This Bakelite bangle, circa 1930-42, is in a gorgeous shade of green. This bangle is most unusual in that has along the entire top of the bangle, medium sized faux pearls, 8 of them, set into the bangle in an abstract fashion.

Once you have decided you want to start collecting vintage Bakelite jewelry, you need to get started somewhere. And the best advice is to start off slowly and carefully. It helps, of course to have some basic knowledge of the history of this wonderful era of collecting. There are many exceptional books on vintage Bakelite jewelry readily available, which are a most useful resource. We have been dealing in vintage Bakelite jewelry for well over 25 years and truly believe that it is never too late to start collecting, wearing and enjoying vintage Bakelite jewelry. This form of vintage plastic jewelry is indeed a wonderful tribute to the designs contributed from the Art Deco era.

The Art Deco period began with the end of the Art Nouveau period in approximately 1920 and continued through 1935. During this era, the most accessible and collectible jewelry of the era was plastic. Now, the word “plastic” and the word “jewelry” do not seem to go together for many people, but they do, if you are an avid collector of Deco jewelry—in Bakelite—the colorful fun jewelry that is so fashionable to wear.

We are of the opinion that this is the ultimate in costume jewelry, as it is worn completely for effect; to enhance the “costume.” Rather than being spurned as it was for many years, it is worn today in the spirit of colorful fun for which it was intended. In addition, when searching for Bakelite jewelry, one can find some fabulous examples of great design work in the harder-to-find pieces that have made their happy way to the collectible’s market.

This Bakelite bangle is in the fabulous “saucer” style with very deep Art Deco carvings in a gorgeous and rich butterscotch color.

When beginning to collect Bakelite jewelry, certainly do not believe that you have to start off with highly carved and costly pieces. This is not the case.

So, you say you like Bakelite, but don’t quite know what it is. Well, at its core, Bakelite is a phenolic resin that was cast into tubes or rods and carved sheets by machinists. It was invented by Dr. Leo Bakeland, for which he obtained a patent on July 13, 1907, and there was an almost immediate demand for it. Soon, there was no end of household items, kitchenware, games, toys, electrical insulators and, of course, jewelry, made of this material. It was intended for the masses. Most Bakelite jewelry production ceased in 1942, coinciding with America’s entry into the Second World War.

Bakelite jewelry was sold in the 1930s and early 1940s in such noteworthy United States department stores as Sears, Saks, B. Altman’s and Bonwit Tellers. There were well-known designers—such as Van Cleef and Arpel, Channel and Lalique—who even produced items using this material. Remember, this was in the midst of the Great Depression, and the bright and durable Bakelite items were an instant hit with all, as it was a relatively inexpensive way to add some color into one’s life. The Queen may not have worn Bakelite at the time, but, as we recently learned, the royal yacht Britannia boasted furnishings that had Bakelite trim.

Another vintage Bakelite bangle is carved very deeply in a rich and deep cream corn color.

It can be a truly awesome and confusing experience when beginning one’s search for that first piece of vintage Bakelite jewelry. As with all vintage and collectible jewelry, time creates scarcity. But there is much to choose from. Often, you can find Bakelite in brick-and-mortar shops, at antiques shows and flea markets, and on the Internet.

Beware Fake Bakelite

But one needs to beware, as there are many Bakelite “imposters” being sold, commonly termed “Fakelite.” In the marketplace, Fakelite has come to mean plastic jewelry that is newly manufactured from materials such as phenolic resin and are manufactured and crafted, with carvings and all, to resemble vintage Bakelite. In so many instances, Fakelite is being misrepresented and portrayed as vintage Bakelite, and it is certainly up to the individual buyer to determine if these pieces hold any aesthetic value, so one must be prudent when shopping for vintage Bakelite.

We believe that while “copying” is the best form of flattery, we are dismayed that there is a “cottage industry” that has been created with the production of Fakelite. We recommend that the best item to start collecting vintage Bakelite is with the Bakelite bangle. These run the gamut from highly carved and wide to thinner, non-carved spacer bangles. The highly carved Bakelite bangles tend, of course, to be higher in price. While these carved bangles are truly spectacular and striking, featuring exquisite workmanship, this may not be the place to start if you are working with a “Bakelite budget,” as one can always upgrade.

This vintage Bakelite bangle is deeply carved in a rich and delicious chocolate brown.

Because the colors of vintage Bakelite are like a box of Crayola crayons (most having oxidized over the years to darker tones), wearing several thinner spacer bangles can be just as striking, less costly and just as effective for the beginner collector as wearing a wide, deeply carved and chunky Bakelite bangle. These will cost you less and soon you will still be the proud owner of a collection of vintage Bakelite bangles. As time and budget permits, one can always purchase a wider, carved bangle, wearing the spacer bangles on either side for yet a different vintage fashion look.

Take the Bakelite Test

When you have decided that you want to join the Bakelite jewelry hunt, you must be armed with knowledge and be assertive; and ask questions of the dealer(s) you are considering making a purchase from. Inquire if the item has been positively “tested” for Bakelite and what test had they utilized. Authentic vintage Bakelite, when run under very hot water, will yield a strong smell and most pieces, when rubbed with 409 household cleaner or Simi-chrome polish, will turn a Q-Tip yellowish. Additionally, vintage Bakelite jewelry will have no seams, so check the inside of the bangle carefully.

We always utilize these basic testing methods to ascertain that we are selling an authentic vintage piece of Bakelite jewelry. We are also aware that the fake items being presented in the market have been “treated” in such a way that they may pass the basic Bakelite tests. As one continues to collect the real thing, practice will make perfect. To be certain you are not buying Fakelite, we recommend that you purchase only from reputable, experienced dealers until you believe you are ready to go out on your own and search out Bakelite at flea markets and antique shows. Feel free to ask questions of any vintage Bakelite dealer regarding an item and enjoy the thrill of collecting vintage Bakelite!

An Art Deco sterling and red Bakelite brooch.

While starting with bangles is the safest way to begin you Bakelite collection, you should overlooked Bakelite brooches, bar clips and dress clips, as they are indeed a vintage fashion complement to the bangle and are extremely versatile. Brooches can be heavily carved or simple, and bar pins are equally attractive. Dress clips and brooches can be worn in a variety of ways and in a variety of angles, and the wearing of both items together complete any outfit makes a presentation that cannot be beat: a total Bakelite “look!”

Good luck ting your vintage Bakelite jewelry collection, and happy hunting!

— Linda Grossman and Evelynne Roth

Evelynne Roth and Linda Grossman have been mother-daughter Bakelite jewelry dealers for more than 25 years. Evelyn is an authority on Bakelite, having collected Bakelite for more than 40 years. Together, they operate Evelynne’s Oldies But Goodies.

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In 1871 the fashion of wearing chatelaines was revived by Princess Alexandra of Wales, who wore one. They remained in vogue for another 20 years. Worn by housewives or housekeepers, the numerous chains carried a wide range of useful objects. This chatelaine is made of cut steel with a deep hook, which attached over the woman's waistband. The remaining tools include a shoe hook, whistle, needle case and small perfume bottle. Circa 1890.

A chatelaine is a brooch or clasp, worn at the waist, from which trinkets keys, and useful items are suspended. The chatelaine served the useful purpose of carrying a locket, a miniature or watch attachment, scissors, a writing tablet, seals, or badges. Its name came from the term meaning keeper of the castle, although in different forms chatelaines have been used by both men and women.

Keys hanging from the waist as a symbol of authority is traceable to Roman times. Jailers in olden times wore keys attached to their girdle of stout leather belt. The chatelaine used by the man of the house carried various tools, from a dagger for self preservation, to keys for the larder where precious meat was stored.

In Medieval days, it must have become cumbersome, with the increasing variety of items found to adorn it. A nutmeg box/grater was very useful when the bowl of punch was a common beverage. It was quite small and unscrewed in the middle, holding one, and some only half a nutmeg. Often it was accompanied by a tiny corkscrew.

When a woman became a bride, she was presented with the keys to her new home, one of which she attached to her girdle. Scissors, knives and little things necessary for the housewife, her sewing room, and her toilet adorned her chatelaine.

During the seventh and eighth centuries, chatelaines were particularly popular. The finest were made of gold, but other materials, such as pinchbeck—a mixture of copper and zinc—were also used. Some were enameled and depicting biblical or mythological scenes. Others were inlaid with agate or decorated with cameos. Expensive chatelaines were adorned with precious gems, the most popular of which were diamonds. Men attached their watches, their watch keys, and other accessories to them; women used their chatelaines for keys, scissors and other useful items necessary for the lady.

A cheroot or cigarette cutter with nice engraving on both the front and back with a swing hoop for attaching to a chatelaine.

A mechanical pencil with an ornate design and the top screw off cap. The top has an inset Carnelian Stone and below it is a hoop that slides for a chatelaine. Circa 1893.

A set of glasses with a loop for attaching to a chatelaine. The frames are engraved 14k white gold and measure 4 inches across, with magnification lenses. Circa 1900.

Art forms turned towards to simple, neoclassic art styles late in the century after the archaeological discoveries in Pompeii and Herculaneum. During this time, Josiah Wedgwood produced reproductions of classic cameos carved in relief on a white paste on light blue, green, black and pink backgrounds. Those were used in all sorts of jewelry and no doubt appeared on many châtelaines.

Beautiful scroll work engraving on the front and back of this 19th century match vault. There is a Cartouche in the shape of a shield on the front with initials in fancy English script.

It has a thumb catch on the front top. It has a heavy strong hinge. There is a hoop on the side for attaching to a chatelaine. The striker still has heavy grooves.

During the 19th century, jewelry was produced for the masses, and large artistic commercial firms producing high-duality jewelry for the prosperous new bourgeois were established. Faberge created quite a sensation when he displayed all the Imperial Easter eggs that he had created at the 1900 Universal Exposition in Paris. Cartier became the most famous jeweler in the world by selecting on the purest precious stones and setting them in his “sec secret” manner so that only the stones, not any of the mountings, were visible. He supplied jewelry to the King of Portugal, the Duke of Saxe-Coburg-Gotha, the grand dukes and princes of Russia, the Prince of Wales, and others.

This beautiful chatelaine mirror with the original beveled glass.

The back of the mirror shows an idealized European pastoral scene of shepherdess, two sheep and gentleman with pan pipes.

From the mid-19th century on, ladies added their own personal accessories to their chatelaines. These could be any of the many items she deemed necessary . . . scissors in a protective casing, a covered pin cushion, a small holder for serving needles, a shoe button hook, a whistle to call for help or summon servants, a vinaigrette for smelling salts, or items to identify her stature. Educated ladies carried a miniature pen, a metal-covered notepad, and a letter opener. As years went by other items were applied, such as caddies for medications, and nail and face toiletries. In wealthy households, where more than one mistress of the house was required, each would wear items particular to her responsibilities. The chatelaine’s accessories were made to be as lightweight as possible, yet sturdy enough to perform their intended function.

This chatelaine chain mail purse has dangling steal beads on the bottom for various attachments and an interior mirror with the original green silk liner. A silver filigree top features a matching belt clip that also has Turquoise beads. Circa 1850.

As a little bit of history, chatelaines are fun to collect, but don’t expect to find them cheap! They are becoming rarer and more costly each day. What you might find, however, are some of the accessories that have been removed front chatelaines, and you can recognize them by a small ring attached to the top. Thimbles, scissors and small silver-cased pens do not usually have a ring attached at the top unless they were made for a chatelaine. Chatelaine accessories can still be found at flea markets, yard sales and what-not cases in antique shops. Be cautions however, because in this age of nostalgia, there are lots of companies reproducing Victorian items. As a matter of fact, we just received a catalog featuring numerous sewing items with rings attached to them. I suppose they could have been charms for bracelets, as no dimensions were given, but certainly envisioned them dangling front a chatelaine.

— from American Antiquities Journal

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This is a Shelley cup and saucer with a large Cappers Rose floral design and in the Stratford shape with a green handle and gold trim, pattern number 2392, made between 1959-1966.

Shelley pottery during the 1920s and 30s was held in high esteem, not only by the retailers in the United Kingdom, but also by the public that bought it in England and world wide. It was the pottery to grace your table and impress your friends.

The production of those well-loved designs and shapes came to an end with the start of the Second World War; a post-war change back to more traditional shapes and styles meant that the Art Deco shapes would never grace tables again.

The War began in September 1939, and restrictions on the UK home market for decorated ware soon came into force; by the middle of 1942, all decorated ware for the home market was banned. The pottery that was allowed on the UK home market became known as “Utility Ware.” There were several versions, but the most popular was the white china with a clear glaze. Some decorated ware was allowed if the order was classed as a reject or part of a frustrated export order, although it seems there were not too many of those kinds of orders. Decorated ware was still being produced, but was for export only and was mainly shipped to Australia, New Zealand, the United States and Canada. Exports were a vital source of income for the UK during the war years.

The majority of the pottery that Shelley produced for export during these years was traditional in both shape and pattern. The popular cup shapes included Gainsborough, Vincent, Richmond, Henley and Dainty. A design called Sheraton was produced especially for export to Canada, in the pattern numbers 13289 Maroon, 13290 Green and 13291 Blue. Shelley advertised this design in the “Pottery Gazette” and “Glass Trade Review” in 1942, stating that “they were still producing good designs even though it was for export,” and that there “was something to look forward to at the end of the war.” It was not until 1952 that the ban on decorated ware for the home market was fully lifted.

A decision was taken by Shelley in the late 1930s to stop the production of earthenware and concentrate entirely on producing fine bone china. This meant a complete change at the factory in order to give the production a continuous flow from the slip-house to the packaging-house, allowing Shelley to produce four main types of ware, each having its own pattern book. Set against each pattern number was the cup shape, a pattern description or litho name and the type of finish to the ware, i.e. gold, colored and whether it had a fancy finish to the edge or handle. The four main types of ware were: Best Ware, Ideal China Ware, Seconds Ware and Special Patterns Ware.

Shelley’s Garden Urn Flowers Trio, circa 1929. The war forced the factory to stop making anything but “utility ware” for domestic use. These designs were still made for export.

Best Ware, as the name suggests, is the best quality ware. The pattern numbers continued in sequence from the earlier period, but as we are looking at the later years it is easier to start with pattern number 13000, dated 1939. The last number in the pattern book is number 14341, which is dated May 18, 1966, and was shortly before the factory was taken over.

Ideal China Ware, as it became better known, was originally designed for export to Canada (the official name was “Canadian Teaware”). The name Ideal China was to be placed on the bottom of the ware in front of the pattern number, but is usually found only on the early numbers. All numbers in this range started with “0.” Although it was originally designed for Canada, it seems that it made its way around the world, as it can be found in most countries that Shelley exported to. This is not a sub-standard pottery—it is the same standard as the Best Ware—but cheaper litho and finishes were applied to the early numbers. The first number was 051, dated February 1, 1938, and the last pattern number was 0721, dated May 11, 1966. Pattern number 051/28 is the best known number in this ware; it is the Dainty Blue pattern on the Dainty shape.

