From Art to Cheap Carnival Prizes

 

QUESTION: Recently, as I was helping my grandmother to downsize before moving to an assisted living community, I discovered several pieces of kitchy Plaster of Paris figurines, small lamps, and strange little pockets depicting animals with a hollow space behind them. My grandmother told me that my grandfather had won them for her at the annual summer carnival. What are these things? Can you tell me more about their history?

ANSWER: The items belonging to your grandmother are known as chalkware. Though popular during the mid 20th century, chalkware actually got its start in the 18th century as an alternative to Staffordshire ware. But most people recognize it as the cheap carnival prizes given away to winners of games. 

Chalkware is an American term for popular figurines either made of molded plaster of Paris or sculpted gypsum, and painted, typically with oils or watercolors. Often referred to as the "poor man's porcelain," chalkware was primarily created from the late 18th century to the beginning of the 20th century, during the Great Depression, and during the Mid-Century Modern era. Created during the earlier period as a serious decorative art, often imitating the more expensive imported English Staffordshire figurines. Those during the second period were more typically satirical. 

Once it cured or hardened, a worker removed the plaster holder from the mold and painted to give it strong eye appeal. Chalkware became a popular item sold in five and dime stores, and the designs seemed endless. Most manufacturers, including Roseville, Weller, and McCoy potteries, produced a variety of wall pockets, designed to hang on the wall and hold a variety of items, such as stamps, matches, flowers, and letters. 

As the Great Depression took hold in the U.S. in the 1930s, chalkware shifted towards more whimsical designs. These items were both colorful and playful, providing a brief escape from the economic woes of the time.

Eventually, carnival operators begin giving chalkware figures as prizes, especially during World War II. By the 1960s, stuffed animals replaced them.

After the War, young homeowners sought out chalkware as an inexpensive and expressive decor for their homes, including table lamps, figurines, and wall decor. Attracting fine, mundane and comic artists, chalkware reached a broad audience from 1945 to 1965, providing everything from representations of European sculpture, to kitsch images of exotic travel and cartoonish characters.

By the mid 1950s in the United Kingdom, chalkware took the form of eggcups, match holders, and ashtrays. The earliest designers were Paoli Brothers and Hermann Lohnberg. By 1956, tastes changed with a move to animals. By 1957, figurines and statues of African-style ladies and gentlemen had become popular.  

Mid 20th century chalkware lamps were often romantic and exotic with a focus on the idealized beauty of historic, natural, and abstract designs. Common motifs included dancers, often sold as a male and female pair, innocent or sensual figures, trees, flowers, animals, zig-zags, waves and modern abstract sculpture typical of the period. One of the most popular motifs were of romanticized, stereotyped Asian, African, Native American, Hawaiian people in exotic and often inaccurate settings or costumes. Some of these lamps were made as nightlights with small bulbs. TV lamps, based upon popular chalkware radio lamp designs, quickly became replaced by ceramic.

Wall decor chalkware included bath motifs like fish or mermaids, kitchen motifs like fruit, and 'wall pockets' that often were faces with small areas in the back suitable for air plants or plastic flowers.

People took to the highways in the booming post-war era, creating a need for tourist souvenirs, including ashtrays, figures, bobble-heads and destination-specific items. 

One of the overlooked markets for chalkware was the religious-based one. Manufacturers produced a large variety of statuary, wall plaques, and other religious objects for use in churches and the home. 

Some of the more popular American chalkware companies include Continental Art Company and Universal Statuary Corporation in Chicago, Alexander Baker Company and 'ABCO' in New York, Fine Arts In Plastics or F.A.I.P in Brooklyn, Jo Wallis Lamp Company, Miller Studios, and Reglor in  California, and Vaillancourt Folk Art in Massachusetts.

As the 1970s dawned, heavy, and easy to break or chip, chalkware eventually lost favor to ceramic and plastic alternatives in the 1970s. 

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 50,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Federal America" in the 2026 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.

The Snob Appeal of Antiques

QUESTION: I’ve been buying most of my antiques at flea markets and in shops. The dealers are usually very nice and helpful. But when I’ve gone to antique shows, especially higher-end ones sponsored by one charity or another, I find the dealers helpful but the showgoers off-putting. Why is that? What makes some of them think that I shouldn’t be there just because of my appearance?

