Wait a second, Mary Richards of the “Mary Tyler Moore Show” was not particularly romance adept. Maybe it wasn’t her fault. Perhaps potential beaux should have showered her with, let’s say, antique jewelry. Then the nerdy IRS auditor played by Paul Sand might have made an inroad into Mary’s affection.

Jewelry, we are asked to believe, is a human phenomenon. The desire and need to adorn the body is not a consideration of bird, fish and even other primates. (Though, one might wonder if blessed with a credit card, Tarzan’s Cheetah might have given a spectacular set of earrings to his chimpy love.)

There is evidence that cave guys and gals wore stag teeth on a twine necklace as adornment. The Egyptians? All you have to do is check out their tombs. We’re talking magnificent rings, pendants, bracelets, earrings, necklaces. Amulets and certain types of stones were believed to have mystical powers. Wear them and be blessed.

Ancient Egyptian amulet

(Photo courtesy of the Science Museum/Science & Society Picture Library)

And so it went through the decades and centuries. There were times when religious and secular leaders sought to restrict what was kosher to wear. For instance, in the 13th century, sumptuary laws were passed in Europe that frowned upon showiness. If you were a simple townsperson who lived in France or England, you had to forget about wearing clothes with gemstones, gold, silver or pearls.

Antique jewelry we find today is often from the Victorian era. Queen Victoria, who ascended to the throne in 1837, may not have a great beauty, but many beautiful, romantic pieces were created during her reign.

1880 double heart moonstone pendant

Victorian sapphire-and-pearl ring

If you’d love to have the exquisite pendant, click here. Has the ring captured your fancy? Click here.

This period also gave rise to machine-made jewelry with centers in Germany, Birmingham (England) and Providence, Rhode Island. Though disparaged by some in the upper class, fine- quality items were produced.

In the mid-19th century, Charles Lewis Tiffany bought up diamonds from European royalty strapped for cash. He reset them and sold them in his New York City store. Wealthy American women so loved the sparklies that they wore them in brooches, chokers, pins, hair adornments—all at the same time. Europeans took this as proof that their cousins across the Atlantic had no taste.

Belle Époque diamond-and platinum ring

Edwardian brooch

1910 diamond-and-platinum ring

Marie E. Betteley is offering these three magnificent items. To learn more about the Belle Époque ring, click here; the brooch, here; and the diamond-and-platinum ring, here.

Queen Victoria popularized a peculiar tradition, that of mourning jewelry. After her beloved consort, Prince Albert, died in 1861, the Queen went into intense bereavement that lasted until her own death in 1901. Following her example, mourning was a rigid ritual. For instance, following the death of a husband, the widow had to wear all black and weeping veils for at least two years. Clothes right down to petticoats had to be made from certain types of fabric. She had to carry mourning handkerchiefs. And when jewelry could be worn, it had to be, of course, black.

Queen Victoria favored black amber, or Jet. Often pieces of the deceased’s hair were incorporated into rings, necklaces, earrings and watch fobs. Such items today are prized—if a little creepy.

Victorian mourning brooch with braided hair

For more information on this brooch, visit GoAntiques.

The end of the 19th and early 20th century gave way to lighter styles. The Art Nouveau period (1890-1910) produced exuberant, fanciful pieces with images of flowers, animals and humans. Many of the baubles were enameled using a technique called plique a’jour in which gold and silver filigrees run through transparent glass enamel.

Art Nouveau enamel pendant

Learn more about this delightful piece at GoAntiques.

Cocktail jewelry became the height of fashion in the 1920s. So what if the “gems” were glass? If it was good enough for Coco Chanel and Elsa Schiaparelli, it was good enough to be flaunted. And when World War II rationing of metals stopped fine-jewelry production, costume jewelry became even more acceptable.

1920 Galalith plastic bracelet

Add this fun piece to your costume by visiting GoAntiques.

Need a romantic little hideaway for some of your trinkets? Check out this sweet Limoges box and this one, too.

Hand-painted Limoges box

Hand-painted Limoges trinket box

If you want to score some serious “smooch” points on Valentine’s, consider what has worked through the ages—beautiful jewelry.

WorthPoint—Discover Your Hidden Wealth

Collecting Horseshoe Plaque Trivets is a fascinating hobby! It’s interesting to learn the history, practices and symbols of the different fraternal groups. And then there were the gift trivets … every year I find new examples: Happy Birthday, Happy New Year, Merry Christmas, Home Sweet Home … the list seems endless.

Some Facts about Horseshoe Symbolism

★ By the year 1000 AD cast bronze horseshoes, applied with nails, were being made in Europe.

★ The number seven has long been associated with luck, so it’s not unexpected to learn that a horseshoe was commonly nailed in place (on the hoof) with seven nails.

