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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This mark was used on French Quimperware pottery made by the De la Hubaudière factory from 1883 to 1895.

You might wonder when watching the appraisers at “Antiques Roadshow” just how they can determine so much information about a teacup or platter simply by turning them upside down. The fact is the markings that are stamped, painted or impressed on the underside of most ceramic items can tell a great deal about a piece other than just its maker.

What the appraiser is looking for is historical reference points that they have learned through years of research and study of pottery and porcelain items. What few people are aware of is that it’s not just the name of the company name—such as Rookwood, Weller or Royal Doulton —stamped on the piece that tells the tale, but a number of things used within the mark itself. The actual dating of a piece is much like detective work, and the company name itself only gives the appraiser a rough timeline of when the company was known to operate.

Other factors, such as the color of the mark, how it’s applied or the numbered codes within the design can often date a piece to the exact year it was produced. Famous companies such as Wedgwood, Minton’s, Derby and Worcester have all used a variety of numerical or symbol codes that, with a quick look in a reference book, will provide the exact date of production.

Even without a reference of pottery/porcelain marks there are a few “Pro Points” that you can copy or memorize to help you date pottery and porcelain:

• Small, hand-written marks tend to be pre-1800s.
• Kite-shaped marks with ” Rd.” in the center are English and were used from 1842-83.
• Printed/stamped marks in colors other than blue tend to be post-1850.
• The use of the word “Royal” before a company name tend to be used after 1850.
• The use of the term “LTD” or ” Limited” appear after 1860.
• The use of the word ” Trademark” tends to be used after 1862.
• The use of registration numbers such as “Rd No.10057” begin in 1884.
• Items marked Nippon generally date from 1891-1921.
• The name of a country with the stamp indicates where the piece was made dates from 1891.
• Company marks in gold, or the mention of “24K Gold” on gilded pottery or porcelain is generally mid 20th century.

These are not hard and fast rules, as there are some exceptions, depending on the individual company. In the case of the stamp shown at the top of the column, it’s one of these exceptions. This mark was used on French Quimperware pottery made by the De la Hubaudière factory from 1883 to 1895. It is hand-painted, whereas the “rules” would indicate it should be a pre-1800 piece.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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Taking pictures of your furniture is easy. Taking good pictures is a bit more difficult but, like taking pictures of your kids, it can be done. First, take some snapshots of your favorite piece, in place, as it stands in your house. After you get the pictures developed sit down with them and thumb through a couple of trade publications and compare their photos to yours. The fabulous photos in the magazine “Antiques” will humble you as a photographer. So will those in “Art & Antiques.” Of course, these are done by highly skilled (and highly paid) professionals in perfect studio situations, but there is always something to be learned. Next, stroll through some newsprint trade pubs such as “Maine Antique Digest,” “Antique Week” and “Auction Exchange” and look at the photos taken on site, in “as found” situations. Chances are even these on-the-fly shots taken at auctions are better than your snapshots. Why?

The first response is that whoever took all those pictures has a better camera than you do. Probably, but that’s a detail. How they use the camera and more importantly, how they frame the picture are the real differences in the photos. If you have one of the modern, ubiquitous digital cameras with a built in flash, zoom lens and perhaps even a macro function, or even if you are shooting with a 35mm camera and film, you are on your way to being an excellent furniture photographer.

The most important point to remember is that in order to get good pictures you must take a lot of pictures. If you think three shots will do, take 10 with minor variations of position and light. You never really know what is going to work in a given situation and some of the shots will truly surprise you.

Another point to remember is taking a picture of a piece of furniture is a lot like photographing a small child in most cases. In order to get the real sense of the child (or the piece) you must get down to their level. Don’t shoot a 28-inch-tall lamp table from six feet up. Get down to it and see what it really looks like. Or bring it up to you. If you need to elevate a piece to get the details or the sense of proportion, by all means do it.

The picture on the left doesn’t tell you much about the top of the table, just the Lladro cluttering it. When the table top is cleared you can see the distinctive pattern of crotch cut mahogany.

And in order to see what it really looks, like you have to remove the lamp and all the other assorted items that tend to accumulate on horizontal surfaces. You don’t want the insurance man to see that awful picture of Aunt Mable in the middle of the top. You want to show the top itself.

