A Clock for Everyone's Mantel

QUESTION: I fix up old houses. While cleaning up a house to resell recently, I discovered a heavy clock with pillars on the front that looks as if it had seen better days. At first I was going to toss it in the trash, but when I told my wife, she said to bring it home. When she saw it, she gasped, for it looked like one her grandfather had when she was a child. She loved hearing it chime when she went to visit. The clock needs some restoration, but generally the case is sound. I took it to a clockmaker friend of mine who told me that he could probably get it running and would restore it for several hundred dollars. I’d like to know what kind of clock this is, who made it, and how old it is. Also, would it be worth restoring or should I just look for another one for my wife?

ANSWER: From the photograph you sent, it looks like you have an Ansonia cast-iron clock from about 1904. The company, based first in Derby, Connecticut, then in New York, produced thousands of clocks, but their cast-iron models were some of their best sellers.

The Ansonia Clock Company was one of the major 19th century American clock manufacturers. It produced thousands of clocks between 1850, its year of incorporation, and 1929, the year the company went into receivership and sold its remaining assets to   the Amtorg Trading Corporation in Soviet Russia.

In 1850, Anson Greene Phelps formed the Ansonia Clock Company as a subsidiary of the Ansonia Brass Company with two noted Bristol, Connecticut, clockmakers, Theodore Terry and Franklin C. Andrews. Phelps had been operating a brass rolling mill, the Phelps, Dodge, & Company, which he formed with two of his son-in-laws. To help build up his brass business, Phelps decided to get into the clockmaking business as a way to expand the market for his brass products. It was a shrewd business move, for it allowed him to profit from the manufacture of a clock’s raw components and the finished product as well.

Terry and Andrews thought it was a good business decision for them as well, giving them ready access to large quantities of brass for use in clock movements. They agreed to sell Phelps a 50 percent interest in their clockmaking business in exchange for cheaper brass clock parts and moved their entire operation to Derby, Connecticut— a portion of which was later named Ansonia after Anson Phelps—where Phelps had his brass mill.

By 1853, the firm had begun to produce cast-iron clocks to meet the needs of middle class families for clocks that looked elegant but were affordable. That same year, Ansonia exhibited their cast iron cased clocks, painted and decorated with mother-of-pearl, at the New York World's Fair in Bryant Park. Only two other American clock companies exhibited at the fair, which opened on July 4, 1853—the Jerome Manufacturing Company of New Haven, Connecticut, and the Litchfield Manufacturing Company of Litchfield, Connecticut, known for its papier-mache clock cases. (Learn more about papier-mache products by reading “Beauty and Strength from Paper” in The Antiques Almanac). Unfortunately, Phelps died a rich man a month after the Fair closed.

Ansonia created their cast-iron clocks to imitate elegant ones being made in France. Their clocks, however, because they made them of cast-iron, were less costly to produce, thus less expensive to buy, making them affordable to middle class homeowners. The paper dial used on this type of clock gave the impression of more expensive enamel ones very convincingly. While some bases were left sold black, others had the look of faux marble, simulating the French ones. Ormulu figures and mounts, on those clocks that had them, had a Japanese Bronze finish. The clocks had an eight-day movement, meaning they only had to be wound every eight days.

An antique cast iron mantle clock with gold gilt accents, manufactured by the Ansonia Clock Company of New York, circa 1904. This elegant mantle clock features a frame inspired by Greek architecture with a top cornice that has a gold bow and ribbon motif in the middle and two reeded columns on each side of the clock face, also with gold gilt details to the top and bottom. The central clock face is white with black roman numerals and hands, which is marked with the maker’s mark near the bottom and is then surrounded by a gilded border with an egg and dart design. The entire clock sits on a solid rectangular base.



This clock is what Ansonia named the “Boston Extra.” Made in 1904, it was a mantel clock with a visible escape movement, enabling the owner to watch the clock ticking, and chimes on the hour and the half hour. It features a pie-crust bezel, four green, full rounded pillars on the front and is very heavy, weighing in at 24 pounds. In 1904, the Boston Extra sold for $11.15 to $14.25. Today, one of these in good condition can sell for over $600. So, yes, it would be good to have it restored.

Learn more about clocks by reading #TheAntiquesAlmanac's Glossary of Antique Clock Styles.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now. 

Who Will be Mother?

QUESTION: I love to drink tea. In fact, I began drinking it when I was about 10 years old. I love the aroma and the steam that comes from the cup as I put it to my lips. Of course, as a tea afficionado, I always brew loose tea. But what I can’t stand are the bits of leaves that always seem to end up in the bottom of my cup. A tea strainer is a necessity if brewing tea from leaves. I always had a simple one that fit over the top of my cup and let me pour the tea through it, collecting the dregs in the strainer as it went. Last year, I attended an antique show and treated myself to a beautiful sterling silver tea strainer. I love it. So much so that now I’d like to begin collecting them.                        

ANSWER: People have used tea strainers for centuries. During the 18th and 19th century, when having tea was an important social event, silversmiths made tea strainers for wealthy tea drinkers. Since no one liked fishing loose tea leaves out of their teacup, strainers became a popular tea accessory. Tea strainers enabled hostesses to filter the leaves out while pouring tea in each person’s cup.