★ The original good luck Cast Iron Horseshoe was one lost by a horse. In order to be lucky it had to be discovered with the open end facing towards the finder. According to superstition it had to be hung by the same person who found it and with the open end up, in order to hold in the luck.

★ The rules for purchased good luck horseshoes were a bit different. They could be hung as noted above or with the ends pointed downward, so that the luck would flow out to surround and protect.

★ Horseshoes were thought to have the power to repel evil spirits. They were commonly placed over doorways and by chimneys to keep witches or fairies from gaining entrance to the home. A horseshoe nailed over the bed could protect against bad dreams and demons of the night. When used in this fashion the horseshoe ends had to point downward.

How to Identify a Horseshoe Plaque Trivet

Horseshoe plaque trivets differ from traditional trivets in that they are completely flat on the reverse … there are no feet: thus the designation plaque trivet. Some collectors claim that these horseshoe plaque trivets could have served the dual purpose of a sad iron stand: by turning them over, a hot iron could have rested on the flat surface. Is that true? I suppose we’ll never know for sure!

The majority of Horseshoe Plaque Trivets were manufactured from the mid 1800s through the early 1900s, peaking around 1890. They all share the basic horseshoe shape. Beyond that, designs varied according to the theme. Some were carnival prizes and might still bear traces of their original glitter. Others were fraternal emblems, lodge favors, commemoratives or were purchased as gifts. The American Eagle was featured atop many of these plaques, and Good Luck was a favorite sentiment.

Cast in iron, brass or bronze, most horseshoe trivets were six to seven inches in length, each weighing approximately one pound. Some had hanging rings attached to the reverse. Occasionally, larger ones were made for tabletop display, supported by a metal easel.

There were hundreds of different designs featuring fraternal symbols. Since many of those early organizations no longer exist, their histories, acronyms and symbolism can be difficult to research. A wonderful online reference is Richard Hartzog’s Complete List of Fraternal Organizations.

Searching for Horseshoe Plaque Trivets

The traditional place to discover these trivets has been the antique store/mall or flea market. Others would occasionally turn up at estate auctions. However, today the most convenient and efficient place to search is right here on the Internet. And, of course, the Search is half the fun! You’ll find them listed under various headings, such as horseshoe, horse shoe, plaque, paperweight, and wall hanger                                                       

 Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia.

Valuable Majolica earthenware hiding in plain sight

By Sherri Hall-Wilcox

One of the most valuable pieces of pottery that tends to lie about, its value unknown, is Victorian Majolica. To most, this brightly colored earthenware often appears too gaudy to possibly be antique or even worth anything, and since a great deal of it has no maker’s mark, it is often overlooked.

Majolica’s history begins in 1851 when it was exhibited at London’s Crystal Palace by Herbert Minton of Minton & Co. The demand was so great other European makers soon began production of their own lines of majolica. For the next 45 years, no home’s decor was complete without a variety of majolica centre pieces, fish servers, platters or umbrella stands. The market for majolica lasted until the end of the Victorian age and finally died out in the early years of the 20th century.

Majolica became popular again in the 1970s with the revival of public interest in the Victorian floral designs and chintz patterns. Pieces that had gathered dust for the better part of a century were brought out of attic trunks, dusted off and put on display. A whole new group of collectors were born in the process. By the late 1980′s, values for this gaudy tin-glazed earthenware began to appreciate at a great rate.

In the beginning, only the pieces by Minton’s and other early makers were the collector’s darlings, but by the 1990′s, these pieces were becoming well beyond the reach of the average collector. Even the unmarked pieces began to sell for several hundred dollars.

Just how valuable are individual majolica item? Well, the piece pictured at the top of today’s column is a not a record maker, but this George Jones majolica pedestal & jardinière, circa 1870, sold for $20,000 two years ago. Some pieces, such as a rare Minton Majolica Peacock, have sold for more than $230,000 at major auction houses such as Sotheby’s. How well values will hold up for majolica over time remains to be seen.

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.

The Victorian Era had strict rules of conduct that mandated how one was to act in a polite society. These rules also dictated the proper manner and actions that were to occur during Funerals. Having the funeral in a funeral home was something that the majority of Victorians never even considered. It was still common for the families to keep the deceased at home until the time of burial. The Funeral service maybe held either in the home or occasionally the body would be removed just prior to the service to the church they had attended during life. In the 1882 edition of “The American Etiquette And Rules Of Politeness” Chapter 32 which concentrates on Funerals begins with the following admonishment: “The saddest of all duties to perform is our duty to the dead. It becomes us to show in every possible way our sympathies for the bereaved and the deepest respect for the solemn occasion”.

