

http://coppellcollectibles.blogspot.com/

email: harald.mallwitz@gmail.com

Friday, July 1, 2016

Adults Behave Better When Teddy Bears Are in the Room


Defend Your Research: Adults Behave Better When Teddy Bears Are in the Room

 
By Sreedhari Desai
 

The findings: Adults are less likely to cheat and more likely to engage in “pro-social” behaviors when reminders of children, such as teddy bears and crayons, are present.
 

The research: Sreedhari Desai and her research partner Francesca Gino had people play classic psychological games in which subjects controlled how much money other people earned and could earn more themselves if they lied. Half the participants were either in a room with children’s toys or engaged in children’s activities. Across the board, those participants lied less and were more generous than the control subjects.

 
The challenge: Could the simple presence of toys really make people behave more ethically? Should we stock boardrooms with stuffed animals? Professor Desai, defend your research.
 

Desai: In all our lab studies, we found that when subjects were near toys or engaged in activities like watching cartoons, the number of cheaters dropped almost 20%. In several studies we had participants play games in which they filled the missing letters to complete words. Those who were primed with childhood cues were far more likely to form “moral” words like “pure” and “virtue” than those who weren’t. In addition, people behaved better in the presence of childhood cues even if they weren’t feeling particularly happy.
 

HBR: To us, these lab games often feel completely detached from reality. How do you know people will behave better in the real world based on this?
 

Desai: Larry Lessig, my boss at Harvard’s ethics center, had the same question. He asked me point-blank, “Can you demonstrate this kind of effect in the field?” So we took KLD’s massive database of corporate information and cross-referenced it with geographical data, and we found that if companies had five or more day-care centers, nurseries, or kindergartens with a two-mile radius of their headquarters, their charitable giving increases significantly.
 

How can you link charitable giving to day-care centers in the area? There are a lot of variables at work here. We ran a regression analysis that controlled for firm-specific variables – size, age, risk, business performance. And we controlled for population density, because research has shown that people are somewhat meaner in very dense places. Even after controlling for all this, the more day-care centers and kindergartens there were, the more likely the company was to engage in charitable behavior. This was so exciting. For someone who does lab work, it was nice to see the same pattern of results in the real-world data.

 
What do you think is happening here? Our hypothesis focuses on the idea of purity. Child-related cues might unconsciously activate notions of goodness and drive us to get to a pure state and not want to pollute it. Think about it: As a parent, you behave differently around kids.  You don’t swear as much. You don’t want others to swear. But we are finding that it’s not only the presence of a child that makes us feel this way; it’s the idea of a child.
 

It just seems so unlikely that the mere presence of crayons would be enough to change complex adult behavior. There is mounting evidence. It’s been seen in primates. Male Barbary macaques use their infants in this way, carrying them around to encourage cooperative behaviors within the group, such as mutual grooming. Neuroscience has shown that oxytocin is released when people are exposed to kids, and oxytocin is associated with pro-social behavior.
 

Does it matter whether the toys present are for younger children or older ones? We struggled with that one a lot. We used cues that evoked children ranging from infancy to eight or nine years of age. We can safely say cues from that range seem to work. But what happens beyond it, we don’t know.

 
Is there a useful application here? Should we put children’s items in our meeting rooms and work areas? One suggestion is to put day-care facilities on corporate campuses. Not only would it make parents more relaxed about their kids, but it might also have a positive influence on everyone’s behavior. It could lead to a more ethical climate.  And yes, perhaps pictures of children in cubicles would encourage people to act better.  Or maybe elevators should pipe in child-related music rather than dull easy-listening music. What if we used colored ink sometimes or colorful fonts in messages?  Would we act more ethically? I don’t know, but it’s possible.

 
Where else do you want to take this research?  In all these studies we looked at financial, ethical, and pro-social behavior. We want to look at more nonfinancial areas. Would cues related to children of different races lead to more diversity, less discrimination, less stereotyping? The other direction is to see if childlike features trigger anything. Children have certain physical attributes – large eyes, big foreheads, small chins, and chubbiness. Do we subconsciously assume that companies headed by baby-faced CEOs are less likely to dump chemicals in rivers or commit fraud? To me, that’s the dark side. It’s the same with marketing. We’ve looked at lots of ads that use children in frankly bizarre ways – babies drinking soda, old cigarette ads with kids talking about what brand their daddy smokes, toddlers shaving, the “E* Trade baby.” There’s a fast –food chain whose logo is a girl with pigtails. In light of this research, what do we understand now about the effect these ads may have?
 

