Silent Greeters to the World of Tobacco

 

QUESTION: When I was a little boy, my mother used to take me shopping with her in our little midwestern town. On the way to the emporium, we used to pass by a strange looking shop. I didn’t like to go by it because there was a large fearsome figure standing out front. The figure was a large Indian—yes, back then we called them Indians— carved in wood. He had a gruesome look on his face which scared me, so I covered my eyes as we walked passed. I always wondered why this shop had such a frightening figure out front. Today, most tobacco shops are low key and look like any other shop on the street. What is the origin of the cigar-store Indian? And why did tobacco shop owners choose an Indian to stand out front?  

ANSWER: Many people today haven’t ever seen an authentic cigar-store Indian. And with the sensitive climate about Native Americans, they probably never will. But back in the 19th century they were a common site along the main streets of small towns across the country.  

Cigar-store Indians, with their serious chiseled faces, conveyed a sense of grandeur as they greeted customers to tobacco shops. Designed to capture the attention of passersby, most of whom in the 19th century lacked a shared common language, the sidewalk wooden Indian became a symbol of the tobacco retail business. Because American Indians introduced tobacco to the Europeans as early as the 17th century, European tobacconists began using figures of American Indians to advertise their shops. 

Most of these silent greeters stood just outside the door, often mounted on wheels so that they could be rolled in and out. The origin of the wooden Indian dates back to England in 1617, when tobacco shop owners placed small wooden figures called "Virginie Men," depicted as black men wearing headdresses and kilts made of tobacco leaves, on countertops to represent tobacco companies.

Eventually, the European cigar-store figure began to take on a more authentic yet highly stylized appearance, and by the time these figures arrived in America in the late 18th century, they had become authentic Indians, fairly accurate and beautifully carved.

Carvers of these shop figures came from among the makers of ship figureheads. During the late 19th century, the demise of the clipper ship era forced figurehead carvers out of business. These craftsmen gradually turned to producing wooden Indians. Production flourished from about 1840 to the end of the century. In the 1890s, city ordinances required that figures be confined to the interiors of shops, and gradually the statues went out of use. Instead of attracting customers on the outside, they served as mere decoration inside.

While a few makers produced cigar-store Indians of cast iron, most used wood. Carvers used axes, chisels, and mallets on white pine or even quartered ships’ masts, then painted the completed figures in a variety of colors and designs.

While some of these wooden Indians appeared inviting, happily greeting customers, others appeared defensive, as if guarding the store from shoplifters, thieves, and "no smoking" ordinances.

American carvers sculpted Indian chiefs, braves, princesses and Indian maidens, sometimes with boarded papooses. Most of these displayed some form of tobacco in their hands or on their clothing. They generally depicted stereotypical chiefs and squaws, clothed in fringed buckskins, draped with blankets, decorated with feathered headdresses, and sometimes shown holding tomahawks or bows, arrows and spears. Their facial features rarely resembled members of any particular American Indian tribe.

Female wooden Indians, also known as “Pocahontas,” appeared four times more than their male counterparts in classical or Egyptian-inspired poses. Carvers occasionally donned them with headdresses of tobacco leaves instead of feathers and dressed their male figures in the traditional war bonnets of the Plains Indians.

Carvers produced about 300 cigar-store Indians annually—yet there are relatively few original ones left today. Those that do exist reside in museums and in private collections. Historians believe carvers created over 100,000 cigar-store Indians. Since the carvers all competed with each other for the tobacconists' business, each tried to out do the other in individuality, versatility and depth. A few artists even used Native Americans as models.

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

Is Nemadji Pottery Calling You?

 

QUESTION: On a trip out West I traveled through southern Colorado. I stopped at an antique shop and saw a unique vase covered with swirls of what looked like colored paint. The dealer said the vase was an example of Nemadji pottery and that it had been made by Native Americans but wasn’t sure from what tribe. What can you tell me about my vase?

ANSWER: Nemadji pottery originated in the Arrowhead region of Minnesota and is touted to be Native American pottery. But there’s nothing Native American about it. In fact, some antiques dealers sell this pottery under the belief that it is Native American.

Nemadji pottery is unglazed rustic pottery with colorful swirled designs on the outside. No two piece look alike. They all have unique colors and come in a variety of forms. Reminiscent of ancient Indian pottery, it's not surprising the colorful swirl pots became one of America's hottest tourist collectibles.

Clayton James Dodge founded the Nemadji Tile and Pottery Company in Moose Lake, Minnesota, in 1923 to make Arts and Crafts ceramic tiles. He shipped its trademark "fire flash" earthenware tile made from regional clays by railroad to destinations across the country. During its peak years, the demand was so strong a crew of 30 men worked three shifts to produce the colorful tile for homes and churches. But the Stock Market Crash of 1929 put an end to sales.