For people living in the city the notification of a death and a brief statement on the departed ones life might appear in the newspaper with the inclusion of “Friends Invited” with specifics on funeral arrangements. This was considered by the Victorians as a proper invitation. As travel to the city was often a long trip for those living in rural areas it was done on a purely necessary basis and these trips usually were very infrequent. For those living in rural areas necessary notification of a death was provided in a very different means, this was accomplished by sending invitations to family and close personal friends of the deceased. If you received a personal invitation to attend a funeral it was understood that your presence was expected and failure to comply with this request was viewed as a terrible breach of etiquette. Funeral invitations were generally printed on a small fine note paper with a heavy border of black. Funeral invitations contained all necessary information as to where the funeral would take place and the place of interment. The funeral invitation at the right is from my copy of the 1882 edition of “The American Etiquette And Rules Of Politeness”.

Funeral arrangements were generally handled by either the family or a very close friend of the deceased. Funeral arrangements also included those persons who would be invited to the interment. Victorian families saved for funerals and planned for the time that a funeral would be necessary. To be assigned a pauper’s grave was viewed by Victorians as the ultimate disgrace, they also considered not being mourned properly a disgrace.

The house would be prepared; all curtains were drawn closed, all mirrors were covered with black cloth, all clocks were stopped at the time of death and a wreath of black crape was hung on the door. Also, the bell or door knob was draped in black crape and a black ribbon tied on, if however, the deceased was a child the ribbon was white. All furniture was removed usually from the parlor except for a couch. Once the deceased was washed and clothed they would be laid out in the parlor on a table or door. Many Victorians had special sheets that were only used when a death occurred. One sheet was placed on the table or door and one laid over the deceased to chest level and the hands were placed with the right hand on top. I was told by my Grandmother that this was done to signify Christ who sits at the right side of God. These funeral sheets was usually make of fine Irish linen and many times had been passed down through the family. Only close friends and family should make calls of condolence while the deceased remained at home. It was proper for the family to determine whether to accept the call and was not considered inappropriate should they decline to receive the caller. Should the call be accepted all hats were to be removed when entering the house and quite dignity was to be maintained.

Just prior to the funeral service the family and close relatives would take their final view of the lost loved one. According to Victorian custom they would not make an appearance until shortly before the funeral was to begin. If the funeral was to take place in the home either a relative or close personal friend would receive guest. Prior to seating themselves they would take their last view of the deceased. While he clergyman wanted all present to hear his words his main responsibility was to address the family and to be sure that they could hear his words. At the conclusion of the service the coffin would be closed and taken by hearse to the cemetery for burial. Pall-Bearers were intimate acquaintances of the deceased and were
chosen from those closest to the deceased age. The number of Pall-Bearers were either six or eight and took their position on either side of the hearse if walking to the cemetery. If carriages were used the order of the procession was in the following manner; carriages containing the clergyman and pall-bearers precede the hearse, nearest relatives were next, followed by more distant relatives and friends. In this aspect the Victorian funerals resemble those of today. When mourners came out to enter carriages, guest stood with uncovered heads and no words were spoken either to them or by them. Once the procession arrived at the final destination the person who officiates the burial would assist the mourners to alight from the carriages and either enter the chapel or in the instances of a grave side service to go directly to the place of interment. The Clergyman proceeded the coffin. After the interment of the deceased it was the custom to serve a lavish meal. It is interesting to note that this custom remains intact in many areas, family and friends either go to the deceased home
or if the funeral is held in a church frequently family and friends are served a meal prepared by members of the congregation.

It was also necessary for the remaining family to ensure that a proper ornate monument was erected for the deceased denoting their social status. Victorian monuments were typically made of either marble or sandstone. During the Victorian Era families frequently spent Sunday afternoons picnicking in cemeteries. This kept them close to the lost loved one and today would be viewed as morbid. If you visit an cemetery that contains Victorian monuments much can be learned from the type of monument that was chosen. Some examples are those that show clasped hands mean farewell and the hand that is holding the other was the first one to die and is holding the other person’s hand to guide the one left behind to heaven. A hand with the index finger pointing upward shows they were righteous and indicates their ascension to heaven. A broken column or tree trunk means a life cut short. Monuments with any type of draping indicate sorrow or mourning. The photo at the right is a partial picture of my husbands Great Grandmother Margaret Ann (Miller) Berry who died in 1872. It is an example of a Victorian tombstone with index finger pointing upwards.

The use of flowers were a very important element of the Victorian funeral. They would be beautifully arranged into wreaths or crosses. As many Victorian funerals were held at the deceased home and they were not embalmed the scent of the flowers were also important because they covered the smell associated with the decaying process.

It was proper for friends to call upon the bereaved family within 10 days and close acquaintances within a month. However, when making a call of condolence clothing of bright color was not to be worn, Formal notes of condolences were also sent as an expression of sympathy.