Seconds Ware is as its name suggests; ware which, during the early stage of production has been found to be faulty, either in the glaze or in the china. A pattern or litho and finish is applied, but is considerably cheaper than those applied to the other wares. It is noticeable that on seconds ware, the litho is usually applied to the front of the cup only and to one section of the saucer and plate. The other areas often have a pink and blue butterfly with outstretched wings strategically placed so that it does not look too plain. These methods saved on costs, for it was essential to get a return of some kind from this ware. The seconds ware pattern book commenced in 1919. Prior to this, Seconds Ware was included in the Best Ware pattern book, and just noted as Seconds ware. The first number in the pattern book is number 2000, dated June 1919; the last number is 2751, dated June 24, 1966. On some of the pieces of ware you can find a number two in a circle, or 2nd can be found on the base of the ware. Both denote it as being Seconds Ware.

The fourth type of ware that Shelley produced was Special Patterns Ware, and this is the hardest to find. The pattern numbers in this book relate to special requests from retailers, organizations or individuals. The pattern number started at 1 and finished at 988, dated may 1966. The amount of ware produced for each of these patterns could be as low as 50 pieces or just into the hundreds. In the 1930s, some cafés used the Mode and Eve shapes and had their cafe crest or emblem placed on the ware.

A Shelley trio in the very colorful and ornate Paisley pattern on the Henley shape.

The pieces are marked “Shelley” and “Fine Bone China, England,” with pattern number 14073.

As previously mentioned, during the war Shelley concentrated on the traditional shapes for export. Once decorated ware was allowed onto the home market again Shelley continued to use those traditional shapes, since designing new shapes straight away would have been a costly exercise. Examples that were popular before the war and continued after include Gainsborough, Henley, Richmond, Ripon, Regent, Oleander and ever-popular Dainty shape. The Queen Anne shape reappeared in the 1950s, but the type of lithos that were being used at that time were not complementary to its shape, so the revival was short-lived. Shelley started to introduce new cup shapes in the early 1950s, including a redesigned Cambridge (where the ring handle was replaced with a more open type handle), Ludlow, Boston, Lincoln, Stirling, Stratfor and Warwick. Two miniature shapes were introduced in 1956: the Westminster and the Cathedral. The miniature cups and saucers were in the giftware and could be purchased boxed or unboxed. The last cup shape to be introduced was the Avon shape in January 1964, but within two years the take-over of the factory began and this shape was never given the opportunity to become popular.

The lithos that were placed on the ware were of traditional style, and it was not until the mid-50s that several floral and contemporary designs became popular. Of the floral lithos, the most popular one was Wild Flower, pattern no. 13668. This litho was produced on most cup shapes and was a best seller for many years. A contemporary design that became popular was the Lyric litho, pattern no. 13778. Around the same time chintz patterns were also coming to the fore. Shelley produced around a dozen chintz patterns during this period, some of the more popular being Rock Garden, Primrose Chintz, Summer Glory and Melody and Maytime (both pre-war). In the early 1960s, abstract patterns were introduced—Cleopatra, Aegean and Apollo—and although the impact on the market of these designs was mixed, several floral patterns remained popular.

Shelley teacup and saucer in the Primrose Chintz pattern on a Ripon shape.

To bottom has the familiar “Shelley” marking and the pattern number 13589.

The giftware range was a selection of boxed items. Besides the miniature cups and saucers, there were tankards, individual cream and sugar with a tray, smokers’ companion sets, beakers, pairs of small ashtrays, large ashtrays, butter and sweet dishes. Several other pieces were also available. During a conversation I had with the former decorating manager for Shelley, he told me that he can remember that concern was expressed as to the feasibility of the boxed giftware. This was because the boxes in which the ware was placed actually cost more than the pieces of pottery themselves! In the end, there was no need for anyone to worry, because after they were shown at the International Gifts and Fancy Goods Fair, they continued to be a good seller for many years.

Shelley also produced ware that could be classed as scenic ware. This was where a scene or view was placed on different pieces. It would be as easy to say that you could get these scenes and views on any of the pieces that Shelley produced. The reason for this is that there was not a pattern book that listed this type of ware, only a Scenes/Views book that showed the various scenes or views from around the world. Australia was well represented, with views from many areas. Those that spring to mind include Sydney Harbour Bridge, the Parliament Buildings, Canberra and the Jenolan Caves. A lot of this ware was produced for the tourist trade.

A piece of Shelley’s Nursery Ware line, featuring a little girl with birds and the verse “Little Blue Bird, How He Sings—So Happy On My Plates And Things”

To piece is signed by the artist, Mabel Lucie Atwell, circa 1940.

Shelley also produced Mabel Lucie Attwell ware, but there is no pattern book in existence as it was misplaced around the time of the take-over. Mabel Lucie Attwell had started working for Shelley in 1926, producing various pieces of ware. This continued after the Second World War, although on a much smaller scale. Several of the children statuettes—The Golfer, Our Pets, I’s Shy and Gardener’s Boy—were manufactured, and the little elves sitting on or hiding behind something were still in production. A range of nursery china was still available, ranging from cups and saucers and tea plates to fruit bowls, egg cups, mugs and beakers. In 1949, during a Royal visit to Stoke-on-Trent, Princess Elizabeth was presented with a set of Mabel Lucie Attwell nursery china for Prince Charles.

Since the end of the war, Shelley had been able to hold their own on both the home and overseas market. New technology was starting to change the face of the pottery industry, and some of the smaller family-run firms were finding the costs of these changes beyond their means. A powerful financial holding company called Pearson & Sons Ltd. started to acquire some pottery firms and a company was formed called Allied English Potteries (AEP, as it became known) to cover Pearsons’ interest in the pottery industry. In the middle of 1966 AEP acquired Shelley China Ltd., and a firm that had been owned for four generations of the same family ceased to exist. It took almost 18 months to complete outstanding orders, and once this had been achieved the Shelley name disappeared completely; even the name of the factory was changed.

The official reason given for the acquisition of Shelley by AEP was that AEP wanted to increase its bone china output, and the skilled workforce at Shelley, together with the good reputation it had maintained, made it an attractive proposition. If this was the case, why did AEP stop producing Shelley ware? A question to which I cannot find an answer!

— by Chris Davenport

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Chris Davenport started collecting Shelley pottery in 1988. His mentor was the former decorating manager at the factory from 1949 until 1966, and he also became good friends with Alan Shelley, the last surviving member of the Shelley family to work in the family business. His book is titled “Shelley Pottery – The Later Years.”

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This coat and bonnet set, circa 1920, was made from the antique winter white wool fabric, adorned with embroidery and silk ribbons. The bonnet and the coat are fully lined, and the coat closes with five tiny pearly glass buttons.

One of the many tragedies of modern life is the switchover from natural fibers to those composed of synthetic substances. Although synthetics are less costly than the animal or plant by-products, they are not as durable, practical or as attractive as the “real thing.” In the past, all clothing was made from cotton, wool, linen, silk and hair, and when a garment was no longer of use to the adult, it was handed down and re-made into clothing for children, and subsequently, apparel for dolls. In fact, dolls were often more fortunate than the child, because the new doll was usually outfitted by a skilled modiste—a female maker of or dealer in women’s fashionable attire—in strong, brightly hued new fabrics and in the latest fashion. Hence, doll clothing made of these fabrics have endured the centuries intact.

This German bisque doll with open mouth, named "Lissy," circa 1890, is wearing vintage clothing.

When costuming an antique or old doll, strive to duplicate the fabrics of her era (cotton, wool, and silk fabrics are still being made). Better yet, scrounge flea markets, thrift shops, yard sales, and the like (or advertise) for authentic old materials. (Years ago, elderly ladies would gladly give their old clothes, fabrics, laces, trim, etc., just for the asking.)

The 1870s was considered the golden age of dolls in that more attention was focused on their manufacture and wardrobes—especially in France. Berlin also had its share of expert doll modistes, since early German dolls made expressly for the French trade (and to be sold and exported from Paris) were costumed in the French manner or sold nude and dressed in Paris. These modistes always used the finest materials possible—silk, satin, wool, cotton, and these fabrics were given fancy names, i.e. poplin (ribbed material made of silk/wool, cotton/wool, or cotton); pongee (natural colored silk); and cashmere (soft goat wool). These combinations of substances always stemmed from the basic source. Satin was a derivative of silk and, in later years, of rayon (rayon was made from cellulose treated with chemicals).

In the innovative 1880s, the following materials were used for dolls’ clothing: tulle (fine silk net), ottoman velvet, brocaded faille, cashmere, Scotch tartan, pongee, sateen, nainsook, linen lawn, embroidered muslin, flannel, turkey red twill, cambric, gingham, foulard, crepe, plush, Bengaline, peau de soie, and moiré. Trims included: wax beads, braiding, applique, narrow ribbon and galloon, etc.

Popular and fashionable fabrics were utilized in the 1890s in an even more flamboyant mode. They included velvet, grosgrain, silk, broadcloth, taffeta/taffeta chine, chenille, point d’espirit tulle, stet cloth, pique, muslin, chiffon, serge, brocade, flannel/flannelette, twill suiting, French Henrietta, wool, fond crepe de chine, and satin.

The period of 1900-1920 witnessed not only shorter skirts but a more “tailored” look in feminine fashion, and dolls mirrored the trends of the times. These new styles took advantage of the standard fabrics and introduced new combinations, such as satin/sateen, fine taffeta silk, silk peau de soie, wool/serge, nainsook, lawn, cambric, china silk/Japonika silk, muslin, cotton poplin, calico/printed calico, flannel/flannelette, percale, gingham, madras cloth, velvet/velveteen, chambray, dimity, cashmere, worsted, cheviot, chiffon, corduroy, pongee, point d’espirit net, galatea, Silcilian cloth, French serge, messaline, cotton voile (1919), silk, and Georgette crepe (1919).

You can find lots of vintage doll clothes, but you’ll often find mixed lots, with some that are factory-made, such as the pink dress with blue vest on the right, while the others are hand made.

The Roaring Twenties eschewed old customs and styles and introduced an era of carefree abandon with daring lightweight, see-through fabrics. It was the decade of flappers and boudoir dolls. Cotton voile was a popular fabric used for dolls’ dresses, cushions, bedspreads, doilies, and aprons; usually brightly embroidered. Other notable materials used for dolls’ wear were white cotton “linene” (for suits), percale, white lawn, felt, black silk, real silk/artificial silk, silk/cotton mull, sateen, cotton/printed cotton, gingham, flannel/flannelette, cretonne, cotton crepe, dotted Swiss/organdy trim, organdy, silk taffeta, rayon (1927+), and Valenciennes lace/silk ribbon trim.

The decade of the Great Depression (1930-1940) demanded lower prices for dolls, hence cheaper materials were utilized; nevertheless dolls remained their glamorous selves thanks to Shirley Temple and the movies. Often used fabrics included: plain cotton/cotton prints, rayon, organdy, dimity, wool/felt, dotted Swiss and Celanese.

I have costumed hundreds of dolls over the years, and I have been fortunate to find vintage materials and laces via mail order, antiques shops, flea markets, etc. Dolls can likewise be costumed in combinations of old and new fabrics for the desired effect. All it requires is a dash of imagination and forethought.

—by R. Lane Herron

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Fabulous Imperial Art Glass stretch ruffled bowl. The pattern number is 3380 and the piece has the Imperial Glass Company logo, circa 1920.

Imperial Art Glass is, without a doubt, the most elegant of the stretch glass lines, not only because of its base colors or shapes, but because of the richness of its stretch effect. This line was introduced in 1916 by Imperial and represents the highest standards by which all stretch glass is compared. Unfortunately, Imperial’s Art Glass was commonly called “Jewels” by later collectors and the name has continued to be attached to a lot of stretch glass, whether made by Imperial or another manufacturer.

Practically all the Art Glass was made from rather simple vase and bowl molds and all the pieces were “stuck up” for shaping and iridizing. Stuck up pieces are heat-attached to a metal ring and they must be removed by breaking this attachment. This means that the bases of all the pieces had to be ground smooth. Many other pieces of stretch glass made by Imperial were placed into other lines and these pieces will have a normal foot or marie that was placed into a snap for handling.

Most of the Art Glass pieces have the IMPERIAL name within a cross mark. The mark may be ground off the bottom if the base was heavily ground, and, occasionally, the mark will be inside bowls. Some pieces do not have this mark, but their sizes, shapes and iridescence are distinctive of the Art Glass line. On the other hand, many Imperial pieces can have the cross mark, but are not necessarily part of the Art Glass line. These pieces usually have normal marie bases or other colors.

Imperial’s catalog 103G lists the Art Glass line colors. In this listing, five colors are defined: Pearl Amethyst, Pearl White, Pearl Silver, Pearl Ruby and Pearl Green. Pearl White is a frosty white iridescence applied to crystal glass. Pearl Ruby is a heavy yellow-orange iridescence applied to crystal glass; we would call this a deep marigold today. Unfortunately, the name ruby has confused many into thinking that this was a red glass. Pearl Amethyst is a multicolored iridescence applied to a medium purple glass. Pearl Silver is a shiny, silvery iridescence (often with golden overtones) applied to a dark purple glass. Pearl Green is a predominately green-gray iridescence applied to a light green (or ginger ale-colored) glass. These are the only colors “officially” listed in the catalogs.

Other colors have been found, but no Imperial names have been located. Marked and unmarked pieces that use milk glass with what appears as the Pearl Ruby iridescence have been found. There have also been some milk glass pieces with the Blue Ice iridescence applied. Blue Ice is the term used by Imperial in association with its Satin Iridescent Colors (their later line of iridescent ware that we call stretch today). Blue Ice is commonly called “smoke” today. Very rare pieces with what appears to be Pearl Ruby and Pearl Green iridescence have also been seen. To confuse things even more, the No. 26 and No. 28 vases appear to be the same vase that is commonly marked with Imperial’s “NUART” trademark on the base—these are commonly found with iridescence on emerald green glass. No name has been found to describe this effect.

— by David Shetlar

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A hand-hooked oval rug made of wool on burlap in floral design, circa 1940.

Since the middle of the 19th century, the practice of making hooked rugs have come in and out of fashion several times. Each time hooked rugs came back, the advancements in technology—the backing fabric, the yarn, the colors, commercial patterns—gave the finished rugs a definite period look. Today, hooked rugs have a large collectible following.

Unlike today, with the wide variety of floor coverings available today, most Americans do not realize is that the custom of using decorative, heavy, fabric floor coverings in all but the most elaborate American homes was not always the case, and prior to the 19th century, bare floors were the norm. Before 1800, even the word “rug” had an entirely different meaning.

In New England, bed rugs had a base of linen fabric with dyed, woolen yarns sewn through the weave, usually in floral patterns. By 1800, yarn-sewn rugs were also used to cover tables, chests and hearths. In wealthy households, hearth rugs were used to cover hearth stones in summer, but in winter they were used to protect valuable imported carpets from flying sparks.

These early American rugs were made from native raw materials, such as wool and flax. However, these natural fibers needed a great deal of processing before they could be turned into cloth. After the initial carding, spinning and weaving, the yarn or fabric also had to be washed, sorted and dyed with vegetable dyes made from available fruits, flowers, roots and berries. The fabric or yarn was then cut into strips which were sewn or braided into rugs. Because the production of textiles was so difficult and tedious, these hand crafted rugs were far too valuable to be walked upon.

