I'm more than halfway done putting the Bunnykins collection on to website. What's impressed me most in doing my research has been how little information there is about the pieces available for sale on the internet; and also how much incorrect information is out there. I thought I would clear up a few misconceptions that I've keep reading about.
Many items for sale on the internet claim to have been made in 1936, based on the backstamp on the item, which reads Copyright 1936. This is FALSE. 1936 is when the Bunnykins trademark was copyrighted by Royal Doulton, but there are very few items for sale in the market that date that far back. Many surviving pieces show a great deal of wear from the enthusiastic eaters scooping up their porridge to enjoy the scene underneath. Collectors also like to find scenes incorporating Barbara Vernon's facsimile signature, although sometimes this was cut off the transfer. Barbara was the daughter of the manager of the Royal Doulton Stoke-on-Trent pottery and she first imagined the exploits of the Bunnykins family to entertain the children in the class at the convent sch00l where she taught. She began to send her sketches to the factory where they were adapted for the lithographic printing process by one of the resident designers, Hubert Light. He also designed the chain of running rabbits which has appeared around the rim of the Bunnykins pieces since their launch in 1934.
Many of Barbara's designs had been withdrawn by 1952 and are amongst the most desirable today. Collectors appreciate her simple designs and the charming subjects which evoke her era. One of Royal Doulton's art directors, Walter Hayward, took over the range after the Second World War. Initially he adapted the remaining Barbara Vernon drawings for production but he soon began to create his own scenes although her facsimile signature continued to appear on on the ware until the mid 1950's. Walter Hayward's work can be identified by the presence of some lively little mice that became his trademark. Eventually, no longer was Bunnykins intended exclusively for youngsters, but scenes were developed for grown-ups, featuring briefcases dashing to work.
In 1987, Colin Twinn was commissioned to produce a set of Bunnykins books, and many of his drawings were adapted for use on the nursery ware. His scenes are known for having pastel colors and fluffier bunnies than the originals. While this approach worked well in little picture books, established collectors felt that the Bunnykins characters had lost their identity with these new designs. Production of Colin Twinn designs had ceased by the early 1990's.
Frank Endersby is a freelance illustrator who works from his studio in the the Cotswold region. He assimilated the essential qualities of the original Bunnykins style and his scenes feature the strong outlines used for the original characters as well as their bright blue and red clothes.
I've been collecting Bunnykins tableware items since my mother brought home a plate, well worn with the design all but missing, from the Salvation Army, late in the 1960's. When I lived in England I was fortunate enough to have lived close by the Potteries region, and so was able to make several visits to the Royal Doulton (and Wedgewood) factories, and take full advantage of their on-site stores. I've taken great delight, over the years, in enjoying my morning cup of coffee, or a soft boiled egg, from these happy pieces of china. I've never thought that they should be solely within the realm of children, but should instead inspire the child in each of us.
Here's an example of a money ball, for saving your pennies for a rainy day. I've been careful in my store listings to use the titles of the scenes and also the design numbers, as Royal Doulton issued them. Another thing I noticed while doing my research was that most items for sale on the internet used the most generic of terms to describe Bunnykins items - a frustration for the serious collector.
