Kaliedoscope Review Issue 1

Kaleidoscope Review June 1999 1

Volume 1 No. 1 June, 1999

Kaleidoscope Review

Toy Kaleidoscopes

The Kaleidoscopic Visions Of Gerald Bonsack

Peter and Skeeter DeMattia and their unique kaleido-

scopes.

Artist Gallery

In the Workshop Learn how a two mirror sys-tem works to make your own

simple kaleidoscope.

PREMIER ISSUE!PREMIER ISSUE!

2 Kaleidoscope Review June 1999

Scherer Gallery and The Museum of Northern Arizona are proud to present

The Kaleidoscope:The Kaleidoscope:

Symmetry in Motion Symmetry in Motion

October 29 througOctober 29 through 31, 1999h 31, 1999

Museum of Northern Arizona 3101 N. Fort Valley Road Flagstaff, Arizona 86001

This is the first comprehensive museum exhibit of the kaleidoscope. Empha-sizing the diverse creativity and artistry of the kaleidoscope, the contributions of the artists will not be overlooked. The largest show of kaleidoscopes to date, focusing on the kaleidoscopes. More than 600 kaleidoscopes will be on display.

A weekend-long celebration is planned for the exhibit opening. On Friday, Oct. 29, a reception at the museum will be held from 7 p.m. to 9 p.m. On Saturday, Schere Gallery in Sedona, AZ, will be hosting artist’s demonstra-tions during the day. An evening cocktail reception will be held for the art-ists, where many new and exciting works by the artists will be shown.

Please contact Marty or Tess Scherer of Scherer Gallery for more details or participation:

Scherer Gallery Hillside, 671 Highway 179

Sedona, AZ 86336 Ph. 520-203-9000


KaleidoscopeKaleidoscopeKaleidoscope ReviewReviewReview

Volume 1 No. 1 June 1999

The Magazine Covering the World of Kaleidoscopes

FEATURES

UPCOMING

What’s in Store? Davlins offers collec-tors a special view of kaleidoscopes.

Toy Kaleidoscopes Dan Robinson takes us through a history on toy kaleidoscopes. Some current values are given on these collector items. Dan Robinson

Kaleidoscope Photography Gerald Bonsack shares his experi-ence, ideas and ka-leidoscopic images.

From the Editor’s Desk Trials and tribulations of starting a magazine. Brett Bensley, Editor

Artist Gallery This month we view the exciting and creative ka-leidoscopes of the DeMattias. Sally Reese

In the Workshop We start our kaleido-scope making column with a discussion of mir-rors. Assemble a mirror system to make a simple kaleidoscope.

In the Workshop A simple tube kaleidoscope is planned for next issue. You will be introduced to the “chamber.”

16

4

7

8

This issue’s cover was created by Brett Bensley. Using POV (Point of Vision) soft-ware to create the kaleidoscopic image. Articles on software for generating kaleido-scopic images are planned for a future is-sue. Submissions for cover images and ideas are welcome and appreciated.

5

14

COLUMNS


From theFrom theFrom the Editor’s DeskEditor’s DeskEditor’s Desk

G etting something started is full of emotions. The ones that come quickly to mind are enthusiasm and fear. This project

was not different. I had great enthusiasm for starting this project. Most of the en-

ergy and motivation came from many of you who are reading this today. There have been many letters, phone calls, emails, and dis-cussions at conventions, meetings, and in homes, indicating a great desire for a magazine devoted to kaleidoscopes. And as we have all said, in a rhetorical question…”why not?”

That question deserves some attention. When I thought about undertaking this endeavor, I looked at many magazine racks. I looked at magazines in doctors’ and dentists’ offices. I even took time to look through the local university’s periodicals section to get an idea of what is currently available. Not to my surprise, I could not find a single magazine dedicated to kaleidoscopes.

I did find a number of interesting magazines in the racks. How about an equestrian magazine for children under 12? How about a magazine called Crown Jewels, dedicated to glass and porcelain electrical wire insulators? Yes, I realize we may not be as collect-able or as popular as Beanie BabiesTM, but then we are not produc-ing 50 or more magazines dedicated to our love, the kaleidoscope.

Through my research, I started to get fearful. The collectors and those just interested in kaleidoscopes were very receptive to a maga-zine. Store owners were a little less receptive showing in the number of ads in this issue. As I reached to the people who could supply the financing needed to get this project going and to those who could help supply information for articles, interest in the project decreased. Not my interest, but theirs. Do I sound critical? Perhaps I am.