Unusual, distinctive, creative, pattern of diamonds and triangles of undulating lines, finely hand hooked, wool on burlap, circa 1920.

The process of hooking rugs originated in the 19th century. The earliest date found in the design of a rug is June 10, 1850; the date was possibly chosen to commemorate a special event in the life of Ellen McKeever of Merrimack, N. H., whose name also appears on the rug. However, most experts believe that hooked rugs were made as early as 1840 in Maine, New Hampshire, the Maritime Provinces of Canada—Labrador, Newfoundland—and French Quebec.

The process of rug hooking is simple: A small, metal hook, usually with some kind of wooden handle, is used to pull a thin strip of fabric through a loosely woven cloth. The fabric loops that result from this process are usually from 1/8th to 1/4th inch in depth and close together, thereby forming a nubby texture or pile. The base for many early hooked rugs was linen, a relatively close-woven fabric, and hooks were often made from nails, forks or wire. Feed sacks, with their loose weave, were frequently used after being washed, stretched and sometimes pieced together.

Jute burlap, also known as gunny-sacking or Hessian cloth, was introduced to Europe from India around 1820. The strength of jute fiber, combined with the loose weave of burlap, made this a popular backing for commercial carpets. By 1850, British mills were producing jute sacking for commercial use, and Calcutta began exporting burlap. Rug makers in the United States quickly adopted this commercial product for use in making hooked rugs.

Designs were drawn on the burlap backing with a piece of charcoal or the end of a burnt stick. Subjects ranged from simple geometric designs, traced with plates or cups, to imaginative, whimsical animals never seen in nature. Many designs were taken from familiar surroundings. Sailors hooked rugs with anchors, ships and stars. Farm women used barnyard animals for their subjects, and the people of Labrador and Greenland used polar bears and puffins. No subject was too fanciful; landscapes, buildings, quilt designs and portraits of people and pets appear on early hooked rugs. Some rugs even tell stories or commemorate events.

The most popular fabric for hooking rugs was tightly woven wool. However, since many early rugs were hooked with leftover clothing or household textiles, it is not uncommon to find flannel, cotton, linen or paisley as well. Some rugs have braided borders, also made from leftover fabric scraps.

In the mid-1800s, Edward Sands Frost, of Biddeford, Maine, created a series of 750 tin stencils from which 180 patterns could be traced on burlap to make hooked rugs. He sold these stencils from his peddler’s wagon, and his designs soon became very popular. In 1867, a woman named Philena Moxley opened a shop in Wenham, Ma., offering burlap stamped with embroidery patterns that had been adapted for hooked rugs. In addition, Wainwright Cushing started a company that offered standardized dyes to improve the muted and uneven colors that often resulted from using vegetable dyes.

Eventually, many, if not most, hooked rugs were made with standard patterns and dyes. Although the process became more efficient, the products were less creative. Each rug hooker brought an individual style to the standard designs, but fewer of the primitive rugs, with their fanciful creatures and often charming lack of perspective, were being made during the second half of the 19th century.

Traditional floral bouquet framed by scrolling leaves, finely hand hooked, wool on burlap, circa 1940, circa 1940.

During the 1860s, hooked rugs were being crafted all throughout New England, Pennsylvania and the Atlantic seacoast. By the end of the century, the craft had spread throughout the United States. Most of the rugs were made by women, although some men, particularly sailors, also worked at this craft. Most rugs were made in homes for personal use or for display at community gatherings and fairs; however, after 1900 many people began to make hooked rugs at home to supplement their incomes.

Soon, community organizations were formed to sell these hand-crafted products. The most famous is the Grenfell Mission of Labrador, which provided materials for villagers to make rugs with striking arctic designs, hooked with leftover wool and jersey from discarded socks and underwear, as well as leftover burlap strands. Other organizations included the Cheticamp Hooked Rug Industry on Cape Breton Island, Nova Scotia, established by Alexander Graham Bell and his wife; Subbekakasheny Industry of Belchertown, Ma., which offered designs based on American Indian motifs; the Seacoast Missionary Society of Maine; the Society of Deerfield, Ma.; and the Blue Ridge Weavers of Tryon, N.C.

Because hooked rugs were made as floor coverings, many early-19th century rugs were discarded after years of hard use. In 1938, Ralph Burnham, an antiques dealer in Ipswich, Ma., placed an ad in a local newspaper offering to clean and restore early rugs. He traced the designs from rugs that came into his shop so that they would not be forgotten. In 1937, when William Winthrop Kent published a book on the history of hooked rugs, Burnham assisted him by providing some of these designs.

Also during the 1930s, Pearl McGown, a gifted rug maker, inspired a whole new generation’s interest in hooked rugs. McGown designed patterns, wrote books and instructed teachers. McGown also endorsed a hand-operated cutting machine that made uniform fabric strips (3/32nd of an inch wide). McGown discouraged any alterations in her designs, and the rugs made with her patterns are easily recognizable to anyone who has studied her books and catalogs.

A vintage hooked rug made by Pearl McGown depicting a New England scene of snow covered landscape with a horse pulled sleigh approaching a red covered bridge, made of wool on a burlap base. The inscription on the burlap reads: “May the simple joys of life be yours this Christmas – 1951- Pearl M McGown F25.”

In 1968, Joan Moshimer, a student of McGown, opened a studio in Kennebunkport, Me. to teach the craft of hooking rugs, using many of McGown’s designs but encouraging more individuality and creativity. She also purchased the Cushing Company so that she could sell supplies for braiding and hooking rugs. In addition, Moshimer wrote books on the subject.

However, hooked rugs were not popular collectibles until the last quarter of the 20th century. In 1975, Joel and Kate Kopp wrote “American Hooked and Sewn Rugs,” in which they stated that the primitive imagery [of the rugs] often parallels the more accepted forms of folk art, while rarely receiving the same recognition. In their book, the Kopps presented a chronological, visual record of American hooked rugs and gave some guidelines as to which they considered the most creative and artistic.

The best rugs, according to the Kopps, are those with a strong sense of space and color, combined with a feeling of feedback from the emotions and sensibilities of their makers. They chose not to show rugs made from commercial patterns, feeling that the standardized designs stifled originality and creativity. They praised rugs that displayed primitive force and unique naive character.

Most experts agree that the best rugs are those with original designs. Landscapes and portraits are more desirable than floral or geometric rugs, although these are collectible as well. Geometric rugs should be judged not only by their design, but also by their depth and shading; the best of this type have a three-dimensional appearance. Although rugs made from commercial patterns are collectible, they do not command the prices of the early, uniquely personal rugs.

John and Lynn Gallo, antiques dealers in Otego, N.Y., say that condition is very important, unless the rug is extremely old and worth having repaired professionally. A repaired rug must be judged on the quality of the repair, but a well-executed repair should not deter a collector from purchasing an attractive rug. The Gallos look at the subject first and condition second.

Rugs that are dirty or stained can often be cleaned, but the Gallos caution buyers to be aware of the fact that some stains (e.g. blood) can seldom be removed successfully. If the rug is valuable enough, however, the stained portion can be removed professionally and replaced with similar material. A hooked rug should never be professionally dry-cleaned or immersed in water; both can damage the burlap backing.

A hooked rug with a geometric pattern, which appears to be inspired by Native American design, circa 1930.

The best way to clean a hooked rug is to vacuum the front of the rug, first covering the vacuum hose with a piece of sheer cloth and using the lowest setting available. A soiled rug can also be cleaned with the suds of a mild detergent. The Gallos use absorbent fabrics, such as cotton diapers, first immersing the cloth in the suds and then rubbing lightly over the surface of the rug in a circular motion. A hooked rug should never be hung to dry. It should be laid flat on a towel or on a shaded lawn on a mild day. The rugs should never be folded, but rolled, right side out, when stored or shipped.

Hooked rugs can be very hard to date and difficult to assess. A beginning collector would be wise to contact a dealer who specializes in this area. John and Lynn Gallo note that such dealers are listed in antiques associations in many states and can sometimes be found at the larger antiques shows. They also state that a reputable dealer will answer questions, describe his merchandise and offer a written guarantee. Although the Internet can be an excellent source for purchasing antiques, the Gallos caution collectors to ask questions before bidding to make sure that the person offering the product is knowledgeable and offers a return option.

Some of the best examples of early American hooked rugs can be seen in books, at shows and in museums such as the Shelburne Museum in Shelburne, Vt. and the Henry Ford Museum in Dearborn, Mich. Jessie Turbayne, author of “Hooked Rugs,” calls these vibrant examples of folk art a craft born of necessity. Out of the need for warmth and the desire for color in their homes, North American rug hookers created a tradition that has Survived for almost 200 years and is now valued as our only indigenous folk art.

— by Marion Grammer

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This antique carved snuff bottle, which was made in China in the 19th century, stands 3 ¼-inches high. The surface is wonderfully carved with tiny people, all in movement, who seem to be waving flags, amongst a natural scene with classic Chinese rock formations and trees.

Contact with the West greatly influenced Chinese applied arts, none more so than the culture pertaining to tobacco-related habits. But while smoking was officially castigated, the taking of snuff became extremely popular, and culminated in a miniature new art form: the snuff bottle.

When smoking was introduced into China by Portuguese traders in the early 17th century, it was immediately considered a distasteful pastime of foreigners. Smoking had, in fact, become enough of a problem that Ming emperor Chingde banned it, and chronicles dated as early as 1641 record its prohibition. In later years, the more socially acceptable snuff began to make inroads; its use was endorsed by a succession of Qing emperors and a large number of the influential minority within China. Snuff is a ground tobacco enhanced with herbs and spices, renowned for its medicinal qualities of clearing nasal congestion and easing breathing, not to mention its appealing narcotic effect.

In Europe, snuff takers carried small, ornate metal boxes to contain the spiced tobacco, but these receptacles were inefficient in the warmer variable climate of China, where the boxes were not sealed tight enough to protect the powder against humidity fluctuations and thus maintain powder quality. Nor was a box suitable for outdoor use in the wind or rain. There was the further inconvenience of carrying awkward containers, or sharp edges tearing at the nobility’s (pocketless) silk garments.

During the late Kangxi reign (1662-1722), almost simultaneously but unknowingly in distant major centers, these shortcomings were considered, culminating in three distinct forms of snuff receptacles. Guangzhou continued to produce the box shape (biyanhe); the Yangxin Dian (Palace Workshop) in Beijing adapted the flattened moon flask (biyanhu); and Jingde Zhen favored the Ming ceramic medicine bottle, creating the cylindrical biyanping or snuff vases. In time, accoutrements appeared: a small ivory or bone spoon to ladle small quantities of snuff was added to the bottle stopper; a small snuff dish was used to crush the tobacco and mix the spices; purpose-built wooden stands were sometimes carved to fit the base of a particular snuff bottle; and old brocade pouch bags or old fitted padded boxes with sliding lids or toggled hinged lids and fitted interiors for added protection accompanied old bottles. The dish, stands, old brocade bags and padded boxes with their original contents do not often come to light, and while bottle stoppers are found, they are not necessarily on the original bottle.

An undecorated and uncarved jadeite snuff bottle shows the beauty of the stone. Well hollowed out with flattened foot, the stopper has a tiny spoon to hold the snuff.

Within a decade, snuff boxes had gone out of fashion, outshone by the small moon flask form favored by palace workshops in the Forbidden City; soon its porcelain workshop at Jingde Zhen was obliged to follow suit. As the country’s central manufacturer of all blank porcelain, Jingde Zhen’s output was vast, having to contend with the West’s demand for high quality Chinese ceramics as well as the emerging market in snuff bottles.

Demand for the desirable Beijing bottles surged, and in time became the favored form used by local makers who imitated Imperial style. Initially, porcelain was the most common medium used to make snuff bottles, but it was not long before other materials came into production–glass, jade, chalcedony, gold, silver, ivory, copper, quartz, enamel, wood, gourd, bamboo, coconut shells and metals. In fact, any substance that could be shaped or withstand firing, be carved, painted, gilded, cast or engraved was crafted and embellished with a plethora of fortuitous wishes illustrated through mythical imagery, landscapes, genre portraits or poetry composed to inspire the bottle’s owner.

Identification of early snuff bottles can only confidently be dated to the last two decades of the Kangxi period and after. It is theoretically difficult to attribute a specific piece to a particular workshop or area based upon style. Attribution to an Imperial workshop is possible, but not the actual one.
Some of the most refined snuff bottles are those which are exquisitely carved to imitate nature–small creature, a budding flower, a pine cone—or perhaps a deity or good luck symbols. Carved in jade, jadeite, agate, ivory, quartz, fixing, stoneware, porcelain or glass, these snuff bottles are miniature art objects fetching astonishing prices on the world markets. With a mark or provenance (and not necessarily an Imperial one at that), the price becomes astronomical. The Kangxi and Qianlong Emperors were both collectors of snuff bottles, together acquiring numerous tens of thousands, many of which are still in the Imperial Collection in Beijing and Taiwan.

This glazed porcelain snuff bottle is crafted in the shape of a squirrel holding onto a fruit. Made some time between 1796 and 1840, the mouth opening is fitted with a stopper.

The Qianlong Emperor penned more than eight hundred poems about his fabulous jade collection, which was produced in the Beijing workshops and at Suzhou (the hard stone carving center of the Empire), as vast deposits of nephrite from a neighboring jade-producing vassal state were supplied twice yearly between 1760 and 1862, when supply was cut off. But not before numerous objects had been produced for the Emperor. Single-colored and flawless jade was favored, with carving kept to a minimum in order for the natural stone to be displayed. It was a philosophy applied equally to snuff bottles carved from the various hard stones (agate, the striped chalcedony, quartz, realgar, jasper, amethyst, crystal, etc). The slightly translucent and opalescent jade is called “mutton-fat” jade. The most common is a light gray to green color, called “cabbage jade” by the Chinese. As many as eight Imperial workshops were devoted to producing jade carvings at the height of jade’s availability.

The creation of the Yangxin Dian (Imperial workshops) in 1680 ensured a burgeoning of the art. Kudos belongs to the Qing dynastys (Kangxi, Yongzheng and Qianlong) who were avid arts patrons, as well as snuff devotees. The Kangxi Emperor established more than 20 workshops where Jesuit (missionary) artists and designers supervised the nation’s top artisans. The highest standards of workmanship and taste were applied to snuff bottles made here, with Court artists creating highly refined designs which were meticulously crafted and worked by lapidaries, carvers and other artists.

Away from the Imperial scene, local workshops were run by organized family groups. Usually the founder was the artist, and his designs or patterns tended to become the trademark of his wares; often it was a successful venture, the business being carried on for generations. Pride and a strong commitment to their art ensured creative life would be infused into the most mundane materials, despite the commercial repetition of wares. The workshops sold to shops, which supplied porcelain, jade, agate, wood, bamboo and painted snuff bottles to the populace. Palace craftsmen set the standard artistically and technically, making life difficult for the local workers who needed to produce similar bottles as attractively yet inexpensively enough to make a profit.

Nevertheless, a number of refined snuff bottles in the Imperial style did come from some of these smaller workshops. One possible reason might be explained by the Court practice of having elite craftsmen recruited to serve in the palace workshops for a term and then allowed to return home. Having experienced work at the highest level, they must have learnt invaluable techniques and ideas, which they no doubt practiced upon return to their home.