Composition of the picture is very important. You want your subject to take up most of the frame but you must be keenly aware of what else is in the viewfinder of your camera. You may be looking at the lamp table but the camera is looking at a whole panorama, which includes the background and all the things on the periphery. One way to “clean up” the background and periphery is to use a bed sheet as a backdrop. No one will know the difference between your sheet and the expensive canvas drapes used by the pros. Tape, staple or tack your sheet to the surface behind your subject and watch how the photo changes. It sounds like a lot of work but it’s worth the effort and you only have to do it once.

When you take photographs of a piece of furniture, make sure the image shows the whole thing. You can’t possibly show all the details of an ornate chest of drawers in one photo. Shoot a whole series of shots like the glamour mags do. Show a full frontal shot, then a side angle, then an oblique, then a top shot, then go to details like hardware, carving, turnings, legs, feet, casters, etc. Don’t forget to shoot the back and don’t forget to get shots with drawers and doors closed AND open and be sure to record the important joinery, such as on drawers and stretchers on legs. If your camera has a macro function it is particularly useful with the finer details.

The photo on the left was taken from straight ahead and the flash bounced right back. When taken at a slight angle there is no glare from the flash.

Lighting can make or break your photo efforts. Since most of your shooting will be indoors, you probably will be using the built in flash. In this case do not take a picture straight on of a flat surface like a chest front. You will get a photo full of your own flash reflected back in your face. Employ a slight angle so the flash bounces away from you. Even when using a flash unit you must be very aware of external light sources. An uncovered window in your frame will cause your automatic camera to react to the “backlight” and the resulting photo will be too dark. Always work with natural light to your back if at all possible. Employ auxiliary lighting to your advantage. Even a simple drop light from your garage set at a 45 degree angle between you and the piece will provide excellent side light while your flash fills in the front. Two drops are even better.

The photo of the chair on the left was taken against an open door. The backlight obliterates the details of the chair. On the right is the same chair using a blanket for a backdrop. Now you can actually see the chair.

Finally, don’t try to get too much in one shot. It’s virtually impossible to show an entire dining room or bedroom set in one shot. Take an overall “group” picture just for the record but then shoot each piece individually after that. A little practice and a lot of attention to important details will make you a very good furniture photographer.

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Fred Taylor is a antique furniture Worthologist who specializes in American furniture from the Late Classicism period (1830-1850).

Send your comments, questions and pictures to me at PO Box 215, Crystal River, FL 34423 or info@furnituredetective.com.

Visit Fred’s website at www.furnituredetective.com. His book “How To Be A Furniture Detective” is now available for $18.95 plus $3 shipping. Send check or money order for $21.95 to Fred Taylor, PO Box 215, Crystal River, FL 34423.

Fred and Gail Taylor’s DVD, “Identification of Older & Antique Furniture,” ($17 + $3 S&H) and a bound compilation of the first 60 columns of “Common Sense Antiques,” by Fred Taylor ($25 + $3 S&H) are also available at the same address. For more information call 800-387-6377, fax 352-563-2916, or e-mail info@furnituredetective.com.

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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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Miss Uno was a snake charmer with Adam Forepaugh Shows. Even though she doesn’t have her snake in this cabinet card photo, the image sold for $33 in 2008.

In a previous article Circus Photos I wrote about circus photographs and their values. Another article on Side Show collectibles highlighted pitch cards and photos of human oddities. So now, let’s talk about another group of much older photos, including ambrotypes, tintypes, cabinet card photos, carte de visite portraits (CDVs) and stereo photos.

The difference between CDVs and cabinet cards is sometimes confusing. Both are albumen photographs applied to cards. The carte de visite always measure approximately 2 ½ by 4 inches. It was literally a visiting card. Special albums were made to hold these cards and were displayed in most Victorian parlors. Many freaks of nature were the subject of CDVs, particularly those exhibited in P.T. Barnum’s American Museum. The CDV was most popular in America during the 1860s and early 1870s. By the early 1870s, the cabinet card began to replace the CDV. Cabinet cards typically measure 4 ½ by 6 ½ inches. They were most popular from 1870 through 1895, but were produced through the early 1920s. Cabinet cards featured human oddities as well as circus performers.