I did find a few parties interested. Some were willing to supply a little information for articles...I thank you very much. A few were willing to write articles. A few with photographs and artwork.

It is for these people, and the others who wanted the magazine so much they were willing to pay for a subscription before it was even printed, that I dedicate this first issue. This is a magazine for and by the people who love and enjoy kaleidoscopes. Those who love to make them, those who love to sell them, those who love to buy them, those who just love the beauty that is added to the world because of this wonderful invention. This is for YOU! My enthusi-asm returned.

Brett Bensley Editor, Kaleidoscope Review

Kaleidoscope Review

Managing Editor: Brett Bensley,

[email protected]

Editorial Assistant: Kelley Bensley

Feature Writers:

Dan Robinson Sally Reese

Proofreader:

Copy Editors:

Graphic Design and Lay-

out:

Cover: Brett Bensley

Kaleidoscope Review is published bi-monthly by Bensley Enterprises, 1116 Madison Ave., Charleston, IL 61920. Phone (217) 348-0855. Cover price is $6.00 US per issue. Subscription rate is $34.95 US per year in the United States. Please send address changes to Bensley Enterprises. Printed in U.S.A. Use of Material Published in Kaleidoscope Review In order to protect everyone involved we have estab-lished the following guide-lines for reprinting. The au-thor may use articles imme-diately if he/she includes the phrase “reprinted with per-mission of Kaleidoscope Re-view/Bensley Enterprises.” Anyone other than the au-thor should contact Bensley Enterprises concerning re-use of the material.


By Dan Robinson Most of us first fell in love

with kaleidoscopes when we were children. Chances are that scope was a toy scope from Steven’s Manufacturing Company. Most of these were well played with and eventually met the fate of most toy scopes. Admit it, you took at least one apart to see how it worked. Didn’t you? I marvel that any survived. As we mature our love of the magical toys that fascinated us long ago is replaced by a renewed wonder by the mar-velous scopes we see being pro-duced by fine artisans. This last year I have had the pleasure of rediscovering the spectrum of toy kaleidoscopes.

The premier American toy scope maker has to be Ste-ven’s Toys. They have been producing toy kaleidoscopes for about 50 years now. They started out in St. Louis, Missouri and in 1964 moved to Hermann, Mis-souri. They were kind enough to mark most of their scopes with their name and production site. Most of theirs, since the 70’s, in-clude the year that the lithograph was introduced. The oldest of their scopes have glass mirrors. Tin mirrors soon replaced the glass mirrors. Most Steven kalei-doscopes are made of cardboard, but a few plastic models were produced. I am partial to these and their boxed sets.

I have collected about 80 dif-ferent versions of their kaleido-scopes. I still find models of their kaleidoscopes that I have never seen before. The hunt for them may never end.

They still actively produce wonderful toy kaleidoscopes. This year’s introduction is their millennium kaleidoscope.

Another fine American maker of toy kaleidoscopes is Gemini of Zelienople, Pennsyl-vania. They make many different models for general distribution, as well as some custom scope mod-els. They specialize in cardboard as their favorite medium. They still actively produce kaleido-scopes and you can find them at many nature and toy stores. They make some fun models but I con-sider them less collectable.

While she may not agree, another American toy kaleido-scope maker is C. Bennett scopes

also of Pennsylvania. For toy scopes these have the best optics and tend to cost a little more. They have been producing scopes for about 25 years now. They started in cardboard but have specialized in acrylic scopes

from nearly the start. They also produce higher quality kaleido-scopes for collectors.

Many other American com-panies have produced toy kalei-doscopes. My favorites of these that are no longer pro-ducing kaleidoscopes are H. Davis Toy corp. of Brooklyn, New York; Tico Toys Inc. of Rhode Island; California Kalei-doscopes of Los Angeles, California; Cross pub-lishing Company of New Jersey; and finally Kalei-dorama scopes by Gantec Associates, Inc. of Em-meryville, California. Rare finds would include

scopes from Herco of Chicago, Illi-nois; WM. Drueke & Sons of Grand Rapids, Michigan or a Won-der kaleidoscope by Petrie-Lewis of New Haven, Connecticut. Many other American companies have made and continue to manufacture toy kaleidoscopes. On a trip to your favorite toy stores you will likely find toy scopes by makers such as DaMert Company of Berk-ley, California or Kaleido-King of Portland Oregon in addition to Ste-ven and Gemini kaleidoscopes.