Unlike many Chinese arts, which were hampered by age-old customs and traditions dictating every aspect of design and manufacture, the snuff bottle began with a clean slate; its only function being to keep snuff fresh and dry. To this artistically oriented society, the possibilities proved endless, as the snuff bottle could be created from any number of materials, and crafted in its purest form or be as intricate as the craftsman’s skills allowed; it was a novel gift with which to extend good wishes to another, or on a more spiritual level became the means of expression and perception to guide one towards society’s universal tenet of “consciousness.”

Local craftsmen slavishly imitated Imperial style, which always had the edge due to superior workmanship, better quality media and demanding aesthetic standards. However, the humble folk-craft snuff bottle is today appreciated for its individual artistic qualities which might be every bit as worthy as another produced in salubrious surroundings. Indeed, the receptacles owned by the first snuff takers in China, the Manchu (Qing) military celled “bannermen,” were uncultivated yet functional; this being well before the rule applying Imperial standards of aesthetics.
One of the most popular images found on snuff bottles is the long dragon, which is a portent of good luck, living in the air, on land and in the sea; he is also a symbol of rain. Physically, he is a fantastic hybrid, with a camel’s head, deer’s antlers, cow’s ears, snake’s neck, scales, and tiger claws, the number of which varies between three and five. There are also variations such as the lizard-like chi, and kit dragons. Characteristically it seems they spew forth flames which form vapor clouds, or chase flaming pearls as a carp appears in the waves below. This latter image represents the aspirations of a scholar (the carp struggling upstream), while the dragon symbolizes the influential elite who has successfully completed the Imperial exams and is guaranteed status and wealth. The Ming and Qing dynasties revered the dragon motif, which adorned every form furniture, sculpture, porcelain, clothing and decorative arts.

The aesthetic tradition abounds in Chinese culture. Traditional pattern elements were reproduced in different combinations on all wares, and the snuff bottle proved a perfect medium. Motifs and patterns from the golden ages’ were venerated symbols, which encoded a series of personal and social targets common to many individuals in Imperial China: long life, official position, wealth, happiness and male progeny. Flowers, fruit or creatures represent a wish for protection from evil spirits, while peaches “of immortality” mean longevity, and the cicada signified immortality; bats and clouds convey messages of good fortune, while five bats represent the five blessings of a rich and full life, longevity, wealth, happiness, love of virtue and a natural death. Images of large numbers of children is an analogy for spring, and the three “Friends of Winter” were a pine tree, prunus and bamboo. Traditional deities, sages and venerated worthies are also popular subjects. The ubiquitous (taotie) masks and rings which abound on “handles” of Qing snuff bottles are an archaic decoration of warning against greed (in a frenzy of gluttony this mythical creature consumed itself). The genre subjects and treasury of mythic emblems are very familiar to Chinese people, but far more arcane to most Westerners.

The subject matter which embellished each snuff bottle was of a high standard and increasingly innovative throughout the reigns of Emperors Kangxi, Yongzheng, Qianlong and Jiaqing, but lost direction during the Daoguang period (1821-1850). An innovation of the later Qing was the use of the once popular natural pebble form to make snuff bottles. They were made in huge numbers, with hollowed out interiors, but were rarely carved on the outside.

Imperial ceramics produced at Jingde Zhen followed palace workshop process and production. The Imperial factory at Jingde Zhen was oriented around the court schedule—a long-winded bureaucratic business of designing, placing, costing, approving orders, and delivering the wares by boat along the canal system which was the main commercial artery of the Empire.

Although a busy metropolis, Jingde Zhen was less innovative than Beijing, where impetus came from the Emperor, who took an active interest in all his workshops. Palace artists strove to outdo each rather in their quest for the next innovation which would earn Imperial praise. Success ensured that the new designs would be refined within the workshop and emulated without. Beijing set the artistic standard for the European-introduced painted enamels on porcelain, metal and glass, which was a refined art under the Kangxi Emperor. The palette had been built up to include a vivid array of colors not previously seen by the Chinese, and this became known as famille verte due to the predominance of different green shades; when used against a black ground it became famille noire, or yellow, famille jaune. When the complete palette was used it became known as famille rose, and this new palette, when mixed with white, created a range of pastel colors which offered greater potential for subtlety and delicacy. The effect on industry was stunning, so that within a decade of being introduced, the new colors eclipsed the old faithful few. At the same time it was introduced in Guangzhou, the other main enameling center, and not long after at Jingde Zhen.

Excellence was the rule, maintained eminently by the Jesuit artists and the cream of the Imperial artists who worked alongside them, and all under the Emperor’s close scrutiny. Superior snuff bottles were a hallmark of the Jesuits’ artistic and technical expertise, most being actively involved in manufacture. Intent on propagating the faith to the populace at large (which, alas, they ultimately failed to accomplish), the Jesuits set about making themselves indispensable, holding influential positions overseeing the Imperial workshops. The Jesuits’ influence is evident in some exquisite snuff bottle decoration, particularly in the formalized floral subjects, with the detailing and illusionistic rendering of the flowers, often seen with a European style of flora and fauna. While clearly objects of beauty, such pieces sometimes lack the inherently elegant Chinese expressiveness of line, and the energetic play of brush-point upon the painted surface.

The depth of Imperial patronage towards snuff-taking and its widespread use in influential Qing society raised it almost to a cult status—a fact supported by the quality of snuff bottles produced. Like no other art object previously, it acquired multifarious innovations which set it apart technically and artistically—a triumph of tactile quality, innovative techniques, uncompromising craftsmanship and aesthetics. Appreciation for these exquisite little bottles has exploded in the past three decades, with some superlative examples ensconced in well-known private collections. Once in abundant supply, quality snuff bottles are now the stuff of dreams, fetching healthy prices at auctions as dealers and buyers alike vie for that extra special piece.

— by Christine Kannard,
with information supplied by Wayne Ricketts and Sunnie Jia Shene

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Bing Crosby, one of the icons crooners who version of “White Christmas” is consider to be the only version, put out this album, “Merry Christmas.”

Elvis' Christmas Album 33 RPM LP record (1970).

A 1970 reprint of the "The Beach Boys Christmas Album."

An autographed copy of the Carpenters’ "Christmas Portrait," released in 1978.

Music sales soar prior to the Christmas season, as parents try to keep up with their teenager’s tastes. While stores stock CDs now, and you can get digital recordings from the Internet, Christmas record albums, cassettes, and yes, even eight-track tapes being responsible for much of the surge over the last 60-plus years. Songs of Christmas have proven popular material for virtually every major singer and performing group.

Tire companies like Good Year and Firestone would give away Christmas albums or sell them for a nominal price.

The late 1940s to late 1960s is considered the Golden Age of the Christmas Album. Numerous large manufacturing companies, and in particular automobile companies, gave away Christmas albums as premiums. The popular top singers of the time such as Elvis, Perry Como, Dinah Shore, Gene Autry and Bing Crosby all got into the act.

Although many singers were recorded singing the same song, each in their own inimitable way, it is impossible to recall some songs without identifying it with a particular singer: Bing Crosby with “White Christmas,” Spike Jones and his City Slickers for “I Saw Mommy Kissing Santa Claus,” Gene Autry for his rendering of “Rudolph the Red-Nosed Reindeer,” and Burl Ives “Frosty the Snowman” and “Holly Jolly Christmas.” Of course, there are others. People still love to hear these secular songs during the Christmas holidays. They are part of the Christmas festivities and a nostalgic link to the past.

The albums of that Golden Era are highly collectible, and very affordable due to the large quantity available. When buying as a collector it is worth noting that greater value rests more with the album cover than the record. The key is to buy as near mint condition as you can find. When you come to sell in the far distant future you could find yourself with a very Merry Christmas.

Irving Berlin’s "Always" sheet music from the 1944 movie "Christmas Holiday" and autographed by actress Deanna Durbin.

Autographed sheet music for Stan Freberg’s "Nuttin For Christmas," published in 1955.

Sheet music for Roy Rogers and Dale Evans "A Christmas Prayer," published in 1967.

Most of what has been written so far also applies to Christmas sheet music. Collectors in this field fall into several different categories; those who buy based on title alone; covers showing a performer’s image; or cover art that features images of toys, Christmas trees, especially those decorated with identifiable ornaments; and sleighs and sleds. This latter category falls into a collector’s cross over topic.

Sheet music for traditional carols is usually found in carol books or plain text sheets and the number of collectors for this type is extremely small.

Nevertheless, carols go with a gaily decorated Christmas tree with gifts below, Yule logs glowing in the fireplace, a dining table set with festive food, and outside lightly falling snow and carolers singing as they trudge from house to house or stand below a lamp light—a tradition that goes back to the 19th century.

—by Barbara Sutton-Smith

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A vintage Christmas decoration undergoing restoration. Storage is the key to keeping your vintage and antique decorations looking new.

Many of us have antique Christmas ornaments and decorations that were passed down by mothers and grandmothers. Hopefully, yours are in good condition, considering their age, but if you have some that have suffered damage from handling and storage, there are ways to return them to their original lustrous look. But you can take steps now to prevent future damage to these important keepsakes of holidays past.

Holiday decorations are typically made of fragile materials that are easily damaged by accidents, mishandling, heat, light, moisture or improper packing and storage. The damage is often not discovered until decorations are unpacked from the previous year.

Boxes of special ornaments and family keepsakes are often stored in places that can do them the most harm. Basements, attics and storage sheds are unfortunately the places where many of these fragile objects are kept from year to year, exposing them to extreme environmental conditions that can cause them to crack, fade, melt, mold and deteriorate beyond repair. When disaster strikes, some damage can be professionally restored.

It is important to consider the potential for damage when displaying holiday decorations. Some items can be damaged if placed too close to fireplaces, burning candles and Christmas lights. Keep fragile decorations out of the reach of small children and pets.

Proper storage after the Holidays

Vintage Christmas ornaments in an after-market box with foam cushioning. Try to keep the boxes your decorations come in because they are designed to protect the contents.

For most, our family decorations represent fond memories of a holiday past. They hold great sentimental value and deserve proper handling, care and storage to preserve them for future generations to treasure and enjoy. A small investment of time, quality packing materials and proper storage space will help to prevent the unnecessary loss of important family traditions.

Fragile holiday decorations should be individually wrapped in acid free tissue and placed in shallow divided plastic boxes with lids for storage. Adequate soft packing materials should be used to cushion breakable objects. Heavy ornaments and decorations should be placed on the bottom of the storage box. Hooks and hangers should be removed and stored separately.

Decorations that contain photographs and/or natural materials may attract insects or mice and should be sealed in strong plastic bags and placed in hard plastic containers for storage.

Items made of wax, thin plastic or cookie dough should never be stored where they are exposed to high temperatures. Never store holiday decorations in an attic or outside storage shed. If off-site “self-storage” is used, inside temperature-controlled facilities are preferred over small outdoor storage bins. These units are usually constructed of un-insulated metal and offer little protection from extreme temperatures and fluctuating humidity levels.

Storage boxes should be labeled and placed on sturdy storage shelves in a closet or a cool, dry basement where temperature and relative humidity (RH) are controlled. Boxes should not be stored near sources of heat and moisture. If these items must be stored in a basement they should not be placed near a furnace, water heater, floor drains, electrical panels or under HVAC ducts and water lines.

• Large items should also be wrapped in acid free tissue and placed in sealed plastic storage containers to prevent damage.
• When you purchase or receive new decorations, save the original fitted packing materials for reuse and storage.
• Place small packets of silica gel in sealed storage containers to prevent mildew.
• Lights, tree stands and heavy outdoor decorations should be not be stored in the same container as fragile indoor keepsakes.

Remember when stacking packed storage containers to place the larger, heavier boxes on the bottom. Select storage containers that have strong lids that will support weight and use stackable, interlocking containers whenever possible.

— by Douglas Eisele
Old World Restorations

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The History of Thanksgiving Day

The Ladies’ World

Thanksgiving Day is one of America’s favorite holidays. It is a joyous time when families get together over a traditional turkey dinner, to give thanks for the blessings of the year. The celebration has a long and curious history. Days set apart for special thanksgiving to the Lord were kept by the Israelites and are mentioned throughout the Bible. The Hebrews offered thanks for abundant harvests with their eight day Feast of Tabernacles; the Romans paid tribute to Ceres, the goddess of corn; and the Greeks had their tribute to Demeter, the goddess of agriculture. The custom is ancient and universal.

The first Thanksgiving held in North America was conducted in 1578, by an English minister named Wolf all, on the shores of Newfoundland. The reverend accompanied an expedition under Frobisher which brought the first English colony to settle on these shores. The records of this day’s observances were therefore recorded in the ship’s log: “On Monday morning, May 27, 1578, aboard the Ayde we received the communion by the minister of Gravesend and prepared as good Christians toward God and resolute men for all fortunes and toward night we departed toward Tilberry Hope. Here we highly praised God altogether upon our knees [and] gave him humble thanks, and Minister Wolfall, a learned man, made unto us a godly sermon, exhorting all especially to be thankful to God for His strange and miraculous deliverance in those dangerous places.”

The earliest record of any similar observance within the present territory of the United States was held by the Popham colony settled at Sagadahoe, on the east coast of Maine, in August 1607. But these were only thanksgiving services which lasted a few hours and did not color the whole day.

The real origin of Thanksgiving as a day for prayer, rejoicing and feasting must be attributed to Governor Bradford, the first governor of Massachusetts Colony. Being the leader of the Plymouth Pilgrims, Bradford proclaimed that a day of thanksgiving would be held in the autumn of 1621. They certainly had reason to celebrate. They were still alive! One hundred forty-nine people were aboard the Mayflower when she set sail on September 16, 1620, across the perilous North Atlantic, in search of religious freedom and a place called “Virginia” in the New World. When the ship, under the command of an old whaling captain, landed 65 days later, four crewmen and one passenger were dead. The following winter on the land took its toll. The harsh conditions claimed the lives of over half their population.

The Pilgrims’ troubles began when storms blew the Mayflower off course by a couple of hundred miles. The ship first sighted land near Cape Cod and sailed south, but soon turned back and anchored within the cape. Tired of sailing and eager to go ashore, they sent boats out to find a suitable harbor. They decided on Plymouth Harbor, as it is now called, and here, on the 21st of December, 1620, the Pilgrims landed on a rock that has become as famous as the Mayflower that anchored before it. There was a plus and a minus to this choice of location. Since they were beyond the northern limits of Virginia and its jurisdiction, they would have to answer only to them selves. This prompted them to draw up the Mayflower Compact, which declared them to be a self-governing community, the first in America. The down side to all this new freedom was loss of the safety and provisions of the Virginia Colony that they were to be a part of.

As the Pilgrims made their way over the snow-clad shore, there was no time for rest. At once, the sound of the ax rang through the cold winter air. On a prominent hill overlooking the bay, a crude fort was thrown up and a few cannon put in place. At its foot, two rows of huts were laid out and staked, to accommodate 19 families. For weeks they worked in snow, and sleet, and rain. The severity of the weather on the bleak coast, along with the effects of scurvy or “general debility” and the lack of good shelter, prostrated many. Death entered the desperate little community, and before the spring came to cheer them with hope, more lay buried on the bank than there were to mourn them.