We must make a brief reference to deep mourning attire as this was also a part of the Victorian funeral. It was a outward display of their inner feelings of loss. Mourning attire centered mainly on women and widows in particular. The time a woman would remain in mourning and the type of attire she wore depended on the relationship to the deceased. For women the loss of a spouse demanded the longest deep mourning period which lasted one year or longer if chosen by the widow. During deep mourning widows wore dull black clothing which could have no luster or shine to it. Black crape was used to cover collars and cuffs. Bonnets and long veils made mainly of crape were worn. The use of crape was due to the fabric being lightweight and also because of its flat, lifeless quality with a crinkled surface. Gloves were either made of cotton or silk but crocheted gloves were also acceptable. Mourning handkerchiefs were made of a plain soft linen called cambric and were an essential accessory. They also had a black border, the border width varied the more recent the death the wider the border. They also served as a means of communicating to others unknown to them the stage of mourning they were in to ensure proper etiquette would occur. Rules of social behavior was also dictated and many social situations were curtailed for a set period of time. During deep mourning women could not attend weddings, any type of party nor any other type of social affair. For widows during the deep mourning period it was expected that they were not to leave the home, except to attend church or venture out to the yard, these required they be dress in full mourning including the wearing of a crape bonnet and heavy crape veil. While indoors many widows wore “a widows cap” made of white crape. During this period widows could not receive visitors and all correspondence was done on Mourning stationery, which had a black border on both the stationary and envelope. Once the deep mourning stage was completed it was proper for her to send out black edged cards advising friends and family that her period of heavy mourning was completed and she could now receive visitors. The photographs at the right are of a Circa 1870 Crape mourning bonnet. The mourning handkerchiefs show two different stages in the mourning ritual. Note how the border on the right is much broader which would indicate a more recent death as opposed to the very narrow border on the other. The mourning stationery is from Circa 1890. All items picture are from my personal collection of mourning items.

Children and infants up to age seventeen were not exempt from showing the loss of a loved one and would be dressed in white with black trim during the summer or gray with black trim in winter. Since a girl of seventeen was considered a woman it was expected that she would dress in full mourning upon a loved ones death.

With regards to the male they simply wore their usual dark suits along with black hat bands, gloves and cravats. Should there be any household servants they were frequently dressed in mourning attire when the head of the household passed away and occasionally for any family member of the household in which they resided.

The following is found in the 1901 edition of the “Collier’s Cyclopedia”: “We sincerely trust the old custom of wearing decent mourning for those taken away from us, will never be really discontinued in America, for it is one of those proofs of our home affections which can never be done away with without a loss of national respect.” As I attend funerals today I find that this custom is rapidly declining even among widows and close family members. I was taught as a child, and have taught my children, that the only proper clothing to be worn to a funeral is black. I find for myself that wearing anything other that black to a funeral to be unacceptable. The austere black “funeral dress” in my closet will continue to remain a part of my wardrobe.

The hair flower at the right is from my personal collection and is a large piece. It measures 5 inches long and the flower is 3 inches in diameter. I am not sure if this was to be a part of a Mourning Wreath or perhaps a gift of love to a lover. Irregardless it is a beautiful representation of the art of hair work during the Victorian Era.

Due to the fact that Mourning rituals were centered around remembrance of the deceased loved one it should be easy to understand how the use of hair would come to play an important role in Victorian Mourning and those rituals associated with it. Hair was the one thing that could be kept and did not decay. Through hair it was possible to always have a piece of the loved one close and to touch that which had been a part of them. It also served as a reminder that death could occur to anyone at anytime and therefore it was very important to live a pure life as the possibility of death was every present. Thus by living a pure life the Victorians believe that reunification with the lost loved was possible. One of the most popular monthly ladies magazine during the 19th century was The Godey’s Lady’s Book or magazine published by Louis A. Godey. In their May 1855 issue the following offers a summary on the value of hair as a remembrance:

“Hair is at once the most delicate and lasting of our materials, and survives us, like love. It is so light, so gentle, so escaping from the idea of death, that with a lock of hair belonging to a child or friend, we may almost look up to heaven and compare notes with the angelic nature–may almost say, “I have a piece of thee here, not unworthy of thy being now.”

Hair art can be found in many forms from complex wreaths, earrings, wonderfully elaborate pictures, brooches, bracelets and lockets containing either a lock of hair or intricately woven hair. Rings made of hair from the departed loved one were frequently given as a memorial to the deceased family and friends. Many pieces of hair wreaths and jewelry were lovingly made by the family and then taken to a jeweler to have a clasp or pin back added. There were commercial hair artist that could be commissioned to create custom made pieces for more affluent persons. The hair brooch at the right is from my personal collection. It is from the 1860′s and is 2 inches wide. It is in fair condition as there are areas where the hair has separated from the fittings.

