Showing posts with label German. Show all posts
Showing posts with label German. Show all posts

Thursday, September 7, 2023

Seeing the World in Almost 3-D

 

QUESTION: When I was a kid in the 1950s, I received a View-Master stereoscope for Christmas. It came with several reels of photos, plus I could buy additional ones. I loved viewing photos of my favorite TV show characters, especially the westerns, as well as scenes of faraway places. As an adult, I continued my fascination with the stereoscope when I discovered an antique one at a fleamarket. It came with a box of paired photos mounted on cardboard. I’ve always wondered how the stereoscope came about? Can you give me some insight into its history?

ANSWER: A stereoscope was an instrument in which two photographs of the same object, taken from slightly different angles, could simultaneously be presented, one to each eye. This recreated the way which in natural vision, each eye views an object from a slightly different angle, separated by several inches. This is what gives humans natural depth perception. A separate lens focused each picture, and by showing each eye a photograph taken several inches apart from each other and focused on the same point, the stereoscope recreated the natural effect of seeing things in three dimensions.

Sir Charles Wheatstone invented the earliest stereoscopes, which optician R. Murray made for him in 1832. On June 21, 1838, Wheatstone gave a presentation of his invention at the Royal College of London in which he used a pair of mirrors at 45 degree angles to the user's eyes, each reflecting a picture located off to the side. It demonstrated the importance of binocular depth perception by showing that when two pictures simulating left-eye and right-eye views of the same object are presented so that each eye sees only the image designed for it, but apparently in the same location, the brain will fuse the two and accept them as a view of one solid three-dimensional object. Unfortunately, Wheatstone introduced his stereoscope the year before the first practical photographic processes became available, so he had to use drawings at first. This mirror stereoscope allowed two pictures to be used if desired.

Though David Brewster didn’t invent the stereoscope, he built a simple stereoscope without lenses or mirrors, consisting of a wooden box 18 inches long, 7 inches wide, and 4 inches high, which he used to view drawn landscape transparencies. In 1849, he suggested using lenses to unite the dissimilar pictures. This allowed a reduction in picture size, creating hand-held devices, which became known as Brewster Stereoscopes, which Queen Victoria admired when he demonstrated them at the Great Exhibition of 1851.


But Brewster couldn’t find a British instrument maker capable of constructing his design, so he took it to France, where Jules Duboscq , who made stereoscopes and stereoscopic daguerreotypes, improved the design, allowing the display of Queen Victoria’s likeness to be displayed at The Great Exhibition. Thanks to her, stereoscopes became a huge success, with 250,000 of them produced, along with a great number of stereoviews, stereo cards, stereo pairs or stereographs. Stereoscope makers sent stereographers throughout the world to capture views for the new medium and feed the demand for 3D images. They then had cards printed with these views often with explanatory text. When a user looked at them through the double-lensed viewer,  also called a stereopticon, they could see both. 

In 1861 Oliver Wendell Holmes created but deliberately didn’t patent a handheld, streamlined, much more economical viewer than had been available before. This stereoscope from the 1850s, consisted of two prismatic lenses and a wooden stand to hold the stereo card. This type of stereoscope remained in production for a century and is the type most associated with the name.

Another type of viewer was the multiple view stereoscope which allowed viewing multiple stereoscopic images in sequence by turning a knob or crank, or pushing down a lever. Antoine Claudet patented the first one in 1855, but the design of Alexander Beckers from 1857 formed the basis for many revolving stereoscopes manufactured from the 1860s onward. The user placed the images in holders attached to a rotating belt. The belt could usually hold 50 paper card or glass stereoviews, but there were also large floor standing models capable of holding 100 or 200 views.

A more advanced multiple view stereoscope was only intended for glass slides and was especially popular in France, as the printing of stereo images on glass was a French specialty popular until the 1930s. The French made most of these devices, but ICA and Ernemann also made them in Germany. Users placed the glass slides in a bakelite or wooden tray. Turning a crank or pushing down a lever to lift a slide from the tray, bringing it into the viewing position. Turning further placed the slide back in the tray and moved the tray over a rail to select the next slide. The most sophisticated and well known design was the Taxiphote by Jules Richard, patented in 1899.

In the mid-20th century, the View-Master stereoscope, first patented in 1939, featured a rotating cardboard disk which contained image pairs. It was originally popular as a way for people to virtually travel to faraway places, but by the 1950s had become a popular toy. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Coffee--The Brew of Life" in the 2023 Summer Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.