ANSWER: Antiques have a long history of appealing to the wealthier set, especially those high-end antiques produced before 1830—what many call “authentic”antiques. In 1930, the U.S. Congress formulated a law which stipulated that all antiques had to be 100 years old or older. So at the time, 100 years old meant 1830, the date selected because of its relevance to the start of the Industrial Age.

When the law passed, the country was in the midst of the Great Depression, so only the very wealthy could afford antiques. It had been that way for well over a century. But after World War II, prosperity came to more people. By the 1960s, the wealthy were still purchasing and collecting those “authentic” antiques, but another type of antique came on the market—the furniture and accessories belonging to the Victorians. And since these were 100 years old, they certainly were antique according to the law, but antique experts and the wealthy didn’t consider them “real” antiques.

The snobbery towards antiques and antique collecting continued as unknowing novices followed articles in “American Home” magazine and bought not-so-good-looking pieces of Victorian and early 20th century furniture at flea markets and used furniture stores, stripped them down, and painted them with “antiquing” paints. Oh the horrors!

As the decades of the latter half of the 20th century continued, more and more old objects came on the market through yard and garage sales and flea markets. Now everyone with a little extra cash and a little knowledge of antiques and collectibles could get in on the act.

The wealthy who frequented the high-end shows stayed right where they were, but now some of those not-so-wealthy collectors began to go to the them for the hefty price of a ticket. Most didn’t buy anything, but they learned a lot. Unfortunately, the wine-glass toting buying patron of these shows still looked down their noses at the newbees.

There are generally three types of antique shows out there---the friendly firehouse or school show, the more elegant hotel show, and the high-end show.

You’ll find the first of these, the friendly firehouse or school show, held in a local fire company hall or the all-purpose room of an elementary school once or twice a year. Here, you’ll find lots of affordable antiques and collectibles. Prices range from as low as a few dollars up to perhaps three figures. Dealers, mostly from the surrounding region, tend to sell only at shows or out of their homes.

The more elegant hotel show comes around usually once a year and features finer items. Tables often display a myriad of small objects—Japanese Imari porcelains, Wedgewood, fine English majolica, and Staffordshire ware, along with small pieces of furniture, trunks, stained glass lamps, and so on. Dealers tend to come from a wider area, including surrounding states while prices range from two to four digits, with finer items selling for several thousand dollars.

High-end shows are extravagant affairs, both in goods and prices, and feature dealers from all over the country. For some patrons of these shows, nothing says they’ve made it better than bragging about how much they’ve spent on an antique, whether it be a piece of fine 18th-century furniture or a diamond necklace that once belonged to a princess. Patrons at these shows often think nothing of whipping out their checkbooks and writing checks for $30,000 to $40,000 for an Empire sofa or as much as a quarter million for an 18th-century Philadelphia secretary in the Chippendale style.



Many of these shows are vetted, which means the promoters guarantee everything sold there as authentic. Where’s the fun in that? Part of the thrill of the antique hunt is being able to tell for yourself if a piece is real or not by the knowledge you’ve amassed about it beforehand, especially when the dealer doesn’t have a clue. But when someone pays six figures for a piece of furniture, they damn well want to know it’s the real McCoy.

Collecting antiques and collectibles is for everyone—young, old, and in-between. There’s something out there for those in every economy level. Let the snobs look down on you in your jeans and trendy T-shirt. How do they know you didn’t just inherit a cool million from daddy.

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  La Belle Epoque in the 2020 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.

Nothing to Get Depressed About

QUESTION: My mother loves Depression Glass. She’s been collecting for over 20 years. I love the colors, but all the patterns confuse me. Other than being made during the Great Depression, why did so many companies make this type of glass and why is it so popular with collectors?

ANSWER: Of all the collectibles out there, Depression glass is one of the most popular with collectors, most likely for its rainbow of colors and its myriad of patterns. Depression glass is far from a depressing collectible. In fact, companies made it in such bright colors to raise the mood of people going through one of the worst times in their lives. They also made it affordable so that this little bit of joy could reach as many people as possible.

The common belief is that this clear, colored translucent, or opaque glassware got its name because it was made during the Great Depression. This is a bit of a misnomer because decorative glass of this type had been around since as early as 1914 and as late as 1960. However, the production of Depression glass did indeed reach its peak during the years of the Great Depression.

During the first half of the 20th century, the Ohio River Valley was the epicenter of glass production. Companies like Westmoreland and Fenton Glass had access to the raw materials and power they needed to keep their glass production costs down. Over 20 manufacturers made more than 100 patterns of Depression glass, some in entire dinner sets.