Another group of fine toy ka-leidoscopes is the English tin kalei-doscopes. I think most were actu-ally produced by the same com-pany. However you will find them under many different names. Acme and Chad Valley seem to be the oldest names that you will find on these. I date these from before 1970. You can also find them marked Galt, Combex, and Green Monk. The most recent ones are marked RF Goodtime Toys. With a little luck you can find multiple versions of the same scope. Most of the scopes that now are being sold in England come from Dekker-toys, but these are actually made in China. They are made out of plas-tic and have a decal that feature characters from popular children’s shows. I have only seen a few card-board scopes from England.

Japan has been sending us ka-leidoscopes for over 50 years. My favorites of the Japanese kaleido-scopes are the cardboard cone scopes. They have been making them forever in a few sizes with a

(Continued on page 6)

ToyToyToy KaleidoscopesKaleidoscopesKaleidoscopes

“Admit it, you took at least one apart to see how it worked.”

A selection of kaleidoscopes with Disney logo.


Toy Kaleidoscopes (Continued from page 5)

nearly endless variety of litho-graphs. Some are even marked occupied Japan. These are among the elite group of toy ka-leidoscopes with glass mirrors. Another group is the boxed ones with snap on heads. The most common Japanese kaleidoscopes are the ones marked Ickeho. These are mostly cardboard telei-doscopes. These tend to be very affordable and were also pro-duced in many sizes. Just as I believe that most of the different versions of English kaleidoscopes came from a single company, I think we can make that same claim for Ickeho.

Taiwan, Hong Kong, and China have been producing toy kaleidoscopes for many years. Most of these tend to be smaller lower quality plastic scopes. A few more collectable toy kaleido-scopes have come from these ar-eas. Mainly look for a litho that features a theme that interests you.

When I first started collect-ing toy scopes I assumed with a lot of luck and hard work you could have nearly one of them all. Well, I now have a few hundred and continue to find new ones

Manufacturer Prices

Steven Cardboard simple: $5 to $25

Steven Plastic: $40 to $100

Steven Boxed sets: $40 to $150

Gemini: $5 to $10

English tin: $15 to $40

English plastic: $5 to $20

Japanese cones: $20 to $40

Occupied Japanese cones: $35 to $60

Japanese cardboard teleidoscopes: $5 to $20

Japanese Snap on Heads Sets: $30 to $50

Taiwan, Hong Kong and China: $5 to $10

Table 1. Current prices of old toy kaleidoscopes

daily. You could make finding and collecting these things a full-time job and still not find them all.

Most collectors try to get a few of each major type of toy ka-leidoscope. Some try to special-ize in a special type or manufac-turer. I know of one collector that specializes in Steven kaleido-scopes. You might specialize in kaleidoscopes that feature outer space subjects, Disney items, TV shows, or promotional kaleido-scopes. The variety of toy kalei-doscopes makes it easy to pick a direction and follow your desires.

As with any collectable there are many things to consider. Unless an item is rare, wait and buy a high quality example of the kaleidoscope you are purchasing. The lithograph should be bright. There should be no tears on the lithograph or creases or dents on the tube. The tin should be bright or have an even patina. The tin should be free of rust and scratches. The turning end should turn freely.

Unlike modern art kaleido-scopes, image is a secondary consideration. Most of these have simple object cases and made simple images even when


Healing Arts Kaleido-scopes combines the healing properties of mandalas with color therapy to produce custom kaleidoscopes for your personal needs. Stressed out? Need some relaxation? Try our kaleidoscope with pink gems. Want to reduce a headache? Try our green kaleidoscope. Having bad dreams? We might have the ka-leidoscope for you. Need to increase the romance in your life? Contact your dealer about your particular problems, and let us make a kaleidoscope to suite your needs. Healing Arts Kaleido-scopes are distributed through: Bensley Enterprises 1116 Madison Ave. Charleston, IL 61920 (217) 348-0855

Clinical studies have not been completed to substantiate any claims for health benefits by using kaleidoscopes and color. These products are not intended to diagnose, treat, cure or prevent

The Magic of Mandalas and

Color


Editor’s introduction: Each issue of Kaleidoscope Review will present a kaleidoscope artist in the Artist Gallery. Articles may be written by the editor, a guest writer or by the artist(s). A general questionnaire and writing guide is available for anyone wanting to submit articles.