There’s an image of a teddy bear on this page. We’re doing our part to improve the behavior of business leaders. Put a teddy bear on the cover? Think of the pro-social behavior you’d create in the boardroom.
 

Sreedhari Desai is a research fellow at the Edmund J. Safra Center for Ethics at Harvard University and an assistant professor at the Kenan-Flagler Business School at the University of North Carolina, Chapel Hill.

Harvard Business Review

September 2011

Reprint F1109D

For Article Reprints visit www.hbr.org

Wednesday, June 1, 2016

PROVENANCE 102




Types of Documents Used to Establish Provenance

In a previous entry on this blog, I wrote about Provenance 101. Now the question is, “What types of documentation are used to establish Provenance?”

1)      Was your item bought at auction? If so, it was probably featured in the Auction Houses’ catalog. This would be part of the provenance. It may also help in tracking down more history.

2)      If available, a letter authored by original owner describing the item, what it meant, and how it was acquired/received by him/her is a valuable document.

3)      Certificate of Authenticity (COA). This would typically come from the manufacturer. The manufacturer would be the most credible source for this type of document.

4)      If your item has a serial number, provide that serial number to manufacturer. They most likely will be able to verify its authenticity and model number, along with the production dates.

5)      Bill of Sale with the date of sale, purchase price, who sold it, who bought it, in what city and of course a description of the item itself.

6)      Photographic records of the item along with its owner.

7)      A written narrative of the current and/or original owner describing what we are looking at. Who gifted it? Who received the gift? Is/was there a bigger historical significance to the item? Be sure to add significant events or changes in status as time goes on that would be of importance to the item’s provenance.

 

Anderson Cooper, reporting on “60 Minutes”, shows in $80 Million Con what can happen when provenance is ignored or taken for granted.

If you have other examples of any other types of documents to establish provenance, email Harald Mallwitz. It may be included in a possible future entry in this blog.

 

Harald Mallwitz

General Manager

Coppell Collectibles, L.L.C.

http://coppellcollectibles.blogspot.com/

email: harald.mallwitz@gmail.com
 

Sunday, May 1, 2016

More Than Just Teddy Bears


The significance of transitional objects in an early childhood classroom

Post published by A Guest Blogger on Jul 15, 2014 in The Guest Room

 

By Colleen Goddard 

 

As a long time educator of toddlers and twos, and a current Ph.D. student studying transitional phenomena and object relations, I have had the distinct pleasure and privilege to observe teachers in the school where I work, dedicated to celebrating the presence of transitional objects in their classrooms. In one of my daily visits I was delighted by the number of stuffed animals, rag dolls and teddy bears that were abundantly present and harmoniously integrated into the work and play of the children in the fours room. In a classroom where early educators might expect objects of attachment to be mandated to bedrooms, back packs and family travels, I witnessed the integration of these beloved objects in numerous ways and in a variety of areas in the room.

 
According to the New York University Psychoanalytical Institute, “the transitional object may be conceived of in three ways: as typifying a phase in a child's development; as a defense against separation anxiety; and, lastly, as a neutral sphere in which experience is not challenged.” I was amazed how the transitional objects that found their way from home to school did not challenge the teachers in the particular classroom I was visiting.
 

I observed one child clutching her beloved dog while reading a book to her friend – both she and her dog were actively turning the pages – and with every page turned, she looked down at her dog, lovingly and with great appreciation and gratitude for his apparent contribution and cooperation. Another child was squishing, squeezing and stuffing his Snoopy inside a wooden block and alternatively opening the refrigerator door so his dear dog could “chill out”. I was struck by the level of self-awareness this particular child had for his own self-regulatory needs and how to meet them.

 

On the rug, two children were constructing a magna tile rooftop for two animals – one floppy ear extended carefully up and out of the construction, while a rainbow colored bear covered in band-aids was laying on top. These children were deep in conversation about their “hospital” and how their loved creatures would get better. And across the room, sitting on the floor in front of her cubby, a young girl was combing her fingers through her raggedy doll’s hair, another child was sitting with her oversized gingerbread doll, holding a phone to her ear, and placing one next to her doll, as she nodded in agreement that Mommy would come back after lunch, and another child was sitting in the dramatic play kitchen, feeding and clothing her bear, holding it close to her heart.

 

These children were utilizing transitional objects into their work and play – personified instruments of self expression - and this was synonymously supported, acknowledged and honored by their teachers.