The survivors tried to remain positive. They had found some corn buried by the natives and the winter was almost over. If they held on till spring, they would plant and be able to take care of themselves. Then providence sent them Tisquantum, an Indian of the Wampanoag tribe, who had been taken by fishermen to London, where he learned to speak some English. Having been treated well and returned safely to his native land, the Indian took pity on the colonists and befriended them. They called his “Squanto.” He joined the Pilgrims and showed them how to trap, hunt and catch fish; how to plant the New World crops of squash and corn; and became their interpreter with the neighboring Indian tribe of the Wampanoag sachem Massasoit.

With Squanto’s help, the settlers prospered, and when fall arrived, a bountiful harvest was at hand that insured that the colony would have ample food to get them through the next winter. Governor Bradford called for a celebration, proclaiming a day of thanksgiving to God. An account of this first Thanksgiving week (not just a day) in Plymouth was recorded by one of the colonists, Edward Window, in a letter to a friend in England on December 11, 1621: “Our harvest being gotten in our governor sent four men on fowling that so we might after a special manner rejoice together after we had gathered in the fruits of our labors. They four killed as much fowl as with a little help beside served the company about a week. At which times among other recreation we exercised our arms, many of the Indians coming amongst us, and among the rest their greatest king Massasoit with some ninety men, whom for three days we entertained and feasted, and they went out and killed five deer which they brought and bestowed on our governor, and upon the captains and others.”

The Ladies’ World

Historical opinion is divided on what the Pilgrims ate at this feast. Some experts confidently assert that they had duck, goose, corn, pumpkins, wild fruits and nuts, wild honey and maybe some turkeys. There is no proof that turkey was eaten of Plymouth that year. The work of preparing the feast was taken on by four Englishwomen and two teenage girls (13 Pilgrim women had died during the first winter). By all accounts, they did the best they could with the supplies on hand. Their supply of flour had long run out, so we know there wasn’t any bread or pumpkin pie. There was also an absence of milk, cheese and butter, as there were no cows aboard the Mayflower: For recreation between bouts of eating, the colonists and their guests competed in footraces and jumping matches. The Indians no doubt displayed their accuracy with bow and arrow, while the white men with guns impressed them with their marksmanship.

The second Thanksgiving Day in the New World was celebrated by the Pilgrims two years later, on July 30, 1623. The autumn of 1622 had brought a poor harvest. After a miserable winter with little food to eat, the settlers planted corn in the spring of 1623, only to have a drought begin in May that lasted through June and into July. The colonists spent an entire day fasting and praying for relief. Their prayers had been answered and their spirits raised. Governor Bradford then proclaimed a day of thanksgiving and grateful prayers.

Neither of these Thanksgiving celebrations were meant to establish an annual holiday. Sometimes Thanksgiving days were appointed once a year, sometimes twice, and there were times that a year or two were skipped. It all depended on whether there was any reason to give thanks; some years were too bleak with little to be thankful for.

The Puritans who landed at Charlestown in 1630 to establish the Boston and Massachusetts Bay Colony held a day of prayer that many have called the first standard American Thanksgiving Day: They arrived too late in the summer to clear fields and plant crops. By autumn, their supplies were dangerously low and when February arrived with still no supply ships in sight, Governor Winthrop declared a day of fasting and prayer. On the morning of the designated fast, February 22, the ship Lyon appeared in Boston Harbor with their supplies, and their fast day turned into a day of feasting.

From that time until 1684, there were at least 22 public thanksgiving days proclaimed in Massachusetts, about one for every two years. Throughout the 17th and 18th centuries, there were many Thanksgivings celebrated on various days of the week and months of the year. During the Revolutionary War, when the colonies stuck closer together, the Continental Congress recommended days of Thanksgiving. In October 1777, all 13 of the colonies joined in a common thanksgiving celebration to commemorate the patriots’ victory over the British at Saratoga.

George Washington issued the first national Thanksgiving proclamation in 1789, the same year he was inaugurated. He stated, in part, “Now therefore I do recommend and assign Thursday, the 26th of November next, to be devoted by the people of these States to the service of that great and glorious Being, who is the Beneficent Author of all the good that was, that is, or that will be; and that we may all unite in rendering unto Him our sincere and humble thanks for His kind care and protection of the people of this country, previous to their becoming a nation; for the signal manifold mercies, and the favorable interposition of His providence, in the course and conclusion of the late war; for the great degree of tranquility, union and plenty which we have enjoyed; for the peaceable and rational manner in which we have been enabled to establish Constitutions of Government for our safety and happiness, and particularly the national one now lately instituted; for the civil and religious liberty with which we are blessed, and the means we have of acquiring and diffusing knowledge; and, in general, for all the great and various favors, which He has been pleased to confer upon us.”

Washington’s proclamation was only for 1789. It was not until 1795 that he proclaimed another Thanksgiving Day. Although many people embraced the idea, just as many didn’t care or were opposed to the holiday. It was difficult to arrive at a date that was convenient for everyone. The season of the farmer was not the same as the season of the herdsman and the Puritans were against the setting of a specific date. Thomas Jefferson openly condemned the holiday during his two terms on the grounds that the government should not be involved in any religious observances, because of the separation of church and state. President James Madison held a different view of the holiday, as he urged the nation to observe a day of thanksgiving in 1815, to commemorate the War of 1812.

The holiday might have been forgotten had it not been for the efforts of Mrs. Sarah Josepha Hale, author of “Mary Had a Little Lamb,” who, in 1827, launched a one-woman campaign to have Thanksgiving Day celebrated throughout the nation as a yearly day of thanks.

The Ladies’ World

As editor of the Boston “Ladies’ Magazine,” she had an open forum to express her views, and when the Ladies’ Magazine merged with Godey’s Lady’s Book of Philadelphia, Mrs. Hale had the largest audience of any periodical in America. She wrote numerous articles on the importance of the Thanksgiving holiday and tirelessly appealed by letter and in person to governors, presidents, and other influential people who might further her cause.

One of her editorials, written in September 1863, illustrates Mrs. Hale’s enthusiasm for the holiday: “Can we not then, following the appointment of Jehovah in the ‘Feast of Weeks,’ or Harvest Festival, establish our yearly Thanksgiving as a permanent American National Festival which shall be celebrated on the last Thursday in November in every State of the Union? Indeed, it has been nearly accomplished. For the last twelve or fourteen years the States have made approaches to this unity. In 1859 thirty States held their Thanksgiving Festival on the same day-the last Thursday in November. It was also celebrated that year on board several of the American fleets; ships in the Indian Ocean, the Mediterranean and on the Brazil station; by the Americans in Berlin at our Prussian Embassy; in Paris and in Switzerland; and American missionaries have signified their readiness to unite in the Festival if it should be established on a particular day that can be known as the American Thanksgiving. Then in every quarter of the globe our nationality would be recognized in connection with our gratitude to the Divine Giver of all our blessings. The pious and loving thought that every American was joining in heart with the beloved family at home and with the church to which he belonged would thrill his soul with the purest feelings of patriotism and the deepest emotions of thankfulness for his religious enjoyments.”

Mrs. Sarah Josepha Hale finally got her wish. On October 3, 1863 (possibly responding to her above editorial), President Abraham Lincoln made Thanksgiving a national holiday to be observed on the last Thursday in November. Lincoln’s Proclamation touched upon the North-South conflict that was raging on when the document was written: “The year that is drawing toward its close has been filled with the blessings of fruitful fields and healthful skies. To these bounties, which are so constantly enjoyed that we are prone to forget the source from which they come, others have been added, which are of so extraordinary a nature that they cannot fail to penetrate and soften the heart which is habitually insensible to the ever watchful providence of almighty God. In the midst of a civil war of unequaled magnitude and severity, which has sometimes seemed to foreign states to invite and provoke their aggressions, peace has been preserved, order has been maintained, the laws have been respected and obeyed, and harmony has prevailed everywhere except in the theatre of military conflict … I do, therefore, invite my fellow citizens in every part of the United States, and also those who are at sea and those who are sojourning in foreign lands, to set apart and observe the last Thursday of November next as a day of thanksgiving and praise to our beneficent Father who dwelleth in the heavens …”

To close this history of Thanksgiving, I would like to offer a brief discussion on turkeys. In New England in the 19th century, a raffle of turkeys (and other fowl) was traditionally held on Thanksgiving eve, and there was also a shooting match on Thanksgiving morning. An account by the Reverend Francis Blades recalls a turkey shoot of the 1840s in Michigan: On Thanksgiving Day, he was to hold a service in a schoolhouse near where the village of Flint was founded. Arriving at the school, he found a turkey match in full play. He was somewhat worried that the noise of the shooting match would disturb his service, and the motley crowd that had gathered for the match did not offer much suggestion of religious service. The elder looked on the shooting for a time, a participant asked him if he would “take a shot.” The elder promptly said, “Yes, on one condition, that when I shoot and this shooting match is concluded, you will all come with me to the schoolhouse for the Thanksgiving service.” This was promptly agreed to. The elder borrowed a rifle from one of the sportsmen, and kneeling upon his left knee, fired, taking the head clear off the turkey. This shot was received with expressions of admiration and applause. When the shooting match was concluded, the whole party accompanied the elder to the schoolhouse, and many of that motley crowd dated their religious experience from that service and from that hour.

A letter written by J. S. Tibbits to the Michigan Pioneer Society on March 23, 1874, tells how turkeys were hunted: “The wild turkey several hundred were frequently to be met with. The usual mode of hunting was for two or three persons to proceed cautiously through the woods till they came upon a flock, then suddenly fire at random among them, the object being to scatter them in all directions. When thus scattered they will invariably return to the same spot to get together again, the old ones coming first to -call their young together. The hunters, hid in some selected place, with their ‘turkey calls’ ready for use, would sit patiently for the return of the old birds. These turkey calls consist of the hollow bone of the turkey’s wing, and, in the mouth of an experience hunter, can be made to exactly imitate the piping sound of the mother bird when calling her brood together. Soon the maternal notes of the old birds are heard, and the hunters respond with their ‘calls,’ luring them on to certain destruction.

The wild turkey is sometimes caught in pens made of poles, some five or six feet in height and covered over the top to prevent their escape. A covered passage-way is made under the pen large enough for the turkeys to crawl through. Corn or other grain is scattered in the passage-way and inside the pen .The unsuspecting birds, seeing the grain, commence picking it up, and thus one after another crawl through the hole in the pen. Once in, forever in,” for they never think of putting their heads down to crawl out again.”

Thanksgiving Menu
Raw oysters, boiled rockfish, egg sauce, potato balls, roasted turkey, stuffing, giblet gravy, browned sweet potatoes, baked squash, cranberry jelly, sour grape jelly, moulded spinach, venison pasty, ham baked in cider, mince pies, pumpkin pies, fruit, coffee, Hygeia sparkling Lithia water.

Thanksgiving Cake
Sift two pounds and a half of flour in which mix three teaspoonfuls of baking powder, cream three pounds of sugar and one of butter together, add eighteen eggs and beat five minutes: add half a pound of blanched and chopped almonds, a teacupful of preserved lemon peel Bake two hours.

Share With Others
As, with matronly pride, you survey your table’s abundance, may it not suggest a possible paucity in the larder of some less fortunate neighbor to dispatch a well-filled basket to his humble abode, thus causing a my of sunshine to enter there?

Then, with the ushering in of the Thanksgiving morn, throw dull care to the winds. Let the little ones romp, the cat purr by the fire, the man of the house smoke his cigar in the parlor.

—The Ladies World,
November 1892

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There are a number of different commercial products available for cleaning silver: cloth, liquid, cream, paste and foam are common products that are easily available.

Thanksgiving Day is a week away, and if you are tempted to get out your antique silver to make your holiday table sparkle, there are a few things you need to know before you get down to the chore of cleaning and polishing that silver.

Before cleaning or polishing silver, it is important to inspect each object for hallmarks or other identifying marks that will tell you if the piece is sterling or silver plate. Also look at how the item is constructed. If there are solder joins or hollow sections in handles or feet, the object should not be immersed in a cleaning agent or water. The object should also be checked for the presence of decorative gilding or other surface inlays. Special care is needed to spot-clean these delicate and sometimes fugitive (less stabile) surfaces.

There are a number of different commercial products available for cleaning silver: cloth, liquid, cream, paste and foam are common products that are easily available. Do not use non-specific, all-purpose metal polishes because these contain harsher abrasives and may cause damage to the silver finish.

Commercial Cleaning Products
Commercial products that are formulated for home use are the safest method for frequent cleaning of silver. As with any method, cleaning and polishing agents contain abrasives. Be sure to close the containers tightly after use because the cleaner can dry out, making the polish more abrasive. Over time, the cleaning process does remove some silver along with the tarnish and leave fine scratches on the surface. It is advisable to use the least invasive cleaning agent necessary, so that you remove only the layer of tarnish from the piece. Most commercial silver polishes contain a tarnish inhibitor. While this slows the tarnishing rate for a short time, when objects do start to tarnish they do so unevenly.

Whiting
Many museums and conservators make their own polishing paste using precipitated chalk (calcium carbonate) and distilled water. Sometimes referred to as “whiting,” calcium carbonate is a superfine ground white powder that mixes easily with distilled water, and is available at most chemical supply companies and hardware stores. When using this method, it is important to have a light hand when polishing. Calcium carbonate acts as an abrasive in the cleaning process. Care has to be taken to mix a thin paste with enough abrasion to remove the tarnish without leaving scratches in the surface.

After polishing, there can be a residue of abrasive particles left on the surface that should be removed by rubbing with a soft cloth or brushing with a soft brush and should not be used on gilded or inlaid surfaces.

Chemical Liquid Dips
Liquid dip is a chemical mixture that, in theory, attacks the tarnish and not the silver. A dip may not be the best answer for cleaning heavily engraved surfaces because it can remove the darker in-fill on the engraved texture, leaving the silver looking flat. It is recommended that rather than submerging the object in the liquid, the dip be applied briefly to the item with a cotton-tipped applicator. Rinse in distilled water to remove any excess dip and then dry. Prolonged use of dips is not advisable, as this can lead to surface pitting. Also, chemical dips should not be used on silver pieces that have hollow sections (candlesticks or teapots with hollow handles) because once liquid leaks into a cavity, it is virtually impossible to wash it out. Remember, too, that dips are composed of an acid that is corrosive and can damage bronze, stainless steel knife blades, and organic materials, such as wood and ivory. When using dips, it is important to work in a well-ventilated area and to wear rubber gloves. If, after cleaning, there is a slight yellowish cast to the silver, rub the object gently with a silver polishing cloth.

Wadding Polish
Wadding polish is cotton wool or batting that contains an abrasive and is moistened with an organic solvent instead of water. It is useful for objects that should not be exposed to water. However, wadding leaves behind a residue of abrasive particles on the surface that should be removed by rubbing with a soft cloth or brushing with a soft brush and should not be used on gilded or inlaid surfaces.

Silver that is used will eventually end up with some scratches and dents. It is generally a good idea to simply accept this cosmetic damage as a sign of character and use. If a major dent occurs on a piece that is frequently polished, prolonged handling will thin the metal and make repairs more difficult. If this happens, consult a conservator.

