WorthPoint member Isabel R. wished to know more about this trinket box she inherited from her mother, so she engaged WorthPoint’s “Ask a Worthologist” service. The report back states that the piece originated in Limoges, France, and is painted in a floral Art Nouveau-style popular during the turn of the 19th century.

Isabel R. inherited a porcelain trinket box that appears to be hand-painted. There are no markings on it other than “Jenny Miles- 97” on the bottom, and had originally belonged to her mother. It was used in a sewing cabinet for needles and thread, and no one could recall where it came from originally. Isabel has no plans on selling it, as it’s already found use on her vanity, for rings and costume jewelry, but she is interested in finding all she can about it, particularly the artist who painted it. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her inquiry was forwarded to me. here’s her question:

“I inherited this box from my mother, she’s always used it for pins, needles and thread, and it has sat in her sewing cabinet for years. Nobody in the family can recall where it came from, as my mother tended to pick things up at church bazaars and yard sales over the years just because she had a use for it or liked the look of it. The only marking on it is on the bottom, it’s signed “Jenny Miles- 97.” I think the number 97 might be for 1897. Could Jenny Miles be the name of the artist who painted this piece? I tried to look up her name on the Internet, but could not find any other porcelain trinket boxes signed by her, but found similar pieces with other names and dates on them. I’m not going to sell this piece, as I already use it on the vanity for small bits of costume jewelry, but I’m really interested if you anything can find out about the artist, and of course what the piece is worth.”

Here’s my response:

Based on your images and the marking, your trinket box originated in Limoges, France, and is in the floral Art Nouveau-style popular during the turn of the 19th century. The number “97” in our opinion is, indeed, for the year 1897. Limoges was the home of many porcelain companies during the last quarter of the 19th century. Most of these companies were producing fine decorative china for the export market, mainly to the USA.

A good deal of this ware came as “white ware” blanks and were hand-decorated by hobbyists and pottery studio’s in both Europe and North America. “China painting,” as porcelain decorating was called at the time, was a popular pastime from the last quarter of the 19th century until the First World War. Unfortunately, the work of many of these studios and the signatures of the artists who decorated them are either undocumented or little reference material for them is still available. This trinket box is one of these pieces.

This piece was most likely decorated in North America but, sadly, we have no listing for the artist “Jenny Miles” in any of the standard reference material or databases used to identify markings and signatures for porcelain decorators. The majority of the amateur American china painters were women either by occupation, or as a hobby. But then these Studio pieces were not generally mass produced, nor is much research material available.

While not mass produced, such pieces were made in large numbers, so values are still modest for them. In the current market, comparable hand-painted Limoges based trinket boxes of this period and style often sell at auction for less than $75.

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

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WorthPoint—Discover Your Hidden Wealth

Sarreguemines Vaisselle

By Sherri Hall-Wilcox

Sarreguemines Vaisselle was established in 1748 in the city of Sarreguemines in the Northeast of France. This region was chosen for natural resources needed to produce ceramic in the 18th century, such as clay, an abundant water supply and wood, which was the sole source of energy. Beginning in the 19th century, Sarreguemines Vaisselle replaced clay with kaolin and wood with coal to fire the kilns. Later gas replaced coal as the primary source of energy. Some 250 years later, all of these natural resources are still found only miles from Sarreguemine’s Vaisselle factory.

Following the French-German war of 1870, the Sarreguemines region became part of Germany and prohibitive Customs duties were imposed. To avoid this, the factory was moved in 1872 to the city of Digoin, 250 miles southwest. Due to its reputation, Sarreguemines Vaisselle kept its name and the factory has remained in Digoin ever since. The company was awarded 12 gold medals in international competitions during the 19th century. Such was its reputation even Napoleon Bonaparte bought pieces, which can still be found today at Versailles and at the Trianon.

Dating Sarreguemines Pottery by the Marks:
A lot of the Sarreguemines pieces are clearly marked. The company has used many different marks over the centuries, which enables us to date most pieces.