After it’s introduction to Europe, tea drinking began to inspire elaborate serving conditions. Unlike in China or Japan where tea drinking had a religious significance, tea drinking rituals in the West emphasized tea’s exotic origins and the server's wealth. Over time, an assortment of locked storage containers, special serving vessels, measuring spoons and other implements became part of any tea service. And, unlike the Chinese, who simply dumped tea into the pot and poured carefully, Europeans devised strainers to remove not only the leaves but also stems, grit, and other debris often found floating in the tea.
                   
By the 17th century, strainer spoons to remove the "motes" or tea debris with perforated bowls and pointed ends for clearing teapot spouts became common.

Toward the end of the 18th century, the silver cup strainer, adapted from wine strainers and from larger two-handled silver punch strainers used to extract lemon and orange juice used in other beverages, appeared. For tea, the cup strainer had one or two handles of silver or other material and fit over the cup to filter tea as it was poured.

By the 19th century silver craftsmen experimented with various designs to secure the cup strainers to the teacup. Some had two handles that straddled the cup while others were made with clasps to clip onto the edge. They also developed stands to support the strainer when it wasn’t in use and to catch the drippings.

Teapot spout strainers, featuring a pierced basket or bucket-shaped strainer with long pins to be inserted in the spout, were another tea trapping device developed in the late 18th century. As a person poured the tea, it flowed through the strainer and into the cup. Although they dripped tea on tablecloths, their dainty appearance and intricate piercings made them a highly desirable tea accessory. Spout strainers were more fashionable in Europe than in America and silver manufacturers created many novelty forms such as helmets, buckets and shells.

In the mid 19th century a new development in brewing came in the form of the tea infuser, also known as a tea ball. Tea balls are perforated, spherical containers made in two parts and connected either by a hinge and clasp or by screw threading.

Tea balls not only trapped tea leaves, but contained them within the pot for the brewing. Tea balls weren’t made in America until after 1880, but they quickly became the most popular tea strainer form used in America. More than 60 prominent American companies, such.as Gorham, produced them in quantity and in whimsical shapes, such as grapes, walnuts, lanterns, faces, teapots, shells, cauldrons, fish, Earth, and the Liberty Bell.

There have also been square tea balls, both an oxymoron and a rarity. A particular favorite is a curled-up dormouse, recalling the unfortunate creature dunked into the teapot during the Mad Hatter's tea party in the children's classic, Alice in Wonderland.

The last form of tea strainer to be invented appeared in England in the 1890's and quickly found its way to the United States. The stick infuser or spoon infuser, consists of a covered spoon-like bowl perforated on both lid and bowl. Like tea balls, tea drinkers filled the stick infusers with tea leaves, but unlike the tea balls, people used them to brew one or two cups of tea. Like the tea ball, the stick infuser gained popularity in the United States. Again. manufacturers presented numerous design variations, replacing the spoon bowl with a ball or heart shape and using different handle forms made of bone, porcelain  and wood. Some stick infusers with upright handles resemble pipes, while others resemble a pair of tongs or an egg on a stick.

The development of the tea bag signaled the end of mass production of silver tea strainers. Today, the tea strainers of the 18th through the early 20th century stand as valuable reminders of the importance of aesthetic pleasure in a social ritual—the serving of tea.

Learn more about the tea experience by reading "The Origin of Afternoon Tea" in #TheAntiquesAlmanac and also about sterling silver tea sets in my Google+ Collection, Antiques and More.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now.  

Glassware for the Rich and Famous

QUESTION: My mother was extremely proud of her good glassware and china, which originally belonged to her mother. She would lovingly take it out of her china closet for each special holiday dinner. Boy, how those glasses did shine. I’ve always wondered about what type of glassware this was. My grandmother particularly liked cut glass, and these glasses—water goblets, wine, champagne, etc—had delicate floral designs cut into them. Some told me that they may have been made by the Seneca Glass Company, but I’m not sure. What can you tell me about this company and the glassware that they produced?


ANSWER: From the photo you sent, I can definitely tell you that your grandmother had fine taste, for these pieces are definitely by Seneca Glass. By the early 1920s, the company offered a new line of deep-etched glassware. Your grandmother’s pieces most likely were in this group.

In 1891, a group of immigrant glass artisans and businessmen from Germany's Black Forest region settled in Seneca, Ohio. Seeking to take advantage of the opportunities available in the American glass market, they purchased the former Fostoria Glass Company factory and established the Seneca Glass Company, named after the county where the factory stood and the local Indian tribe of the same name.

But the lure of cheap natural gas, free land, abundant quality glass sand within easy reach, and a city subsidy was too much to resist, so the owners moved the company to Morgantown, West Viriginia. in 1896. They kept the name and over time, the firm
developed a reputation for creating some of the finest lead crystal glassware available anywhere.

Embassies used it, Eleanor Roosevelt bought it, and Americans with finer taste and a pocketbook to match loved it. Seneca produced quality, delicate, mold-blown glassware in a wide variety of forms for the next 86 years. It became known for its striking cut glass patterns. Some of the patterns were so complex, they took an experienced cutter 12 hours to complete. Later years, company owners boasted that Seneca had more than1,000 cut glass patterns available.