By Sally Reese

Skeeter and Peter DeMattia

have a “gusto” for making kalei-doscopes. Their unique designs are unlimited in imagination. Few of the artists work in differ-ent media, such as glass, metal, woods, etc. But the DeMattias seem to enjoy the odd collection of different designs and materials.

When I first saw one of their kaleidoscopes in After the Rain Gallery, Soho, NY, I couldn’t resist finding more about the ka-leidoscopes they produce. To my amazement, there are currently

over 30 different kaleidoscopes offered by the pair, not to men-tion that some of these are actu-ally a series of one-of-a-kind ka-leidoscopes.

Although their stained glass kaleidoscopes were what I was first attracted to, I have since be-

come a big fan of the metal kalei-doscopes. Imagining a kaleido-scope “made from a fence post, a brake rotor, and a bicycle gear as an end turner” was beyond my capabilities. Using many sal-vaged and left-over parts from an assortment of metal vehicles and devices, the DeMattias fabricate intricate works of kinetic art.

As well as variations in ma-terials, the couple produce kalei-doscopes in varying sizes from small necklace kaleidoscopes to large metal parlor ‘scopes. Some of the more interesting kaleido-


Artist GaArtist GaArtist Gallllerylerylery

Peter and Skeeter DeMattia

Meteorite, Comet, and Asteroid kaleido-scopes by the DeMattias.

W e would like to get you involved in this magazine. If you would like to submit an article to the magazine, we would be very interested. If you are a kaleidoscope artist, we would like to cover

you and your artwork in an issue. If you are a gallery owner or store owner selling kaleidoscopes, we would like to hear from you. Collectors are very important to the success of this magazine, and we would like to showcase your collections in future issues. We also need financial support. Advertising offsets the costs of printing and publishing this magazine. Advertising also informs our many readers about your store, gallery, or your artwork. Call 217-348-0855.


In the WorIn the WorIn the Workkkshopshopshop Editor’s Introduction: This column is to introduce tech-niques to making kaleidoscopes. We will also feature kaleidoscope plans, helpful hints, tricks, and any information useful to those who make their own kaleido-scopes. Tips, techniques and plans are welcome.

By Brett Bensley

The heart of the kaleidoscope

is the mirror system. Some artists joke that kaleidoscope making is very much like magic...smoke and mirrors...minus the smoke.

Our very first kaleidoscope will be just the mirrors. In fact, we will stick with two mirrors. If you are not already experience with kaleidoscopes, you will have a better understanding of how they work.

For this project you will want to get some mirror. Mirror can come in many different materials. The most common is glass. Mir-ror can also be purchased in plas-tic and metal. There is even some cardboard mirror if you want to look for it. Some other materials used for mirror is black plastic with a polished surface. The best, and of course most expensive, mirror is called first surface mir-ror.

First surface mirror is glass

dimensions are not critical but can be used as a guide.

We will lay these down, re-flective side down, on a flat sur-face with the long edges touching each other. Leave a gap about the same thickness as the mirror be-tween the pieces. This will give a little flexibility to the system since we will fold the mirror as-sembly.

Next, get three or four pieces of tape. Usually, some flexible tape such as masking tape, elec-trical tape, or duct tape works well. You can use transparent tape, but sometimes it breaks when you fold the mirror assem-bly. Tape the mirrors together over the small gap between them.

Fold the mirrors into a V shape with the reflective sides facing each other. Figure 1 should give you an idea of the mirror assembly.

You now have a simple kaleidoscope. But what to do with it now? Get a piece of paper and mark a line on it. An-other option is any im-age you want. Look down along the inside of the mirrors to the sur-face of the paper. Be careful not to get too close to the mirrors...protect your eyes. Fig-ure 2 gives you a good idea of the viewing tech-niques.

As you view the line or im-age you will see the reflections inside the mirror assembly. This makes the image you see in kalei-doscopes.

By closing and opening the mirrors you will see more or less reflections. At certain angles, the image is broken up. What I mean by that is the top segment is either smaller than the other segments, or it is split incorrectly. Only certain


Figure 1.

mirror with the reflective coating on one side. This is just like the regular glass (and some plastic) mirror, but unlike the regular mir-ror, it does not have the back coating. That back coating is usually a gray type of paint used to protect the reflective coating from flaking off.