Although mass production of this low-quality molded glass made it fairly inexpensive at the time, not everyone could afford it. Everyday essentials were far more important, but thanks to glass companies like Indiana, Imperial, Federal, Jeanette, Hazel Atlas, and Anchor Hocking, the wares were available to everyone for a few pennies or nothing.

For instance, a bag of Quaker Oats flour might include a premium piece of dinnerware. The company also made laundry detergent, in which it packaged “a little extra something” to make the drudgery of  wash day more bearable. The pattern, size, and color were a mystery to the user until she opened the box. Collecting the pieces to use became a common pastime and made people’s lives a little brighter.  Other companies followed Quaker Oats’ lead and began using Depression glass as a premium to help sell their products.

Depression glass pieces also lined the shelves at five-and-ten-cent stores like Woolworth’s or if people went to the movies on Tuesday or Wednesday nights when patronage was low, they might win a set of dishes. Some theater owners handed out small pieces just for attending a show.

The Cherry Blossom pattern, made by the Jeanette Glass Company from 1930 to 1939, came in both pink and green. While most collectors of Depression glass favor the color green, it also came in a rainbow of other common colors, including crystal (clear), pink, pale blue, green, and amber. Less common colors included canary (yellow), ultramarine, jadeite (opaque pale green), delphite (opaque pale blue), cobalt blue, ruby (red), black, amethyst, and milk glass (opague white).

Later Depression Glass, made during the 1940s and 1950s, included American Prescut, sold only in clear crystal, and other patterns in ruby and forest green. The top-of-the-line pattern has always been Pink Miss America, made by the Hocking Glass Company from 1935 to 1938.

While over 100 companies made Depression Glass during the Great Depression, by the time it had ended, only half that many were still producing it. And of these, only seven—Federal, Hazel-Atlas, MacBeth-Evans, and U.S. Glass—produced this glass exclusively through the mid-1940s.

The Imperial Glass Company produced the first pattern, Fancy Colonial, in 1914, well before the Great Depresssion began. Westmoreland Glass has the distinction of making the English Hobnail pattern the longest.

The most colors made for any one pattern are 11, done for Moondrop and Rock Crystal, followed by English Hobnail by Westmoreland, Lincoln Inn by Fenton, and Floral by Jeanette, all with 10 colors each. 

Identifying Depression glass by mark can be difficult because few of the companies marked or labeled their wares. The only way to identify a maker is to know which company made the pattern. Using the numerous books and Web sites on Depression glass available today, it’s a fairly easy process. Some of the most common include Adam, American Sweetheart, Block Optic,Cherry Blossom, Dogwood, Floral, Georgian, Hobnail, Lake Como, Manhattan, Starlight, and Windsor. While some of the names reflect the style of the glass pattern itself, most do not. 

The best way to determine a genuine piece of Depression glass is to learn the pattern, dates of manufacture, colors the pattern, and any other known identifying marks. One example is the Cherry Blossom pattern by the Jeannette Glass Company, introduced in 1930 and made until 1939. The set consisted of 43 pieces different pieces, and the company made it in seven different colors—green, pink, crystal, yellow, ruby, jadeite, and dark green.

Depression glass was never made to be durable as it was only made to meet people’s immediate needs. Due to its popularity as a collectible and its breakability, Depression glass is becoming harder to find. Rare pieces often sell for several hundred dollars. Popular and expensive patterns and pieces have been reproduced, and reproductions are still being made, which has watered down the market for some patterns.

Mementos From the World of Tomorrow

QUESTION:  My grandmother gave me this item from the 1939 New York World’s Fair,  which I am guessing is a jewelry box. It had been in her possession since she visited the Fair. If you would have any information it would be greatly appreciated.

ANSWER: Corporations, makers of fine china, novelties, and toys made over 25,000 different souvenir items for the 1939 New York World’s Fair. Each represented an exhibit or the general theme of the Fair and gave fairgoers something to take back home. There were plates and puzzles, pencil sharpeners and typewriters, and even birthday candles in the shape of the Fair’s symbols—the Trylon and Perisphere.

As the Great Depression came to a close, the optimism expressed by the 1939 New York World’s Fair gave our nation hope. It was not only a look into the future, but a way to let people know about the accomplishments that had been made, even as many fought poverty and starvation.