Popularity grew quickly as the word got out in social circles. Large-scale retail stores all over the country began ordering Seneca products. Over the years, Seneca Glass received orders from B. Altman's and Tiffany's in New York, Marshall Fields and Company in Chicago, Neiman-Marcus in Dallas, the Ritz Carlton Hotel in Boston, and the Sheraton Palace Hotel in San Francisco. Philadelphia's highly regarded John Wanamaker Department Store, placed an order for 218 dozen glassware items, all cut with the crest of the president of Liberia which the company planed to sell him for his executive mansion.

Not to be outdone by private organizations and foreign powers, the U.S. State Department ordered Seneca crystal for 30 American embassies and consulates in 1944 and 1945.

While searching for glassware for a special occasion, Eleanor Roosevelt chose stems in an obsolete Seneca pattern, being sold at the reduced price of 25 cents each. These she chose over patterns offered by the store's staff from famous firms, expensive glassware items priced in excess of $50 a dozen. Mrs. Roosevelt used her bargain Seneca glassware at a State dinner held in honor of England's King George VI.

Mrs. Roosevelt wasn’t the last person associated with the White House to order Seneca glass. Ladybird Johnson purchased peach champagne glasses in Seneca’s Epicure pattern for Vice President Lyndon Johnson. Each glass had the vice president's initials, LBJ, and an Open Road Stetson hat, her husband's trademark headgear, etched on it.  Jacqueline Kennedy also used Seneca glassware in the White House.
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Today, Seneca glassware is highly prized and actively sought by an ever-growing group of collectors with impeccable taste.

Seneca’s glassware was handmade and mold blown. Glass blowers produced such glassware by first gathering a small, molten blob of glass on the end of a hollow pipe or rod. By plowing through the pipe and manipulating it in certain ways, a glass worker would pre-shape the slowly cooling, glowing mass. The blower then inserted the pre-shaped "gather" into an iron mold—a mold that a skilled Seneca artisan had produced. Blowing into the pipe forced the hot glass to conform to the shape of the inside of the mold.

Depending on the specific object being produced, several operations could follow. For example, on stemware, the molding of the stem and foot might be done with forms and paddles or an intricate stem might be produced using a mold. Once the glass worker formed an item, he annealed or reheated it and allowed it to cool gradually and uniformly to avoid uneven cooling that would shatter the glass in an oven called a lehr. Other workers would then send the cooled object on for finishing, including the removal of excess glass, grinding and polishing.

One glass decorating technique, the “optic,” directly involved the shape of the interior of the mold itself. The interior of the mold could be shaped in panels, pillars, spirals, swags, and other interesting shapes. These shapes become part of the shape of the body of the glass formed in the optic mold. Seneca used this technique to create a variety of pleasing optics.

Seneca also produced wares decorated with needle and plate etchings and sandblasted decorations. Artisans also used other decorative techniques, including banding and metallic decorations. While elegantly cut lead crystal would be what came to consumers' minds first when they thought of Seneca glass, the company did offer a variety of colored glassware. The quantities of colorful glasses and tablewares available fluctuated over the decades, reflecting changes in public taste. Colored glassware would be offered in larger amounts during the later years, beginning around the 1960s.
   
Some of Seneca's specific glassware forms included goblets, sherbets or champagnes, cocktails, oyster cocktails, sherries, wine glasses, clarets, and cordial glasses classified as "stemware;" ice teas, hi-balls, old fashioneds, juices, and water glasses grouped as "tumblers;" along with a variety of decorative glassware" or "artware," including bowls, candle-holders, and vases.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now. 

Souvenir of a Loved One

QUESTION: I recently attended an antiques show at which one of the dealers had a beautiful display of antique hair mourning jewelry. What can you tell me about this unique art form? Is it still practiced today?

ANSWER:  Mourning jewelry was a souvenir to remember a loved one, a reminder to the living of the inevitability of death, and a status symbol, especially during the Victorian Era.

The earliest examples of mourning jewelry originated in Europe in the 15th and 16th centuries. People often set black-and-white enameled heads or skulls into rings and brooches. In the 17th' and 18th centuries hair became a status symbol to present mourning rings to friends and families of the bereaved.

Mourning jewelry reached its peak popularity in England after the death of Prince Albert in December 1861. Queen Victoria went into deep mourning, which her subjects imitated when faced with their own bereavement:.















Hair, a symbol of life, has been associated with death and funerals in many cultures Egyptian tomb paintings portray scenes showing pharaohs and queens exchanging hair balls as tokens of enduring love.

But it was in Sweden that commercial hairwork began centuries later. The craft of hairwork spread throughout Europe. Jewelers made beautifully detailed landscapes and floral designs using human hair. In England in the late 18th century they bordered early neo-classical style pieces with seed pearls surrounding the words "In Memorium" and a panel of simple, twisted hair. During the 19th century, Queen Victoria presented Empress Eugene with a bracelet of her own hair, and the Queen recorded in her diary that the Empress was "touched to tears."

The 1853 Crystal Palace Exposition featured a full line of hair jewelry, as well as a full tea set made entirely of hair. By the 1850s hair was an expensive commodity with a variety of commercial uses. Every spring hair merchants visited fairs and markets throughout Europe where they offered young girls ribbons, combs and trinkets in exchange for their hair.