 

The term transitional object was coined in 1951 by D.W. Winnicott as “a designation for any material to which an infant attributes a special value and by means of which the child is able to make the necessary shift from the earliest oral relationship with mother to genuine object-relationships.” Transitional objects are self-chosen — a child’s first “not-me possession” — like a blanket, teddy bear, pacifier, doll. The reliance on such objects is rooted in sensorial elements that lessen the stress of separation, while they soothe and comfort the child.

 

A transitional object provides an understanding of human development commencing with infancy and early childhood. As children procure and utilize transitional objects, this becomes indicative of how they will interact with and maintain human relationships. According to developmental psychologist Robert Kegan, human development is not possible without self-referential contexts and meanings. As Kegan states, “meanings are founded on the distinctions each person makes of the stimuli he or she engages with” — mainly the object(s) they receive, choose, or discover which have an internal life of their own. However, if the self-appointed object is refuted, critiqued or denied in any way, attachment difficulties may arise later in life. The object allows for and invites emotional well-being, and without such an object, true feelings may be concealed, suppressed, or dismissed as the infant/child has no other means by which to cope with, comprehend, and contend with the world.

 

In the earliest of classrooms, transitions are experienced over and over. A parent says goodbye and the child responds in a cathartic release of emotion. It is in these moments where the healing power of transitional objects is fully utilized. A “Mother” offers her son an old t-shirt she has worn and the sensorial elements calm and support this child through the good-bye, as he metaphorically and literally holds on to the promise of her return.

 

As an early childhood educator, prior to the start of school, I visited every family in their home and asked parents what their child’s transitional object was. Most families shared that their child was “perfectly fine” and didn’t “need” anything. Once school began, however, I observed that those children who did not apparently “need” a transitional object were using self-chosen objects that they had discovered in the classroom. If Mom had left her scarf unintentionally, it became a security blanket. Other children would carry pillows or stuffed animals they discovered in the classroom, hold on to them tenaciously until the parent returned, and then release these items with utter abandon – flung in the air as the children ran to their mother or father.

 

In other situations, transitional objects were often apologized for by parents, and hidden in cubbies, or backpacks. An ethnographic study in a preschool in Sweden advocated the use of transitional objects, however, at the same time, this particular institution also implemented very specific ground rules in terms of how, where, and when the object could be used.

 

This particular response gives way to the debatable aspects of the use of transitional objects. Why are transitional objects perceived as socially unacceptable, restricted, and allocated to certain times and places? If taken in context as part of human development, if the object thought to make one stronger and more resilient in the face of difference and trauma, is removed or denied access to, it can actually create more anxiety and discourse. In fact, research indicates that those children who were deprived of object relations were often more susceptible to pathological disorders. In addition, the usage, availability and consideration of such objects can enhance the connectedness between child and adult and amongst children themselves.

 

How do transitional objects create meaning as they shape human development? Transitional objects are representative of every human developmental milestone – both for the individual self and the differential other. It is the “other” that is synonymous with the external source of identification– albeit mother/father – and also the first “not me possession” – the transitional object which is self-chosen by a child to provide comfort, solace, predictability, and constancy – representational of a stable and predictable world. Transitional objects typify that which is rudimentary and sound. In essence, the object represents the process by which one can navigate life, and experience a homeostatic inner balance, a cohesive sense of well-being at every developmental milestone.

 

According to Mark Brenner, transitional objects continue through the course of our lives, as “sacred keepsakes” which pull us back to “a place and time of great solace and memory.” It is the dependence, identification and attachment to objects outside of the self — photographs, wedding bands, mementos, music, art and culture — which define both nostalgic memorials, but more importantly, and astutely, define a state of connection and presence in the world. However, if the cell phone, computer, watch, wallet or keys are left or forgotten — the teddy, blanket or bottle misplaced or misbegotten — one may feel disconnected, removed, displaced. It is the placement, allocation of and attendance to transitional objects, which connects us to a secure base. And it is the secure base of human development that I am drawn to celebrating in the early childhood classroom - where transitional objects not only bridge the connection from home to school - but allow for the emergence of a child’s inherent sense of self – supported, respected and honored by early childhood educators, which — according to psychologist Abraham Maslow — “matters more than anything else in the world.”

 

Colleen Goddard is a Child Development Specialist at Beginnings Nursery School in New York City and a Ph.D. student at Fielding Graduate University studying the significance of transitional objects at the beginning and end of life.