The 1939–40 New York World's Fair, which covered 1,216 acres of Flushing Meadows, was the second most expansive American world's fair of all time, exceeded only by St. Louis's Louisiana Purchase Exposition of 1904. Sixty foreign countries participated in it, and over 44 million people attended its exhibits during its two-season run. This Fair was the first exposition to be based on the future, with an opening slogan of "Dawn of a New Day", and it allowed all visitors to take a look at "the world of tomorrow."

World’s fairs have introduced new ideas to the world ever since the first one held in London in 1851. They were momentous events and visitors to them wanted things that would make their experience at a fair memorable and lasting. Souvenirs of these fairs not only offer a look at how people lived at the time but also give us a snapshot of history.

Modern marketing techniques had been in practice since before the turn of the century. Everyone knows Coca Cola’s bold ads featuring everything from pin-up girls to Santa Claus. Marketing the New York World’s Fair wasn’t to be any different. While radio was common, television was not, so one of the ways companies advertised was through samples and giveaways. The souvenirs of the 1939 Fair provided ample opportunities for them to tout their wares to a public recently freed from the bonds of the Great Depression.

Fiesta made plates depicting a potter at his wheel, there were numerous types of hand-painted Nippon ware to choose from, and there were even knockoffs of Wedgwood and Lalique. RCA made a commemorative radio, Remington offered a portable typewriter, and Macy’s sold Dutch Girl dolls. Lighters, compacts, and ashtrays were also popular, as were coins, pins, buttons, badges, and pocket knives.

The variety of souvenirs and items from World's Fair events is seemingly endless—everything from dainty handkerchiefs to trivets. Even the most avid collector is sure to find a never-before-seen piece from time to time.

The fair opened on April 30, 1939, with 260,000 people in attending. This date coincided with the 150th anniversary of George Washington’s inauguration in Lower Manhattan as the first president of the United States.


To show off the exhibits in the best possible way, the New York World’s Fair planners  divided it into themed zones, such as the Transportation Zone. the Communications and Business Systems Zone, the Food Zone, and the Government Zone. While there were general souvenirs of the entire Fair, each zone and pavilions within it had their own special ones.

Planners chose blue and orange, the colors of New York City, as the official colors of the Fair, so many souvenirs bear these colors. Only the Trylon and Perisphere were  white. Avenues stretching out into the zones from the Theme Center featured rich colors that changed the further out they went from the center.

Each day at the fair was a special theme day, for which the Fair Corporation issued special souvenirs, including buttons, postage stamps, and first day covers, cancelled at the event honoring that special day. The fair opened on April 30, 1939, with 260,000 people in attending. This date coincided with the 150th anniversary of George Washington’s inauguration in Lower Manhattan as the first president of the United States. So this day had its share of appropriate souvenirs.

Some of the more popular pavilions included that of General Motors, Ford, and Chrysler. The railroads were another prominent exhibitor at the Fair, as well as A T&T and IBM. And each participating country, including France, had a pavilion. Most likely this jewelry box came from the French pavilion since Art Nouveau, the style of the box, was a decidedly French creation.

For more information on souvenirs of the 1939 New York World’s Fair, please read
“Souvenirs from the 1939 New York World's Fair Highly Collectible” and “1939 New York World’s Fair Lives On Through Collectibles.”

Beauty Is in the Eyes of the Beholder

QUESTION: Recently, I purchased a pressed glass plate that seems to be painted red and gold on one side. The paint is in pretty good condition, although some of it has flaked off. Did someone purposely paint this plate. I don’t want to scrape off the remaining paint until I know for sure. What can you tell me about this plate? And was the paint applied at the time of its manufacture?

ANSWER: As the old saying goes, “beauty is in the eyes of the beholder.” You bought the plate because you liked it, but the paint on it does make it look like someone was doing a bit of their own decorating. Fortunately for you, you asked about it before scraping away the paint. Your plate is what’s known as “Goofus” Glass. Sounds goofy, doesn’t it. In fact, some people call it tacky, some call it ordinary, and, yes, some call it beautiful.

Manufacturers didn’t originally call it "Goofus" glass. They had no designation of Goofus glass in their  salesmen's catalogs. They didn’t even recognize it as a specific classification of glass. Goofus glass, at its inception, was just a variety of pressed glass.

The term "Goofus" refers more to the use of unfired “cold” painted decoration to a piece of pressed glass, rather than to the glass itself. Many people believe the first users of Goofus noticed how easily the painted decoration on this glass wore away and felt that it was "goofy" or that someone had tried to "goof us."