The exposed reflective mate-rial is polished giving it the mir-ror quality. This reflective sur-face will reflect up to 99 percent of the light rays hitting it. This is because it doesn’t have to go through the glass material to get to the reflective material. Going through the glass reduces the re-flected light and thus the quality. A very detailed description can be obtained from the mirror manu-facturers. The first surface mirror is what is typically used in the more expensive and quality kalei-doscopes.

You will want to get some type of mirror that you can cut or have cut. I find most glass shops will also carry mirror and be will-ing to cut it. I recommend that the mirrors be about 1 1/2 inches wide by 8 inches long. We will need two of these pieces. The

Kal & Kally by B.D. Copyright ©


Copyright © 1999, G. Bonsack Used with permission









In the Workshop (Continued from page 8)

degrees between the angles can give a complete, “unbroken,” im-age.

Table 2 pro-vides a listing of the number of images based on the angle between the mirrors. It is from experience that even number images are more pleasing and cre-ates less distor-tion. A simple rule to calculate your own angle is divide 360 by the number of images you want in your kaleidoscope. So if I wanted a 30 imaged mirror set, I would divide 360 by 30 and get 12. 12 degrees is the angle be-tween mirrors.

Experiment with the mirrors. While viewing the world through the new mirror system, try different objects. In the next few issues, we will help you take the knowledge you learned today and apply it to-ward making your own kaleido-scope. a

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Web Site hosting and consulting. The theme common to all our services is extra support for individuals and businesses new to the Internet. Steuber Web Services is host to Kaleidoscope Heaven web pages. You can have your kaleidoscope site placed in the very popular kaleidoscopeheaven.org domain.

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Figure 2.

Table 2.

60 degrees 6 images

45 degrees 8 images

36 degrees 10 images


27.5 degrees 14 images






MIRROR ANGLE


KaleidoscopeKaleidoscopeKaleidoscope PhotographyPhotographyPhotography

Editor’s Introduction: We also cover subjects related to kaleido-scopes as well as the artists and stores. This article is such an example. By Brett Bensley

Gerald Bonsack started us-ing kaleidoscopes for photogra-phy in the spring of 1988. De-ciding to combine his childhood love for kaleidoscope with pho-tography to shoot images of fire-works. His first attempts yielded an award at a local camera club show. Using three mirrors, he photographed the fireworks from his backyard at sunset.

Bonsack was not pleased with the images because it was not a true kaleidoscopic image. His next six models of the kalei-doscope lens showed slow pro-gress toward his goal. Using his lessons from high school phys-ics, Bonsack tried placing lenses in front of the mirrors. Progress was made to a model that incor-porated a number of lenses. Be-ing, late in the year, he video taped his community using the kaleidoscope lens instead of his desired goal of fireworks.

Bonsack’s most treasured subject for his art is fireworks, using a video camera.

“After I had shown the local pyrotechnic group that multiple, smaller bursts cre-

photography competition they like full frame images, but as time goes on, I have seen a shift towards acceptance of the ta-pered mirror images or the stan-dard mandala.”

“My favorite kaleidoscope lens is my first 60 degree, 3 mir-ror system.” Bonsack built a ta-pered mirror lens, but was not 100% satisfied with the resulting images. He purchased a semi-fisheye lens to capture the true orb in space. Though he was dissatisfied with the lens, “[it] was a big hit at a photography seminar and so was my circular kaleidoscope lens.”

Bonsack is planning to re-build the tapered mirror lens, for better image quality. After that he will “have a go” at adding the floating hexagon image also. “That way each triangle can have the image of the world, with a part of the world floating above it, like David Sugich's "Jubilation".”

When asked what his favor-ite kaleidoscope was, Bonsack indicated that tapered mirror sys-tem kaleidoscope are his favor-ite. He added that he is leaning toward the tapered mirror system with the floating hexagonal web image. As for his favorite artist, Bonsack likes the video work of Barbara Mitchell.

One of his favorite activities is using the lens on his video camera to record and view a “colorful screen saver” on his computer while listening to en-joyable music. “I sit back and watch the screen saver through one of my scope lenses. Even though the screen saver is doing its own thing, some how it seems the resulting kaleidoscope im-ages are dancing with the mu-sic.”

ate a better show than single bursts, they changed their show and format. In fact af-ter they had seen only 3 or 4 of my slides, one of the members said, “Eiher our show is going to be only a third as long or it is going to cost us three times as much.” When photographing fire-

works, Bonsack opens the shut-ter and keep it open, but covers the lens between bursts or bursts that do not fit in the frame. His work has been used on a book cover. He has over three hours of kaleidoscope fireworks foot-age with some set to music.