Hair jewelry caught on in the United States by the 1860s. During the Civil War, soldiers would leave a lock of their hair with their families as they left home to join the fight. Upon the soldier's death, the family would often have the hair made into a piece of mourning jewelry or placed in a locket. These were gold or black, and were sometimes engraved with "In Memory Of" and the initials or names of the deceased.

Beginning in the 1850s through the 1900s, hairwork became a drawing room pastime. Godey's Lady's Book and Peterson's Magazine gave instructions and patterns for making brooches, cuff links and bracelets at home. To further the craze for the home-based craft, Godey's reminded readers that while mourning etiquette said that women should only wear jet jewelry for first mourning, for the second mourning, a woman could wear a brooch and bracelet made of hair with a gold and black enamel clasp. Even a watch chain or plain gold belt buckle was permissible for widowers to wear if made of hair or if it enclosed hair.

Women did hairwork on a round table. Depending on the height of the table, it could be done sitting or standing. Women's work tables were usually 32 or 33 inches high, and men's tables stood 4 feet. Preparation was important. The hair had to be boiled in soda water for 15 minutes. It was then sorted into lengths and divided into strands of 20 to 30 hairs. Most pieces of jewelry required long hair. For example, a full-size bracelet called for hair 20 to 24 inches long. Sometimes horse hair was used because it was coarser than human hair, and thus easier for beginners.



Women made almost all hairwork around a old or firm material. Snake bracelets and brooches, spiral earrings and other fancy hair forms required special molds which local wood turners made for them. The women attached the mold to the center hole in the worktable. Then they wound the hair on a series of bobbins. They  attached weights to the braid work to maintain the correct level and to keep the hair straight. When they finished and while the work was still around the mold, they removed the hair and the mold, boiled it for 15 minutes, then dried and removed the hair from the mold. It was then ready to be sent to a jewelers for mounting.

The use of mourning jewelry slowly died out at the beginning of the 20th century. Hair jewelry and other forms of hairwork were particularly popular during the 19th century but are still practiced today as a home craft.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now. 

Giving New Life Through Restoration

QUESTION: For years I also collected antiquities. Now I have a particular passion of writing boxes or old English boxes. I enjoy to restore by myself. I beg to ask for an opinion. I attach here two photos. On the lid, at the corners, something is missing! Do you think the angles were made of brass? Or in wood ... or mother of pearl? I doubt it because the thickness is a lot (about 3 mm.) Then I had never seen the brass corners that did not go vertically.

ANSWER: The corners on your box would have been brass, so if you can find someone to make these for you, they should be easy to replace. Be sure to glue them with a strong glue. Box makers usually used brass on the corners of better boxes to protect them while traveling. Victorians took writing and other types of boxes along on long trips so that they could communicate to their friends and family back home. It’s not unusual to find boxes from this time period in poor condition. Restoring them is not as difficult as doing furniture but can be challenging.

Antique boxes acted as portable storage workhorses for past generations. They served a variety of purposes from document boxes in which to keep valuable papers to writing boxes for correspondence to dressing boxes for grooming while traveling to tea caddies for storing precious tea. Victorians, in particular, loved boxes and people from all classes used them.

Unfortunately, people handled boxes a lot, so most antique ones aren’t in the greatest shape. Some boxes may have sat on a table in front of a window in the sunlight and became faded over time while others suffered from neglect.

A good example is an Indian sadeli mosaic-covered writing box that outlived its usefulness. Someone decided that instead of tossing it out, they would give it to their children to play with. The children drew all over the beautiful mosaic with crayons and someone did a bad job of pasting a piece of chartreuse felt over the writing surface on the inside. Needless to say, this restoration wasn’t a walk in the park.

Unlike antique furniture made before 1830, many antique boxes will benefit greatly with even modest restoration. And since they’re not large, it doesn’t take a lot of materials or time to restore them.

Antique boxes are valuable because they’re antique and looking old isn’t bad. And while restoring a box may make it look better, it may reduce its historical value. Boxes from the 18th century should only be restored by a professional restoration expert. In most cases, they need to be conserved, that is the deterioration of the box should be halted. Restoration is a more radical solution and often includes refinishing the wood and replacing metal parts. So the question to be asked is whether the box is in bad enough shape to render it less valuable than its being restored?












While restoration usually begins with reviving the wood of the box’s body, it also takes in exterior decorations made of ivory, tortoiseshell, and mother-of-pearl. These materials are all fragile and should be checked for cracks, abrasions, and chips. Metal ornamentation may be missing, dented or creased, or it may just need polishing. Veneers and inlay are much more difficult to repair and may require professional assistance.

Antique boxes also contain small and sometimes specialized hinges and locks that must also be examined for repair, restoration, or replacement. Finding replacements can be a real challenge since many of these may have been made for a particular box.

But minor conservation can do wonders for an antique box. First, tighten any loose screws and gently tap in any loose nails. Repair loose joints with wood glue. Finally, clean the box with a soft lint-free cloth dampened with Murphy’s Oil Soap solution. Do a small area at a time and use another lint-free cloth to dry it. After letting the box dry thoroughly for 24 hours, give it two coats of Minwax past wax to protect the exterior. Follow the directions on the can.