Determined to ride out the Great Depression, Dodge developed an inexpensive tourist pottery that could be mass-produced and shipped from his Moose Lake factory. But to create it, he needed to find a master ceramist. That person was Eric Hellman, a Danish immigrant who had earned a bachelor's degree in ceramic engineering at the Technical Engineering Institute in Copenhagen. Hellman had previously worked at porcelain houses in Copenhagen and Meissen, Germany. But by the time he met Dodge, he had given up throwing pots for fear the clay dust would destroy his lungs. The promise of steady work and a paycheck changed that.

Within the year Hellman developed a line of hand-thrown pottery for Dodge using the colorful clays taken from the hanks of the Nemadji River northeast of Moose Lake. He created molds from these original pieces, then taught unskilled laborers to recreate them by the slip cast method. Hellman also introduced a "cold striped painting process," which gave Nemadji pottery its distinctive look as no two pots were alike.

To apply the paints, workers filled a galvanized wash-tub with water and a dash of vinegar. They then gently floated onto the water small droplets of oil-based enamel paint. By blowing gently across the paint, workers caused the droplets to merge creating colorful bands of paint. Blowing down into the middle of these floating bands created a circle of clear water into which a pot. was lowered by hand. When the blowing stopped the paint returned to the center of the tub. The worker then lifted the pot out with a twisting motion creating a swirl design.

 Pottery created between 1929 and 1972 was made with red to buff colored clays found near Moose Lake. Workers treated the interiors of these early pots with a quick swish of shellac, recycled from pot to pot, creating a beautiful patina. 

Once Hellman had created this unique pottery, he left the company. That's when Dodgers began promoting the pottery in earnest. He realized he had a good product but needed a hook to grab a share of the tourist market.

For that, Dodge sought to tie his pottery's to Minnesota's Indian Country. A practicing attorney, Dodge used his knowledge of the law and talents at creative writing to carefully create a legend describing the geology of Minnesota's Arrowhead region, its first primitive ancestors, and the remnants of ancient Native American pottery discovered there. While he never said Indians made Nemadji, Dodge drew a dotted line between the Ojibwa tribe and his pottery. And shopkeepers and tourists connected the dots.

The legend Dodge created went something like this .”The name "Nemadji" is the Ojibway word for “left-handed.” Nemadji pottery is made by skilled craftsmen whose deft hands throw pieces of clay on potters' wheels just as the Chinese centuries ago turned their pottery, which is today priceless. These craftsmen are under the three-thin of a skilled ceramist whose life has been spent in the production of pottery of an artistic type. Nemadji pottery expresses the soul of the Redman, who, though long since gone to the Happy Hunting Ground, still haunts our shores and woods."

Dodge had his legend printed on a pad of paper and sent with his pottery to trading posts and tourist stops, including the famed Wall Drug Store in South Dakota. When a pot sold, the shopkeeper tore a printed legend from the pad and gave it to the customer. Eager to purchase a small token of their trips to “Indian Country” and the Wild West, many tourists didn't hesitate to exchanged their nickels and quarters for a piece of Nemadji "Indian" Pottery with documentation of its noble history.

Since Nemadji sounded like an Native American tribal name, most people thought it was genuine Native American pottery. Dodge was clever enough say his pottery was “inspired” by Native American designs. And the tourists loved it. 

Dodge created rubber stamps to mark each pot. One of the earliest stamp marks features the image of a Native American arrowhead encircled by the words “Nemadji Pottery Moose Lake, Minnesota.“ Another early stamp reads handmade “Nemadji Indian Pottery from Native Clay.”

Most marks carry the words Nemadji Pottery or Nemadji Indian Pottery. Some are stamped with the words “Badlands Pottery of Nemadji Blackhills Pottery,.” used on pieces sold at Wall Drug in South Dakota during the 1930s and 1940s.

After 1950, pottery marks included the words Nemadji potting and the image of either an Indian head or an Indian in a canoe.

Over time, people misplaced the small pieces of paper from the pad and memories faded_ Eventually the owners of Nemadji referred to it simply as "Indian Pottery" and the Indian myth became reality.

But myths die hard, and today Nemadji pottery often appears for sale in antique stores and on the Internet as Indian-made, ancient Indian, or as rare Ojibwa pottery.

