February 2012 Newsletter

The Art of Making a Collection....

I'm often asked about collecting ventriloquist figures and is there some kind of "art" to collecting.  When it comes to collecting you must remember to set limits to where you want your collection to go. This is why I decided that for the most part I wanted just wood carved figures. You see there is such an array of different styles and types of materials that were used to make figures that I had to choose for myself what direction I wanted to go.

Now I have purchased many figures made of other materials besides wood and usually those figures I have bought and sold. There are a couple exceptions to my rule for myself , the McElroy figures are one and also the Insull figures. They are great figures which were made from wood dough and paper mache.

I decided to limit myself on my direction because the variety was so vast that I would have had to purchase everything and I just could not do that. Just because a figure is an antique it does not mean I am going to buy it. There have been many that I have said to myself “Boy that is a good buy for that figure” but passed because it would just not fit my collection.

I have also stayed away from the toy figures because I decided I wanted my collection to be made up of professional ventriloquist figures. Although some of the older toys are great, I again saw that if I started purchasing the toys to collect it would get out of hand. Room for me is also now at a premium. I made an exception for toy figures with the original 1930′s Effanbee Charlie McCarthy figures. They were produced with Charlies exact likeness and with working slot jaw and I just love those so I do have a number of them in different size and attire.

Just make sure your direction is in a straight line and you will make a fine collection. Also remember it takes a lot of time and patience for a great collection to happen.
 

Enjoy the rest of the newsletter.

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If you are new to ventriloquism the English mouth is the use of leather with no slots on the side which gives the appearance of a natural mouth movement. Craig Lovik coined the term Living Mouth when he sold this style mouth on his figures 30 years ago in the US...

I am always criticized by my partner and webmaster Steve when I do up videos and pictures of the figure’s hands for the Ventriloquist Central Collection. You see for me the hands are an integral part of the whole for a ventriloquist figure. They should be original to the figure as the maker had intended. Of course I am talking as a collector and originality is a must for me.

No this figure is not a member of the Ventriloquist Central Collection but I wish it were. This particular figure is owned by Lee Dunn who is a ventriloquist figure builder. Lee told me about this particular figure and I asked if I could showcase it because it is a very rare possibly the only figure that Conrad Hartz built with winkers.

I was looking through my old Oracles (Nov-Dec 1960) and found this great article by Monsieur Brunard (this was his stage name, real name Dick Bruno, for more see the Tribute to Ventriloquism). This is just an excerpt of the article, but he talks about manipulation and I thought I would share it with everyone.

I have spoke about this subject before but in the past few days I have been contacted by some folks, not ventriloquists, that wanted to know about restoring their figures and if it was going to be worth the cost. I wanted to be as helpful as I could but sometimes reality of the situation prevails.

So in checking over my selection of figures I have found that rings and levers were offered for controls on figures right up into the 1970′s. I do have a Ken Spencer figure that is from the 1970′s with a ring pull for the mouth. The reason I am bringing this up is because...

January Archives

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“The ULTIMATE Guide To Building Your Own
Ventriloquist Figure, Volume 1”

 “The ULTIMATE Guide To Building Your Own Ventriloquist Figure, Volume 1” is a step-by-step system from start to finish, so you can create your very own ventriloquist figure.  Now you can become a ventriloquist figure builder. This guide will answers all your questions, show you all the short-cuts, and give you a quick and easy paint-by-the-numbers way to making your own ventriloquist figure-- even if you don’t think you can do it.

“The ULTIMATE Guide To Building Your Own Ventriloquist Figure, Volume 1”

The Ventriloquist Marketplace

"Our Ventriloquist Marketplace works and works consistently when items are priced right."

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I am pleased to show to you today an unusual Frank Marshall figure which dates from around 1935. This figure is a large figure standing 42″ tall and I do believe this head came from the duplicarver head used by Marshall to create his copies of the Great Lester’s Frank Byron Jr.. These heads were the largest size that Marshall made as far as I know.

Ventriloquist Central Videos

www.VentriloquistCentralVideos.com

Here’s a video about a Mack figure that was owned by Harold Sterling. This figure has been redone by Pinxy and then by Ray Guyll.

