A Place to Hang a Pocket Watch for the Night

 

QUESTION: Recently, while browsing a local antique show, I came across a dealer with a display of oddly looking little pieces. They didn’t seem to have any function and each had a large hole or cavity, so I asked her what they were. She said they were pocket watch holders. I had never seen anything like them before since pocket watches went out of style in the mid 20th century. Why would a person need a pocket watch holder? Wouldn’t they just place their pocket watch on a chest top or nightstand at the end of the day? What can you tell me about these curious little items?

ANSWER: During the 19th Century people used pocket watch holders, often referred to as a watch hutches, to hang their pocket watches in overnight to protect them from loss or damage—it’s better for the watch mechanism if it hangs vertically rather than lying flat. These watch holders also converted any pocket watch into small table or mantel clocks in a room that didn't contain a clock. They also made perfect bedside clocks, before the advent of alarm clocks.

During the second half of the 19th Century, cast iron was the most common material for making pocket watch holders. Artisans covered these unsightly cast pieces with gilded bronze to simulate gold. Artisans sculpted the original designs to represent forms in nature, such as vines and leaves or figural representations of country life. Mounted on a marble base and standing between 7 and 8 inches tall, they were quite heavy.

Each holder featured either a round frame with a metal pocket in which to place the watch, or a metal hook from which to hang it. Fanciful designs often featured Baroque cherubs.

Craftsmen cast less expensive versions in spelter, a heavy zinc and lead alloy, over which they applied a bronze wash or brightly colored paint. They sculpted the originals of animals or single figurines. One example shows a peasant girl carrying a garland wreath. Another depicts a young girl in a sheer, swirling dress which swirls in front to form a tray for cufflinks, watch chain, or coins. Still another example, depicts a parrot either about to land on or take off from a branch and painted a bright chartreuse and red.

The French called them porte montre, meaning “watch stand.” Parisian artisans fashioned ornate watch holders for wealthy travelers visiting Paris on the Grand Tour. Pocket watches were a necessity during this era and fine shops along the Palais Royal specialized in selling unusual and whimsical accessories to hold pocket watches at the end of the day.

These holders came in a variety of decorative styles, from Neoclassical to Regency and on to the opulence of Napoleon III. After the 1860s, watch holder makers explored the styles of the day, such as Rococo Revival and Renaissance Revival. As the 20th century dawned, artisans created holders in the styles of Art Nouveau and Arts and Crafts—and by the mid-1920s, Art Deco.

Parisian artisans created some of the most elaborate pocket watch holders. Resembling a larger version of the famed Limoge porcelain box, these became known as a casque porte montre, or pocket watch casket.

By the late 19th century watch holders could be found in a vast variety of shapes and forms. Champlevé, an enameling technique in which craftsmen carved, etched, die struck, or cast troughs into the surface of a metal object, then filled these troughs with vitreous enamel. was especially popular. After the initial preparation, they then fired the piece until the enamel fused, and when cooled, polished the surface of the object. The uncarved portions of the original surface remained visible as a frame for the enamel designs. The name, champlevé comes from the French for "raised field," or background, though the technique in practice lowers the area to be enameled rather than raising the rest of the surface.

Developed in the late 19th Century, these little gems usually often featured a beveled glass box mounted on sculpted brass legs. While some had an eglomise, or back painted view of Paris, most were clear glass.

One fine example is a French cristal d' opale rose “hortensia” or “gorge de pigeon,” hand embellished with raised enamel flowers and gilt accents. The rich iridescent pink “hortensia” opaline glass is beautifully supported by delicate ormolu mounts.

One of the more unusual examples of a watch holder originated during the gilded age of Napoleon III. Made in the form of a soldier's helmet which sits on a white marble base, its hand cut gilded brass is meticulously tooled to form the front and back of the hat. The crown of the helmet is of white opaline, with a gilded brass finial. It has a hand tooled gilded mount at the bottom. The helmet top opens to reveal a pocket watch holder mounted with a gilded brass frame. A "U" shaped hook at the top holds the watch while the interior, lined with red velvet, is typical of this opulent period.

Pocket watch holder makers also produced dramatic designs drawn from Nature. On one example, an eagle with its wings outspread and perched on a festoon of arrows and laurel leaves, holds an elongated hook. The top of the piece has a very large cartouche made of two curved cornucopia and a central swan, with neck curved downward, perched on a fleur de lis. A half-moon festoon of laurel leaves flow from one cornucopia to the other.