Legends aside, Nemadji commands moderate prices in the collectibles market. And as the interest in this true American tourist pottery increases, so do the prices. Small hand-thrown Nemadji pieces made by Eric Hellman in Moose Lake in the early 1930s have recently sold in the $100 range. Nemadji pottery produced before World War Il using red clays dug from the banks of the Nemadji River command prices ranging from $75 to $95.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Sears Catalogue and the items sold in it in "Sears' Book of Bargains" in the 2021 Fall 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 Artful Draw of Citrus Labels

 

QUESTION: While browsing at my local thrift shop the other day, I came across three framed citrus prints, the kind that used to be pasted on citrus shipping crates. I scooped them right up. They’ve made a nice addition to my kitchen. I hadn’t thought much about these labels before I saw these framed ones. Are they collectible? If so, are they worth collecting? I sure would love to add to the three I purchased. 

ANSWER: Citrus labels, once quite common, have long since disappeared. Both California and Florida growers used these labels to identify their products from the 1880s to the 1950s. Pasted on the ends of these wooden crates, these 10” X 11” labels or 5 ½” X 11” strips identified the brand. And today, they’ve become a hot and affordable collectible.

Christopher Columbus first introduced citrus seeds to what’s now Florida in 1493. Ponce de Leon sailed with Columbus and was the first European to explore Florida in 1513, bringing with him citrus seeds and planting them near the settlement of St. Augustine. Spaniards and native Indians continued to grow and cultivate the fruit, as citrus thrived in Florida’s warm climate and sandy soil.

But it took another 300 years before citrus became an industry. By then, newly arriving homesteaders began relocating to Florida, planting citrus trees around their homesteads. Pioneer began selling the fruit, then bringing it to a common location to be transported by steamships. Steamers collected barrels of fruit packed in Spanish moss at various ports along Florida’s coasts and waterways.

It was the coming of the railroads that encouraged the creation of those colorful, imaginative labels. Oranges had been grown for a long time in Florida and even longer in California, but it wasn't until the completion of railroad spur lines that it became possible to ship the perishable citrus fruit nationwide. By 1875, growers began using 90-pound wooden crates. Eager to capture the attention of wholesale buyers in Eastern and Midwestern produce terminals, the growers began pasting eye-catching paper labels to the ends of the crates.

California growers were the first to use color lithography to print their packing labels. And it was from them that the Florida growers began to see how the colorful labels could be used to successfully market their produce. From 1904 until the 1940s, the growers designed citrus labels to differentiate among the competition for a particular grower or shipper. Artists and lithographers collaborated to help buyers remember and identify their brand. 

The old-time produce market was a crowded place, so having labels with eye-appealing, interesting artwork was a must. It's the same rich colors and striking designs that used to grab the attention of the citrus buyers which attract today’s collectors.

Label colors sometimes served another purpose. Each packing house used several different labels, and at some citrus groves the label background colors used were of special significance. Buyers could tell at a glance the grade of the fruit. Blue indicated top quality fruit, red indicated second grade fruit, and yellow or gold indicated  third-grade fruit.

Label art changed with the times. Fruit crate art can be divided into three periods—Naturalism, from 1885 to 1920, Advertising, from 1920 to 1935, and Commercial Art, from 1935 to 1955. In Florida, early labels seemed designed to appeal especially to housewives, with pastel-tinted illustrations depicting flowers or babies. Following these came label illustrations showing Indians, planes, trains, hunting scenes, and pretty women, all directed towards the all-male buyers at Northern auctions.

Many early labels during the Naturalism era were known as "vanity labels" because they depicted the growers themselves, their families, or their orange groves.

In 1915, the general public became aware of vitamins and the health benefits of the orange's Vitamin C content appeared in label art. Labels from the Advertising era promoted the use of orange juice for health, with names like "Juicy-o," "Juice King," and "Full o' Juice.”

Through label design, artists depicted a wide range of subjects, including the romance of Florida with sunsets, sailboats, and “good, healthy living” themes. Scenic views of Florida with orange groves, orange trees, treasure chests filled with oranges furthered the image of the fruit. The Golden Sunset brand portrayed palm trees and a warm, glowing sunset. Consumers and buyers were getting the message about the good life in Florida which also gave a boost to tourism.

Label artists also pictured Florida flowers. The Gardenia Brand and the Azalea Brand adorned Jacksonville’s W.H. Clark Fruit label. The Kissimmee Citrus Grower’s Association used the Florida Cowboy brand.

Themes of wildlife were also popular with birds, alligators, and even fish. Brooksville’s Blue Heron Brand portrayed the majestic Florida bird and Frostproof’s Ibis Brand displayed the pink-billed white bird. St. Petersburg’s Milne-O’Berry Packing Company developed a label with the classic tarpon called the Silver King Brand.