The value of CDVs and cabinet card photos are based on the subject matter and the photographer. The well-known Civil War photographer Matthew Brady often photographed performers and oddities exhibited by P.T. Barnum. And why not? Brady’s photo studio was across the street from Barnum’s American Museum in New York City. Brady’s CDV images of Barnum’s curiosities, and even a portrait of Barnum himself, sell for around $100. However, one of Barnum’s most famous attractions, General Tom Thumb, was photographed so frequently that some of his CDVs can be purchased for as little as $10 to $25. CDVs of Tom Thumb and his wedding pose with Lavinia Warren often have signatures of the pair on the reverse side, but the signatures are printed.

This unidentified wirewalker is seen walking across Niagara Falls. The card sold for only $20 in 2006.

A stereo card image of a circus parade in Chicago in 1892 sold for $30 in 2006.

These two images of the Cooper, Bailey & Co.’s Great International Ten Allied Shows In One are extremely rare.

Both show the interior of the menagerie tent in 1876-77. Each of these stereo cards is valued at $400-$500. The one with the giraffe is most valuable.

Millie & Christine McKoy were Siamese Twins billed as the Two-Headed Nightingale. This cabinet card photo sold last year (2008) for $141.

Popular cabinet card photos were created by Charles Eisenmann and later, by Frank Wendt, who took over the Eisenmann New York studio in 1893. Wendt’s photos were sometimes used by performers as trade cards or souvenirs that were sold to the general public. Some Wendt cabinet cards are actually earlier Eisenmann images, reprinted with the Wendt studio identification.

Circus-related ambrotypes and tintypes are difficult to find and seldom sell for less than $100. A tintype of an unnamed side show snake charmer sold for $503 in 2008. An ambrotype image of the Siamese Twins Chang & Eng sold for $1,426 this year (2009). Stereo photos can range from $20 to hundreds of dollars. It just depends on the image.

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Larry Kellogg is a WorthPoint Worthologist specializing in circus memorabilia.

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Organized model yachting began sometime during the mid-1800s in Great Britain. According to British periodicals of the day, by the 1860s there was competition between model yacht aficionados in America and England, and a book published in 1879 illustrated plans for model yachts. Competition models tended to be 22 inches long. The early yachts were like working scale models of full size boats and their sail plans reflect that. It was later found there was too much sail for most pond sailing and the sail plans were modified accordingly. The yachts soon became “specialized competition machines.”

This hand-made schooner rig pond yacht is 43 long and stands 38 inches tall. It is a solid hull construction with lead inlet into the keel. Value in a retail setting is about $850.

By late 1880s the sport was in full swing. The yachts used in competition were as long as six feet from stem to stern. In America, one-man rowboats or skiffs were used on the water to direct the boats in the race, which was timed for each boat. The owner was allowed to make course corrections by touching his boat but points were taken off each time. In Britain, the boats were sailed from one side of the pond to the other, depending on prevailing winds. This “lake racing” was also timed, but did not allow for the owner to touch the boat after it went into the water. In time, skiff racing and the large yachts it used fell out of favor for a more transportable and easier stored boat: the “1 meter.”

Many models had true life details as seen in this deck shot of the schooner.

Also about this time, specialized ponds for model yachting were beginning to appear in public parks. Two of the earliest were Conservatory Water in New York’s Central Park and Spreckles Lake in Golden Gate Park in San Francisco. The parks often provided storage for the boats when not in use. Imagine how difficult it would have been to transport your yacht on the streetcar or by foot!

Model yachting reached its peak of activity in 1930s. The WPA built ponds around country, and many still exist. My father’s friend, Rocky Salzer, was a member of the River Rats club as a boy and sailed his boat on the St. John’s River in Jacksonville, Fla.

Model yachting enjoyed resurgence after WWII but was never as popular. There was a gradual decline and model yachting was not revived until the early 1970s, when practical radio control was developed. (As surprising as it seems, Nikola Tesla, an electrical engineer and inventor who worked with Thomas Edison, created the first radio-controlled boat in 1885). When the American Model Yachting Association was founded in the ’70s with the emphasis on advanced materials and designs, the fate of the vintage era was sealed. Today, radio controlled racing occurs every weekend across the country on surviving WPA ponds and any other suitable body of water. There are many clubs for young and old alike.

This is a manufactured pond boat made by Curtiss, called the Curtiss Cutter. It is cutter rigged and has an original plastic sail and metal keel and rudder. It is 19 inches long and 29 ½ inches tall, with a solid body construction and a flat deck. It was made mid-20th century. Value in a retail setting is about $100.