When he isn’t photograph-ing fireworks through his kalei-doscope lens, Bonsack is either photographing buildings with shadows or bright flowers. He states, “People also make an in-teresting subject.”

In describing the mirror sys-tems used in his work, Bonsack prefers the standard 3 mirror sys-tem for filling the frame. “In still

Kal & Kally by B.D. Copyright ©


Bonsack’s most treasured experience was during one of the camera club workshops.

“Last year, at Spring-brook (spring get together of camera club members from 11 mid-west states), I pulled out my 3 mirrored scope lens, after the afternoon workshops. This was about 3:30, within 15 or 20 min-utes I had a dozen, then two dozen photographers stand-ing in line to shoot the cars and trucks, in the parking lot. When anyone came within yelling distance, someone in the group would call them over, for a look. Once they saw the power of color, if you had anything bright on, you and who ever had another bright color on had to stand next to each other or cross arms for added interest. I did manage to put if away at suppertime, but was asked to pull it out before the evening program, then again after the evening program. There several more photographers shot from 10:00 until mid-night, using the lighted soft drink vending machines, as sub-jects. “This same scene was repeated before breakfast, after breakfast and before the morning session and again before lunch. Because of the popularity I was asked to bring my kaleidoscope lens back this year. Not only did I bring the old 3 mirror system back, but added a tapered 3 mirror and a cir-cular system as well.” Bonsack recommended a

kaleidoscope commercial to a well known beverage company and was turned down. He now

laughs about it because in the last few years, a number of com-panies are using such techniques in advertisements including the competitor to the company he approached with the idea.

The kaleidoscope photogra-phy was not his only work with kaleidoscopes. In the sixties, special lighting in bars was a great attraction. Bonsack came up with an idea of projecting a kaleidoscopic image on a wall or screen. Using a standard projec-tor, a kaleidoscope, and a lens, he was able to get an image on a wall. After a number of modifi-cations, he produced a smaller

version with better image for the bar’s use. The bar failed to pay for the inven-tion, so Bonsack is now in possession of his projection kaleidoscope. “In fact right now that old projector is sit-ting not more than

ten feet from me, collecting dust.”

Bonsack continues with his creative and inventive ideas. He is planning work on some ideas for other mirror systems, an in-terchangeable mirror system lens, another circular kaleido-scope lens, a four mirror lens, and the list continues.

Bonsack has a recommenda-tion for camera clubs around the area. With all the interest shown in his kaleidoscopic lens, it has attracted new members to his camera club. Making or pur-chasing a kaleidoscope lens for show at a local camera club or meeting may increase interest in the group. a

“...kaleidoscope images are

dancing with the music.”


store, Davlins is located in the Southdate Center in Edina, Burnsville Center in Burnsville, and their store the Woods is lo-cated in Maple Grove, Minne-sota. . Tim Beyer, now affec-tionately called the “Scopemaster,” started at the Rosedale Center store. Beyer is operational manager for the stores.

Since the opening in 1985, kaliedoscopes have become one of the popular attractions at Davlins stores. They created a KaleidoClub, offering specials and discounts to kaleidoscope buyers.

The enthusiasm for kaleido-scopes lead to the National Ka-leidoscope Exhibition. In past years such kaleidoscope artists as Kay Winkler, John Haug, Sherry Moser, Peggy & Steve Kittelson, Don Doak , Marc Tickle, and others have been present to discuss their creations and to demonstrate the tech-niques used in the art.

They have well over one hundred kaleidoscope artists represented in their offerings. Even though gifts and artwork made of wood make the main-stay of the Davlins stores, kalei-doscopes of different materials and style pass over the counters into the hands of the customers. Kaleidoscopes made of plastic, stained glass, metals, stone,

wood, and mixed materials can be found at Davlins. Melani Weber, an employee of Davlins and the creator of their web pages, pro-vided some de-tailed informa-tion on Davlins’ experience with kaleidoscopes. “We originally carried only

wood gift items in our stores, so when we sold Ste-ven Gray's original wood teleidoscopes and inter-changable scope sets, we thought they were incredi-bly unique items to offer in our store.” Weber indicated that inter-

est has increased in oil-filled cell kaleidoscopes. “More art-ists are making them, and we're receiving more requests from our internet site about scopes of that nature.”

Weber’s personal favorites are kaleidoscopes with the two-mirror system. “I prefer to see the intricacy of the central im-age rather than the explosion of color in a three-mirror system. Then again, if I had my choice, I would probably choose one of each!”

Some of Davlins’ most unique experiences in selling kaleidoscopes were with cus-tomers buying kaleidoscopes for a dying friend or relative. In one case, the customer couldn't be with the person during this try-ing time, so she wanted to give him a gift that would let him see truly beautiful things in his last few months. She also hoped that afterwards it would give his family comfort.

“To make it even more dif-ficult, she was purchasing the scope over the internet, and even though she knew which kind of scope she wanted to pur-chase, she asked me to pick the best one from our selection ac-cording to my own judgement. It took me quite a while to choose that scope!”

The Davlins stores still carry a wide variety of unique wood gifts, and have expanded the selection to include other media, including pottery and fountains. Their newest store, The Woods (and a newly re-modeled Davlins store) now feature many gift items with a Northwoods theme, such as log furniture, carved bear and

Editor’s Introduction: Our plans include covering a kaleidoscope dealer , store, or gallery. Kaleidoscopes do not have to be the only item carried, but prefer it to a major stock item. The article may be written by the editor, a guest writer, or some-one chose by the store or gallery management.

Each year, in August, a large number of kaleidoscope collectors, artists, and friends gather at the Southdale Center in Edina, Minesota, around a store called Davlins to partici-pate in the National Kaleido-scope Exhibit. Hundreds of ka-leidoscopes are displayed, many of which are being introduced at the exhibition. On hand are some of the kaleidoscope artist to discuss their masterpieces, or to give demonstrations of the many different skills and tech-niques used in crafting kaleido-scopes. The 1999 exhibit will be held August 13th through September 12th.

In various locations in the twin cities of Minnapolis and St. Paul, Minnesota, you will find a Davlins gift store. Mostly deal-ing with hand crafted wood gifts, the stores also carry a number of kaleidoscopes from many talented artists. Davlins stores are owned by David & Linda Looney.

The store in the Rosedale Center in Roseville, Minnesota was their first in a regional mall In addition to the Roseville

What’s in Store?What’s in Store?What’s in Store?

David Looney, Davlins' Owner, and Polly Carmichael, Rose-dale Store Manager.



new. There are a few exceptions that have great images. I am most surprised by the images of the Kaleidorama kaleidoscopes. Boxed sets are highly prized and can go for a real premium.

These toy scopes can be very hard to find. I have found most of mine from internet auction houses. One site usually has more than 50 toy kaleidoscopes for auction each week. There are new internet auc-tion houses popping up weekly.

Some kaleidoscope dealers will have a few for sale. I have had sporadic luck visiting local antique malls. Many of my favorites have been obtained in local malls. You will rarely find more than a couple in large antique centers. They tend to be either over or under priced. For currently produced toy kaleido-scopes visit mom and pop type toy stores or nature stores. Never un-derestimate the power of trading with fellow collectors.

Prices vary with toy kaleido-scopes. Most are vary affordable. Table 1 shows current price ranges of some old toy kaleidoscopes. The prices are crude guidelines at best and assume good or better con-dition.

Since I have been purchasing toy kaleidoscopes for about 18 months now, I have seen prices on

the internet auction houses creeping up. When I first started buying them there was a handful of us bid-ding on these toys, now we have a couple of dozen bidders for these same kaleidoscopes. I fear that this article may lead to more kaleido-scope collectors entering that same market.

If you choose to enter this market, do your homework. Look at what has sold recently and get an idea of what things usually sell for. I have seen a scope sell for $15 six times over a couple of months only to see it sell for $50 a week later.

Read the seller description carefully. Assume nothing, if you have a question ask the seller before bidding. Ask other collectors as well. Sometimes the seller knows very little about the item they are selling. If the bidding gets out of line with the value of the item, let someone else have the item. Most items will show up again soon. Remember to include postage costs in your total expenses as the buyer usually pays these. Also expect to pay for your item up front and not expect to see it for close to a month unless you pay by money order.

I do not know if most toy kalei-doscopes will appreciate in value. The rarer ones in top condition might do well over time. Some character kalei-doscopes might do well as might some boxed sets. As with most collectibles,


Kaleidoscopes made by Steven

There’s no use crying over it.