Citrus labels even promoted Indian River’s Harvey’s Groves, depicting a fertile and luscious growing region. The Polk O Dot Brand created a label with a golden-haired child from the Polk County Citrus Exchange.

It was in the 1940's that the packing houses in both Florida and California ended the 60-odd year tradition of marking their products with colorful labels on the ends of wooden crates. With the advent of World War II, wood used to build crates became both scarce and expensive

By the time the 1950's rolled around, most growers and packers tossed away or burned their unused labels. Who would have dreamed that those old scraps of paper would someday be collectors' items?

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

Fulfilling the Need for Warmth and Comfort

QUESTION: On a recent road trip through the Southwest, I stopped at a flea market in Arizona where I found an old Indian blanket in black and white on a red background which I purchased for my bed back home. It looked to be in good shape and the price was right. Can you tell me which tribe may have made it and perhaps how old it is?

ANSWER: While your blanket may look like it had been made by one of the Native American tribes in the area, it actually wasn’t. Contrary to what most people think, blankets like this—known as American Indian trade blankets—were commercially machine-woven for the Native American market. Prior to the production of these blankets, Native Americans provided  warmth for themselves using natural materials and traditional weaving techniques.

Native Americans had long engaged in intertribal trading for useful items, but it was the colorful European goods that caught their attention. Over time, traders upgraded their goods from beads, looking glasses, and fish hooks to more practical items such as metal axes and cookware, flintlock rifles, and blankets. To trade a beaver skin or two for a durable woolen European blanket seemed fair to 18th and 19th-century Native Americans. Making a robe from an elk, deer, or buffalo hide was a time consuming, labor intensive process.

It was the French traders who began trading blankets as a result of their insatiable need for beaver pelts in the early l7º-century in the St. Lawrence River area. By 1780, the British Hudson's Bay Company soon followed suit.

Blanket trading soon spread across America. The Hudson's Bay Company shipped hundreds of blankets to St. Louis, the last supply outpost for those venturing westward in the 1820s and 1830s. While those heading to the Rocky Mountains trapped their own beavers, those going north into the Upper Missouri region traded for beaver pelts with the Native Americans

The early Hudson's Bay Company trade blankets were a solid color with a wide darker band near each end. They sold their thick, striped blankets to trappers who, in turn, traded them to the Blackfeet and Northern Plains Indians.

Like any successful product, Hudson's Bay Company trade blankets attracted imitators. While some copied the Bay's blanket style, especially the bright multicolor pattern introduced around 1820, other companies duplicated geometric Indian designs.

By 1845 there were dozens of woolen manufacturers in America, but only 11 who made blankets, and just one, the Buffalo Manufacturing Company, which made Indian-style blankets.

The introduction of the Jacquard loom in the 1880s created a boon to the blanket business. It enabled blankets to have two sides and launched what historians and collectors call the 'Golden Age" of the American Indian trade blanket that lasted from 1880 to 1930.

Eventually, five major woolen mills began making Indian trade blankets in the United States during the latter part of the 19th century—J. Capps and Sons, Oregon City Woolen Mills, Buell Manufacturing Company, Racine Woolen Mills, and Pendleton Woolen Mills. Another, the Beacon Manufacturing Company of North Carolina, made Indian-style blankets for the American consumer.

Of the above makers, Pendleton is the most familiar label. It’s also the only one still in existence. The company credits its early success to marketing its blankets directly to Native American reservations through trading posts and producing colors and designs acceptable to specific tribes.

By the late 19th century, most Native Americans had settled on reservations. Trading posts became the distribution points for food, jewelry, clothes and, of course, blankets. Through the trading posts, the English and American woolen mills found a built-in market for their blankets, the quality and designs of which Native Americans appreciated. Eager to please their Native American customers, many mills sent designers to live among the Indians in order to learn what designs and colors would appeal to the different tribes and pueblos across the United States and Canada. From the beginning, Pendleton produced high-quality blankets that eventually became the favorite among Native Americans.

Unlike Europeans, many native people became bonded with their blankets day and night. The fact that they were made by someone else made no difference.

They gave blankets as gifts to celebrate births, marriages, and christenings. They also used blankets to pay off debts, to show gratitude, or to indicate status. And some used them to provide temporary shelter, as curtains or awnings, or for warmth and adornment. Native Americans cradled their babies in blankets, danced in blankets, and were often buried in blankets.

The name Pendleton became a universal and generic name for any of these distinctively patterned blankets, even those made by other mills. Today, collectors seek out pre-World War II blankets for their light weight and warmth.


To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about  the Industrial Age n the 2020 Winter Edition, "The Wonders of the Industrial Age," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

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.