Also originating in Paris is cast bronze watch holder, designed by 19th-century French artist, Emile Joseph Cartier, featuring a little bird alighting atop a cascading vine of leaves which spill onto the base of the bottom mount. The detail of the little bird—its feathers, sweet expression, and outstretched wings give him a very lifelike appearance. In his beak he holds a curved stick onto which to hang a watch. A half-egg shape bowl, ornamented with leaves and berries, which could hold coins or other jewelry items, rests below him.

Yet another, made of bronze/metal, features painted detailing to give the effect of fine porcelain. The chubby little body of a cherub with his hands outstretched stands on a cradle made from an egg. He has delicate wings and wears a quiver around his waist, as well as delicate detailing to his fingers and toes and the feathers of his wings. His bow serves as the support for the pocket watch, which hangs within the sculpture design.

Specifically designed and carved as souvenirs are a group of pocket watch holders from towns in the 19th-century "Black Forest" area of Switzerland, Germany, parts of France and Italy, where they pleased travelers on the Grand Tour. These hand carved treasures range from whimsical small bears to large watch holders and wall plaques showing the most realistic anatomical studies of stag, fowl, and "fruits of the hunt."

One of the most important French artists of the 1920s, Maurice Frecourt, known for his animal sculptures, produced watch holders in the sleek style of Art Deco. After the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris in 1925, designers embraced the geometric style of Art Deco. One of his watch holders features a stylized bird standing at the edge of a bowl with its wings up and touching and mounted on a black and green veined piece of octagonal marble. He engraved this piece with detailed feathers both in front and in the back.

Some pocket watch holders imitated other clock cases, only in miniature. Each evening the pocket watch owner placed his watch into the hole where the clock face would be.

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 "Return to Toyland" in the 2024 Holiday 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.

Sorting Through the Often Confusing World of Antiques

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Antiques or Not—That is the Question

QUESTION: How do I find out if items I have are really antiques?  Do dealers need pictures to come look at my pieces? How do I find honest reliable ones?



ANSWER: Many people ask themselves these same questions. Unless you’re an antique lover and collector, it’s often hard to figure out what’s an antique and what isn’t. First, let’s tackle what is an antique.

To anyone who browses antique shops these days the question "What is an antique?" seems to have many answers. Side by side with ancient-looking furniture and old-fashioned china, you may find souvenir spoons and colorful carnival glass. The problem bewilders not only buyers but dealers, too.

In 1930 the U.S. Government ruled that objects had to be at least a 100 old to be classified as antiques, so they could be admitted duty free into the U.S. But that was a legislative  tax decision. Since then antiques have often been defined as objects made before 1830.

Here in the U.S., dealers and collectors count among their antiques both items made by machine as well as those made by hand. Most of these are later than 1830. That date does, however, serve as a dividing line between the age of craftsmanship and the machine age. As the 21st century moves on, objects from the early 20th century are now reaching the 100-year mark, thus technically making them antiques. But if you talk to a high-end antique dealer, he or she will probably consider them just used goods.

A fine antique comes with a provenance or written pedigree. This isn’t just what your Aunt Milly says is an antique. It’s proven to be one through a detailed history of its creation and ownership.

But while the personal associations of heirlooms add to their interest, they can’t be relied upon to place their date and source. Not every old piece has a pedigree or a maker’s mark or label, but every one has characteristics that identify it which make it valuable to someone else. The secret of where and when and by whom it was made is in its material, its design, and its workmanship. So an antique is what the collector knows or perceives it to be. Nothing more.

Collectibles are items that usually have a less-than-100-year history, although not always. You could collect Limoge porcelain boxes from the 18th century and consider them collectibles. But for the most part, collectibles are objects from popular culture—old detergent boxes with the soap powder still in them, old bottles, old souvenirs.

So begin by determining, if you can, what it is that you have that’s an antique or just a collectible. Do Image searches on Google for your items and see if any photos come up that are like what you have or similar, then click on the photos to go to the Web sites where the photos have been posted to learn more about the item. Go to your public library and check out an antique encyclopedia or other books that have pictures of antiques. See if you can find objects like yours.