• Typically, you will see the word “SARREGUEMINES” either impressed or printed. The impressed version was in use until circa 1900. The company used the printed mark after 1900.
• Between 1870 and 1890, the impressed Sarreguemines often has “MAJOLICA” impressed above it.
• Quite often, Sarreguemines pieces have several impressed numbers. The number existing of 3 or 4 figures usually refers to the model. One number between 1 and 4 refers to the size, and the last two digits refer to the production year (like 05 for 1905)
• The impressed “U & C” within an octagon stands for Utzschnieder et Company and was in use until 1890. From 1881 on you can find majolica marked as Sarreguemines D & V.
• Sometimes Sarreguemines pieces are marked “ESDEVE”. ESDEVE (read SDV) stands for Sarreguemines, Digoin, Vitry-le-Francois, with Digoin and Vitry being the two companies that Sarreguemines had created earlier when Sarreguemines was annexed to Germany.
• The ESDEVE mark was in use until circa 1930.

WorthPoint: Get the Most From Your Antiques and Collectibles

Production of French Fashion doll began about 1855 and ended in the 1890′s. These dolls are highly prized by doll collectors. Ranging in size from a petite 9 inches to over 30 inches. The bodies can vary greatly and those with jointed woodened bodies are the most prized. The most common of French Fashion body types is the all kid leather with a small waist, individual stitched fingers, gusseted joints at the elbow and knee that allowed for movement and a prominent derrière. Gesland bodies are either made of wood or stuffed stockinette which is the most common example found. Gesland bodies frequently have the Gesland stamp located either on the front or back of the body. The bodies were stuffed with either horsehair or sawdust. Due to sawdust being heavier it used in the majority of the bodies as it made them much firmer. Terrene bodies due to their structure are one of the most unique and rarely found of body types. They have a body made of wood with a covering of kid leather, the lower torso has what resembles pantaloons made of leather. Due to this many collectors refer to them as “baggy pants” or “baggy britches”. Terrene dolls bodies have either metal upper arms with Bisque lower arms and hands or metal upper and lower arms with Porcelain or Bisque hands. Regardless of the body type these beautiful dolls continue to be sought by collectors and when found they command high prices. The dolls were originally sold either dressed or undressed. Some of the dressed dolls were sold with a complete trousseau, some dressed as brides while others were dressed in regional clothing. Fashion dolls while expensive were very popular among the affluent Victorians and each was carefully selected by the mother. Every item necessary for the fashionable lady of the 19th century toilette was duplicated in miniature for these dolls. In Paris there where whole shops that sold nothing but items for these lovely ladies which included everything from gloves, furniture, stationery, wigs, shoes, dresses to silk parasols. It could be said that these dolls were as pampered then as they are prized today. The doll at the right is a marked Barrois on a rare Terrene body. She has metal upper and lower arms with Porcelain hands. She is 13 inches tall and is from my personal collection.

This type of doll generally has a separate head which is attached to a shoulder`plate then placed on the body. The majority of French Fashion dolls have a swivel head which allowed the head to be turned up, down or side to side and posed according to the child’s desire. One variation of the swivel head is the cup and saucer or flange neck which is made by the head and neck both having flat surfaces. This style allows only for a side to side movement of the head. There is also a fixed neck Fashion Doll, the head and shoulder plate being one piece like the majority of China Head dolls of the day. The fixed neck dolls are rarer but they are not as popular with collectors and tend to sell for less money. The head was made of either porcelain or bisque. The early doll heads were pressed into the mold rather than the slip being poured into the mold. The eyes are glass or painted and all examples that I have seen have pierced ears, even those that are occasionally seen dressed as a male. Makers markings if present are located generally on the back of the shoulder plate, however there are French Fashion dolls that carry the markings on the front. Some are marked only with either a letter or number, these type of markings usually represent the size. The doll at the right shows the Barrois markings E 0 B, the 0 indicates the size and E B is the makers mark for Barrois. The doll is part of my personal collection.

As with many toys in the 19th century French Fashion dolls were playthings but, were also used as a means to perfect the sewing techniques of their affluent little owners. Using remnants of left over fabric girls could make dresses that were identical to the latest styles being worn by their mother. The ability to sew was very important during this time and the need to perfect different kinds of stitches is evident in the samplers that were made by young girls at that time, many of these still exist and are also highly sought by collectors. Monthly magazines were devoted to dolls and contained patterns for clothing. The most popular of these was La Poupée Modélé and was printed until 1923. Fashion dolls also taught girls proper dress and provided them with a knowledge of fashion that would be very important later when she would be a aspiring bride. There were more women than men and when the young lady was of marriage age she would need all the charm, beauty and
skills that she could master to find the best suitable marriage situation. The photo at the right is of my Barrois French Fashion doll. She is dressed in antique clothing and has an antique stanhope hanging from her pin. She and her German Borzoi dog are off to a picnic.