Tuesday, May 16, 2023

A Chest by Any Other Name

 

QUESTION: I have inherited a chest that originally belonged to my great-grandmother which had been passed down to her daughter, my grandmother, then to my mother, her daughter. My mother used the chest, made of cedar, to store blankets and linens in her bedroom. I inherited it when she died two years ago. People have told me that it was a hope chest. What was a hope chest and what was it used for?

ANSWER:  “A rose by any other name....” so go the words of William Shakespeare. The same can be said of the “hope” chest. Originally referred to as a dowry chest, cedar chest, or trousseau chest, it changed names with the times. The dowry chest was meant to contain assets–money and jewelry—that the family of the bride gave to the groom in exchange for their daughter’s hand in marriage. But hope chest implies something else—the hope for a good life for her in marriage.

Young unmarried women used a hope chest to collect and store items, such as clothing and household linen, in preparation for married life. Americans called this a "hope chest" or "cedar chest" while the British referred to it as a "bottom drawer." 

Using her own needlework skills to construct a trousseau was for a young girl the equivalent of planning and saving for marriage by her future husband. The collection of a trousseau was a common coming-of-age rite until the 1950s, a step on the road to marriage between courting a man and engagement. Such a chest was an acceptable gift for a girl approaching a marriageable age.

What did a young girl put in her hope chest? Typically, she stored traditional dowry items, such as special dresses, table linens, towels, bed linens, quilts, silverware, and sometimes  kitchen items. As a bride would normally leave home when she married, cabinetmakers often made hope chests to be portable by including sturdy handles on either side. 

Traditionally, a mother would pass her hope chest down to her daughter. She would start preparing a hope chest from the time her daughter was a young age and slowly build the collection as the years went by. The chests contained many things thought of as “essentials,” such as china, silverware, linens, clothing, and jewelry, that a young woman would need to start a new life in marriage.

It was also standard practice to include family heirlooms and mementos. Things like albums or photographs, letters or treasured objects passed down through the generations that may not have much monetary or practical value but which would comfort the young woman in her new home.

The chest itself was often made of cedar. At that time, cedar was easily available and a popular choice for storage thanks to its naturally fresh, long-lasting fragrance, as well as natural resistance to mold and insects. Cedar also had a naturally warm color and a softer, cozier texture.

But hope chests didn’t just appear out of nowhere. Around 3,000 years ago, the ancient Egyptians created boxes and wooden chests with dovetail joints. The wealthier a girl was, the more ornately-decorated and -painted was her hope chest.

Between the 5th and 15th centuries, wooden chests saw a period of prosperity. In Europe, most were made of hardwoods like oak, poplar, walnut, pine woods and some soft woods. It was during this time that decorating a chest wasn’t just reserved for kings; it became common practice to add friezes and panels to the outer lid of a chest. Handles also began to appear, but not for decoration. During times of wars, battles and invasions, a household had to be ready to pack up their things and flee at a moment’s notice.

The 17th century witnessed a change in the hope chest—the addition of drawers. For the first time in history, cabinetmakers incorporated storage drawers into chest design. At first, it was simply the addition of two small drawers underneath the chest. By the end of the century, chest makers chose mahogany and employed inlay materials like pearl and bone. They also began to finish the chests with a coat of lacquer.

By the 19th century, the hope chest had evolved into a tradition in most families, especially among immigrants to America. This was typical among Scandinavian and German immigrants. The Amish have had a long traditions of plainly constructed chests with extensive painted decoration.

Today, the tradition of keeping a hope chest has faded away. One of the primary reasons is that such a chest tends to glorify the outdated idea of a “dowry.”  Also, it isn’t the most practical  since the items traditionally kept in a hope chest, like fancy linens and dresses, aren’t exactly the things a modern bride “needs” for a successful marriage. However, antique hope chests can be found in both antique shops and shows. And the more decoration one has, the higher the price.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.









Wednesday, March 8, 2023

A Juicy Solution




QUESTION: I was visiting my grandmother the other day and noticed that when she needed some lemon juice for a dish she was preparing, she pulled out a funny looking contraption, placed half a lemon on it, and pushed down on the lemon while turning it slowly. The juice from the lemon flowed into a grove at the bottom. She then poured the juice into her pan and continued cooking. What is this device called and did everyone use them back in the day?

ANSWER: Younger Americans think lemon juice comes from those cute plastic lemons---or from fancy and expensive electric stainless steel appliances that sit on their kitchen counter. Many have never had to squeeze juice by hand, but it wasn't so very long ago when that's exactly what everyone had to do in order to have the lemon juice for a dish or a refreshing glass of OJ. But instead of an electric appliance, people used a reamer.

The French made the earliest reamer, registered in 1767, of nickel silver and porcelain. First produced in Europe, reamers later appeared in the U.S. European reamers were  some of the finest ever created, including those produced by the finest china companies, such as Limoges, Royal Bayreuth, R.S. Prussia, and Meissen.

Though Charles L. Tiffany offered a reamer at his Tiffany and Company store in New York in the early 1880s, the first juice extractor patented in the U.S. was on May 30,1865. This was actually a wooden juice press.

The hand-held lemon squeezer created by George Cornford patented the first hand-held, clear glass lemon squeezer on August 19,1884, and it resembled a darning egg. 

Before the turn of the 20th century, more inventors patented designs for their own juice squeezers. R.E. Bristow of Rockford, IIlinios, registered "The Ideal" on January 31, 1888. John Easley of Manhattan registered a hand-cranked reamer on July 10, 1888, which was the first of his many patents until 1900. In fact, reamer designers of the early to mid 1880s created intricate mechanical designs culminating in the creation of a model that first cut the fruit in half and then extracted the juice.

But these were too sophisticated for the average user. By the late 1880s and early 1890s, designs reverted back to single-piece glass reamers. The registered patent designs of Thomas Curley, whose design was called, what else, the "Curley." Easley came out with a three-piece model, and the Holmes Company gave the world the “Holmes,” which was made of glass. Still the design that finally remained for years to come was Arthur Bennet’s “Lemon Squeezer,” patented on February 16, 1909.

This one brings to mind the classic juice reamer. Made of one piece of glass, the "Lemon Squeezer" had a pointed, grooved center for twisting the fruit on to remove its juice. The juice ran into the shallow dish below the reamer part. The "Lemon Squeezer" also had a handle to 'hold for pouring and a spout.

The first reamers or juicers were for extracting lemon juice for cooking or for flavoring, not necessarily for juicing oranges for making orange juice. Though oranges are available year round now, in 1900 they were exotic and expensive.

But that changed in 1907 when Sunkist, established as the trademark for the California Fruit Grower's oranges, appeared on the market. By 1916, Sunkist began offering glass reamers as a way to promote their oranges. But orange juicers and lemon juicers weren’t the same. Lemon juicers didn’t need a "bowl" or area on the juicer to hold a large amount of juice, but the orange reamers did, which brought about a major change in the style of reamers.

Sunkist was the leader in design changes. Besides offering reamers with "juice receptacles," many of the Sunkist reamers also had embossed lettering, spelling out "Sunkist Oranges and Lemons" or "Sunkist-California Fruit Grower's Exchange.” Sunkist vigorously promoted them through department and variety stores, grocery outlets and by mail-order. Sunkist continued to offer reamers, many made by the McKee Glass Company, until 1961.

By the 1920s and 1930s, reamers became more colorful with the introduction of Depression Glass. In 1922, the Fly Glass Company introduced Pearl Glass, and by 1925 reamers could be purchased in a variety of colors, from Vaseline glass to amber, pink, and emerald green glass. The Great Depression produced more glass reamers  than ever before or after.

There were other produced in the 1930s, including the 'Servitor," the "Handy Andy," and the "Jiffy Juicer."  Though china reamers had been produced in Europe years before, it wasn’t until 1927 when Goebel registered their German ceramics and chinaware in the U.S. Though Goebel didn't begin making ceramic juicers in the U.S. until the late 1920s, ceramic reamers had been produced in America from 1910 and continued through 1938. In fact, by the end of the 1930s, the production of colored glass reamers had declined. 

The end of the reamer era occurred in 1939 as frozen orange juice hit grocer’s freezers.  Today, glass and ceramic reamers are the most popular with collectors.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "folk art" in the 2023 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.


 

Monday, February 6, 2023

Anyone for Tea and Cake?

 

QUESTION: Ever since I was a little girl having tea parties for myself and my dollies, I’ve loved little cups and saucers. One of my grandmothers gave me a little tea set for my sixth birthday. I loved that set. Soon my tea parties expanded as I invited my girlfriends to bring their dollies over to visit. As I got older, my interests changed until one day while helping my mother clean our attic, I found my original miniature tea set. Since then, I’ve been collecting miniature cups and saucers. I would love to enhance my collection. Can you advise me on how to do that?

ANSWER: What a charming memory. Collecting miniature cups and saucers and even whole tea sets has been a popular pastime for many people. The chief advantage is that because they’re small, they take up less space, making them ideal for those living in condos and apartments.

Children’s tea sets, first produced for the children of the wealthy, seem to have been created before potters discovered the formula for porcelain in Europe. Metalsmiths crafted the earliest ones of pewter or copper, and in some cases gold or silver. Children’s toy tea sets first appeared in 16th-century Germany, a country known for producing toys in wood and metal.

Porcelain children’s tea sets didn’t appear until the 18th century, but just like the silver and gold ones, only the wealthy could afford them. These sets were generally of very high quality, and people kept them for special occasions. Children’s tea sets didn’t become popular household items until the early to mid 19th century, during the Industrial Revolution. The Universal Exhibition of 1855 in London seems to have been the starting point of their expansion. 

In Colonial America, tea was a family event, with everyone enjoying a break during the day. No doubt make-believe tea time and pretend tea drinking were a part of some children’s playtime activities. Perhaps many little girls played at serving tea and dreamed of having a tea parties of their own. The pieces in these sets usually imitated those in regular sets, differing only in size. Though children’s cups and saucers look like traditional tea cups, only a bit smaller than demitasse cups. The handles were small, and not easy for adult hands to hold.  

Collectors love miniature cups and saucers for their variety, in shape, style, and decoration. They can be classified in two distinct styles—dollhouse-size miniatures and toy-size. 

Dollhouse-size miniatures are the smallest—usually scaled an inch to the foot. During the late 18th century, English and continental makers produced dinnerware sets for fashionable ladies to furnish  miniature rooms in large dollhouses. By the 19th century many more companies produced these sets, making them for both children's and adults' dollhouses.

During the Victorian era, wealthy families furnished a nursery for their children. While adults took tea in the parlor, the children had theirs in the nursery. This practice required child-size tea sets. Teacups held three or four ounces, just the right size for three-year- and up. Manufacturers decorated these pieces with animal themes, nursery rhymes, airy .tales, children's activities and the art of famous illustrators

First made n the early 19th century, Staffordshire ABC ware included more than 700 patterns. The alphabet appears on each piece. In the case of a small one, such as a tea cup, which was too small for the entire alphabet to fit, English manufacturers made the letters smaller or used fewer of them. Today, children's size miniatures are the most abundant and reasonably priced. American production of children's ware reached a peak during World War II before the less costly Japanese ware became available.

Mary of Teck, wife of George V of Great Britain, who reigned from 1910 to 1936, was an avid collector of dollhouses and miniatures. Because of her interest, the hobby regained popularity in the 1930s through the 1950s, making early dollhouse-size miniatures rare.

Toy-size miniatures are larger than the dollhouse-size but smaller than child's size. Novice collectors often mistake them for salesman's samples. These toy-size miniatures served several purposes. First, collectors could display them in a cabinet. Second, they taught children of wealthy families manners and social races in the late 18th and 19th centuries. Makers frequently decorated these teacups and saucers with historical scenes and mottoes.

Manufacturers produced these toy-size cups and saucers in the same forms, shapes and styles as the full-sized ones of the period. The potters of Nuremberg, Germany became famous for their miniature tea sets, decorated in vivid colors. Early tea bowls and saucers made by Meissen occasionally come up for sale. The Dutch produced small pottery items decorated in blue and white in the 17th century and introduced them to England in the 1690s. Soon "baby house waresº were part of Staffordshire potteries’ stock.

Companies such as Coalport, Minton, Spode and Worcester produced miniature creamware, stoneware and porcelain cups and saucers in the 19th century. The Dresden studios decorated miniature cups and saucers, often in the popular quatrefoil shape, in the late 19th century.

The most common examples of toy size cups and saucers found in the marketplace today date from the 20th century. In France several companies in the Limoges area produced them around the turn of the 20th century and still make them today. RS Prussia manufactured examples of lovely molded cups with leafy feet and unusual shaped handles around 1900. English potteries, such as Shelley, Crown Staffordshire, Copeland Spode, Wedgwood, Royal Crown Derby, and Coalport miniature tea sets with trays, which were exact replicas of full-size sets. Collectors especially like the Royal Crown Derby pieces, decorated in the Imari patterns. Probably the hottest miniature cup and saucer in the marketplace today are those made by Shelley. The price for a cup and saucer can reach as high as $250 to $300. In the United States, Leneige Company and Gort China made miniature cups and saucers from 1930 to the 1950s.

The creation of early plastics and Bakelite in the late 19th century marked a huge change in children’s tea set design. Manufacturers still made them in porcelain and more durable stoneware, but plastic sets soon began to emerge. By the mid 20th century, plastic sets and sturdy stoneware became the norm. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about old-time winter objects in the 2022/2023 Winter Holiday Edition, with the theme "Winter Memories," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.



Thursday, June 30, 2022

It’s What’s on the Reverse Side

 

QUESTION: Years ago, I purchased a banjo clock with an intricate scene painted on the clock glass. At several recent antique shows, I’ve noticed several other reverse paintings from the early 19th century. What is the origin of reverse painting glass? And when was the technique at its peak?

ANSWER: Reverse painting is done on the backside of the glass and has been done since ancient times. Though there are only some crude artifacts, art historians believe the process dates back to Egypt in 4 C.E.


During the Middle Ages in the 13th century, the art technique appeared in Italy. Shortly thereafter, the French and English also learn of this art-form.  By the 16th century Renaissance, reverse painting reached its peak. To meet the growing demand, glass artists on the Island of Murano in the Venetian Lagoon widely produced small reverse glass paintings to decorate church alters and for other religious purposes. Gradually they began to paint larger landscapes, portraits, and more, making Venice a center of the technique.  

Beginning in the mid 18th century, painting on glass became preferred by the Church and the nobles throughout Central Europe. By the early to mid 19th century, watchmakers used reverse painting for dials on their watches.

Reverse glass painting had been practiced in Europe for several centuries. In France, Rococo decorative arts influenced it. In Italy and Switzerland, landscapes and small figures dominated reverse glass painting. Persian miniatures inspired it in India, Syria, and Iran, drawing attention to Islamic religious themes. German, Italian, and Spanish artists specialized in allegories, regional costumes, and hunting scenes while iconographic painting influenced the technique in Eastern Europe. 

In America, reverse painting enjoyed its greatest popularity during the Federalist Period of the early 19th century. Old-country artisans in the colonial cities used reverse paintings to decorate clocks, mirrors and other items of the time. This art fashion reigned from about 1815 to 1850. Then, with the exception of a brief time before World War I when it enjoyed a comeback, reverse glass painting became all but extinct.

Before an artist can reverse paint on glass, all details must be known. Done with oil paint ground with shellac, varnish, or linseed oil. Often the colored pigments were back by a white ground which reflected light back through the paint and gave the painting a warm and brilliant color. The smoothness of the glass increased the painting’s richness and vibrancy. 

Not only is the painting done on the reverse side of the glass, it must be done in reverse, beginning with the finer details and ending with the background.

Subject matter was mostly religious with paintings done by peasants but also included allegorical subjects, heroes of the day, and landscapes. Many of these paintings, primitive in technique, included Vermillion red, blue, yellow. Religious scenes could be found in peasant homes. These had backgrounds embellished with floral decorations and scrolls. Early paintings had lots of gold but later ones just had accents. These primitive paintings had crude homemade wooden frames. 

During the reign of William and Mary in the 17th century, the frames of mirrors had moldings of glass painted with roses, tulips, and leaves touched with gold. Back in the 14th century, East India Traders brought courting mirrors from China. This type of painting became popular in Europe during the 18th and 19th centuries.

In the late 18th and early 19th centuries, secular subjects became popular, including portraits of women symbolical of spring, summer, fall, and winter, as well as portraits of kings and queens.

Reverse painting spread to America and was popular with the Pennsylvania German immigrants, who carried on the religious traditions. They also painted primitive portraits of famous Americans such as George Washington and Andrew Jackson. Copies of portraits of Washington by Gilbert Stuart were quite popular.

Still life was more popular than portraits in New England. Other subjects included naval battles, such as the Monitor and the Merrimac. Amateurs and itinerant artists painted these paintings, so they call into the folk art category.

One of the most common uses for reverse paintings was on clock pendulum doors. Popular subjects included a floral or fruit still life or a simple flag or eagle design. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the "The World of Art Nouveau" in the 2022 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.





Thursday, August 19, 2021

Sorting Through the Often Confusing World of Antiques

 

QUESTION: Every time I go into an antique mall, I become overwhelmed by all the items. Booth after booth of what seems like junk. Yet I know there must be some interesting and perhaps valuable antiques hidden there. How can I make sense of it all?

ANSWER: Perhaps your mind and senses have gone into antiques and collectibles overload. So many items—bits of furniture, pottery, piles of old jewelry, dolls, old Coca-Cola signs, and things that look like the cat dragged them in. So where’s the good stuff? 

It all seems so confusing. And the prices for some items seem ridiculous, especially if you’re a beginning collector. But don’t despair. There’s a method to all that antique madness.

Generally, antiques fall into two categories—those of the real world and those of the  rarefied one that most people can only ooh and aah at. And T,V. programs like The Antiques Roadshow, Pickers, and Pawnstars haven’t helped matters. In fact, all of them have brought the world of antiques to a world-wide audience. No longer are antiques in the realm of the rich—the realm of the “Don’t touch that.”

But antiques and collectibles can be broken down into manageable categories.

When most people think of antiques, they think of furniture. And although furniture makes up a good percentage of antiques out there, smaller items, known as “smalls” in the antiques business—ceramics, glassware, silverware, toys, and commemorative items—all play important roles in the overall history of modern culture.

All in all, there are about 15 major categories and 75 sub-categories. Within these there are other, more specialized areas, such as antique musical instruments and automobiliana, two very specialized categories.

Even though antiques can be categorized generally, dealers and serious collectors use historical periods—Jacobean, Colonial, Victorian, Civil War, Western and Retro—to sort things out. Often, these terms also indicate different styles.

For instance, in the world of furniture, you’ll probably see examples of English, French, and American styles in most antiques shops and malls, as well as at antiques shows or auctions. Most English furniture falls into historical periods such as Jacobean,  pre-Victorian, or Victorian while American furniture tends to fall into different types according to region of manufacture—New York, New England, Pennsylvania, or Southern. 

Porcelain or pottery pieces tend to fall into categories associated with the country in which they were produced—England, Germany, France, United States, China and Japan. The four you’ll see most are English, German, Japanese, and American. You’ll soon become familiar with names such as Royal Doulton, Staffordshire, and Meissen, Blue Willow, Limoge, Belleek and Sevres, especially if you frequent the better antiques shops and shows.

Glassware is the third most popular category. You’ll see all types, including Depression, Venetian, English, and Bohemian glass. Most glassware collectors specialize in a particular produce line–bowls, tumblers, decanters, etc. There’s also a refined category known as art glass in which you’ll find all those pretty vases blown in amberina, peach blow, and ruby.

Silverware is also a very popular antique. Here again, English, German and American silverware predominates. Like glass, product type defines this category. Collectors actively seek teapots, candlesticks, flatware, and bowls. Classification in this category is by make and markings generally stamped on the back of the products. Sterling and Sheffield silver are the two most recognizable types. EP is often seen as a marking and stands for silver Electro Plate. Sheffield silver is a combination of a layer of silver and copper beaten together to give a silver surface with a warm sheen.

Next up comes clocks and watches. This is a very popular general category, particularly among men, who seem to like the mechanical nature of timepieces. English, French and Austrian clocks dominate. In the "Longcase," or pendulum grandfather clocks, the English manufacturers stand out with the value of the clock being as much in the beauty of the cabinetry as in the mechanical workings. A beginner should get familiar with clockmakers names such as Thomas Field, McCabe, and Japy Freres. The same applies to watches. Names like Hamilton, Seiko, and Waltham are popular with collectors.

And finally there are collectibles, which cover everything from blue willow patterned ceramics, which are popular with women, to the war medals popular with men. Just remember what a collectible is. It is an object of limited supply, gathered or accumulated for pleasure or as a hobby. A very trendy category, collectibles nevertheless have basic product lines, such as ceramic plates, perfume bottles, pocket watches, stamps, and even figurines that continue to grow year after year.

These are just some of the main categories of antiques that you can begin to collect. While some tend to be higher priced, you’ll find plenty of small pieces of furniture, ceramics, and glassware to get you started in collecting.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about railroad antiques in "All Aboard!" in the 2021 Summer Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

NEXT WEEK: We’ll take a look at some of the specialty categories of antiques and collectibles.