Once you have a good idea of whether an object is an antique or collectible, take some good digital photos of it. And, yes, dealers really appreciate seeing a photo or two of an item before they’ll make the trek to your place to see it. This applies even more to dealers you may find online. Take an overall shot, perhaps several from different angles, as well as a couple shots of details—carvings, signatures, hardware, etc. If you’re going to make the rounds of local dealers, you’ll want to get your photos printed. Small 4x6-inch photos will do nicely.



Asking where you can find honest reliable dealers indicates that you assume all antique dealers are scoundrels. They’re not. In fact, most are honest, hard-working business people. They’re in business to make money, so don’t expect that any of them will pay top dollar for your pieces. The most you can expect to get is half the value, on a good day.

One way to tell a dealer who may be less than honest is to see if the pieces in his or her shop are priced. An antique store is a retail business and all retailers price their items for sale. A dealer who doesn’t price their items may be planning on taking advantage of you—deciding what to charge for an item on how you’re dressed or how much you seem to know about antiques. Avoid shops that are piled high with goods in which the shopkeeper says, “Have a look around and let me know what you like, and I’ll give you my best price.”

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about  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.

Antiques or Not–An Age-old Question

QUESTION: How do I find out if items I have are really antiques?  Do dealers need pictures to come look at my pieces? How do I find honest reliable ones?

ANSWER: Many people ask themselves these same questions. Unless you’re an antique lover and collector, it’s often hard to figure out what’s an antique and what isn’t. First, let’s tackle what is an antique.

To anyone who browses antique shops these days the question "What is an antique?" seems to have many answers. Side by side with ancient-looking furniture and old- fashioned china, you may find souvenir spoons and colorful carnival glass. The problem bewilders not only buyers but dealers, too.

In 1930 the U.S. Government ruled that objects had to be at least a 100 old to be classified as antiques, so they could be admitted duty free into the U.S. But that was a legislative  tax decision. Since then antiques have often been defined as objects made before 1830.

Here in the U.S., dealers and collectors count among their antiques both items made by machine as well as those made by hand. Most of these are later than 1830. That date does, however, serve as a dividing line between the age of craftsmanship and the machine age. As the 21st century moves on, objects from the early 20th century are now reaching the 100-year mark, thus technically making them antiques. But if you talk to a high-end antique dealer, he or she will probably consider them just used goods.

A fine antique comes with a provenance or written pedigree. This isn’t just what your Aunt Milly says is an antique. It's proven to be one through a detailed history of its creation and ownership.

But while the personal associations of heirlooms add to their interest, they can’t be relied upon to place their date and source. Not every old piece has a pedigree or a maker’s mark or label, but every one has characteristics that identify it which make it valuable to someone else. The secret of where and when and by whom it was made is in its material, its design, and its workmanship. So an antique is what the collector knows or perceives it to be. Nothing more.

Collectibles are items that usually have a less-than-100-year history, although not always. You could collect Limoge porcelain boxes from the 18th century and consider them collectibles. But for the most part, collectibles are objects from popular culture—old detergent boxes with the soap powder still in them, old bottles, old souvenirs.

So begin by determining, if you can, what it is that you have that’s an antique or just a collectible. Do Image searches on Google for your items and see if any photos come up that are like what you have or similar, then click on the photos to go to the Web sites where the photos have been posted to learn more about the item. Go to your public library and check out an antique encyclopedia or other books that have pictures of antiques. See if you can find objects like yours.

Once you have a good idea of whether an object is an antique or collectible, take some good digital photos of it. And, yes, dealers really appreciate seeing a photo or two of an item before they’ll make the trek to your place to see it. This applies even more to dealers you may find online. Take an overall shot, perhaps several from different angles, as well as a couple shots of details—carvings, signatures, hardware, etc. If you’re going to make the rounds of local dealers, you’ll want to get your photos printed. Small 4x6-inch photos will do nicely.

Asking where you can find honest reliable dealers indicates that you assume all antique dealers are scoundrels. They’re not. In fact, most are honest, hard-working business people. They’re in business to make money, so don’t expect that any of them will pay top dollar for your pieces. The most you can expect to get is half the value, on a good day.

One way to tell a dealer who may be less than honest is to see if the pieces in his or her shop are priced. An antique store is a retail business and all retailers price their items for sale. A dealer who doesn’t price their items may be planning on taking advantage of you—deciding what to charge for an item on how you’re dressed or how much you seem to know about antiques. Avoid shops that are piled high with goods in which the shopkeeper says, “Have a look around and let me know what you like, and I’ll give you my best price.”