Remember, this could have been

your ad!

Ad rates are reasonable. Please call

217-348-0855 to reserve your space in the next issue!

After that you will be smiling

again!



price is a function of condition, rarity, and demand.

Toy kaleidoscope collecting can be very rewarding. You can get a few dozen of them for the price of one nice modern kaleidoscope. The variety seems endless.

Most can be displayed in smaller spaces than more artistic scopes. I know of one person that has about two hundred toy kaleidoscopes in her bath-room. Every kaleidoscope collector should have a few of these little jewels in their collection. Be careful as you may soon find yourself with hundreds of these as well. a

There’s no use crying over it.

Remember, this could have been

your ad!

Ad rates are reasonable. Please call

217-348-0855 to reserve your space in the next issue!

After that you will be smiling

again!

Artist Gallery – DeMattia (Continued from page 7)

scopes produced by the DeMat-tias, in my opinion, are the bottle kaleidoscopes. I guess I hang around the type of people who enjoy a “cool-one” after a day of hard work. I too enjoy some of these pleasurable “4 o’clock” treats for the eye, to calm me down after a hard day at the of-fice. a

Healing Arts Kaleido-scopes combines the healing properties of mandalas with color therapy to produce custom kaleidoscopes for your personal needs. Stressed out? Need some relaxation? Try our kaleidoscope with pink gems. Want to reduce a headache? Try our green kaleidoscope. Having bad dreams? We might have the ka-leidoscope for you. Need to increase the romance in your life? Contact your dealer about your particular problems, and let us make a kaleidoscope to suite your needs. Healing Arts Kaleido-scopes are distributed through: Bensley Enterprises 1116 Madison Ave. Charleston, IL 61920 (217) 348-0855

Clinical studies have not been completed to substantiate any claims for health benefits by using kaleidoscopes and color. These products are not intended to diagnose, treat, cure or prevent

The Magic of Mandalas and

Color


Wood crafted kaleidoscopes in exotic and domestic hardwoods.Wood crafted kaleidoscopes in exotic and domestic hardwoods.Wood crafted kaleidoscopes in exotic and domestic hardwoods.

Embarras (pronounced Ambraw) is french meaning embarrassment. The Embarras river starts northwest of Champaign, Illinois, and joins the Wabash south east of Lawrence-ville, Illinois. The river was a trade and exploration route as Illinois was being settled. Abraham Lincoln lived within riding distance of the river and would cross it during his travels as lawyer. Many craftsmen settled in the area using the extensive raw materials available in the area, such as the wood, stone, and fresh water shells. The crafting tradi-tion continues in these wonderful kaleidoscopes.

Embrarras River Kaleidoscopes produces fine hand crafted kaleidoscopes in various domestic and exotic woods. Using time honored traditions, the craftspeople at ERK produce highly collectible works of art. Unlike mass produced kaleidoscopes, each kaleidoscope is given the time and attention needed to create a masterpiece deserving of a place of honor in your home and to be handed down from genera-tion to generation. Use of high quality first surface mirror gives added clarity to the image produced in each kaleidoscope. Design and technical assistance from internationally acclaimed kaleidoscope artists and designers gives Embarras River Kaleidoscopes the touch class needed for your collection.

Embarras River Kaleidoscopes are available from: Bensley Enterprises, 1116 Madison Ave., Charleston, IL 61920. Phone: (217) 348-0855

Or visit their web site at: http://members.tripod.com/kaleidoscopes2/index.html


Brett Bensley has been producing kaleidoscopes for sale since 1993. He produced kaleidoscopes for friends and family prior to commercial release of his works of art. Each year, Brett creates new designs. Of the new designs created in 1999 are these wonderful pool balls. The set is known affectionately as “rack’em up.” The balls may be purchased as a set of 16, or individually. The production will be limited.

Kaleidoscopes by BensleyKaleidoscopes by Bensley

“Rack’em up”

Brett Bensley’s kaleidoscopes are available through Bensley Enterprises and through numerous deal-ers and galleries nationwide and internationally. For more information or the location of a dealer near you, contact us at:

Bensley Enterprises 1116 Madison Avenue Charleston, IL 61920

(217) 348-0855 Wholesale pricing is available for stores and galleries.

Introducing

Documents

Kaliedoscope Review Issue 1