Dust the interior of the box with a soft shaving brush. If the wood is bare, as with some inner areas of the box, switch to a solvent-based cleaner. Use a toothbrush or toothpick to clean out any crevices. If this has markedly improved the box’s appearance then it may be a good time to stop.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now. 

Give Me Your Tired and Your Poor, Yearning to be Free

QUESTION: My mother collected Statue of Liberty memorabilia for a long time. She began when she was only a teenager with a little statue she bought on a class trip to New York. Seeing Lady Liberty up close inspired her to buy the statue. After that, she couldn’t get enough of her.  Her collection began with canceled stamps showing the Statue of Liberty which she tore off of envelopes. She added a postcard of the statue that a friend sent to her. Over the years, she amassed a collection of over 100 items, all depicting the Statue of Liberty.  My mother is gone now, but her collection lives on. I’d really like to know more about these collectibles and the Statue of Liberty, itself. Can you help me?

ANSWER: Statue of Liberty memorabilia is probably one of the more popular collecting categories. While some items are worth just a few dollars, others can reach four figures.

Although the French Government conceived the Statue of Liberty as a symbolic gesture, no one had any idea at the time just how important a symbol she would become. Frederic Auguste Bartholdi, her creator, envisioned her as a monument to the mutual love of the French and Americans for liberty, and as propaganda against the then conservative leaders of the French government. It was thought that building a huge monument for the United States would forever link that powerful democratic country, with France, and cement that country's new Third Republic. But not everyone shared Bartholdi's vision.

Fundraising, especially in the United States, proved difficult. The Statue of Liberty Committee had planned to unveil that the statue would be unveiled in 1876 for the Centennial of American Independence. But sluggish fundraising delayed the gift for at least 10 years. This resulted in a variety of wonderful memorabilia. Most souvenirs sold for pennies to dollars each to raise money to complete the big statue and bring her to America. The French, on the other hand,  raised money to complete the building of the statue piece by piece while the Americans raised  funds to complete the gigantic base. By 1884, The French had completed Miss Liberty an d were ready to ship her. But the American Committee was short the $100,000 needed to complete her pedestal. To raise additional monies, the Committee commissioned more than 100,000 models which it sold by subscription, and at Macy's and other department stores. Each $1 purchase added to the Liberty coffers. It sold some 12-inch models for $5. Today, the small metal models sell for $250 to $300 and the large ones from $500 to $1,000.

Meanwhile, the French disassembled the statue into over 300 pieces and shipped it in more than 200 wooden crates. The arm bearing the torch filled 21 boxes alone. On June 17, 1886, she arrived. Workers placed the statue on the immense supporting monument designed by Richard Morris Hunt. On Oct. 28, 1886, the Committee officially installed and dedicated the Statue of Liberty. There was a huge inaugural parade and President Grover Cleveland delivered a dedication address. Collectors covet the programs, tickets, and invitations from this gala occasion.
   
During the earliest Liberty years, many souvenirs appeared. During the 10 years before Liberty arrived, many publishers printed lithographs, including early pieces of sheet music. There are stereopticon photos from the 1876 Centennial Exhibition in Philadelphia of Liberty’s right arm, which appeared at the fair, showing visitors standing on her torch. These souvenirs now sell for $125. Visitors to the fair could purchase large, finely detailed bronze medals, crafted in Paris.
 

In 1878, Liberty had no body, but when Europeans gathered in Paris for the 1878 Expeditions, the head had been completed and was displayed on the banks of the Seine. Visitors filled her crown and for several francs, could take home a lovely 4-inch Liberty bust, a few of which found their way to America and today sell for upwards of $500. Other French souvenirs included tasseled, silks and ribbons made for the fair by B.B. Tilt & Son in Paterson, New Jersey.

For a substantial contribution to aid French fundraising, up to 100 zinc statuettes went on sale, including a small edition, finely detailed statuette in terra cotta, hand-finished by Bartholdi, himself. During the 1986 Liberty Centennial, several of these reached more than $100,000 at auction. In the United States, a New Jersey furniture maker named Follmer, cast a few detailed zinc statuettes carrying 1883 and 1885 patent dates. These are quite rare, much more so than the American Committee Models. Follmer's statuettes feature the original Hunt pedestal design that the Committee ultimately abandoned for the one actually under Liberty's feet. Today, these statues sell for over $5,000.

The 20th century witnessed many more souvenirs—some as works of art, some as advertising, some as satirical commentaries, some as cheap souvenirs for the hordes of tourists who visited her. Practically everything had the image of Miss Liberty reproduced on it, including clocks, lamps, statuettes, compacts, cigarette cases and boxes, cookie tins, pitchers, spoons, china and even trade cards satirizing Liberty in order to sell a product. Though some of objects were beautifully done, others appear cheap with muddied facial features and poor workmanship. But even the cheap ones are collectible.

During the Liberty Centennial in 1986, there was a rush of interest in Liberty collecting. At that time, there were thousands of souvenirs and "limited editions" sold, including watches, medals, limited-edition plates, rugs, cookie jars, mugs, and jewelry.

Most collectors agree that, although items are becoming more scarce, there are still plenty of them out there. Statue of Liberty items usually appear at flea markets. Since many aren’t that large, collectors often find them in glass cases with other small items.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now. 