Pressed, or pattern glass was, by the end of the 19th century, a substitute cut glass by the middle class. So the demand for pressed glass rose tremendously. To keep up with the demand, a number of new factories appeared, mostly in Pennsylvania, Ohio, West Virginia, and Indiana due to the availability of natural gas to fire their furnaces. The most prominent of these was the Northwood Glass Company, founded in 1887 in Martin's Ferry, Ohio.

One of Northwood’s original owners, Harry Northwood, later founded his own company, H. Northwood and Company in Wheeling, West Virginia in 1901. Within five years, his company had developed a reputation as America's finest glassware manufacturer.

Always innovative, Harry Northwood was probably the first to make what has come to be known as Goofus glass and, a few years later in 1908, Carnival glass.

Other companies, such as The Imperial Glass Co. of Bellaire, Ohio, focused immediately on Goofus glass. Soon others joined them, including the Crescent Glass Co. of Wellsburg, West Virginia, Lancaster Glass Company in Lancaster, Ohio, Westmoreland Glass of Grapeville, Pennsylvania, Dugan Glass Company. of Indiana, Pennsylvania,; McKee Glass Company of Jeannette, Pennsylvania, and Indiana Glass Company of Dunkirk, Indiana, which produced more Goofus glass than any other manufacturer.

Somewhere along the line, the idea to paint pressed glassware with bright colors— usually red, but sometimes green, pink, brown, orange, silver, and always some gold—gained popularity with the buying public, who scooped it up in large quantities. This popularity glass peaked between 1908 and 1918.

Manufacturers marketed Goofus glass with names evoking faraway exotic places and   wealth. Some of these included Egyptian Intaglio, Egyptian Art, Khedive (meaning "viceroys of Egypt"), Golden Oriental, Artistic Decorated, and Intaglio Art.

Because it was mass-produced and relatively cheap, retail shop owners bought it to give as a premium for buying their goods. Goofus glass was given away by every sort of business—furniture stores, car dealers, even at WW1 Bond drives. A person could buy a house and get a complete set of dishes. Or buy a new suit and get an intaglio fruit bowl. Or buy an engagement ring and get a vase or a set of dishes. Fair owners even awarded it as prizes for winning games. It was the first Carnival glass, preceding the iridized glass known as Carnival glass today.

Glass companies produced plates, bowls, vases, oil lamps, dresser sets, salt and pepper shakers and candle holders. Many of the Goofus patterns feature flowers and fruit, especially grapes, among other motifs, raised out of the surrounding glass as seen in vases, powder boxes and lamps. The pattern could also be pressed into the glass from beneath the surface providing an intaglio effect as found in Goofus plates, baskets and candy dishes.

Because of the extensive use of red, green, and gold paint, Goofus glass became known as “Mexican ware” because the colors reminded buyers of the colors in the Mexican flag.

Workers decorated the glass in one of two ways: They either covered one side or the other of the piece completely with paint, known as “All Over Decoration” or “AOD,” or they painted just the distinguishing pattern on the glass, leaving the remainder of the glass  untouched, known as "Pattern Decorated" or "PD." The more frequently seen surface textures are various "basket weave,” "fish net," and "stippled."  

By the beginning of the Great Depression, Goofus glass production had come to an end.

It’s difficult to find a piece of Goofus glass in perfect condition whether the paint was applied to the outside or the inside of a piece. The worn paint became so unsightly it was washed away by the original or subsequent owners.

Collectors pay more to own pieces made for special occasions or to commemorate a World’s Fair or another event than other nondescript pieces. They also look for complete sets such as a large berry bowl with matching smaller bowls. Goofus collectors seek out rare oil lamps complete with glass shade and matching base. Of course, Goofus glass in all shapes and forms in great condition with very little paint wear will bring a much better price than a piece with considerable paint loss.

Step Right Up and Try Your Luck

QUESTION: I just inherited my mother’s collection of carnival glass. I always admired it while growing up, but she never really told me much about it. Now that I have it, I’d like to continue collecting, but I have no idea where to begin. Can you give me some background on carnival glass and also some tips on growing and maintaining my mother’s collection?

ANSWER: Carnival Glass is pressed glass—glass that has been formed by being pressed into a mold while in a hot molten form—that has had an iridescent coating applied. As it cools, it takes on the shape and detail of the mold. Once removed from the mold, and while still somewhat hot, the glassmaker sprays it with metallic salts in liquid form which gives it an "oil-on-water" multicolor appearance. He then refires the piece.

The Fenton Glass of Williamston, West Virginia, first produced carnival glass, which it called "iridescent ware," in 1907. The company called its first line Iridill and labeled it "Venetian Art."  They wanted to mass-produce a product that could compete with the expensive, iridescent art glass made by Tiffany and Steuben. Though half a dozen companies, including Northwood, Imperial, Millersburg, Westmoreland, Dugan, and Cambridge, originally made it, Fenton did so longer than any of the others.

Competition became so fierce between makers that new patterns appeared regularly, so each company ended up making a wide range of patterns of most types adding up to a panoply of choice.

Its eye-catching multicolor shimmer seems to change colors when viewed at different angles. Over the years, carnival glass has been dubbed "Taffeta," "Cinderella," and "Poor Man's Tiffany," as it gave the average housewife the ability to adorn her home with fancy vases and decorative bowls a prices she could afford.
   
But this new type of glass didn’t catch on with the public the way Fenton had hoped, especially since they tried pricing it higher than their regular pieces without the carnival finish. Unfortunately, most consumers didn't see carnival glass as quality glass and refused to pay higher prices for it. Other glass manufacturers soon began making carnival glass using the same iridization techniques. This overloaded the market and soon prices plummeted. To get rid of their excess inventory, carnival glass makers at first began giving it away to carnival owners to use as prizes, but later sold sample pieces to them in hopes that winners could then purchase additional items in the same or a similar pattern. Together all the manufacturers produced over 2,000 different patterns.

This new market for carnival glass was a boon for Fenton, which produced iridescent ware in 150 patterns up until the late 1920s. Carnival glass sold for pennies at five-and-dime stores, and businesses could buy it wholesale at minimal cost. This allowed movie theaters and grocery stores to give it away as premiums. For example, Imperial Glass struck lucrative deals with companies like Woolsworth's and Quaker Oats.

Fenton's earliest patterns included Waterlily and Cattails, Vintage, Butterfly and Berries, Peacock Tail, Ribbon Tie, Wreath of Roses, Thistle, and Diamond and Rib. Among Northwood's first glass patterns were Waterlily and Cattails, Cherry and Cable, and Valentine, but Grape and Cable became their most popular. Millersburg collectors look for Hobstar and Feather, Blackberry Wreath, and Rays and Ribbons.

Collectors call the most popular color of carnival glass “marigold,” although the companies, themselves, didn’t call it that. Marigold has a clear glass base and is the most easily recognizable carnival color. The final surface colors of marigold are mostly a bright orange-gold turning perhaps to copper with small areas showing rainbow or 'oil-slick' highlights. The highlights appear mostly on ridges in the pattern and vary in strength according to the light.

Carnival glass is highly collectible. Prices vary widely, with some pieces worth very little, while other, rare items command thousands of dollars.

However, identifying carnival glass can be a challenge. It involves matching patterns, colors, sheen, edges, and thickness from information contained in old manufacturer's trade catalogs, other known examples, or other reference material. Many manufacturers didn’t include a maker's mark on their product, and some did for only part of the time they produced the glass. Since many manufacturers produced close copies of their rivals' popular patterns, carnival glass identification can be difficult even for an expert.

By 1925, carnival glass started to fall out of favor with Americans, and many U.S. glass companies quit producing it during the Great Depression.

A True Premium Collectible

QUESTION: My mother died recently and left me, among other things, her set of Autumn Leaf china. When I was a kid, I remember her setting our dining room table with this colorful china on holidays like Thanksgiving and Christmas, but especially Thanksgiving because the pattern seemed to complement the occasion. The set is still in pretty good condition since she only used it on special occasions. Do you know if this has any value today? While I like it and it does bring back memories, it seems a bit old-fashioned for today’s use.

ANSWER: Your Autumn Leaf china definitely has value today. In fact, it’s held its value over the last 20 years. However, it all depends which types of pieces you have and on their condition.

The Hall China Co. began producing this decal pattern and offering it exclusively through the Jewel Tea Co. of Barrington, Illinois, in 1936, during the Great Depression. This door-to-door sales firm offered Autumn Leaf pieces as premiums for the purchase of other items, such as teas, coffee, grocery items, and laundry products.

During that time, this china was popular with housewives, who literally had to watch every penny. And the only way for them to obtain pieces were as premiums from Jewel Tea. Since the china was of good quality and had a somewhat elegant and colorful design, many housewives considered Hall’s Autumn Leaf Dinnerware as their good dishes, to be used primarily for company. Most pieces stayed in excellent condition because they washed them and put them away immediately after each use.

Determining the value of this dinnerware can be tricky. Prices vary from coast to coast and in different parts of the country. Since most pieces of this pattern would have been used, even as good dishes, they’re usually not sold in mint condition. This means that your mother’s dishes would only sell for half of the mint price. Also, Hall produced many of the more common pieces from 1936 all the way to 1976, a span of 40 years.

Generally, it seems the more odd a piece of Autumn Leaf is, the more it’s worth. Age doesn’t seem to enter into the equation. So this china is a pure collectible.

For instance, a dozen cups and saucers, labeled as “Breakfast cups and saucers” in Jewel Tea advertisements, brings about $120, or $10 each. An Irish coffee mug, on the other hand, sells for around $40. Four berry bowls also sell for $10 apiece while an oval meat platter brings only about $10.

The big money is in some of the more unusual pieces. Since Autumn Leaf sold as a premium, housewives bought a piece or two at a time—a cup and saucer, a dinner plate, a water pitcher, etc. They bought what they needed in quantities they needed. Jewel Tea never sold this china in complete sets. So the number of the more unique pieces sold—coffee and teapots, mixing bowls, salad bowls, cake plates, and such—was smaller in comparison to ordinary place settings.

One of the hottest items is the cookie jar. Introduced in 1957, the "modern-style" cookie jar has two big handles which Jewel liked to call "easy grip." The original selling price of the cookie jar was only $3.That price has since soared to nearly $200. An earlier cookie jar, introduced for Christmas 1936, sold for $1.50 and Jewel Tea offered it for only three years. Ironically, it sells for about the same price as the other jar.

Another item that’s at the top of most Autumn Leaf collectors’ wish lists is the butter dish. These came in several styles, sized to fit either a quarter pound or a whole pound of butter. The first one to be offered by Jewel Tea was a one-pound model with a long handle on the top. Introduced in 1959, it sold for $3.25. But its style proved to be inconvenient, so the company discontinued it after only one season. As with any item offered by Jewel Tea, those which housewives disapproved of were quickly discontinued. Hall produced improved versions of its butter dish with easier-to-grip bud or "bud ray" knobs. Today, collectors can’t buy a butter dish for less than $150. Those with special “wings” handles sell for over $2,000.

The Autumn Leaf pattern includes many types of accessories, including several clocks. One style, made from a regular Autumn Leaf cake plate, produced from 1956-1959, now sells for $400 to $550.

Newlywed Furniture

QUESTION: My parents bought a bedroom set when they got married. They kept it all their married life. Now that they’ve both passed on, it’s come to me. It’s of a very unusual design with lines that look similar to Art Deco, with curves and veneer decoration. Can you tell me what this is?

ANSWER: The photos you sent identify your bedroom set as what was commonly referred to as “waterfall” furniture. Because it was relatively inexpensive, it became the style of choice for middle class newlyweds. In 1930, a set like this would have cost between $19.95 and $39.95. More luxurious sets sold for slightly more.

In the late 19th century, most American furniture makers produced pieces from solid wood. This continued until after World War I when the conservation movement, led by Teddy Roosevelt, gained prominence and the invention of lumber core plywood signaled the end of this practice. Plywood consisted of four layers of wood, two on each side, glued to a core of inexpensive lumber. Makers glued the layers at right angles to each other for added strength.

Before 1930, manufacturers prided themselves in producing pieces with sometimes up to 11 layers of wood, especially for curved door panels. Working with curved surfaces was up to this time a very painstaking and expensive process.

But then came the Great Depression. With so many people struggling just to get by, furniture makers had to adapt. Families continued to grow and there became a demand for furniture from the newlywed market. Most new couples couldn’t afford to guy their own house, so all they had was a room in usually the bride’s parents house. The "Bedroom Suite" was probably the only thing that they owned, resulting in inordinate sentimental attachment to the furniture and a reluctance to change even when finances improved.

Because of the furniture’s free-form and curvy lines, people called it “waterfall” furniture. There are all types of pieces, including chairs, desks, end tables, clothes chests. Waterfall furniture doesn’t have a  frame. It relies on the strength of the molded plywood to give it structure, enabling makers to also give it  curved or rounded horizontal edges. Manufacturers employed an unusual veneer design called bookmatching on the fronts of pieces and ran the grain of the veneer from front to back on the top surfaces. Drawers featured Bakelite handles.

The inspiration for waterfall furniture came from handmade furniture emanating from the modernist movements in France, Austria and Germany, known as Art Moderne. Makers copied the designs of the ultra-exclusive French firm of Sue et Mare. Early examples, designed to appeal to broad audiences. mix Victorian motifs with modernist themes,  .

The style is most frequently seen in Bedroom Suites, although manufacturers produced dining sets and even billiard tables. A basic bedroom set included a bed, vanity and bench, and chest of drawers. More deluxe, thus more expensive, sets included nightstands, a dresser, a cedar chest, and a armoire/chifferobe. A full dining room set included a table with removable leaves big enough to seat six people, five chairs, china cabinet, and buffet, all of which sold for $103.50.

Today, a complete basic bedroom suite sells for $800-$900 in reasonable condition. The hardest pieces to find are nightstands and vanity benches. Cedar chests go for $400 and up.

Chugging Along

QUESTION: Every Christmas since I can remember, our family has got out an old tine train set that belonged to my grandfather and set it up under the Christmas tree. It still runs and is in good condition. All we know is that the set was made by a German company named Märklin. What can you tell us about this company?

ANSWER: From the looks of your train, I’d say it dates from the 1920s or 1930s. At the time, these trains were more toys than authentic models. Their design reflects the boxy look of European trains rather than the sleeker, simpler lines of American ones.

As the 1930s dawned, the Great Depressiion forced millions of people out of work. Owning an electric toy train was the ultimate. Kids even loved observing the trains displayed in department store windows. What could be more rewarding to a young boy than to receive a model train for Christmas? But these little trains were expensive so were out of reach of many families. 

Manufacturers lovingly handcrafted the earliest toy trains, made prior to 1850, of shining brass to run on the bare floor. But by the late 1830's, a number of prosperous toy companies began producing toy trains.  Around 1856, George W. Brown, a Connecticut firm, produced the first self-propelled train made of iron and  coated with tin to prevent rust. A wind up clockwork motor drove the engine and carriages on plush Victorian carpets on straight or curved tracks.

In 1859, tin smith Theodor Friedrich Wilhelm Märklin began producing doll house accessories made of lacquered tinplate. Although the Märklin Toy Company of Germany originally specialised in doll house accessories, It became known for its toy trains.

By the 1870's, the most popular trains were powered by steam. Utilizing alcohol or sometimes coal to propel. they duplicated the might and energy of their big, big brothers.

The tin toy makers in both Europe and the U.S. realized that profits could be made by selling toy trains to the masses and jumped on the toy model bandwagon. Early on, they set their sights on wealthier people by promoting their products’ snob appeal.

In 1891, Märklin began producing wind-up toy trains that ran on expandable sectional tracks and the following year created a sensation by making the first figure eight track layout. It also established a track gauge settings numbered from 0 to 4, which it presented that year at the Leipzig Toy Fair. These track gauges soon became international standards. Märklin began producing 0 gauge trains as early as 1895 and H0 scale in 1935. In 1972, the company rolled out diminutive Z scale trains, the smallest in the world in competition to  Arnold Rapido's introduction of N gauge.

Märklin’s owners noted that toy trains, like doll houses, offered the potential for future profits when, after the initial purchase, owners would expand by purchasing accessories for years to come. So, the company offered additional rolling stock and track with which to expand its boxed sets.

Electric trains became commercially successful by 1897 when the Cincinnati, Ohio, firm of Carlisle and Finch manufactured and sold a two-gauge unit for only three dollars, It also was the first to issue a model railway builder's instruction manual.

Many consider the years prior to World War I to be the "Golden Age" of quality model trains. As the war approached, manufacturers converted their factories to produce war monitions, rifles and replacement parts. The Depression that followed the war precluded many of these operators from coming back and many disappeared.

But Märklin continued producing toy trains until May 11, 2006 when Kingsbridge, a London venture capital company, took it over. The company filed for bankruptcy on February 4, 2009, but on February 5, 2010, after purchasing the rival LGB Company, announced it had returned to profitable state. Many consider Märklin's older trains highly collectible today.