We should note that not all hair art was connected to mourning. It could be used as a means of recording family history and wreaths containing hair from many different family members can be found. Locks of hair were also exchanged between both friends and lovers as tokens of their affection. I have read that Queen Victoria presented Empress Eugenie of France a bracelet made of her hair and that Empress Eugenie was touched to tears upon the presentation. The hair wreath at the right is from my personal collection and measures 22 inches tall and 22 inches wide. I think it was used as a recording of family history as it contains hair of many different colors indicating that it represents different family members.

The customs regarding Mourning in America closely followed those of England. During the Civil War it was a frequent practice for a departing soldier to leave a lock of his hair with his wife or mother to be be made into a hair remembrance piece should he not return home. Equally common was the practice of the wife to give a departing soldier a lock of her hair so she would always be close to him. Death was so wide spread that many women never came out of mourning until the war was over.

In the world of antique dolls there are three different types of wax dolls. There are the poured wax dolls whose face and limbs were poured into molds and made from entirely of wax. Another type of wax dolls are the Wax Over Papier Mache or Composition. The last type of wax dolls are those made of reinforced wax.

Many doll collectors shy away from the addition of a wax or wax over doll to their collections. These dolls are thought to be very fragile and the fear that they will melt has turned many collectors away from the purchase of an item they fear will be easily damaged or destroyed. While it is true that extreme temperatures, either hot or cold, can cause damage due to expansion and contraction of the wax resulting in crazing or cracking of the wax. However, the existence of these dolls is a testament to their ability to survive and to do so with many remaining in remarkable condition.

The majority of Poured Wax dolls were made in England. Poured Wax dolls were made by pouring molten wax which contained a blend of things including bleached beeswax amd coloring into a heated plaster mold. The eyes were either blown or moulded glass. The openings of the eyes were cut and after the eyes were adjusted a small amount of wax was poured into the head and cooled when it came in contact with the eye, thus fixing the eye in place. The hair was either human or made of mohair, it was carefully inserted either individually or with two or three hairs at a time into the scalp by means of pin holes or very fine cuts and provided the look of natural hair, Once the hair was inserted an iron roller would be used to gently but firmly roll over the head, this step held and secured the hair. The hair on these dolls were so carefully done that it could be combed without causing any damage or loss of hair. Poured Wax dolls had either painted eyebrows others had hair inserted to mimic eyelashes and eyebrows. Once the head was complete the facial features were further enhanced with additional coloring to the mouth. The majority of Poured Wax dolls were shoulder plate dolls with sew holes located on the shoulder plate which allowed for the attachment of the head to the doll’s cloth body which were stuffed with hair or other fibers. The arms and legs also were made of poured wax and each had sew holes allowing for their attachment to the body. The majority of Poured Wax dolls have no markings to identify the maker however,some later dolls do have stamps on the torso to identify the maker. If you are lucky enough to have a doll with a maker’s mark it will greatly enhances the value of your doll. Poured Wax dolls were dressed as babies in elaborate Christening gowns or in exquisite costumes that were worn by fashionable ladies of the time. These dolls can also be found representing children. Sometimes they have a slightly turned head and the plump face of a child. The Poured doll at the right is from my personal collection. She is she is 17 inches tall and is unmarked but is English from Circa 1870. Her hair is inserted mohair.

While England was producing Poured Wax dolls, Germany and France were making Wax Over Papier Mache or Composition dolls. These dolls were much less expensive than their Poured Wax counterparts and came in many different styles. The early dolls have dark pupiless eyes. Wax Over dolls include those with molded bonnets, Alice hairstyle, Pumpkin Heads and a Bartenstein Two Faced doll. Wax Over Papier Mache or Composition dolls were made by dipping the head in wax to provide it with an overlay of wax. This was done to produce a more life like look. Wax could be tinted and when a thin layer was applied to Papier Mache it allowed for a more realistic look. These dolls ususally have wigs made of mohair but can be found with human hair wigs. The English did produce some Wax Over dolls one being the Slit Head dolls and are an example of these type of dolls with human hair. The hair is attached through a hole that has been cut on top of the head and the hair inserted there and then glued in place. These dolls had glass eyes that can be either fixed or sleep eyes. Many of the sleep eyed doll worked by means of a string or wire that when pulled either caused the dolls eyes to open or close. French dolls usually have paperweight eyes while the German dolls had spun glass eyes which are flatter in appearance. Some dolls also had the ability to cry by pulling a string. As many of the wax over dolls had only a paper label which was easily lost the identity of many of the makers of these wonderful dolls have been lost to time. We do know that wax over dolls were produced in great numbers in both France and Germany. Like all dolls Wax Over’s can be found made in either a fine or a cheap quality. Body types can vary with many different styles including a cloth stuffed body with an attached shoulder plate with upper arms and legs of composition or cloth upper arms with lower arms and hands of leather or cloth. Additionally, the legs can be made of cloth with the lower legs made of cloth or Wax Over composition. Other body types include the so called Motschman type body with floating limbs. Another body type is the gauze with straw filled bodies with either composition limbs including painted shoes and socks or limbs made of wood or wax over. The Wax Over Papier Mache doll at the right is from my personal collection. She is Circa 1870 and is 24 inches tall, she has pull strings that make her cry. She is wearing her original clothing and was one of two dolls that I bought that belonged to sisters.