Ways to Say I Love You

QUESTION: I’ve loved Valentine’s Day ever since I was in the first grade and my new best friend gave me a valentine card at our class’s party. Every year I would go out of my way to give really different cards. I became so inspired that I began looking for valentines all year round. I’ve amassed quite a collection of old valentine cards, but I really have no idea how the tradition of giving valentine greetings began. Can you help me put this in perspective?

ANSWER: Sending valentine greetings actually began during Roman times. Legend says that Valentinus, a Roman priest who encouraged young couples to many, sent the first valentine in 270 A.D.  Unfortunately , the reigning Emperor, Claudius II, disapproved of Christianity, and of marriage, in general. It was the Emperor's belief that married soldiers would soon forget that their primary allegiance should be to their Emperor, rather than to their wives.

The Emperor ordered Valentinus beheaded for disregarding his orders to cease his actions. Legend also says Valentinus befriended the blind daughter of the jailer, and apparently restoring her sight. In turn, the young woman brought food and delivered messages to him during his incarceration. On February 14, the eve of his execution, he wrote her a note of appreciation, signing it "From your Valentine."

A forerunner of the valentine greeting began in the 16th century with religious mementos of the Sacred Heart created in convents in France, Germany and Holland. Carefully crafted on parchment or vellum, the designs emulating the hand-tatted lace of the period.

The custom of Valentine's Day as an occasion developed gradually as the techniques of making paper advanced.  In 1834, the English made improvements to lace paper, originally  made in Germany and Austria in the early 19th century. The openwork, cameo-embossed lace paper allowed English publishers to publish elegant love letters, romantic stationery and valentines for an increasing number of customers.

These were miniature works of art which incorporated the use of ribbons and scraps, pearls and Dresden die-cuts. Some were movable or perfumed, while others had tiny mirrors attached to them to reflect the image of the beloved.

People made most early American valentines by hand. The influence of the immigrant German cultures resulted in folk-art paper items known as scherenschnitte, meaning paper cutting, and fraktur, or paper designs incorporating German calligraphy and imagery.

By the early 20th century, several publishers of lithographs and wood engravings began making  valentines in New York City. But it was Esther Howland who many consider the mother of the American valentine.



The Howland family operated the largest book and stationery store in Worcester, Massachusetts. As a student at the Mount Holyoke Female Seminary, Class of 1847, she had been exposed to annual Valentine's Day festivities, which were later banned by the college for being too frivolous.

After graduation, Howland received an elaborate English valentine from one of her father's business associates. She convinced her father to order lace paper and other sup-plies from England and New York City. With these she made a dozen samples, which her brother added to his inventory for his next sales trip. When her brother returned with more than $5,000 in advance sales, she established a cottage industry where ladies would have materials and samples delivered and picked up at their homes, thus allowing them to mass-produce valentines.

While Esther Howland was not the first to create valentines in America, she did popularize the lace valentine, enabling her to earn $100.000 a year. In 1881, she sold her valentine business to an associate, George Whitney, whose company patterned many of their cards on the Howland model.

Another Victorian passion was the postcard. Publishers produced popular designs in huge quantities, since Valentine's Day was a big card-sending holiday at the time. But despite the availability of a wide variety of valentine cards, the demand for beautiful and unusual images has driven up the price for collectors. Ordinary postcard valentines can sell for $5 or less, but quality valentine postcards tend to sell for $8 to $10 each.






Production of valentine postcards ceased by World War I. It wasn’t until the 1930s that folded cards were became popular. The 1960s produced cards with red satin hearts, sachet centers, and simulated jewels and lace.

Today, Valentine's Day is the second largest holiday for giving a greeting card, with approximately 180 million cards exchanged. About 30 percent of all modern valentines are for meant for romantic love relationships. Valentinus would be proud.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," online now.

To Restore or Not—That is the Question

QUESTION:  Hi, my father, who is 93, has a chest his grandfather brought over from Sweden. I'm pretty sure its a Biedermeier. It has some wood damage, and the desk flap needs repair,. If we have it repaired, will it lessen the value? I have always loved it and don't have plans to sell it, but don't want to take away from its worth either. Can you help me?

ANSWER:  Yes, definitely get your Biedermeier secretary restored. For the most part, it’s in excellent condition. Restoring it will only increase its value. Unlike what experts say about antiques produced before 1830, those made after that can often benefit from restoration. In this case, just make sure you use the best restorer you can find. I can’t emphasize this enough. Your secretary is worth a lot of money and will appreciate even more. This is because a lot of Biedermeier pieces got damaged from dampness and such when the style went out of favor. Many sat in barns for years until the veneer literally fell off of them. So there aren’t very pieces that have survived.

So why are Biedermeier pieces so valuable? Next to the Bauhaus, the Biedermeier style movement had perhaps the most influence on modern styles to come. This Neoclassic style  originated in Germany in the early 19th century and played a major role in furniture design. It spread throughout Europe from 1815 to 1848.

The style’s name derived from Ludwig Eichrodt and Adolf Kussmaul, who depicted the typical bourgeois of the period under the name "Gottfried Biedermeier"—from "Gott" meaning "God," fried" meaning "peace," "Bieder" meaning "commonplace," and meier" meaning "steward"—in their Fliegende Blatter, a Viennese journal of the day. However, people didn’t call it Biedermeier until 1886, when Georg Hirth wrote a book about 19th-century interior design, and used the word "Biedermeier" to describe domestic German furniture of the 1820s and 1830s.