Many of the vintage yachts that survived use and the years have found their way into our homes, offices, restaurants, museums and antique shops. You can spend as little as a few dollars or into the thousands for a vintage pond yacht or boat. They come in all shapes and sizes. I had one in my shop that was so large I had to move a ceiling tile to accommodate the mast. Age, as well as condition, is a factor in pricing. There is also the “it” factor in evaluating any antique, including pond boats. Just how striking is it? Is it sleek and lovely, homely and folksy? Interestingly enough, there is also a group of collectors who want a yacht in pristine condition even if this means a complete restoration so that the yacht looks new, with new paint, varnish, rigging, sails, etc. The rationale for this is to bring the boat back to the condition in which it was originally used. And this is fine, although it makes it difficult to determine whether or not you have found a reproduction, and yes, reproductions are out there. I prefer “as found” condition myself, unless it is a total wreck.

This is a hollow hull constructed gaff rigged pond yacht with iron at the bottom of the wooden keel instead of lead. It is 31 inches long and 28 inches tall and still has its patched and well-used sails. Look at the very simple stand for this model yacht. Value in a retail setting is about $575.

In an article for “Forest and Stream” magazine written in 1894 by Frank Nichols and titled “Model Yachting About New York,” Nichols writes: “Too much cannot be said in favor of model yacht sailing as it invigorates both body and mind.” I’m sure today’s enthusiasts would agree. And I must say this is how I feel about antiques in general and pond yachts in particular.

Three pond yachts are displayed on a wall at a show in Greenville, SC. Also in the picture are a telltale compass, an 1860 model cutlass, and a ship diorama. This gives good ideas for displaying these beautiful items in your home.

Laura Collum is a Worthologist who specializes in decoys, nautical and scientific instruments.

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“Freaks, Geeks & Strange Girls,” by Randy Johnson, Jim Secreto and Teddy Varndell, has dozens of illustrations of the colorful side-show banners. Many are full-page illustrations with several fold-out pages. It comes in paperback and hardback and sells for $25 to $35.

The circus side show dominated the midway. The flashy banner line and the talker (not a barker) shouted about the wonders to be seen on the inside: “. . . the strange and the unusual . . . the giant and the midget family, the sword swallower, the fire eater, the snake charmer and the magician . . . they are all alive and on the inside.”

Many different attractions fall into this category. The pit show featured a single attraction like a giant rat or a two headed calf or even an inanimate object like the Bonnie & Clyde car. Some side shows featured a motordrome or a girlie show or monkeys racing hot-rod, but these were typically on carnivals.

Usually, when you think of a side show, you are thinking of what was called the “ten-in-one.” This was a series of individual acts in a single tent for a single price of admission. The crowd would go from stage to stage to see each attraction. The side show was made up of freaks—human oddities who were born with deformities. These included the giant, the midget family, the armless wonder and more. There were made-freaks, like the tattooed man or the fat lady. And there were working acts such as the sword swallower, the Punch and Judy show or the Hawaiian dancers.

The four members of the Doll Family—three sisters and a brother—who came to the U.S. from Germany. They appeared in the classic film, “Freaks.” For years they were featured on the Ringling Bros. and Barnum & Bailey sideshow. This pitch card is valued at $10 to $20.

Gottlieb and Alfreda Fischer were billed as the only married giant couple and appeared in the Ringling Bros. and Barnum & Bailey sideshow. This is a real photo postcard and is valued at $30 to $50.

Each of the individual attractions in a large side show would sell items to earn extra money. Most sold pitch cards with photos or maybe brief life histories. The giant almost always sold a giant ring. The magician sold a small bag of tricks. These items make up the bulk of the collectibles associated with the side show.

Besides these souvenirs, a much sought after side show collectible is the canvas banner. Unfortunately, because of their size, they are difficult to display. For this reason they are avoided by many collectors of circus memorabilia. The most popular banners are those signed by well-known artists such as Fred Johnson, Snap Wyatt and Johnny Meah. A Fred Johnson banner of Brenda Beatty the Bearded Lady with text only sold on the internet for $1,000. A Johnson banner for the same attraction with artwork sold for $2,999. Even unsigned banners bring prices in the hundreds of dollars.