While it is hard to imagine today, in 1865 the magazine La Poupée Modélé listed a description of a complete trouseau for a French Fashion doll. This list coveres only the proper clothing needed for these most pampered ladies, it does not include all the paper items such as calling cards and stationery nor the furniture items such as desk, beds,tables or dressers to mention but a few.
2 festooned blouses
2 richly decorated blouses
4 pairs of trousers 2 simple and 2 rich
4 camisoles
2 night caps
2 hair nets
1 hoop skirt in coloured fabric,with train
1 netted hoop skirt
2 white petticoats,festoons and pleated
2 embroidered and lace trimmed petticoats
1 wool ruffles petticoat
1 corset
4 chemisettes; one high-necked in nansouk,one high-necked in silk chiffon,lace trimmed
2 open-necked chemisettes,one in embroidered nansouk,the other in richly decorated silk chiffon
4 hemmed handkerchiefs with numbers
2 stiff plain collars
2 embroidered collars
1 application collar (imitation England)
1 pair of sleeves to match the application collar
2 pair stiff solid colour sleeves
2 pairs of embroidered sleeves
4 pairs of stockings; 2 white,1,red and one with open work
1 dress hat with flowers and lace
2 simple hats
1 morning hat in embroidered nansouk,trimmed with lace and another in chiffon with ribbbons
2 head scarves one blond with ribbons, the other black lace
1 pair black velvet slippers for winter
1 pair of leather mules for summer
1 pair of dancing slippers
1 pair of ankle boots with elastics
1 pair of Russian boots
2 night dresses
1 elegant coloured cashmere jacket
1 striped or plain fabric pea jacket for cool weather
1 hooded cape
1 crocheted fichu
1 Foulard silk Russian blouse
2 cloaks, one richly decorated velvet and the other in black silk
1 large white or blue or red cloak with a hood decorated with point lace for car traveling or leaving a ball
2 pair of gloves, one white and one a dark shade
1 pair of mittens
1 round hat for traveling
1 cap either toque,police or ladies hunt cap for country use or simple dress occasions
1 velvet or felt hat for winter
1 closed hat in tulle or straw for fancy dress
2 hats-one for evening and one ball s-t-yle
7 dresses; dressing gown,house dress,travel dress,demi-toilette dress,silk dress for fancy dress,chiffon or rich light fabric for small evenings,ceremonial dinners,concerts or balls
1 hair net in soutache or or chenille for at-home use,
1 in any case all weather clothing
1 parasol
2 fur coats muff and tippet
2 aprons; one in black silk and one garden apron in off white fabric
2 veils; 1 large white tulle veil and 1 black lace small mask veil
1 set of jewelry in fine pearl or coral with matching earrings, pin, watch, bracelets

There were many makers of French Fashion dolls with many of the heads unmarked by the maker thus causing them to be labled as attributed to a certain maker. At auctions, on the internet or at doll shows it is not uncommon to see a French doll with the “attributed to” label which means that in every aspect other than size the doll is identical to a fully marked doll. Some known makers of these beautiful dolls are Bru, Barrois, Huret, Rohmer, Gaultier, Jumeau and Simonne.

The demise of the French Fashion doll’s popularity resulted from two factors. the first was the rising popularity of the French Bisque child doll which were made to represent children. These dolls know as Bébés started to gain popularity in the 1880′s. The second was Germany’s doll making industry began to come into favor due to their Bisque head dolls. Germany’s cheaper production cost meant they could sell their dolls for much less and they rapidly overtook the expensive French dolls. During the 1890′s France continued to see a decline in the sale of their dolls and by the late 1890′s the former glory of the French doll making industry was relegated to history.

Paris and antiques—can it get any better?

Ah, to be in Paris in September. Ah, to be in Paris any time of the year. For antiques collectors, September has the added appeal of the Biennale des Antiquaires running through September 21 in the Grand Palais.

The New York Times reports that there are 94 exhibitors with an incredible selection of classical furniture. But not necessarily for those of the faint of heart and paltry funds. One dealer has an André-Charles Boulle writing desk from the 1690s. Price? You can have it for $9.1 million.

Other notable antiques up for sale are a Louis XV Rococo commode, what the Times deems as a “fantastic” 17th-century Melchior Baumgartner cabinet, a bronze Chinese water buffalo from the fifth to third century B.C., and much, much more.

Oh, to be in Paris—with a sizable bank account.

Strumming collectibles

On a more affordable note is the upcoming auction of Martin guitars.

The Morning Call of the Lehigh Valley, Pa., writes that Christie’s, New York, will be selling 49 Martin-made guitars as the company is celebrating its 175th anniversary.

There are those, such as Scott Pavloty, who swear by the quality of this manufacturer. “Martins are just really big and booming sounding,” he says. “They’re great for strumming.

Among the instruments being sold at the October 10 auction are Eric Clapton, Woody Guthrie and Graham Nash signature guitars, prototypes and experimental editions.

Proceeds will go to the Martin Guitar Charitable Foundation.

Look, up in the sky. It’s a bird. It’s a plane. It’s a Superman auction.

Brad Meltzer is a writer of novels and comic books who loves, really loves Superman. So much so that two weeks ago, he started an online auction to raise money earmarked to save the home where Jerry Siegel, co-creator of Superman, grew up.

The Cleveland house was, to put it mildly, a wreck. “The house where Google was founded is preserved,” Meltzer wrote on his Web site. “The garage where Hewlett Packard was founded is protected. But the house where Superman was born? I was in shock.”

He set about coming up with $50,000 to repair the roof and exterior. TV station WKYC in Cleveland and Akron reports that to date $53,455 has been raised. And the online auction goes to 11:59 p.m. September 30.

There are a lot of incredible collectibles left. How about the original cover artwork for “Final Crisis: Superman beyond 3-D” Number 2? Or an original Bizarro painting by Felipe Massafera? An original Superman color illustration by Matt Wagner, creator of “Grendel” and “Mage”?

The complete auction list of these collectibles can be found at Ordinary People Change the World.

Prosper d’Épinay (French, 1836-1914) was born to aristocratic parents who emigrated from France to
the island of Mauritius, then governed by England. His strong connection to England is reflected in his consistent participation at the Royal Academy from 1865 to 1881. Although trained and educated in France, Prosper d’Épinay also maintained a studio in Rome (1864 -1912), where he became a close friend of Mario Fortuny and Henri Regnault, and helped the young Falguière. His career as a society portraitist was fostered by the Princess of Wales and Czar Alexander III.

Prosper d’Epinay had, for a long time, been preoccupied with the theme of Joan of Arc, painstakingly researching her life in libraries and studying the correct period amour and swords. It took him thirty years to realize his dream, towards the end of the century when his health was beginning to fail. First was the equestrian Jeanne d’Arc avant l’attaque in 1897, followed by the intensely powerful standing figure of the female saint, holding her sword in front of her, lost in prayer. Roux-Foujols records that an edition of only twelve of the equestrian Saint Joan were cast, by the lost wax process, of which number 12, dated 1898, is in the artist’s family collection. Both figures were cast by Nisini, the famous Roman foundry that experimented with Renaissance lost wax casting techniques.

I have an old french coin dated 1856.

During the First World War, the French soldier was required to carry great deal of equipment inside or attached to his field pack. The type of gear carried by an average soldier today has changed from the equipment carried 90+ years ago. The weight on the other hand has remained about the same at roughly 75 pounds.

During the war years 1914-1918 there was an attempt to make equipment of dual purpose to save weight in the average combat field load. One of these early innovations by the French Army was a combined field mess kit and coffee grinder. These special mess kits were issued about one per company.

The model 1852 mess kit is made of tin-plated steel and is about 6″ in diameter and 3 3/4″ deep with a crank handle and lid. There is a set of grinding teeth inside the small pot container with built in coffee filter and a removeable bottom.

When not used for making the company’s coffee the top would be removed and the chow placed into the pot for the soldier’s meal. I imagine most of his meals tasted like coffee no matter what he was eating.

This mess kit is painted green which was the color used by the French colonial army.