Biedermeier furniture suited the modest size and unostentatious needs of comfortable bourgeois houses. And the secretary was the most popular piece.

The less severe appearance of Biedermeier furniture led to a less formal arrangement of rooms as a whole. Flowers, screens, worktables and knick-knacks of all sorts helped to give a sense of family life. The bourgeoisie began to form a personal style, thus creating what’s now known as interior design, making Biedermeier one of the first design movements to reflect it.

People arranged suites of furniture in the corners of rooms. They created areas for eating, chatting, reading, and doing embroidery. Each had a sofa, table and chairs, and some sort of storage cabinet. Biedermeier comfort emphasized family life and private activities, especially letter writing—giving prominence to secretary desks. These featured a central niche, a mirror, and secret drawers.

Most Biedermeier furniture is extremely geometric in appearance. As the popularity of the style grew, some pieces took on new roles—the table became the family table, around which family members could site  for evening activities. Or table tops could be placed against the wall in a vertical position. A portable piano had a drawer for sewing things, while the upper drawer of a chest of drawers might be converted into a writing desk.










Prior to 1830, mahogany appeared in Viennese furniture and gradually replaced walnut. The adoption of this imported wood, which was often given a light finish, caused some craftsmen to apply matching stains and finishes to pieces made in walnut, pear wood, and Hungarian "watered" ash.

Attention to economy meant that local timber was mostly used, especially walnut veneers over a soft wood frame. Inlay served as the main decorative element, featuring the patterned graining of walnut and often reduced to a light-colored border. Sometimes, craftsmen used black poplar or bird's eye maple and colored woods such as cherry and pear became popular.

Cabinetmakers decorated their furniture with black or gold paint, and often employed less expensive stamped brass wreaths and festoons rather than bronze for decorative effect and gilded wooden stars instead of the elaborate metal ornaments of the Empire style. They designed furniture to be seen from the front and concentrated most of the decoration there.

With pieces of furniture as valuable as Biedermeier ones, it’s important to get them appraised by a certified antiques appraiser who specializes in European furniture. While getting an appraisal may appear costly, the cost is well worth it if the piece is damaged or sold. It’s also important to research former owners of the piece to create a provenance.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," coming this week.

Seashells by the Seashore

QUESTION: Ever since I was a child playing in the sand at the seashore, I’ve loved seashells. I started collecting them and eventually began making shell crafts with them. I’ve seen antique shell-covered boxes at antique shows. How old are these boxes? And why are they decorated with shells?

ANSWER:  When you pick up a pretty shell on the beach or purchase a shell souvenir from a seaside gift shop, you’re following a tradition that goes back as far as the 16th century. A homemade sewing box decorated with shells gathered during an outing at the seashore evokes memories of a wonderful vacation.

Shells from the Far East were rare and expensive collectors' items as far back as the late 1590s. Archduke Ferdinand II devoted four rooms of his castle near Innsbruck, Austria, to shells, fossils, amber and mounted branches of coral. Soon, all over Europe, it was the fashion to decorate rooms with both common and exotic shells.

With the exploration of the Pacific and Indian Oceans and the expansion of European trade, interest in sea shells as decorative items grew even stronger in the 17th century. Merchants imported large quantities of exotic shells into Europe, and shell collecting became a serious hobby. 

In the early 18th century shellwork became a popular pastime for upper-class women. They practiced all sorts of shellcraft, including making shell plaques and pictures. To help Georgian ladies with their shellwork, Mrs. Hannah Robertson published The Ladies School of Arts in 1806. In it she described various techniques of shellwork. When Victoria became Queen in 1837, the study of shells and their inhabitants became a popular subject in school. Teachers encouraged their students to take walks along  the seashore to study marine life which led to an increased interest in shell collecting and shellwork.

Ladies covered glove boxes, trinket boxes, work boxes, and musical boxes with shells. They used heavy pasteboard to construct the boxes, using patterns they found in books on shellcraft. Once they had the parts cut out, they lined them with absorbent cotton and covered them with velvet or silk, then they sewed the sides together with strong thread. They then pasted muslin over the seams and fastened the lids with strips of muslin attached with strong glue. The box makers then made a cushion which they attached  the top of the box with a glue and proceeded to cover it with shells. Those who didn’t want to make their own boxes could buy plain ones onto which they could attach their shells.

Many of the Victorian boxes contained mirrors inside the lid and had heart-shaped pincushions attached. Ladies often gave them as gifts and pasted sayings such as "Forget-me-not" and "To My Dear Mother." Some Victorian women glued on paper scraps and pictures cut out from magazines to enhance their designs.
   
To obtain shells for their projects, some ladies would gather them on trips to the seashore. Those who lived too far away from the sea could obtain them from sailors or purchase them from shell dealers.

After women gathered their shells, they soaked them in fresh water for a few hours. Some shells naturally possessed a fine polish and required no preparation for display. In many cases, however, when shells became dry, they lost their natural luster, which women restored by washing them with clear water into which a little glue had been dissolved. The most popular shell, the periwinkle, which lined almost every box, had to be specially treated. The natural, grayish outer scale had to be removed with acetic acid to reveal the pearly iridescence underneath.