This pitch card illustrates how some side show souvenirs included a mini-history. On this card is an explanation of the difference between a midget and a dwarf. Princess Ann, billed as “Tiny Lady,” was a midget. Value is $10 or less.

Pictured here are several giant rings sold by side-show giants. The ring on top is made of plastic and was sold by Johann K. Petursson, who was billed as the Icelandic Giant. He appeared in circus and carnival sideshows. This ring is valued at about $10. The other rings are made of metal. They commemorate Jack Earle ($10 to $30), J.G. Tarver ($10 to $40), Al Tomaini ($30 to $70) and Gilbert Reichert ($20 to $35).

As a side note, the side show is primarily responsible for the public’s confusion between circuses and carnivals. Both travelling attractions had side shows. But the carnival also included rides and games of chance. The carnival would usually stay in an area for a week or longer. It often exhibited in conjunction with a county or state fair. The circus had a side show, but the heart of circus was the traveling menagerie and the performance under the big top. The circus was in most towns for only a day, then on to a new town for tomorrow’s show.

The book “Seeing Is Believing,” by A.W. Stencell, is an excellent reference on the American sideshow. It is filled with illustrations and descriptions of all the different types of sideshows. The book sells for around $25.

For further reading:

• “Freaks, Geeks & Strange Girls – Side Show Banners of the Great American Midway,” by Randy Johnson, Jim Secreto and Teddy Varndell. Copyright 1995 by Hardy Marks Publications.

• “Seeing is Believing – America’s Sideshows,” by A.W.Stencell. Copyright 2002 by ECW Press.

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Larry Kellogg is a WorthPoint Worthologist specializing in circus memorabilia.

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Some of the earliest versions of commercial jack-o-lanterns were pressed cardboard with a tissue-paper face from the 1910s and 1920s.

Halloween, as we know it today, became popular in the United States in the late 19th century when a flood of Irish and English immigrants brought a renewal of interest in the study of ancient customs, folk tales and traditions. In the early 1900s, parties were the most common way to celebrate the holiday, and this is when the first Halloween favors, candy containers, games, lanterns and decorations slowly began to appear. By the 1930s, these tin, wooden, paper and cardboard items were being produced by several companies. And because they were mostly discarded after use, those that still exist today are highly valued as collectibles.

Halloween’s roots date back thousands of years to ancient Celtic customs celebrating the fall harvest, when hunter-gatherers dressed in costumes made of animal skins and feathers, feasted on the collected bounty and carved decorative lanterns out of squash, apples and melons. This time marked the end of one year and the beginning of the next, when it was believed that spirits of the dead could briefly cross over to join the living and annual fortunes could be read.

Europe’s spreading Christianity eventually influenced an end to these pagan rituals, and by 800 A.D. they had been replaced by solemn feasts honoring the saints (or “hallows”). November 1 (the first day of winter) was “All Hallows’ Day,” making Oct. 31, of course, “Hallows’ evening.” But many people still believed that the souls of the dead where walking among them during this time.

A rare “Black Cat” fortune-telling card set from 1897.

Today, collectors of very early Halloween often concentrate in particular areas, as some covet the old party decorations because they were most often soiled during the party and thrown away. Unused 85-year-old place mats, name tags, napkins, nut cups, streamers, dance cards, gummed seals, table covers, invitations and pop-up centerpieces are very hard to find. Many people also collect the games played at these parties. Others collect the illustrated annual booklets that suggested party ideas and advertised hundreds of paper items for sale, like “Dennison’s Bogie Book,” filled with recipes, parlor games and how-to guides for making costumes, favors, masks, crepe paper flowers and hats. The advertising in these old guides can also be very valuable when dating the first appearance of vintage Halloween items.

The 1923 “Dennison’s Bogie Book,” filled with recipes, parlor games and how-to guides.

Commercially produced jack-o-lanterns are a favorite early collectible, as they were used both as candy holders and as lanterns. The earliest versions were painted glass globes from Germany and date to around 1905. Highly inflammable pressed cardboard lanterns with tissue-paper face inserts originated in Germany in the 1910s and the 1920s and contained tiny matchstick-sized candles mounted in tin holders. In addition to pumpkins, the cardboard lanterns can be found as black cats, red devils, white skeletons and even green-striped watermelons. It was not until the mid 1930s that sturdier, paper maché jack-o-lanterns began to appear (made in the United States).

Candy containers are another fun area of collectability. Many early versions still exist; most made of composition, glass or cardboard. Some larger versions could hold candy in a hollowed-out body and opened when the figural head was pulled out. But several German versions stood atop tiny cylinder drawers that pulled down and away from the figures. Each little drawer was big enough for only one small piece of wrapped hard candy or a couple of pieces of candy corn.

Candy containers are another fun area of collectability. These are representatives from approximately 1920 and measure two to four inches tall.

Another example of an early Halloween decoration. The ghost on the left has a head that bobs on a spring and the candy drawer is inset under his feet.

A German wood ratchet from 1920 with a composition pumpkin head and crepe paper collar. The ratchet makes a loud scraping noise when twirled.

A double-sided lantern with tissue inserts and accordion crepe paper sides, circa 1930. Flat cardboard die-cuts are collected for their colorful lithographs and because they come in every size and type. Skeletons, bats, owls, cats, scarecrows and skulls are common and they are often shaped as masks. Noisemakers are always a favorite vintage collectible, originating with the Celts’ desire to scare away the dead. They squeak, whistle, clang, knock, rattle, click, jingle, honk, whiz or flap, and the tin ones are usually beautifully lithographed. Some blow out long, curled tissue paper snakes. Some even shoot sparks when a flint rubs against a sharp metal wheel. Those who want to collect some of the very earliest of Halloween examples often search for vintage postcards. Halloween postcards date as early as 1901 and continued in popularity until around 1919. They were known for their vivid color lithographs and were often created by renowned artists and children’s book illustrators. Some even showcased embossed printing, metallic gold highlights or movable parts. A 1911 Halloween postcard published by John Winsch. It can be challenging and fun to search for very early Halloween memorabilia (prior to the wide use of plastics). And we have barely scratched the surface of examples. There are china tea sets, costumes, photographs, stickpins, sheet music, paper dolls, magazines, catalogs, art and scores of others. But always beware—modern reproductions are very common. Many are still marked “Germany” and can look quite similar to the originals. Die-cuts, especially, are hard to authenticate. Happy hunting and happy Halloween! Liz Holderman is a Worthologist who specializes in collectible books. WorthPoint—Discover Your Hidden Wealth Join WorthPoint on Twitter and Facebook. These are representatives from approximately 1920 and measure two to four inches tall. The ghost’s head bobs on a spring and the candy drawer is inset under his feet.

This is the famous “Chautauqua” desk first offered by Larkin in the 1901 catalog for six certificates or as a premium for buying a $10 Combination Case of Larkin Soap products. Variations of this desk were offered into the early 1920s.

The term “Larkin Desk” is a familiar one to most collectors and buyers of older and antique furniture, especially to those who favor furniture from the “Golden Oak” era around the turn of the 20th century. In fact, the phrase has become so familiar that the original meaning and source may be a little obscure.

In Buffalo, NY, a young John Larkin went to work in 1861, at age 16, for Justus Weller, who then moved to Chicago in 1870 to establish a new soap manufacturing concern. Larkin became a partner in the business at age 26, not long after the move to Chicago, but sold his interest back to Weller in 1875 to return home to Buffalo, having recently married Hannah Frances Hubbard, a native of his home town. His new small business in Buffalo was the manufacture of a laundry product called Sweet Home Soap, his one and only product. John Larkin may have had the know-how to make soap, but it was his new brother-in-law, Elbert Hubbard, knew how to sell it—in vast quantities. His marketing efforts were so successful that within two years Larkin had to acquire a larger manufacturing facility and soon made Hubbard his partner in the business.

Elbert Hubbard was a true pioneer in the mass marketing field. His ability with words and his creativity were responsible for the phenomenal growth experienced by J. D. Larkin and Company. His new techniques included the use of premiums enclosed with the product; at first just a small card with a homey scene on it. Housewives traded among themselves to accumulate the entire set. Sound familiar? Another technique was to sell a box of 100 pieces of soap to an individual and encourage them to resell the pieces to neighbors, while purchasing the $10 original box on the installment plan. The reseller not only made a profit, she got redeemable premium points good toward purchases from the Larkin catalog. The Larkin Company, in turn, made a profit and accumulated a huge mailing list of people who bought a disposable product, soap, and would need to buy it again. Hubbard really had an impact on his time and he would do it a second time. In 1893 he left Larkin for a trip to Europe. There he met and was impressed by William Morris (of Morris chair fame) and his artistic ideas. He returned to New York and in 1895 established the American branch of the nascent Arts and Crafts movement in Aurora, N.Y. with the founding of a colony called “The Roycrofters,” a group of artisans dedicated to simpler times and ways.

This Larkin Buffet No. 220, first offered in 1909 for 20 certificates, was one of the first curved glass pieces made by Larkin in the Buffalo factory.

Meanwhile, John Larkin’s soap and premium goliath marched on. He awarded such vast quantities of household goods as premiums that he had to start manufacturing them himself. One of the more popular premiums was assorted crockery, which he had heretofore purchased from outside vendors, primarily in New Jersey. In 1901 Larkin chartered his own factory, named Buffalo Pottery, to supply him with premium crockery. Its first kiln was fired in 1903.

But perhaps the most lasting legacy of Mr. Larkin’s industriousness and Mr. Hubbard’s cleverness is in the area of home furnishings. The 1890’s were the roaring years of the emerging catalog sales industry and Larkin was right out there in front with his company motto of “Factory to Family.” And he meant it. All of this happily coincided with the long awaited adaptation of mass production techniques to furniture, generally begun after the Civil War but really coming into its own in the 1880’s.

And mass produce they did. While Sears dominated the market, there was plenty of room for Aaron Montgomery Ward and John Larkin in the furniture industry.

Through Larkin’s effort, Buffalo became one of the major mass-production locations of American furniture. And the preferred wood was oak, preferably quarter sawn and solid—no veneers allowed. The style of the great mass of production furniture was definitely questionable, but all-in-all, it had a kind of “Art Nouveau” flair to it, with swirls, flowing lines and applied decorative motifs.

This scan of page 15 from the Larkin Oak catalog of 1908 shows some of the other desks offered by Larkin, including the Chautauqua, three other drop fronts, two roll tops and a side-by-side. The current catalog is published by Walter Ayars of Echo Publishing in Summerdale, PA.

One of the most popular items in Larkin’s inventory was the drop front combination bookcase/desk. Variations included a glass front case with a drop front desk attached to the side, two glass front cases with a desk in the middle or simply a drop front desk with a small open bookcase below the drop and candle stands above it, with a mirror in the high splashboard.

These desks were all solid oak plank, assembled with nail and glue construction; no fancy joinery here. In fact, in some cases the desks were so easy to assemble that they were shipped flat and assembled on site at the buyer’s house. Molding and trim was applied ash or maple and the back panels were commonly three-layer plywood. Escutcheons were stamped brass and the better desks had brass hinges on the drop. Cheaper ones had iron butt hinges.

No matter the quality and style, or lack thereof, this type of desk became “everyman’s” desk and was a very common item in almost all homes of the period. It was THE hot decorating item for many years and Mr. Larkin’s name was commonly attached to the form, whether it came from his factory or not. Thus we have the “Larkin Desk.”

So many of these desks were manufactured that they are readily available today at relatively reasonable prices. Collectors should look for sturdy, simply built units made of well-grained oak, preferably quarter sawn. Avoid pieces with broken mirrors, missing drop fronts, replaced hardware or signs of excessive restoration such as “hot stripping.” In many cases the original plywood backs have deteriorated and been replaced. The cheapest oak plywood is red oak and a replacement back is easy to spot since the desks are invariably made of white oak. In other words, this is one of the rare, desirable items from our past where enough of them exist that you can be picky in your selection. So be picky.

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Fred Taylor is a antique furniture Worthologist who specializes in American furniture from the Late Classicism period (1830-1850).

Send your comments, questions and pictures to me at PO Box 215, Crystal River, FL 34423 or info@furnituredetective.com.

Visit Fred’s website at www.furnituredetective.com. His book “How To Be A Furniture Detective” is now available for $18.95 plus $3 shipping. Send check or money order for $21.95 to Fred Taylor, PO Box 215, Crystal River, FL 34423.

Fred and Gail Taylor’s DVD, “Identification of Older & Antique Furniture,” ($17 + $3 S&H) and a bound compilation of the first 60 columns of “Common Sense Antiques,” by Fred Taylor ($25 + $3 S&H) are also available at the same address. For more information call 800-387-6377, fax 352-563-2916, or e-mail info@furnituredetective.com.

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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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