Canfield Smith was a performer in the late 1940′s and 1950′s and was what Stanley Burns labeled as a “Cod Performer” and that is a performer that was a comedian who discovered that mis copy-ing can be lucrative.

Here is a video of a very unique Hartz figure, the “Tough Guy” or “Ugly Bum”.

This Marshall creation must have taken place during one of Marshall’s many drinking binges. Not a very pretty face. He is totally original right down to the clothing. His hair is crepe and his mouth works with a string and ring which was an option that Marshall offered.

"What Would You Do If Your
Ventriloquist Figure Were
Stolen Or Destroyed?"

Here's The Best Way To Protect Your Investment

For Those Interested In The Art Of Ventriloquism

“The Ventriloquism Historical Information Collection, Volume 1.”

We hope you enjoy them.

Some of the threads that are talked about all the time on the different vent lists are choosing a suitable figure, right kind of movements in the figure, breakage of string that control the mouths on figures etc, etc.

In looking back a great publication called the Grapevine News, it had this wonderful article in it and it was written in January of 1949.

When you read this article you will be amazed that everything discussed is still being talked about today!!

Sit back and have a cup of coffee and read this nice piece.

Random Notes On Ventriloquism
By Dennis T. Ellis, I.B.V.

When a musician contemplates the purchase of a musical instrument, he invariably spends much time and thought upon deciding what type, etc., will best suit his purpose. This careful selection is adopted by most public entertainers. The queer thing is that when a Ventriloquist – and I am speaking for the large majority-purchase a Vent figure he just sends away for a Vent “doll” and just leaves it at that.

Now I maintain, rightly or wrongly, that the selection of a Vent figure is of the utmost importance. The best way of purchasing a “head” is to have one made to fit the character and personality of the voice and type you intend creating.

This of course is costly and beyond the pocket of some amateurs or semi-pro’s. The next best thing is to see a number of “heads” and complete “figures” and decide on the one that best suits your figure voice and personality. This may need a little adjustment–that is your figure voice and personality may need altering slightly. When you inspect various figures, say to yourself “Now-if this figure could really speak, what would the voice and personality be like?” If you feel you could create these-then that is the figure you need. If you cannot -then the figure is best left alone.

A perfect example of correct “matching” of figure and voice is “Charlie McCarthy.” One cannot imagine this figure talking or behaving in any other way. A Vent figure that “speaks” and has a personality different to its appearance is as incongruous as a small man speaking in a deep bellowing voice-it just does not fit.

Your figure must “Live”. If your lip control, patter, showmanship is good-a poor “head” of figure will spoil the show. If you intend your figure to look “Alive” then do not purchase a head with wagging ears, nose that lights up, sensation wig or any other “un-natural” movement. These effects cause a laugh – but you have destroyed the illusion that you have tried to create.

A real person does not do these things – then why should your figure? A good mouth movement, glass eyes to move, tip lip for smiling, and on eye to wink are quite adequate.

Another thing to avoid is the Vent head with a “glossy” painted finish. Many professionals are using such a head-why-I cannot understand. See that the head is “mat” finished-in other words-see that the texture is the same as the human form.

When you have decided upon the right type of head, you will find- (unless the head has been made especially to your specifications) that the lever controls do not exactly fit the natural position of your hand. The obvious thing to do is to alter the position of all levers so that no fumbling takes place. If you wish the eyes to move whilst the figure is talking, then both levers must be under perfect control. It is not good to pause for a moment whilst the lever is located.

The length of the pole or staff too is most important. See that it is short enough to give good balance. This may need adjustment.

Now a little tip regarding the strings. I always use “pike cord”. This will take a great strain-much greater than will be used on the head, but better a strong string than one that will break during a performance. To prevent strings fraying – I always draw the string through wax (a candle will do) before fitting, I also always fit two cords to the mouth movement – one about one eighth longer than the other. Should the working string break-the other string comes into operation. This may seem superfluous but-well it only takes a few minutes to fix – and better safe than sorry.

Till next time,
Dan

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