After cleaning their shells, women had to sort them according to size and color. It was important to have large quantities of tiny "rice shells," and other small shells in order to fill in spaces. Ladies then laid out their shells to form a design. Roses and hearts were popular in the center of a design. Once they had their designs finalized, women dipped the ends of their shells in a mixture of white wax and glue which adhered them to the cotton batting or paper.

Shell work declined in popularity toward the end of the 19th century though it has never faded as a home pastime.

 To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," coming this week.

The Look of Beauty

QUESTION: I recently have become interested in possibly collecting ladies’ compacts. I see them at flea markets all the time and the prices are reasonable enough to fit my budget. Also, I live in an apartment, so their small size is a plus. But I don’t want to randomly begin collecting them without knowing a little about their background. What can you tell me about ladies’ compacts? Are they a good item to collect? Will I be able to find enough of them to make collecting them worthwhile?

ANSWER: They say good things come in small packages and ladies’ compacts are a good example. These little treasures not only represent a lost art but are also a connection to the past that’s still affordable.  With so many different types on the market, you’ll have no problem finding plenty in to fit your collecting budget.

For the sheltered few who may not know, compacts are devices women carry that help them pursue their quest for beauty. Many of the compacts are works of art themselves. They first appeared during in the early 1900s. In 1908, Sears, Roebuck & Co advertised a hinged, silver-plated case that sold for 19 cents, described as “small enough to carry in the pocketbook.” This small and round housing for face powder, puff, and mirror became known as a compact. By the 1920s, during the age of the flapper, the compact had become a fashion accessory. And right from the beginning there was lots of competition.

Manufacturers used metal because it was readily available, cheap to produce, and could be brushed, enameled, engraved, and painted. Sterling silver was extremely popular, as was brass, aluminum, gunmetal, nickel, and gilt bronze. Those made at the close of World War I featured shapes, patterns, and motifs that reflect the geometric style of what would become known as Art Deco.

The companies making compacts had intensive marketing campaigns, assuring women that they simply had to have a collection of compacts, not just for every occasion, but also to make a particular statement during each occasion. A Coty double compact advertisement urged women to "be lovely always”— morning, noon and night... and it is so exquisitely smart with its polished platinum tone that you will feel a subtle bit of pride in having it in your handbag.”

The ones most sought after by collectors, however, include those made by obscure companies such as Fisher, La Mode, F & B, R & G, FM Company, DFB Company and the makers of Italian silver vermeils.

Volupte, founded in 1920 in Elizabeth, New Jersey, made one of the most desirable designs —the Golden Gesture Hand, designed by Ruth Warner Mason for a special promotion of "Genuine Collector's Items." These compacts are also referred to as the "Praying Hands" or "Gay Nineties" compacts. The most desirable and costly ones feature either a black or white lace mitt and enhanced with a faux engagement ring, diamond bracelet, or with manicured fingernails or multiples of these enhancements. The hand compacts are about five inches long and can cost as much as $800 each.

These compacts are extremely fragile and dent easily. They’re relatively rare to find in anything but the plain gold version, which sells cheaply compared to the decorated ones. The latter are rare and even then, to get one in mint condition is like finding a needle in a haystack. Condition on these is very important with compacts, as with other collectibles. Dents and wear will lessen their value considerably. Beginners should always seek the unusual over the commonplace.

At one time, compacts were all similar in design. Collectors call these "flapjacks" because of their shape. They measure approximately 4½ to 5 inches and their size allowed a woman to see herself from her chin to the top of her hairdo. However, the cases of these large flapjacks often warp. If the mirror is intact and the case closes, collectors usually overlook any side gaps. The design and overall condition is the deciding factor when it comes to value.

Divine compacts, on the other hand, are small but often have fantastic designs. Many are souvenirs, depicting buildings, cities, landmarks, or world's fairs. Generally, prices for souvenir compacts are lower, but there are still some very stunning examples out there.

Guillouche compacts are highly collectible. The guillouche technique was an attempt to copy Faberge. By using colored foil stamped with appropriate patterns and topped with a clear plastic dome, the results were surprisingly effective. Not to be confused with cloisonné, guillouche enameling always has a translucent pattern. Faux guillouche is stamped on foil with a plastic top. Compact experts define genuine guillouche as machine-engraved decoration on metal, over which a translucent enamel is often applied.

Many companies marked their compacts on the powder cover or inside the powder well and on the puffs. Sterling compacts may have a word or number stamped into the tiny rims of the mirror or base. These marks are highly desirable by collectors. These can be identified by old catalog advertisements or simply by getting a feel for the quality of workmanship that particular company produced. However, even an unknown compact with no identifying features can still be a work of art and be of high value.

Before purchasing a vintage compact, the beginning collector judge the quality of construction, detail of artwork, and the type of base metal. Top quality items will always retain their value —an unmarked piece may have been produced by a small company that made excellent pieces and therefore there will be fewer of them, thus the price will be higher.

Collecting compacts should be fun. Part of the fun is in discovering unique pieces. It’s like finding a piece of history.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac.