'Disturbing' 19th Century German toys fetch £192k at auction
The collection sold for a hammer price of £192,154, including buyers premium.A Sonneberg papier-mache and wood hand-cranked mechanical toy of a shepherdess was one of the oldest and highest valued lots.Mr Agnew said: "It dates back to about the 1830s. It's such an extraordinary survival."It made one of the highest individual sales - £6,500.
He said one of his favourites, a squeaking pig."When you squeeze his bellows, he squeaks, makes a piggy noises and his tongue sticks out and his ears pop up."Mr Agnew explained that in the 19th Century, toys were "very much a rich person's object". He said: "Although, we call them all toys, they weren't all necessarily for children. "I think they were often adult novelties, the sort of thing that you might have in your drawing room. "They represent soldiers, characters, animals, social history, grotesque things, everything that's often lost in history now."
Mr Agnew said the collection reflects social history and evolving attitudes.He added the objects were "considered highly amusing" in the 19th Century but would "not be considered acceptable today"."This collection gives us a remarkable glimpse into the world of the 19th Century toy shop even if some of the pieces cause a little controversy," he added.
You can follow BBC Berkshire on Facebook, X (Twitter), or Instagram.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Edinburgh Reporter
2 hours ago
- Edinburgh Reporter
Fringe 2025: Second Class Queer ⭐⭐⭐⭐
In Kumar Muniandy's moving solo show Second Class Queer, Krishna is attending a speed dating event in Berlin. He's introduced to a variety of men, some interesting, some ignorant and one downright horrible. Through the conversations he has with these potential suitors, his own past experiences – and the white privilege, racism and assumptions he encounters on a daily basis – are gradually revealed. But first, a dance. The show begins in darkness, the only light coming from a small shrine at the side of the stage. Kumar enters and performs a beautiful dance and mime, with sensuous movements and fine use of hands and arms. Suddenly he falls to the floor in agony, shouting and writhing. I thought for a moment that he'd been taken ill, but we then learn, from a news report projected onto the screen behind him, that a Malaysian teenager has been raped, beaten, burnt and murdered in a homophobic attack by school bullies. Kumar curls up in the far corner of the stage. Silence falls. The audience is already transfixed. This is a stunning, bold way to open a show and it works, largely thanks to Kumar's composed confidence and physical skill. He is completely in control, of his body and of the stage, there is no hint of nervousness or hesitation. The audience is at once committed to this performance, and Kumar keeps this feeling of personal connection strong throughout the hour that follows. A voiceover introduces the speed daters to their first meeting. A bell rings when it's time to move on. A single chair shows us Krishna eagerly awaiting his first chat. The men he meets include Michael, who's convinced Krishna was the waiter at the curry house he visited last night and wants to know why he doesn't 'look like Buddha', Deiter, a German who thinks white privilege doesn't exist and racism is all in the mind ('I don't see colour'), and a Muslim who wants a long term partner but thinks he won't get one because he's too fat and hairy 'and looks like a terrorist', but says it must be easier for Krishna because he's thin and hot. Then there's Ganash aka Laurent, who's been on a 'spiritual journey', 'knows India' and invites Krishna to chant, and Francis, a black nurse. Some patients won't allow him to treat them; they spit in his face. Every conversation Krishna has with a white man exudes racism, intentional or not, and there's plenty of cultural appropriation too. Dieter may be the overt racist, but the others simply don't seem to realise – or care – what they are saying. Curries, Buddha, hairy legs, mysticism; that's what India's about, isn't it? And no matter how many times Krishna tells them he's a Tamil Malaysian, back they go to the same old stereotypes. Meanwhile, every person of colour has their own story, and it's mostly not about spirituality; it's about the cold hard facts of everyday racism. A speed dating event is the ideal setting for a character – especially a solo actor – to tell us his back story. Through the information Krishna shares with each man, we learn about his grandparents, who came from a low caste and were moved from India to Malaysia as 'coolies' by British colonialists, and his own life as a necessarily closeted gay man in a conservative country where, 'Same-sex intimacy is prohibited under the Federal Penal Code 1936, which criminalises acts of 'carnal knowledge against the order of nature' (sodomy) and 'outrages on decency' (gross indecency).' December 2024. Krishna's mother has recently died. Kumar shows us his pain and grief, but it is not until his conversation with Francis that he reveals his guilt; the revelation is heartbreaking. Homophobia has long tentacles; it's not only the immediate victims who suffer. In Krishna, Kumar has developed a deeply nuanced character. Sensitive, interested and empathetic, Krishna still gives as good as he gets and isn't afraid to tell people what he thinks of them. Kumar manages to convey a touching sense of optimism while never making Krishna naïve; he is all too aware of the fight he has fought and will have to go on fighting, 'My whole life has been about the colour of my skin.' The use of projected images and videos is highly effective, illustrating Krishna's story without distracting us from the narrative. Music is also well chosen. And despite the show's serious themes, it has some very funny moments; wait till you hear how Francis deals with his one white friend's transgressions – Krishna is impressed! The ending of Second Class Queer is bittersweet. While Krishna may be able to find inner peace – his visit to his mother's shrine is both moving and cathartic – he will of necessity continue to live in a racist and homophobic world, and one that seems to be getting worse by the minute. Kumar is touring this show to raise awareness, not money. It's a very important piece for him; all he asks is that we talk about what we've heard and try, as he is doing, to do something about it. Second Class Queer is at C Venues | C Arts | C Aquila (studio), Roman Eagle Lodge, 2 Johnston Terrace (Venue 21) at 12 noon until Sunday 17 August. Second Class Queer is supported by a 2025 Keep it Fringe fund bursary. Please note: the show contains graphic sexual references and is not suitable for children. Like this: Like Related
Metro
5 hours ago
- Metro
Period drama branded ‘fantastic' streaming on Netflix
The 2023 period drama All The Light We Cannot See is currently streaming on Netflix UK. The limited series tells the story of a blind French teenager Marie-Laure (Aria Mia Loberti) and a German soldier (Louis Hofmann) who attempt to weather the devastation of World War II together. It also stars Mark Ruffalo and Hugh Laurie in supporting roles, as Daniel and Etienne LeBlanc; Marie-Laure's father and uncle, respectively. Based on the Pulitzer prize winning novel by Anthony Doerr, it was picked up for adaptation by Netflix in 2019, with Free Guy filmmaker Shawn Levy attached to direct and Peaky Blinders writer Steven Knight on screenplay duties. All four episodes were first added to the streaming service in November 2023, where they remain to this day. Wake up to find news on your TV shows in your inbox every morning with Metro's TV Newsletter. Sign up to our newsletter and then select your show in the link we'll send you so we can get TV news tailored to you. Since its release, viewers have responded to its emotional story and powerful performances from its leading pair. All The Light We Cannot See currently boasts an 81% positive audience score on the review aggregator site Rotten Tomatoes, with Asha B describing it as 'a show with substance and depth.' Meanwhile, user C W called it 'simply fantastic,' and 'a beautiful piece of storytelling.' 'Excellent series. Ruff also is fantastic and the cinematography is wonderful,' said Bad B. Helen W described it as: 'A beautiful story albeit told without compromise,' adding 'you should watch!' Critics were more divided on the adaptation, contributing to a 28% 'rotten' score,although most praised its production values and cinematography. 'All the Light We Cannot See starts off strong and will keep viewers engaged from the beginning until the very end,' wrote Ready Steady Cut. It's worth watching for Loberti's outstanding performance and the generally impressive production value,' said Paste Magazine, while bemoaning that it 'could have been so much more.' Meanwhile, NPR called it 'worthwhile and heartening.' The show marks the acting debut of Aria Mia Loberti, who is herself, legally blind. 'When you decide, as I did, to open up the casting process to low vision and legally blind contenders for this protagonist, who is herself blind, it's not like you can go the usual route,' director Levy told Town & Country Magazine. 'It's not like the talent agencies have filled their rosters with actors who are blind; it's not a big pool. That's why I opened it up with a global casting search announced in a blitz, and we got hundreds and hundreds of self-tapes from people who just filmed an audition on their laptop or their phone. 'Among those, I noticed one from a young woman named Aria Mia Loberti, and while at that point I didn't know anything about her, I knew that there was something about her that popped,' the Deadpool & Wolverine director added. 'What was difficult was being a first-time actress,' said Loberti of her debut performance. More Trending 'I had never been on a set before and that was the challenge. I brought a lot from my day-to-day life—my ballet training and martial arts training—with me to the stunts. 'I got to do all the stunts except for driving the car. Having Shawn as my guide was amazing and I am grateful to him for believing in me.' View More » All The Light We Cannot See is currently streaming on Netflix UK. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you.
Daily Mirror
8 hours ago
- Daily Mirror
Sunday Brunch viewers issue same complaint minutes into Channel 4 show
Simon Rimmer and Tim Lovejoy were back on Sunday Brunch presenting duty and welcomed a host of famous guests but the line-up didn't impress Channel 4 viewers watching at home Sunday Brunch viewers were all left saying the same thing minutes into the latest show. The Channel 4 programme returned on Sunday (August 17) with Tom Grennan, Caity Baser, Susie Dent, Alfie Allen, Conor MacNeill and Joy Crookes as guests. However, fans were left unimpressed with the line-up and rushed to social media to share their thoughts. Taking to X, formerly known as Twitter, one fan penned: "I know 3 of them, its a WR for me. #sundaybrunch." Another added: "#sundaybrunch @sundaybrunch Susie Dent is the only one I have heard of due to Countdown." A third person said: "I know 2 of them this week #sundaybrunch ." It comes after former EastEnders star Maisie Smith broke down in tears last week. The 24-year-old actress appeared on the show to promote her upcoming stint in a stage adaptation of The Talented Mr Ripley but was asked about various aspects of her life and career by hosts Tim Lovejoy and Simon Rimmer. However, as the pair grilled her about her time on Celebrity SAS: Who Dares Wins back in 2022, Maisie found herself overcome with emotion as she watched back clips of the harrowing challenges. However, it seems three years on the memories are still fresh in the star's mind, and while she said it was "the best thing she's ever done" The former Strictly Come Dancing star said: "It was worse than you could even imagine. "When I watched it back, there's so much more that they didn't even show. "When we had mic packs, when they'd change the packs, you weren't allowed to talk. It was severe. There was never 'cut, cast can chill for a bit'. It was intense. Brutal." As Simon and Tim awkwardly rallied around her, she said: "I was so young. I was 19, and it was such a big challenge. I'm proud of myself." Sunday Brunch serves up its usual mix of culinary delights, banter and tunes every week and has been on television screens since 2012. Each programme features Simon cooking with Tim as host.