Reinforced Wax dolls were primarily made in Germany are made with the wax head being poured first and then the inside was reinforced using either plaster or strips of cloth soaked in composition to provide a stronger layer to support the wax. Even though these dolls are reinforced one should remember that like all wax dolls the faces can crack over time and are best maintained in a consistent temperature and should not be exposed to the sun for a long period of time as this can damage them. These dolls usually have wigs made of mohair or human hair but I have seen examples of them that have inserted hair. They have glass eyes with multi-stroke brows with painted upper lashes. They can have either a closed or open mouth but most examples I have seen are the closed mouth dolls. They are found on a variety of body types. One of the most common body types are those with a cotton or muslin body, with either composition or wax arms and legs. Other body styles include gusseted kid body with individually stitched fingers and leather bodies with cloth upper arms, composition forearms and lower legs. One of the most interesting body types I have seen on a reinforced Wax Over doll is the leather fashion type body with leather limbs though she is a child doll. She is pictured at the right. She has hand blown paperweight spiral eyes and is 21 inches tall. She dates to circa 1870 and is of French origin I believe due to her paperweight eyes.

It maybe be a surprise to many to learn that dolls that could produce sound such as talking or crying as well as dolls that could open and close their eyes were invented in the 1800′s. The Victorian advancement of these dolls included mechanical means by which the child could pull a string or wire and make the doll either open or close teir eyes. Strings were also used that when pulled would make the doll say Mama or Papa or cry. They also produced dolls that could kiss. Jules Nicholas Steiner produced the first walker doll in the 1850′s. It moved by means of three wheels that were hiddened under the dolls dress and petticoats.

Should you make the decision to purchase one of these dolls it should be based on your personal taste and the quality of the doll irregardless of the maker. Another important factor should be the condition of the doll. Any damage to the wax will greatly lessen the value of the doll. These type of dolls are not easily repaired. Wax dolls that have no damage such as crazing and have their original skin tone will sell at much higher prices but as with all antique dolls they are an investment but also a purchase of love.

Starting from the top, there is a good collection of Asian antiques, particularly bronzes. Look particularly at Lot 433 and Lot 434, two fine examples of Tibetan gilt-bronze statues of a monk and a figure of Buddha. Estimates range from $4,000 to $6,000 for Lot 433 and $6,000 to $8,000 for Lot 434. And, if you are into Chinese calligraphy, look at Lot 425, a really fine example of 18th-century calligraphy attributed to Huang Shen.

Porcelain has all the usual suspects with a nice showing of continental porcelain. For you Majolica collectors, look at Lot 637, a pair of Wilhelm Schiller, late-19th-century Majolica urns done in traditional tones of brown, yellow, pink and green. These 12-inch urns are decorated with satyr masques and delicate swag work. Estimate: $900-$1,200.

Exuberant Victorian foyer stand

Furniture makes a good showing with a variety of American and continental pieces. Look at the really fantastic Victorian brass, marble and glass foyer stand, Lot 1446. This over-the–top example of Victorian exuberance has it all—super structure with anthemion and mask crest; mirrored back plate and various shaped slab top; a breakfronted lower case with arching open work; turned columns; mirrored back plates; glass shelves and scrolled feet—this piece is unsigned with no attribution and has an estimate of $1,200 $1,500. Why buy? Because it’s one of the better pieces of Victorian furniture that I’ve seen come up for sale in a long time.

For the collector of period clothing, check out Lot 1074. This ball gown made by Jennings and Co., New York, New York, and worn by Jane Cleveland to a reception at the Waldorf-Astoria in 1916 in honor of the crown prince of Russia, Grand Duke Alexei, consists of skirt and bodice of floral silk with trim in black velvet and lace and has a low estimate of $250 to $400.

To wrap up, take a look at the decorative-arts collection. One item in particular is especially fine, Lot 1519 an apple-shaped George III tea caddy, original finish and in mint condition. The estimate may seem high, $2,500 to $3,500, but it’s worth it.

– Christopher Kent is a member of the WorthPoint board of advisers and director of evaluations for WorthPoint. He is also an antiques and collectibles generalist, fine-arts broker and president of CTK Design.

More auction news:

Sept. Art, Antiques & Collectibles

WorthPoint—the premier Web site for art, antiques and collectibles

Aubrey Vincent Beardsley was born in Brighton on 21 August 1872 and early showed artistic ability, acting and playing in concerts with his sister Mabel and producing drawings of recognized merit. The Beardsley family’s means were modest, and by 1888 Aubrey had quit school to work as a clerk. At the age of nineteen Aubrey Beardsley embarked on a career as an illustrator, and with the encouragement of Pierre Puvis de Chavannes in France and Joseph Pennell in England he quickly made a name for himself. His fame was ensured with the publication of the Dent edition of Malory’s “LE MORTE DARTHUR” in 1892, and by the following year the “Beardsley boom” was in full flower.

In 1894 Beardsley became the art editor of ” THE YELLOW BOOK” under the general editorship of Oscar Wilde, but his advancing tuberculosis and Wilde’s arrest put an end to that satirical periodical before 1895 was out. Beardsley’s increasingly poor health forced his move from health resort to health resort, but under the patronage of André Raffalovich he continued, despite severe difficulties, to produce his drawings. In 1896 alone he created numerous illustrations for “THE SAVOY, THE RAPE OF THE LOCK”, and “LYSISTRATA”. During 1897 Aubrey Beardsley’s health continued to decline as serious work became increasingly difficult and his creative output dwindled. His death occurred at Menton, France, on 16 March 1898.

Children in the Victorian Age:
Much like in the present age, the kind of childhood you had in Victorian times depended on the kind of family you had and its social and financial standing.

Children of rich and aristocratic parents invariably had it good, with spacious, well-furnished bedrooms and play areas, plenty of toys and food, and governesses, tutors, nursery maids, riding masters and other servants in attendance. Boys usually later went to a boarding school, where they got the softness beaten out of them and became tough enough to shoulder the responsibilities of ‘the Empire’. Girls mostly studied at home and learnt home-making skills. Both attended dance parties and other social gatherings, and often traveled to popular tourist resorts around the UK or abroad with their families.

Middle-class children attended day schools and, although less privileged than the rich children, led reasonably comfortable lives.

Things could be comparatively tough for the children of the poor and many had to work for a living from a very young age, but life was not as bleak as is often made out. Kenneth Douglas Brown, in his book ‘The British Toy Business: A History Since 1700’, states that “Only 2 per cent of boys and even fewer girls between the ages of five and nine were at work by 1851. For those between ten and fourteen, the percentages of those classified as being gainfully employed were 36.6 for boys and 19.9 for girls. In other words, the overwhelming majority of children up to the age of 14 did have the time to enjoy toys.”

Toys in the Victorian Age:
Toys usually reflect the culture in which they were manufactured and Victorian toys are no exception. They were for most part meant to ‘edify’ rather than just ‘entertain’ and show the prevailing attitudes which keeled towards well-demarcated roles for girls and boys. Girls, expected to stay home and take care of the family, were nudged towards domesticity with an array of beautiful porcelain and wax dolls in silk and lace dresses, cozy and incredibly detailed doll houses and miniature china tea sets. Boys, expected to go out and take charge in a difficult, turbulent world, had sets of tin soldiers, toy guns, bows and arrows, tool sets, marbles, tops, yo-yos, kites, model cars, model trains, cricket bats, fishing tackle and other such sporting paraphernalia. Both girls and boys played with mechanical banks, rocking horses, musical instruments, blocks, chess and checkers.

Of course, only the rich and, to a growing extent, the middle-class children had such toys. Children from poor families had to be content with cheap or home-made toys fashioned from wood, cloth pegs, rags and other materials – unless they had rich neighbors who liked to donate their old, expensive toys at Christmas time.

Recommended Reading –
The British Toy Business: A History since 1700
by Kenneth D. Brown

http://www.amazon.com/exec/obidos/ASIN/1852851368

It’s called a Tussie Mussie, a Posey Holder, Nose Gay, or a Porte-Bouque. The names are different, but they are the same thing – a small, cone-shaped flower holder that holds a very small bouquet.

This antique lady’s accessory usually was made of silver or other metals, or, in its simplest form, a wrapping of lace and ribbon around the flowers themselves. A long pin held the flowers in place. Most had a finger ring that allowed the Posey Holder to dangle while ladies attended to other duties.

These accessories were created in medieval times, but became widely used in the Victorian Era. There were practical reasons for a lady carry a tussie mussie (or tussy mussy) beyond a love of flowers. Personal hygiene was not a priority and public sanitation was poor. A walk down the city street was much like a walk down an open sewer. Women would hold these tiny, fresh nosegays close to their faces to sniff the fragrant leaves and mask the odors of their surroundings.

What a lady carried in her tussie mussie was important, too. Flower appreciation (sometimes formally known as The Language of Flowers) was a course offered in Ladies finishing schools. There was meaning or symbolism associated with each and every flower, leaf or herb included in a bouquet. It was very important for that young lady to know the meaning or the message behind the flowers that her admirer sent. Victorian brides often walked down the aisle carrying these elaborate and beautiful bouquets.

For collectors today, the tussie mussie is a desirable antique. An exceptional example made of silver and semi-precious stones may sell for $1,000 or more. There are attractive silver-plated reproductions that are useable for $25 or less, and could also be the starting point for your collection.

Some flowers and their meanings:
• Basil – Best Wishes;
• Rose – Congratulations, Love;
• Ivy – Friendship;
• Lavender – Success, Luck and Happiness;
• Three Leaf Clover – The Holy Trinity;
• Mint – Warmth of Feelings;
• Pansy – Loving Thoughts.

Problems viewing videos?
youtube.com ]]> http://www.worthpoint.com/toys-dolls-games-puzzles/worthpoint-research-library-victorian-childs-rattle/feed 0 http://www.worthpoint.com/blog-entry/victorians-mourning-their-dead-monumental-mundane http://www.worthpoint.com/blog-entry/victorians-mourning-their-dead-monumental-mundane#comments Sun, 24 Feb 2008 00:04:51 +0000 SevenGables http://blog.worthpoint.com/?p=1723462

Although paying hommage to the dead goes back as far as recorded time, we are probably most familiar with the widow in mourning, all dressed in black, of the mid 19th century, who was destined to wear black for the rest of her life, or at least a significant part of it. Mourning for the people of the 19th century often came in phases: The first being all black with no jewelry; after a few years, black mourning jewelry could be added to the costume and after those years maybe a touch of color either in jewelry or wardrobe trim. Men mourned the same but not as visibly. The process lasted some twenty years or more depending on the love or depth of respect shared between the individuals.

Here, I have featured three Victorian mourning pieces. Two pieces are jewelry and the third is a clipping of hair tied in red string, with red representing love.

The first and large piece is a square brooch featuring a fanciful urn cascading down with flowers all made out of human hair. This type of design is called “Palette Worked Hair.” The process involved treating the hair such that it would become stiff and waxy so it could be cut and formed into different florals, urns and writings in honor of the dead. This piece features a hirsuit floral urn set on an ivory background. The top is polished crystal and the setting is solid gold. This piece is probably French in origin and measures 2 1/2″ long X 2″ wide. It has different colored pieces of hair, most likely a collage belonging to deceased family members. There is no provenance to the piece, only the initials on the front. If these can be traced to a particular family, the value could be much higher. Even so, this piece is worth about $1200-$1500.

The second piece is a gold ring with gold initials on top of woven hair and capped off in polished crystal . It is dated 1851 and commemerates the deaths of three family members inscribed in the back of the ring ” In memory of Father who died July 13th 1838 “In memory of Mother who died Sept 15, 1858,” and finally “Brother William who died May 13th 1851.” This ring gives you the family members but no last names are given, making it impossible to trace. This piece is worth about $400-$500.

Lastly, simplest yet most interesting is the clipping of hair tied with a red string. It is contained in a very old box and features a full article of how this man met his fate. It reads:
“The Ham Farm Tragedy”
“Our readers will remember that in the late news published by us last week was a letter received from Greenville that morning stating that Captain Ham living three miles above Kineo had accidentally shot himself. Also he was to have been married on Christmas.

Since then it has been learned that the sad affair was not the result of an accident. A full investigation showed that Captain Ham had written two letters; one to his father, the other to the young lady to whom he was to have been married. The intention to take his own life was expressed in both letters and to the young lady he said that he was not worthy of her, and so resolved on the fatal act. He had arranged his rifle so it could be dicharged by a forked stick and then laid down to his death. He dressed himself in his best that morning before leaving his father’s house.

Those who knew him assert that he possessed unusual intelligence and ability of very agreeable manners and one for whom life seemed to have every pleasant thing in prospect.

The funeral of the late lamented Frank Ham held at the house of his sister, Mrs. Lampher, in this village, was a very sad occasion. Relatives from Dover and Blanchard were present. Also Miss Fannie Wells of Abbott, to whom he was engaged to be married on Christmas. She has the sympathy of all.

This clipping of hair with the article, although I find it most interesting, is probably least valuble at about $50-$75. It’s amazing how, with all our civilization, we continue to be plagued by the same problems people have always struggled with.