—by Douglas Eisele
Old World Restoration

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“Of a strong build, suitable for export and of good material, with a clear white body often left unglazed on a flat base. The glaze is thick and rather bubbly, and the blue is of a bright violet tone.”

— R.L. Hobson,author and Chinese Ceramics Specialist, British Museum, 1915.

A stoneware water pot with underglaze blue splashes, Tang Dynasty (618-907).

The technique of painting a color under a glaze first developed during the Tang Dynasty (618-907), when celadon enjoyed great popularity. (The Song also delved into some aspects of underglaze porcelain). Although this new decorative style was initially considered vulgar and unworthy of the educated, underglaze painting evolved and matured. The most important period is the Yuan, due to scarcity. Considering the difficulty with firing, some beautiful pieces were produced but few pieces come on to the market.

In simple terms, the unfired porcelain is left to become dry enough to handle, then painted in under glaze cobalt blue (or copper red or iron black). The items are put aside so the paint can dry, and then dipped in or brushed with glaze prior to firing in the kiln. This basic method has been refined over time, as potters sought to remedy the many flaws that spoiled early production. Ironically, those telltale flaws characteristic to one or another period, are of most help in dating Chinese porcelain.

The development of underglaze blue to decorate white porcelain began on a regular basis and with great skill at Jingdezhen in the Yuan period, and was perfected during the Ming Dynasty. Until the Ming, the blue pigment—called cobalt—was imported exclusively from Persia (present day Iran, where the color Mohammedan blue come from) but fortunately a native cobalt was discovered in the early part of the Ming era.

A Ming Dynasty celestial globe vase with dragon and floral design from the Yung-lo reign (1403-24).

Within this important era, blue and white porcelain underwent several variations in manufacture. The most vital innovation relates to the modulation in the blue pigment, which can range from a grayish, washed-out blue to blue-black to a brilliant blue. Other variations are the individual glazes, the variety of shapes, the style of decoration, and the calligraphy of the Imperial reign marks.

The dating of early blue and white Chinese porcelain made some headway when Oxford research scientists discovered that the Persian cobalt has no manganese, yet the Chinese cobalt contained a high proportion of manganese oxide. In effect, blue and white wares containing traces of manganese cannot be earlier than Ming. As no blue and white piece can be genuinely attributed to the reign of Hongwu, the first Ming emperor (1368-1398), most pieces are classed as “early 15th century.”

Under the Ming ruler Yongle (1403-24) production of blue and white porcelain flourished, and under his Imperial patronage, a wide range of archaistic floral, fruit and vine motifs and styles ensued, including an occasional Islamic decoration. This period is artistically rich, maintaining the devotion to floral emblems and their significance which had prevailed from early ages in China. In particular, the lotus, chrysanthemum and peony were most popular, used with foliate or geometric borders or rim decoration. Later reproductions of Yongle wares are difficult to distinguish from originals except under expert scrutiny. Reign marks are rarely found on Imperial pieces until the Xuande- era.

Yongle characteristics include good, sturdy shapes and curved bodies, with attractive and restrained decoration. If it is a double-sided piece, the decoration is usually similar on both sides. The color is intense violet blue with numerous small dark flecks, and the glaze is very soft and smooth but with the “orange peel” effect of small brown flecks caused by iron impurities.

The classic period in the development of blue and white Oriental porcelain is considered to be the Xuande reign (1426-35), when the marking of ceramics became established practice and a number of innovations occurred. The variety of shapes expanded to include not only dishes but bowls, wine cups, ewers, flasks, vases, lidded boxes and jars, and utensils for Buddhist ceremonial offerings—all richly decorated in the typical blue-black pigment associated with early Ming wares. The glaze has a thick texture, little light reflection and fewer impurities. With the change to the native cobalt, the blue alters to a more subdued color than at the beginning of the century.

An exciting range of shapes and forms came from the Xuande era, which is characterized by a bluish white glaze (usually more uniform than on past porcelain). Minute flecks still occur but are less visible, and the flower scroll decoration is more conventional in style than at beginning of century. Representations of Taoist symbol (mythical characters), the Eight Precious Objects, the Three Friends (pine, prunus, bamboo), phoenix and sacred fungus, among other subjects, are prevalent. The dragon is always vigorously painted, spreading his tail and claws very dramatically against a plain white ground.

After Xuande there was a 20-year interregnum as the successive three emperors appear to have had no interest in ceramics—no more than a few pieces bearing a reign mark from the mid-century. It was to be redressed by Chenghua (1465-87), who revitalized blue and white. Technically, Chenghua pieces are superior, although the former decoration was somewhat curbed due to the taste of the Emperor who followed the dictates of his concubine Wan, and eunuchs.

A Ming Dynasty underglaze blue bowl from the Chenghua period.

Chenghua decoration lacks vitality, but has a greater sophistication and effeminacy. The designs become more naturalistic as flowers become swirling wreaths with leafy tendrils, and these designs are sometimes painted on the inside of pieces. There is a new artistic direction as scenes of children or comic figures appear, greatly contrasting with the rest of the decoration; these pieces bear no marks.

Repeated shapes are characteristic of Chenghua pieces, although fragile flared bowls called “palace bowls” are also a characteristic product. Reign marks (nienhao) in two vertical rows are written within a circle or rectangle.

The Hongzhi ruler (1488-1505) continues the wares of previous reigns, with the same classical themes but a less lively depiction. The blue is grayish and varied, with the six characters written under the base in two ways; the characters are small and unevenly spaced, or written larger and in a regular form. Some unmarked bowls decorated with children’s games appear in this period.

The classical period of blue and white Oriental porcelain concludes with the Zhengde ruler (1506-21), when examples range from superb to mediocre. Some later pieces reflect an Islamic innovation, as Arabic or Persian script and quotations from the Koran are used. At the time, Muslim eunuchs and a number of Muslim communities within China held sway at court, and it is thought their influence was reflected in this new decoration. It is seen on small pieces such as writing utensils, candlesticks, vases and screens. Such pieces always have the dynastic mark written in six characters.

A Jiajing period Ming Dynasty square dish.

In the Jiajing reign—from 1522 to 1566—blue and white porcelain was characterized by a brilliant rich blue, and decorations of Taoist symbols such as the Eight Immortals or the shou dominate. In everyday pieces we see children’s games, dragons, phoenixes and floral motifs depicted.

Due to economic conditions, Jingdezhen was forced to reduce its output during the Longqmg reign (1567-72). Lan Pu describes it thus: “The clay is adhesive and rich. The body partly thick, partly thin. The technique of manufacture is excellent …. the glaze is lustrous, thick like a layer of fat.”

Blue and white wares produced in the Wanli reign (1573-1620) are characterized by a fine body, a brilliant glaze and deep violet-blue decoration¬—although such pieces are rare. The shapes become a little different from earlier forms, and a return to archaistic shapes signals a decline in creativity. There are repeating themes of dragons, Eight Precious Objects, etc., but also a more vital depiction of figures in everyday life. Delicate pieces such as stem cups and incense burners attributed to Wanli are seen bearing the marks of Xuande or Chenghua.

The popularity of blue and white Oriental porcelain was supported by the burgeoning export industry, which widely transported its wares. Products were mainly Chinese, but vast orders from foreign countries were generally fashioned for the foreign tastes and designs of countries in Europe, the Near East and Japan.

Chinese reign marks did not become established practice for marking ceramics until the Xuande reign (1426-35). The six characters are precisely written, placed either under the base in two vertical lines or near the outer rim in a single horizontal line. The top two characters are the emperor’s second name (left) and the character for “great” (right).

The middle characters name the dynasty, and the lower two characters are “made in the reign of …” and the emperor’s first name. It is not accurate to date Chinese porcelain using reign marks. While no doubt some deliberately meant to deceive’ usually it was a simple case of tribute—some potters who admired a previous golden age are known to have reused those marks as a form those marks as a form of respect

— by R.L. Hobson

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Some molds can be toxic, so it is important to wear the appropriate protection, including gloves and a proper respirator or dust mask.

The rash of devastating hurricanes in the southeast United States over the last few years has created a potentially dangerous situation for collectors and institutions now salvaging mold and mildew covered artwork and antique items from flood-affected areas. Mold should be treated very carefully.

Your first priority should be to protect yourself against any health and safety issues associated with exposures to dangerous mold. There are different types of mold. Some pose little or no hazards to humans while others can be toxic. The dangerous molds such as Stachybotrys or Chaetomium can cause serious illnesses. I would suggest that any visible mold should be considered a danger that requires immediate attention and safe handling.

Stachybotrys is a greenish black mold that grows on material with a high cellulose content, including building materials such as wood, drywall, wallpaper, insulation backing, cardboard boxes and fiberboard. This mold requires very wet and humid conditions for days or weeks in order to grow.

Chaetomium is a common fungal species that is frequently found on deteriorating wood products and often emits a stale, musty odor. Chaetomium colonies are fast growing and start off white in color. As they mature the colonies become gray to olive-green in color.

In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper filtration system is recommended.

Mold removal and treatment should usually be performed by trained mold remediation professionals. When inspecting or retrieving salvageable possessions from a flooded building it is important to wear the proper personal protective equipment. Use a respirator/dust mask that has a NIOSH rating of N-95 or higher. The mask must fit and be worn properly. Wear disposable latex gloves and coveralls, as well as goggles for eye protection. Limit the time spent in areas where mold levels are high to 15 minute intervals.

Under no circumstances should chlorine bleach be used to clean the surface of any work of art, frame, photograph, document or other antique items. An experienced art conservator should be consulted for assistance in dealing with mold-affected materials. In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper HEPA filtration system is recommended. Special attachment micro-tools, speed controls and screens are used by conservators when vacuuming to prevent damage to the art.

After the surface is cleaned of visible mold, the item is subjected to controlled ultraviolet light. Tests are then conducted from surface samples to verify that mold is no longer present. After cleaning, items should be placed in a clean and protected environment with low humidity.

Mold Removal Tips:

• Wear proper protective equipment
• Never use chlorine bleach
• Vacuum using HEPA Filters
• Expose to controlled UV light
• Place items in low humidity
• Consult experienced professionals

— by Douglas Eisele

Old World Restoration

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A German-made Guntherman "Blue Bird" Land Speed Car in good working order. This tin lithographed wind-up car is 20 inches long and features sporty Art Deco detailing. Circa 1930.

In this world of computer technology and artificial intelligence, wind-up toys of the past seem that much more amazing.

For more than a century, the simple idea of a mainspring wound up by lever, key or handle worked to power countless toys produced in Germany, Japan and the United States.

An antique Schuco Clown playing a violin, stands about 4 3/8 inches high and is marked “Schuco Patent” on the side of one foot and “Made In Germany” on the side of his other foot.

During the 19th century, the marriage of toys with the art of automation was a marvel in itself. As early as 1875 that particular technology had been eagerly adopted in America and manufacturers were creating delightful objects.

“The clockwork was wound,” observes William Ayres author of the book “American Toys,” “and as if by magic, hands, legs, and heads move smoothly and naturally and the toys went through their assigned tasks, not jerkily or hastily, but in a smooth natural rhymed”

This combination of wheels, cogs, springs, cams, rods, string, elastic bands and other apparatus were assembled to produce a result that was, according to Ayres, “astoundingly complex in the more complicated pieces and makes one appreciate the ingenuity of the Victorian mind.”

German toy makers led the world at the time in quantity and quality. Their steel spring assembly was far superior to the brass springs used in Japan, but both countries were vastly creative in devising their wind-up designs.

In the early 1900s Ferdinand Strauss, an American toy importer, finally turned his efforts to production and by the end of World War I he had established a major mechanical toy industry in the U.S.

“The production of wind-up toys is so tangled among manufacturers that it is often difficult to determine just who did what,” wrote Richard O’Brian, the author of “The Story of American Toys,” “but among the toys known to have been produced by Strauss are such classic lithographed wind-ups as the Alabama Coon Jigger, Ham and Sam the Minstrel Team, Jazzbo Jim the Dancer on the Roof, and Jackie the Hom Pipe Dancer.”

A Lehmann wind-up "Paak-Paak", circa 1903. This toy was made until 1930.

The bottom of the “Paak-Paak” also reads “Quack-Quack” for export to England.

Strauss advertised the sale of millions of mechanical toys in the early 1920s, but he soon was being pressed by the likes of the Louis Marx Company, which also saw the potential for mass-produced wind-ups.

Marx eventually acquired the dies for some of the Strauss blockbusters, revised them, and also brought out many new ones of his own.

The Sears catalog of 1926 offered a Marx-made wind-up Balky Mule, noting “the mule backs up when he should go forward and rears up on his hind legs so that the poor driver doesn’t know what to do.”

This celluloid cowboy and horse, with its original box, is marked “Trade Mark Modern Toys” and “Made in Japan.” Circa 1940.

It was also during this period that the George Borgfeldt Company of New York made great inroads with its tin wind-up toys under the Nifty brand. Among the Nifty best-sellers of the 1920s were Barney Google Riding Spark-plug and the same comic-strip duo performing on a platform.

Borgfeldt, Marx, Joseph Scheider, Inc. of New York, Schuco of Germany, and many manufacturers in Japan prospered during the Great Depression of the 1930s, in part because of their wonderful windups featuring Disney characters and comic strip figures.

In 1932 the Sears catalog offered the classic wind-up of Popeye and his dodging parrot. While the sailor man pushed his wheelbarrow, the lid of the trunk opened and the famous parrot popped his head in and out from under his hiding place. This action is repeated many times with one winding. The price was 59¢.

Japanese toy makers combined celluloid with the grace of wind-up during the 1930s, and a typical example was a celluloid Donald Duck that did cart wheels in a neat little circle.

Marx countered with treasures like Blondie’s Jalopy, Buck Rogers Rocket Police Patrol Ship, Amos and Andy’s Fresh Air Taxi and Long Ranger Riding Silver, complete with a spinning lariat.

A relatively unknown American company, Unique Art Manufacturing Company of New Jersey scored one of the biggest hits in windups of the 1940s.

A vintage Linemar Toys Japan Walt Disney Productions Mechanical “Pluto the Drum Major” with his original box. Pluto is made of tin and is marked on his back: Linemar Toys Japan Copyright Walt Disney Productions.

Starting with obscure items like the Ho-Bo Train and Gertie the Galloping Goose, the company was able to acquire rights to a major comic strip, and for Christmas 1945 marketed the Li’l Abner Dogpatch Band. It featured Abner dancing a jig, Pappy on drums, Mammy with a drum stick, and Daisy Mae at the piano. It was a smashing success and was kept in production for several years.

Unique also did a Howdy Doody band in later years, and Marx even offered a variation of wind-up piano-playing toys but none achieved the popularity of the Dogpatch Band.

Thanks in part to a well-stored stock of materials, Marx was able to rapidly resume production following World War II, and maintain the high quality of pieces like the 1946 Donald Duck Duet with Donald and Goofy.

During the 1950s, J. Chein Company of New York joined a host of others producing wind-up toys. Their line included everything from ducks to speedboats, but their roller coaster with wind-up ‘cog’ chain and their brightly lithographed Disneyland Ferris Wheel were especially popular.

A tin lithographed and plastic wind-up robot in original box, he walks, his upper body rotates a full 360 degrees, as he destroys Tokyo. This is an example of wind-up toys from the mid to late 1960s. Made by MTU, Korea.

Marx’s wind-up Mickey Mouse of the 1950s came in plastic, as did Schuco’s Donald Duck and Wolverine’s Sulky Racer. In 1951 the Sulky Racer sold for $1.98. Line Mar Toys of Japan produced wind-ups for Marx, and Nomura, Kuramouchi and Suzuki also did exceedingly well in the same mechanical toy marketplace.

During the 1960s both the Flintstones wind-up flipover tank and the Twist Dancer were produced in Japan. Ideal, meanwhile, produced Mr. Machine, who wore a toy hat, moved his mouth and arms, and had a siren in his stomach. During the 1970s the same toy was produced with modifications and without the siren.

With a few exceptions from major companies, wind-up toys had been mostly replaced with battery-operated ones during the 1970s after more than 100 years of entertaining children with a simple spring.

—by Robert Reed

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A Herend Rothschild large bird teapot, featuring two different bird motifs (there are 12 Rothschild Oiseaux motifs) and scattered butterflies, circa 1915-1930.

The Herend Manufactory (as it call itself) has a long and exalted history in Hungary—its country of origin—with its reputation having spread to other capitals beginning in the early years of its operation. Later, and especially at present, North Americans have become exposed to the extraordinarily beautiful and expertly executed pat- terns and specialty decorative items.

The Herend factory was established in 1826 by a Vince Stingl. He began by producing stoneware, while he experimented with the technicalities of making lighter weight porcelain. Until the 17th century, porcelain had been imported from China to Europe by ship, as many European countries offered only heavy folk pottery for their tableware. The Europeans did not have the expertise or knowledge to produce thin “chinaware.” Finally, Johann Friedrich Bottger (who was actually an alchemist in search of gold), discovered a method of making porcelain around the year 1705, which allowed factories such as Meissen and others to begin the production of properly made china.

In Hungary, experimentation with porcelain manufacturing was ongoing in Herend, a small village near the holiday resort of Lake Balaton, and in Telkibanya in the northern part of the country. Highly placed patrons lent their financial and political support to various factory endeavors. Lajos Kossuth (1802-1894), a nobleman and social reformer of the time, was influential in trying to change the economic system. He believed strongly that the modernization of the country could not occur without the establishment of Hungarian industry, which was still in a medieval and semi-feudal state. His clout with the Herend Company eclipsed that of another historical figure, Istvan Szechenyi, who was the patron of a Telkibanya concern. Eventually, Herend prevailed, and went on to become the preeminent pioneer of Hungarian porcelain, becoming renowned for its hand painted decoration. But Vince Stingl had a difficult time with the upkeep of his small factory, both with quality production and monetarily. He was in considerable debt for the purchase of essential equipment, and finally resorted to selling out to one of his creditors, Moricz Fischer, in 1839.

Mor Fischer, as he was known, gave the factory a real boost. As well as supplying a much needed infusion of capital, he worked hard to achieve an entrepreneurial dose of commercial success. He is generally considered the father of the present Herend factory. His ambition led to the expansion of the workforce, with new and improved kilns for large-scale manufacture.

The Herend backstamp and mold/pattern numbers on bottom of the Rothschild teapot.

The workers began researching and applying new techniques toward the reproduction of high-quality replacements for the classical pieces of Chinese and other origins, which the aristocracy could not find at that time. This led, predictably, to contemporary pattern making in the antique style, as well as to the production of forms and decorations reminiscent of the period pieces by Meissen, Sevres, Vienna and Capo di Monte. Meissen was a distinct influence, with its baroque emphasis on tea and coffee services featuring floral and aviary patterns. Likewise, the woven pattern on several Herend plate edges owes its origins to Meissen. Chinese motifs were incorporated as well, since porcelain originating in China always had a great influence on European factories with their interest in all things oriental. Several royal courts of the time (Italy among them) requested Herend to replace items that were missing from their old Chinese tableware sets. These orders helped to become firmly establish Herend’s reputation. Other Herend products perpetuated the beauty of Chinese porcelain, yet were distinctly Herend in their patterns and purpose. Some oriental patterns of this long-ago period can still be purchased today: Victoria (so named because Queen Victoria ordered this set, which was decorated with butterflies and flowers), Poisson, Ming and Godollo, for example.

While still imitating old, established patterns, the factory also started to incorporate its own personal versions of design. Thus began the theme of using local botanical and natural elements—such as fruits, insects and plants—from the Bokany region of Hungary. So, while still acknowledging the old, something was being created.

This globe Herend box is hand painted and done in pierced style with a floral decoration, circa 1900.

After winning great acclaim in exhibitions at home in Hungary and Vienna, the Herend style was ready for its international debut. This occurred at the first World Exhibition in London, England, in 1851. Herend took home a gold medal from the Crystal Palace, sold all the pieces on view, and received many large orders. It was a definite coup for the factory’s first international exposure. Here began the worldwide reputation that Herend porcelain still enjoys today. Within a few years, Herend displays could be found at the New York World Exhibition in 1853, and the Paris World Exhibition in 1855. Later, there would be gold medals from Amsterdam in 1887, St. Petersburg in 1901, and so on. Many distinguished customers followed from these events, several of whom had patterns named after them. Some important clients were the Rothschild family, Emperor Franz Joseph I, King Victor Emmanuel of Italy, Tsar Alexander II of Russia, the Shah of Persia, Alexander von Humboldt, and the Prince and Princess of Wales.

Fischer clung to the old-fashioned methods of porcelain production throwing the pots by hand, hand-painting the blanks, and reviving historical trends. During the period of 1857-1872, the factory was at its pinnacle. This was also the time in which the Arts and Crafts movement in England, with William Morris at its helm, was preaching a return to medieval craftsmanship, a denial of mass-produced wares, and a renewal of regional and traditional development. The Herend style fit the bill admirably. Fischer was accumulating personal honors, as well. In 1863 the Emperor Franz Joseph I gave him a knighthood, and the next year granted him all rights to patented designs of the now defunct Imperial Porcelain of Vienna factory. He also received a coveted medal from the French Legion of Honor. In 1872, he was dubbed “Purveyor to the Royal Court” (of Austro-Hungary). At the same time, outstanding pieces of Herend porcelain were beginning to appear in private collections, and museums began adding representative items to their exhibits.

In 1874, Europe experienced an economic slump. This, in combination with Mor Fischer’s advancing age and Herend insistence on manual artistic production without mechanization, drove the company toward insolvency. Fischer’s sons took the helm, Mor died soon afterward, and the firm was hard-put to get back into the mainstream. The sons tried mass production and decorative simplification, but were not successful. The factory slid into a decline in both artistic and financial aspects.

At the close of the 19th century, the company became the property of Jeno Farkashazy, a grandson of Mor Fischer, who was a trained ceramist. He reverted back to his grandfather’s values, gave new life to the old models and traditions, while introducing new innovations of his own. Things were looking up! He had great success at exhibitions around the turn of the century in Paris and St. Petersburg.

A porcelain figurine by Herend, called "The Bather," circa 1950, created during the Communist era.

In 1923, a new mixed ownership group took over, introducing modernization of decorative techniques and production methods. New artistic development and attempts to expand foreign market share were achieving success. A demand for ornamental items at affordable prices resulted in the development of small sculptures and cabinet pieces in addition to the tableware. These became very popular and included birds, animals, and figures of persons engaged in sport or dance. Hungarian subjects were favored, and these represented historical figures and those from favorite fairy tales and legends. Famous Hungarian artists of the time were commissioned to design some of these pieces. In the 1930s, commercial success was again on the way, and recognition was accorded by world acclaim at the Brussels Exposition of 1935 and at Paris in 1937. People were impressed by Herend’s products—the place settings with traditional motifs, as well as the newer and innovative sculpture line.

After the intrusion of World War II, the factory was nationalized in 1948. The war had handed a huge blow to the company. Since exports were the backbone in Herend’s financial health, it was negatively affected when it became shut out of the international marketplace. The proper china clay was unavailable, as it had always been imported. Domestic clay had never been the optimal raw material. After 1948, however, the situation improved somewhat with clay coming it from Limoges, and some exports resumed.

Production continued through the communist era, yet the Hungarian economy was isolated from the world scene by the Iron Curtain. However, within Hungary and the Eastern Bloc, there still existed a demand for political gifts and ideological statuary. Herend was in a good position to supply these needs. One can still find small cabinet sized sculptures of Stalin, and workers in socialist-approved occupations and poses.

This situation has changed dramatically in the 1990s. With the end of the communist influence, and with privatization of the company in 1993 with three-quarters of the firm owned by its employees, Herend has expanded and prospered. Herend products are now at the peak of their popularity. The majority of pieces are still hand-shaped and hand-painted, which assures its porcelain a place above similar large factories. Only the kneading and purification are mechanized. Electric kilns are utilized instead of the old wood burning stoves, and research is constantly conducted, with quality control meticulously maintained.

The Herend factory currently employs more than 1,500 crafts people—potters, designers and painters—and continues its traditional elegant style, with an extraordinarily wide selection of time-honored, richly decorated patterns, which are yours to explore and possibly own.

Some Herend patterns are majestic and gracious, some are sophisticated and sumptuous, some charming and delicate. But all are special beauties, which have been, and will be, cherished by many generations.

— by Shira Karpati

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Abstract Expressionism: This is a type of painting which developed in New York in the 1940s in which painting a recognizable object was not the goal. Instead, the artists strive to use color, design, rhythm and even the way paint is applied to the canvas or paper as the means of expression.

Abstract Expressionism: "Woman V," by Willem de Kooning

Baroque: The term is used to apply to music, art and architecture of the late 16th and early 17th centuries. Baroque architecture is very flamboyant with many of the classical forms augmented by ornamentation. Baroque art reflects a highly decorated and almost emotional involvement by the artist to stir the viewer.

Baroque: "The Adoration of the Magi," by Peter Paul Rubens

Classical or Classicism: As the name implies, this art form relates to what is considered time-honored. Its roots are in the ancient Greek and Roman cultures to follow that style in simplicity of line and angle and in balance of the visual elements.

Classicism: "The Inspiration of a Poet," by Nicholas Poussin

Cubism: This form of modern art began about 1907 and lasted until about 1925. The emphasis of cubism is not in reproducing recognizable objects, but instead dwelling on changes in perspective as though viewing a person or object from different angles, yet composing a whole. It is almost geometric in form and probably is best seen in the art of Picasso and Braque.

Cubism: "Still Life with Fruit Dish and Mandolin," by Juan Gris

Dadaism: Originating in France, Germany and Switzerland at the end of World War I, this art form gets its name from a nonsense word in French. The art tends to satirize the world. The traditions and classical forms are not used. Art historians say Dadaism led to the later form of art called Surrealism.

Dadaism: "Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany," by Hannah Höch

Expressionism: This originated in Europe just after the end of World War I and is marked by a free expression of the artists in putting forth their own subjective feelings. Klee and Kandinsky are noted expressionists.

Expressionism: "Portrait of Diego Rivera," by Amedeo Modigliani

Fauvism or Les Fauves: The root of the word is from French for “wild beasts.” It began to be applied to art about 1906 to describe the works of Derain, Dufy and Matisse who used bright color and distortion as means of expression.

Fauvism: "Woman with a Hat," by Henri Matisse

Gothic: This style of architecture was common in Europe from about 1200-1500. Pointed arches, flying buttresses, ribbed ceiling vaulting and a formal and elegant look characterize Gothic architecture. The viewer’s eyes are lifted upwards by this style, so it is common in great cathedrals such as Notre Dame in Paris and Westminster Abbey in London.

Gothic: "St. Mary Magdalene," St. John's Church, Toruń

Impressionism: This style of art began in France about 1865. It uses color, light and mood as means to interpret the subject and the light and air around the subject. Masters of impressionism include Manet, Monet, Pissarro, Renoir and Sisley.

Impressionism: "Woman in the Bath," by Edgar Degas

Mannerism: The last two-thirds of the 16th century in Italy particularly marked mannerism, a method using vivid and bright colors and styles especially in depicting humans. Some of the paintings are very emotional, such as those of El Greco and Tintoretto.

Mannerism: "Madonna with the Long Neck," by Girolamo Francesco Maria Mazzola

Neo-Classicism: This was a revival of the classical style and took place in the late 17th and early 18th centuries. Its influence spilled over into literature, too.

Neo-Classicism: The Royal Scottish Academy Building on the Mound, Edinburgh, Scotland

Post-Impressionism: This is similar to Impressionism, but the artist depicts a subjective, not objective, view. Cezanne, Van Gogh and Gauguin are among this art form which originated in France.

Post-Impressionism: "Haying at Eragny," by Camille Pissarro

Pre-Raphaelite or Pre-Raphaelite Brotherhood: These artists banded together in England from 1847-1849 to revive typical Italian art before the time of the artist Raphael (1483-1520). Bright colors and extreme attention to detail mark this style.

Pre-Raphaelite Brotherhood: "Proserpine," by Dante Gabriel Rossetti

Realism: This focuses on accurate depiction rather than emotion or idealization. The movement began about the middle of the 19th century in protest to the Romanticism, which often marked the art of that period.

Realism: "Bonjour, Monsieur Courbet," by Gustave Courbet

Renaissance: From a French word meaning “new birth,” this style of art and architecture marked the release of humankind in Europe from the grip of the Dark Ages. It gave a flowering of emotions and hope. It began in Italy in the 14th century, but quickly spread throughout Europe and revitalized art. The ancient Greek and Roman art forms had their influence, but the style went beyond those to become a style of its own. Da Vinci, Michelangelo and Raphael are just three of the noteworthy Renaissance artists.

Renaissance: "The Creation of Adam," by Michelangelo

Rococo: Developed in France in the mid-18th century, this style spread through Europe and influences art and architecture. It is highly decorated architecture featuring such forms as shells, leaves and scrolls. Although formal in some respects, Rococo art is light in its feel. It is considered an off-shoot of the Baroque style, but with a more delicate touch. The word comes from the French word “rocaille” which means “shell.” Shells are some of the commonly-used ornamentations in Rococo art. Watteau and Fragonard are typical of the Rococo artists.

Rococo: "Le Déjeuner," by François Boucher

Romanesque: Using the roots of art of the Roman period, this style of architecture was a popular form about the 11th to 13th centuries. It is characterized by rounded arches, tiers and a massive look and it is highly ornamented.

Romanesque: The "Morgan Leaf", detached from the Winchester Bible

Romanticism: This movement began in Europe around the mid- to late-18th century as a revolt against classical forms. The art and architecture of this style emphasize emotion, individualism and even the supernatural or odd.

Romanticism: "Twilight in the Wilderness," by Frederic Edwin Church

— by Stephenie Slahor

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QUESTION:

ANSWER: The answer to your question is . . . it depends . . . on a lot of variables.

• First: Before quoting a commission rate, the auctioneer is going to want to know the quality of your pieces, their demand in the market, and the quantity you have to sell. Whether you have enough items to make a large, quality auction, as opposed to merely consigning a few pieces will also make a real difference in the fee you can negotiate.

