A Spoonful of Love

 

QUESTION: There are many ways of saying “I love you,” but one of the most unusual is the love spoon. I recently saw several of these in antique shops while traveling through Wales. About all the dealers could tell me about them was that they were gifts of love from a suitor to his true love, a tradition that has existed in Wales for several centuries. I bought one to take home, even though it seemed to be overly priced. What can you tell me about Welsh love spoons?  

ANSWER: Rural lovers with their hearts set on a plain milkmaid would probably have been unable to buy a loving gift for Valentine’s Day back in the in the late 18th and 19th centuries. So they fashioned tokens of their love from whatever was close at hand, using whatever skills they had. Often these gifts might have been small personal items, such as knitting sheathes, stay busks and lace bobbins. But the gift that seemed to have stirred young girls’ hearts the most was the Welsh love spoon.

No one knows why the Welsh made these love spoons. However, there was an earlier tradition among Scandinavians of giving love spoons. However, today most people associate the love spoon with the Welsh.

So why give a spoon? For centuries the humble spoon was one of the most familiar of  household utensils. The practice of storing spoons fitting snugly together prompted people to give a romantic meaning to the word in the 18th century. The delightfully descriptive word “spoonways” eventually embraced the human desire to emulate the closeness of these spoons in bed. The Victorians went further and used the verb “to spoon” to describe courting. In fact, the phrase continued in use well into the 20th century with popular song writers who found it a useful for its ability to rhyme with words such words as moon, June, swoon, and honeymoon.

It’s difficult to be precise about the origins of love spoons. However, enough of them inscribed with a date survive to enable collectors to trace their styles. One of the earliest recorded dates to 1667.

Most of the spoons on the market today date from the late 18th and 19th centuries. Although generations of spoon carvers would have copied styles and designs, dating them is difficult. Those spoons with a broad, flat  pierced handle seem to come predominantly from North Wales, while those that display clumsy carving and a lack of proportion tend to come from Pembrokeshire. The lucky young girl who received one really didn’t care where it came from. 

What’s certain is that such prized possessions would have been displayed in a place of honor and no doubt the most eligible girls could acquire a small collection of these spoons before choosing their mates. The. infinite variety of styles and designs found in Welsh love spoons means that there are no two alike. Their great charm rests in what  they represent and the symbolism in the motifs that carvers used to create them.

The most common of these motifs was naturally the heart. Two hearts intertwined contained even more obvious meaning. Closely associated with the heart, and almost as common, was a motif that looked like a fat comma. This symbol comes from the ancient Egyptians sign for the soul. Thus, hearts and commas declare heart and soul. Keyholes represent another powerful motif, offering a way into the suitor's heart. And even other spoons feature a small muse, and occasionally a key that really helped make the suitor’s feelings known. 

Still, the formalities had to be observed and many love spoons incorporate chains—not simply to demonstrate the skill of the carver—but to indicate the chains that bind a marriage. Shoes and boots also appear frequently on love spoons. The origin of this motif is a reference in the Bible in which the exchange of a shoe signified agreement of a marriage contract.

Carvers often incorporated initials with or without dates, and sometimes created spoons with a deeper, oblong window cutout into which a suitor inserted a piece of paper inscribed with names, dates, or drawings. Likewise, carvers sometimes added shards of broken mirrors. Why they did this is unclear. Perhaps it was to add a note of brightness to their spoon design, for none of these shards was large enough to serve as a looking glass. 

And while they used the most accessible and workable materials to carve their spoons, carvers used a variety of woods, especially easily carved sycamore and fruitwood. 

Occasionally, they created spoons from more exotic woods and materials, such as mahogany, ivory, or whalebone. This suggests that a sailor could have carved the spoon while on a voyage to a distant land. Sailors also seemed more likely to have embellished their spoons with inlaid colored wax or tiny brass pins. Some went even further and incorporated a lantern or cage containing free-moving balls into the handles, showing off the skill of the carver. 

The skill of some of these spoon makers was extraordinary, with the manual dexterity to produce even the most basic spoons. It’s also possible that an especially talented spoon carver could have made spoons for others in his area, accounting for the similarity of designs in spoons from certain places.

Because love spoons now fetch higher prices both in the United Kingdom, the United States and Canada, it would be easy to give them an importance beyond their humble origins. Essentially, love spoons were simply a declaration of love, pure and simple.  

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.

Stuck on Beauty

 

18th-century paper 

QUESTION: While touring some historic houses, I’ve often marveled at the beautiful wallpapers on their interior walls. I’ve always loved wallpaper. In fact, every room in the house I grew up in had wallpaper on the walls. But getting it off was such a chore that many people turned to painted walls instead. I’d love to know how wallpaper originated and some of the history behind its use. Can you help me?

ANSWER: People have adorned their walls for centuries. During the Middle Ages, the wealthy hung woolen tapestries to help keep out the cold. Later, painted cloths came into fashion. And through the evolution of interior decoration—wallpaper. 

Early on, makers of wallpaper used the same wooden printing blocks used on textiles on heavy paper. Most likely its introduction to Europe occurred in the 16th century, following the Dutch trade with China and Japan. Dutch ships returned from the Far East with exotic decorated papers when they then exported to England and France. 

Hanging wallpaper sheet

The first wallpapers to appear in Europe were small, approximately 12 to 18 inches square and very expensive. Merchants used the earliest wallpapers to decorate the insides of cupboards and smaller rooms in their houses. 

Up until the late 18th century, creators of these small squares of wallpaper hand painted them. That made hanging the paper difficult because many times those smaller pieces didn’t join together very well. As a result, there were gaps, and designs and patterns didn’t meld together that well.

Others attached pieces to frames and let them hang freely. The dark, damp halls of chateaus and manor houses were usually drafty, so people placed these hanging papers where they might cut down on drafts that blew through the large open areas and hallways.

Ancient Roman scene in frame

Many early wallpapers featured stylized floral motifs and simple pictorial scenes copied from contemporary embroideries and other textiles. Makers printed them in monochrome, in black ink on small sheets of paper. It wasn’t until the mid-17th century that wallpaper makers joined the single sheets together to form long rolls, a development that also encouraged the production of larger repeats and the introduction of block-printing. In this process, printers engraved onto the surface of a rectangular wooden block. Then they inked the block with paint and placed it face down on the paper for printing. Polychrome patterns required the use of several blocks----one for every color. They printed each color separately along the length of the roll, which they then hung up to dry before the next color could be applied. “Pitch” pins on the corners of the blocks helped the printer to line up the design. The process was laborious and required considerable skill.

French wallpapers

A number of fine French wallpapers offered different themes than those of the classic English papers. Often, the French papers displayed floral patterns, and many rendered figures from history and literature, whereas the English wallpapers favored landscape and bucolic compositions.

When wallpaper arrived in Colonial America, it was much too expensive for many to afford. Rather than pay the expensive costs for the wallpaper, many continued to paint or stencil their walls. However, some people found the imitation French papers affordable and applied them to their walls in small pieces instead.

Out of proportion design

The floral designs and landscape scenes commonly found were sometimes primitive, with houses and trees out of proportion. The skill of the artist or paperhanger directly affected the appearance of wallpaper. The progression leading to those long rolls of wallpaper allowed people to decorate large expanses of wall space without dividing the areas into those small panels.

By the early 19th century, expensive, imported wallpapers decorated the walls of prominent New England homes. Those papers were of various designs and patterns, and some of them depicted scenes from Greek and Roman mythology. American historical scenes were also popular.

Block printing wallpaper

Up until 1840 all wallpaper makers employed the slow, labor intensive block printing process. So manufacturers wanted to find ways to speed up production. Potters & Ross, a cotton printing firm based in Darwen, Lancashire, England, patented the first wallpaper printing machine in 1839. Adapting the methods used in the printing of calico fabric, the paper passed over the surface of a large cylindrical drum and received an impression of the pattern from a number of rollers arranged around its base. Troughs beneath each one simultaneously inked the rollers with colors. The first machine-printed papers appeared thin and colorless beside the richer and more complex effects of block-printing and most had simple floral and geometric designs with small repeats.

Wallpaper evolved into an art form. One example depicted the Scottish Highlands, complete with sportsmen stalking deer. Another showed a scene of Italian peasants dancing and harvesting grapes. And yet another depicted riders leaping fences.

Historic panorama scene wallpaper

Victorian wallpaper floral

The frieze-filling-dado wallpaper scheme highlights the popularity of wallpaper in Victorian homes. In 1868 as a way of breaking up the monotony of a single pattern on the wall, and by 1880 it was a standard feature in many fashionable interiors. The dado paper covered the lower part of the wall, between the skirting board and chair rail; above this hung the filling, and above this the frieze. And as if three different wallpapers weren’t enough decoration for any room, the scheme was often combined with ceiling papers to complete the densely-patterned effects. Ideally, the frieze should have been light and lively, the filling, a retiring, all-over pattern, and the dado should be darker to withstand dirt and wear and tear. Co-ordinating papers, printed in muted greens, reds, yellows and golds, could be extremely attractive but the frieze-filling-dado-ceiling combination often led to visual overload. Hallways and stairs benefitted best from this wallpaper treatment. But by 1900 ceiling papers had disappeared and, in artistic interiors, wide friezes hung above plain or simple paneled walls.

Antique wallpapers are of interest to several kinds of collectors. Some might be interested in specific themes or designs, such as papers depicting historical scenes, or those displaying floral patterns; wallpapers from England or France or some other country might engage the attention of others; still, some individuals like to collect papers produced by certain manufacturers, such as Cole & Son or William Morris. And some of  those assembling a collection might be interested in a certain time period such as wallpapers manufactured in the 17th or 18th century.

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.

Cottage Charm

QUESTION: I have a cabinet that seems to be handmade. One of its drawers has three compartments side by side and one in the back for silverware. The other drawer doesn’t have compartments but does have slots cut into it as if there were slats at one time. There are three shelves in the base of the cabinet. What I am curious about is the fact that the top slants to the back. At first I thought it was the way it was sitting, but after moving it several times I noticed that it’s made that way. The top narrows slightly at the sides from front to back. I have never come across anything like this and was wondering if there was a reason behind the slanting or if someone just had poor craftsmanship! I appreciate any information you can offer.

ANSWER: What you have is a Victorian sideboard. This style is known as Cottage Victorian. Sideboards had been around since the 16th century. They were made to serve food and hold table linens, serving pieces, and flatware. In smaller Victorian cottages, there wasn’t a lot of room. Many didn’t have a formal dining room, but just a dining area in the parlor. So that’s why your sideboard is smaller than normal. Usually, the makers of these pieces painted them in bright colors, often adding  colorful floral decorations. While your sideboard could have been homemade, I doubt it. It may have been altered, however, to stand straight on a slightly slanted floor, thus the slanted top. Unfortunately, the hardware on your sideboard isn’t original. Most of the time, Cottage Victorian furniture had simple wooden knobs and handles.

Cottage furniture became popular in the United States, particularly along the East Coast, after the Civil War. Pieces began appearing in workshops and then homes of the wealthy in places like Martha's Vineyard, Cape May, and the Berkshires. But the popularity of these items didn’t  remain exclusively with the upper class. As the middle class grew, equally elegant, but relatively reasonably priced versions began to appear in the homes of the nation’s growing work force, particularly in Pennsylvania and New England.

Homeowners purchased Victorian Cottage furniture in mostly bedroom "suites", sold as  coordinating groupings consisting of a double bed, a washstand, a dresser or vanity with an attached mirror, a small table, a straight chair and a rocker, and often a wardrobe. Cabinetmakers used pine or other inexpensive wood, then painted the entire piece with  several layers of paint. The finished sets were colorful and whimsical.

Cottage Victorian beds have high and lavishly decorated headboards. Finials and medallions constituted what little carving there was on most pieces. Most of the decoration took the form of painted flowers, fruit, and other plants, featuring a large painted bouquet-like medallion in a central panel on the headboard and a smaller, matching one on the foot-board. Local cabinetmakers, most of whom didn’t have any formal training, built these pieces from designs in pattern books. And since they had no formal art training, the decorative elements they applied to their pieces had a primitive, folk art feel to them. A few featured highly detailed and beautifully executed scenes of sailing ships or local wildlife. They painted all the pieces of a furniture suite with the same motif. The most popular base colors were tan, blues, greens, and pinks. A few rare ones use the varnished natural wood as the background onto which the cabinetmaker applied the decorative designs.

An artisan then painted it with a base of soft yellow, and highlighted this coat with green bordering, and rows of flowers, and spandrel fan designs in the corners, giving it vigor. Although such a piece was commonplace once, it’s rare and valuable today. One of the biggest misconceptions regarding antiques is that 19th-century homeowners loved the appearance of natural woods in their furnishings. That preference didn’t appear until the early 20th century. As a result, most painted furniture has been stripped and finished to the often not so beautiful bare wood by well-meaning dealers and collectors. Although cabinetmakers refrained from painting their costly mahogany and walnut pieces, those in small towns and villages paint-decorated nearly all their birch, maple, oak, pine, and poplar furnishings to brighten their customers’ dark, oil-lamp lit homes.

Cabinetmakers fitted drawers and cabinet doors with wooden knobs instead of metal hardware. Even the boldly colored paint, didn’t have the look of value to it. Those pieces of Victorian Cottage furniture that have survived intact usually have a crackled surface from age-shrinkage, with flakes in spots due from dryness. Also, look for signs of wear on edges, tops, and near the knobs.

To the untrained eye, Victorian Cottage furniture looks as if it should be sold as junk or stripped to the bare wood. Whatever you do, don't strip your sideboard. If possible, get an opinion from someone who knows painted furniture.

When purchasing painted Cottage Victorian furniture, look for a bone dry surface, subtle wear, and age crazing that has shrunk geometrically. Fortunately, those who fake antiques haven't figured out a way to create spider-web-like lines with chemicals. Good painted furniture has charm and an integrity that makes it one of today's best antique investments since painted pieces haven’t been reproduced. .

The Red Carpet Treatment

QUESTION: My great grandmother left me a beautiful Oriental carpet runner. My grandmother said it is quite old, but I’m not sure by how much.  What can you tell me about antique Oriental carpets? I have no idea about its origins, pattern, and such.

ANSWER: What most people classify as Oriental carpets are actually Persian (now Iranian) or Turkish carpets. Originally made to cover the sand in the tents of nomads and to kneel on when saying daily prayers, these beautiful floor coverings have a long history.

Oriental carpets have been highly prized in the West since their first appearance in Venice in the 13th century. By the 18th century they were common in wealthier households. But relative demand was fairly small, so the production of carpets declined. During the 19th century, trade routes improved, contact with the Orient increased, and the Western obsession with the exotic grew. So Persian weavers produced great quantities of carpets for export.

Carpet-weaving is an integral part of Iranian culture and art and dates back to ancient Persia. Weavers from other countries copied the designs of Persian carpets, but Persia produced 75 percent of the world's woven carpets.

Generally, Persian carpets can be divided into three groups—Farsh/Qa-li, any carpet greater than 6×4 feet, Qa-licheh, sized 6×4 feet and smaller), and nomadic carpets known as Gelim including Zilu, meaning "rough carpet," mostly for use in tents.

Wool is the most common material for carpets but cotton is frequently used for the foundation of city and workshop carpets. There are a wide variety in types of wool used for weaving Oriental carpets, including . Kork wool, Manchester wool, and in some cases even camel hair wool.

Persian rugs have both a layout and a design which in general include one or more motifs, so it’s not unusual to find more than one motif in a single rug. The original designs act as the main pattern and the derivatives as the sub patterns. Rug experts have identified 19 pattern groups---historic monuments and Islamic buildings, Shah Abbassi patterns, spiral patterns, all-over patterns, derivative patterns, interconnected patterns, paisley patterns, tree patterns, Turkoman patterns, hunting ground patterns, panel patterns, European flower patterns, vase patterns, intertwined fish patterns, Mehrab patterns, striped patterns, geometric patterns, tribal patterns, and composites. The most common motifs include Boteh, Gul, Herati, Mina-Khani, Rosette, Shah Abbasi, Azari Kharchang, and Islimi Floral.

Persian rugs are typically laid out using one of four patterns—all-over, central medallion, compartment and one-sided. So a rug’s design can be described in terms of the manner in which it organizes the field of the rug. One basic design may serve the entire field, or the surface may be covered by a pattern of repeating figures. In areas using long-established local designs. the weaver often works from memory, with the patterns passed on within the family.

Weavers often tailored the dimensions of their carpets to suit Western needs. They produced a disproportionate number of runners—long narrow rugs originally designed to cover the sides of rooms or tents since these had special appeal to Westerners. Even so, the standards remained the same. The major carpet-weaving centers—Persia, Turkey and the Caucasus—continued to use traditional motifs and techniques, maintaining the carpets’ regional integrity and originality.

While carpets made before 1800 are extremely expensive, the antique carpet market offers some excellent buys for the beginning collector. High quality runners generally cost between $1,500 and $15,000, depending on overall design, pliability, date, and type and number of knots.

Edgar Allan Poe once said, “A judge at common law may be an ordinary man; a good judge of carpets must be a genius.” And as hard as they are to judge, they’re certainly easy to enjoy.

Accounting for Taste

QUESTION: From what period does this chair originate? The legs look quite modern. Is it a modern interpretation of an antique design?

ANSWER: This chair is a fine example of French Art Deco. As one of six of a set of dining chairs, it would have been placed under an equally simple, but elegant dining table.

Art Deco emerged in Paris just before World War I as a luxurious design style. But it wasn’t until after the war in the 1920s that Modernism appeared throughout Europe. Until the art world coined the name Art Deco later on in the 1960s, designers referred to the style as Arte Moderne which is French for Modern Art.

Art Nouveau furniture became a commercial failure. The intricate inlays and carvings made it too expensive for all except the very rich.  Concerned by competitive advances in design and manufacturing made in Germany and Austria in the early 20th century, French designers realized they could rejuvenate a their French furniture industry by producing luxurious pieces that a greater number of people could afford.

The founding in 1900 of the Société des Artistes Décorateurs (the Society of Artist-Decorators), a professional designers' association, marked the appearance of new standards for French design and production. Each year the association held exhibitions in which their members exhibited their work. In 1912, the French Government decided to sponsor an international exhibition of decorative arts to promote French design. However, they had to postpone the exhibition, originally scheduled for 1915, until after World War I.

Set at the Trocadero in Paris, near the Eiffel Tower, La Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exhibition of Modern and Industrial Decorative Arts), held finally in 1925, was a massive trade fair that dazzled more than 16 million visitors during its seven-month run. On exhibit was everything from architecture and interior design to jewelry and perfumes, all intended to promote French luxury items. With such a long name, visitors began referring to the exhibition, and subsequently the design movement, as Art Deco. On display were a wide range of decorative arts, created between the two world wars.

The French Government invited over 20 countries to participate. All works on display had to be modern, no copying of historical styles of the past would be permitted. The stylistic unity of exhibits at the fair indicated that Art Deco had already become an international style by 1925.The great commercial success of Art Deco ensured that designers and manufacturers throughout Europe would continue to produce furniture in this style until well into the 1930s.

In France, Art Deco combined the traditional quality and luxury of French furniture with the good taste of Classicism and the exoticism of far-off lands. Many designers used sumptuous, expensive materials like exotic hardwoods, ivory, and lacquer combined with geometric forms and luxurious fabrics to provide plush comfort. Motifs like Chinese fretwork, African textile patterns, and Central American ziggurats provided designers with the exotic designs to play with to create a fresh, modern look. They depicted natural motifs as graceful and highly stylized. The use of animal skins, horn, and ivory accents from French colonies in Africa gave pieces exotic appeal.

French Art Deco furniture featured elegant lines and often had ornamentation applied to its surface. It could be utilitarian or purely ornamental, conceived only for its decorative value. It was the look that was important to many French designers, not the use or comfort of the piece. Even today, some pieces look as if their designers intended them to remain on display in a store window and not be used at all. At times it seemed as though the designers and their patrons were trying to escape the dismal reality of daily life at that time.

In 1937, the French government sponsored another trade fair, La Exposition Internationale des Arts et Techniques dans la Vie Moderne (The International Exhibition of Arts and Techniques in Modern Life). Less ambitious than the 1925 exhibition, this fair focused more on France's place in the modern world rather than on its production of luxury goods, thus marking the end of the French Art Deco Era.