• Second: Don’t get confused by an auctioneer’s sales pitch and lose sight of the one and only number you’re in most interested in—the net amount that will be returned to you from the auction. There is no more important financial consideration for you than this. If one auctioneer quotes you a flat commission of 25 percent that will include everything, that might be better than a commission rate of 10 percent where you have to pay all of the other costs associated with the auction. So you have to know all of these “other” costs before you can calculate which auctioneer’s quote is better, and then you must be able to obtain a reasonable estimate as to what revenue the auction is expected to generate.

• Third: So, in addition to the auctioneer’s commission, what might the expenses be to conduct an auction? Here’s a general summary of possible costs: Advertising, labor and equipment to pack, move and haul the goods, rent for the auction site, rent for a tent or building, rent for chairs, a cashier, a clerk, fees from credit card companies, labor for ground people to move and load the goods at the auction, ring people, a backup auctioneer, security, liability insurance for the premises, portable toilets, and labor for post-auction cleanup. Every auction doesn’t include all of these costs, but some auctions include all of these costs and more. It just depends.

• Fourth: You may want to discuss the buyers’ premium with the auctioneer to determine whether its use might be advantageous to you for the sale of your goods. The buyer’s premium is a useful tool to reduce the selling commission paid by sellers.

• Finally: I strongly urge you to look for an honest and professional auctioneer. This is the auctioneer who knows how to conduct an excellent auction, who has a good following of bidders, who will do the best job for you, and who will do it legally and ethically. There’s nothing more important than having a professional like this working for you. When you’ve engaged such an auctioneer, the bottom line will work out the best for you, too. So don’t forget the old adage, “You get what you pay for.”

— by Steve Proffitt

Steve Proffitt is an auctioneer and attorney at law He is the general counsel with The Motley’s Auction Group and an instructor Reppert School of Auctioneering.

© Copyright John Stephen Proffitt III

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An example of a Rowland & Marsellus Co. Alaska-Yukon-Pacific Exposition commemorative blue transferware plate, ca. 1909. The exposition was held in Seattle in 1909 and the face decoration depicts various Seattle and area landmarks.

From lovely plates and delicate pitchers to decorative trinket boxes and figural animals, souvenir pottery was proudly displayed in American homes for decades.

Today, many of the more interesting pieces—such as a plate honoring the Alaska-Yukon-Pacific Exposition or a ceramic dog labeled Wheatland, Wyoming—are the subject of renewed interest among the current generation of collectors.

America’s “golden age” of souvenir pottery began in the 1890s and extended through the 1930s. While numerous items were also produced in the years that followed, production costs and public demand generally reversed positions.

Ironically, the country’s first true romance with souvenir pottery was not linked to tourism but rather the simple appeal of interesting scenes. Early in the 19th century, England’s Josiah Wedgwood was successfully producing wares for the American market which depicted scenes of the Revolutionary war and historical sites.

By the 1820s, the entire Staffordshire pottery district of England was busy applying European and American scenes, or “views,” to their distinctive pottery. Blue-and-white transfers produced striking images for buyers who would not likely visit the actual sites themselves.

You don’t have to guess where this commemorative place hails from.

Landscapes and modes of transportation were sometimes featured, but a major focus was on specific buildings and other structures of note. Typically, such views appeared on plates or serving dishes, but they could also be found on mugs, spittoons, pitchers, creamers, trinket boxes and even chamber pots.

Most images were of a deep blue at first (in the earlier 1820s), but gradually, new and improved light blues were used over the next two decades. Still later, in the second half of the 19th century, potters were able to add multiple colors to a basic transfer for an even more striking image.

By the 1850s, such unique souvenir pottery was being proudly displayed in the homes of America’s more affluent people. The range of selected topics varied widely from the harbor of New York City to the hamlet of Vevay, Indiana. The scene of the “town” of Pittsburgh could be found along side another which highlighted the Deaf and Dumb Asylum of Hartford, Conn.

For some educated Americans, it might be relatively easy to recognize buildings of New York’s Crystal Palace if not, perhaps, the Mormon Temple at Nauvoo, Ill. However, for the makers of such pottery in England, it could be much more of a problem.

A souvenir teacup & saucer depicting the Mt. Washington Cog Railway of New Hampshire. Multicolored transfer on both pieces, gold trim. Marked "Jonroth English Bone China.”

“If most (souvenir pottery) were copied from paintings or from portfolios of prints, all were equally strange to the Staffordshire potter,” noted Los Angeles County Museum curator Gregory Wilcox in “The Concise Encyclopedia of American Antiques.” The potter, therefore, could be forgiven, “if sometimes he mixed the tiles printed on his views.”

One of the first major connections between souvenir pottery and a specific event came with the
U.S. Centennial celebration of 1876 in Philadelphia. A number of that city’s own buildings appeared on items distributed to those who attended the event, including Independence Hall.

Those pottery souvenirs with historical views were particularly popular that special event. “Mementos of colonial and revolutionary days were discovered as if seen for the first time at the Centennial Exhibition . . . by people in great numbers,” Wilcox wrote.

By the time the Columbian Exposition arrived in 1893, Americans were totally fascinated with all manner of illustrated souvenir pottery. That same year the Jones, McDuffee, and Stratton Importing Company of Boston contracted the ever familiar Wedgwood company to produce a series of plates with scenes from the Boston area. In the years that followed, the Boston company would commission more than 300 different “views” on souvenir plates.

Of course, Wedgwood produced a vast number of other scenic plates with American locations in the late 19th century. Souvenir plates and similar pottery also came from the Williams Adams Company, Frank Beardmore and Company, British Anchor Pottery Company, W.T. Copeland and Sons, Royal Doulton, Edwin Knowles China, D.E. McNicol Pottery, Royal Staffordshire Pottery, F. Winkle Company, and many others.

Major events of the new 20th century, including the 1904 World’s Fair in St. Louis, naturally lent themselves to great assortments of souvenir pottery. One of the most popular items at that St. Louis event was a simple souvenir cup and saucer.

An art pottery Scotty dog figure, with a souvenir promotion for Greensboro N.C. around the center area, circa 1940s.

A few years later, visitors to the nation’s capitol in Washington could find a presidential platter which featured the White House and 10 presidents, including William McKinley. On the reverse the platter was marked La Francaise Porcelain.

Elsewhere in the country during the early 1900s items were as diverse as a pottery Old Oaken Bucket in Scituate, Maine, or a Mayflower Arriving advertising tile for a Boston company celebrating its 100th birthday, which sold more than 12,000 copies.

A good example of the diversity of such souvenir pottery early in the 20th century came from an eastern newspaper advertisement. It offered a full line of souvenirs including, “toothpick holders, pin trays, ashtrays, vases, baskets, cups, saucers, creamers and boxes.” All items were 25 cents each.

By the 1920s “patriotic and preservation groups were restoring and maintaining historic sites” throughout the United States, according to Arene Burgess’s book, “A Collector’s Guide to Souvenir Plates.” “The souvenir stand became an intrinsic part of almost every tourist attraction,” she wrote

A souvenir pitcher from “Lincoln's Birthplace Kentucky.” The pitcher is 3 inches high and marked “PCA, Hand crafted, made in USA” on bottom.

During the Roaring Twenties and the decade that followed, travelers could find a blue-and-white plate with floral border promoting Mechanic Island or something depicting the Women’s League Building at the University of Michigan. They could pick-up a pitcher depicting the fabled House of Seven Gables or a clearly marked ashtray from Moose Jaw in Canada.

The 1939 World’s Fair in New York City was the site of an amazing array of souvenir pottery, ranging from various sized teapots and pitchers to hand-painted plates depicting the skyline of the Big Apple.

Certainly a great deal of souvenir pottery was produced in later years, especially plates which could be proudly propped up on cupboard shelves or hung on dining room walls. However the variety and quality seldom rivaled that which had been produced in such great numbers during its golden age.

Today souvenir pottery in unique forms such as animal figurals and structures are highly prized, along with images of buildings and other constructions which may no longer exists.

Recommended reading: “Collector’s Guide to Souvenir China,” by Laurence Williams (Schiffer Publishing) and “A Collector’s Guide to Souvenir Plates,” by Arene Burgess (Schiffer Publishing).

— by Robert Reed

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When trying to clean a country farm table, if simple soap and warm water doesn’t work, don’t despair, there are other options.

I received a letter from a reader, asking about a country farm table with a particular problem:

“We found it at an outdoor antiques show last fall. It sat in our garage until this spring, when we finally were able to use our new room. We didn’t cover the table because the garage is clean. Plus, we thought we’d be in the room sooner than we were. Anyway, the tabletop is so sticky with something; we really don’t even want it in our house! I didn’t notice that when we bought it. But, I didn’t check carefully because the table was the right size, and we loved it. Now, I don’t know what to do to make it usable. The top is pine, three boards wide, and doesn’t seem to have a finish on it. It’s a great color with wonderful patina. So, I don’t want to refinish it. Can you make any suggestions about what we can do to make the surface fit to use?”

This sounds like a nice table with a typical problem. Without seeing it, I would guess the top has years of wax, spilled food, and any number of other elements, which could become sticky. I’m fairly sure it didn’t happen while the table was being stored in your garage. You are right about not refinishing it. There is no need to be that drastic. Also, you’d ruin a lot of its charm if you refinished the top.

What you need to do is clean it. From your description, I doubt that simple warm water and soap will work. But have you tried that? When cleaning something like this tabletop, always begin with the simplest, least aggressive method. So, start with the easiest. Try washing the surface with dish detergent in very warm water, using a kitchen sponge: Scrub the wood with this soapy water. Then, rinse the surface with cool, clear water and wipe it dry. If you’re lucky, this will work, but don’t expect it to!

The next step is to try cleaning the top using vinegar. Pour some cheap, white vinegar into a plastic container. Then dip in a sponge and scrub the tabletop. Try cleaning one board at a time, going from one end to the other. Next, rinse with clear, warm water. After rinsing, wipe the surface dry. If that doesn’t do the job, go on to the next, more drastic method: cleaning with household ammonia.

When using ammonia, work outdoors or in an open area with good cross ventilation. I’m not sure inhaling this stuff is good for you. But, regardless of that, it’s very unpleasant. I use ammonia a great deal. It shouldn’t damage your pine top. However, to be on the cautious side, first test an area on the underside: Pour some ammonia into a plastic container. Then, with a pad of steel wool, rub the test area.

Rinse with cool water and wipe it dry. Allow the surface to completely dry before deciding whether or not to use ammonia on the top. It should be all right. But, it’s always better to check first to know you aren’t going to discolor the wood. Clean as you would with vinegar, one board at a time. Then, rinse with clear, cool water and wife dry.

The problem with the top probably is a combination of things. Along with the stuff I already mentioned, sitting in the garage possibly helped cause some of the stickiness. However, that doesn’t matter. What’s important is getting the surface usable and keeping it that way. You didn’t mention the base. I assume it isn’t suffering from the same problem. If it is, try cleaning it the same way, beginning with the least aggressive method.

If you’re able to clean the top with soapy water or vinegar, do the following: once the top is clean and thoroughly dry, use steel wool to lightly rub with the grain of the wood. Be especially careful that you don’t run into splinters. It’s easy to pick them up with steel wool. If you are rubbing vigorously and hit a splinter, it could do some real damage to your finger or hand. Be particularly careful where the boards join. Always check for loose wood, which could become a damaging splinter, before you start rubbing.

The reason for rubbing with steel wool is to take care of any raised wood grain, which the washing may have caused. Once the surface is smooth, apply a coat of good paste wax. If the top is fairly light in color, use white, or clear, wax. If the wood is dark and has lots of patina, use a darker or tart-colored wax. Apply it with a lint-free cloth. Then, buff the surface with a brush like one you would use on shoes. Once this has been done buff with a rag such as an old bath towel, rubbing with the wood grain. Again, be careful of splinters.

If you had to use ammonia, scrub the wood with white vinegar afterward. This will help wash away any ammonia residue. If all of this liquid washing has caused the grain of the wood to rise a great deal, you may have to sand the top. Water doesn’t always make grain rise, especially on old, well-worn surfaces like farm tabletops. However, after all of the scrubbing, if the wood feels like it has sand or grit on it, sand it with a fine sandpaper. I would use 120 grit. Then, depending upon how the surface feels, you either can use steel wool or proceed right to the wax. If it’s smooth after the sanding, skip the steel wool.

Once the top has been waxed, you shouldn’t have any more sticky problems. All you will need to do to care for the surface is wipe it after every meal with a damp, not wet, cloth. If something is spilled, wipe it up right away. Depending upon how hard you are on the top, you will need to wax the surface only once a year. I would do it each spring or early summer, before the arrival of higher humidity.

If you are watchful about spills and protect the surface from hot containers right out of the oven or off the grill, there is no need to coat the tabletop with anything other than wax. After all, it isn’t a Chippendale banquet table! Enjoy the simplicity of this country piece!

— by Lew Larason

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Anatomy of an Auction

QUESTION: What is the universal signal from bidder to auctioneer   means  that “cut your opening dollar amount in half?” I thought it was when you took your bid card and kind of waved it sideways at the auctioneer with a cutting motion.

– A Reader

ANSWER: “I’m bid 50 . . . now 100 . . . I’m bid 50 here will he give a hundred, now 100? . . . Awright, sir, then 75 . . . 75 ? 100, and 100, I wanna 100 . . .”

There’s nothing like a melodic chant of the auctioneer to grab one’s interest and capture the imagination. Passing from the lips of an expert, the chant has a magnetic appeal that is addicting to some and enjoyed by all. It lures bidders to the sale and encourages them to covet offerings as varied as the creations of man. And when done right, it emboldens them to spar with their bids to gain the final victory—offering the winning bid! But to play the game you must understand what’s going on.

Our auctioneer was calling for a $100 bid when a man gave him $75. How did that happen? He received a “cut” bid. So what does that mean? Like the questioner noted, it means the bidder signals the auctioneer that he will offer half the increment the auctioneer is asking for. Here, half of the “jump” from the $50 bid to the $100 sought is $75.

The “slice” the questioner described is made whit either the hand (or the bid card) and it’s a widely recognized signal for “cut” bids. It can be made in front of or beside the bidder. By example, if the auctioneer has a bid for $20 and is calling for $25, a bidder’s “cut bid” signal indicates the bidder’s willingness to bid $22.50. Some bidders with a particular flair for drama make the cut across their throats. That one always gets your attention.

Another signal for a cut bid is to hold the hand up and press the end of the thumb against the last joint in the index finger. You might practice that but remember, I said the index finger.

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QUESTION: I always hear from non-dealers that they don’t like some auctions because there are too many dealers who drive the prices up. It seems dealers would only pay wholesale, so non-dealers should almost always get a good deal, unless they are bidding against each other. Any thoughts on this?

– A Fellow Virginian

ANSWER: Dealers who buy to resell can never outbid serious buyers who buy for their collections, so long as profit remains the objective. Dealers have to buy wholesale so they can mark their merchandise up sufficiently to cover their costs and then sell at, or near, retail and make a profit. It’s just simple arithmetic and basic business. Auctioneers say serious bidders will pay retail, dealers will pay wholesale, and some bottom bidders are the same as “No Sale!”

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— by Steve Proffitt

Steve Proffitt is an auctioneer and attorney at law He is the general counsel with The Motley’s Auction Group and an instructor Reppert School of Auctioneering.

© Copyright John Stephen Proffitt III

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