Dorflinger Glass Was Brilliant

 

QUESTION: My mother liked to collect antique glassware. Her favorite was cut crystal. She often purchased items from a particular dealer in town. One of these objects was a tall vase with a concaved shape that was cut with a variety of intricate designs. I now have her collection and would like to begin identifying the pieces. She collected what she liked and didn’t really care to know what the pieces were. To begin, I’d like to know which factory made this magnificent vase. And also how to identify other pieces in this collection.

ANSWER: Based on the cut designs in the vase, it seems that it may have been made or at least cut by artisans at the Dorflinger Glass Company in White Hills, Pennsylvania.

The Victorians learned a lot about people’s manners and status from their tableware. The type and pattern of crystal indicated a person of a higher economic status. In the United States, this type of crystal became known as American Brilliant, an art form that with intricate designs and patterns and an unmatched quality. One of the leading producers of American Brilliant was the Dorflinger Glass Company which developed a weightier glass in the 1880s. 

Born in Rosteig in Alsace, France, in 1828, Dorflinger began an eight-year apprenticeship with an uncle at the Cristalleries de Saint-Louis in Lorraine to learn the glassmaking craft. In 1846, after completing his apprenticeship, Dorflinger persuaded his recently-widowed mother to emigrate from France to America in search of better opportunities. Dorflinger, along with his mother, brother Edward, and sisters Catharine, Madeline, Josephine, and Marie, arrived in New York aboard the Shakespeare on September 26, 1846. The family went west for a time where Charlotte and her daughters settled with friends in Oldenberg, Indiana. Christian and his brother Edward returned east to find work in the glass industry.

Dorflinger and his brother found employment at the Excelsior Flint Glass Company in Camden, New Jersey. Excelsior produced pharmacy glassware and also advertised “Rich Cut Glass.” During visits to New York City, Dorflinger became acquainted with Captain Aaron Flower, a former North River pilot and the proprietor of the Pacific Hotel. When Captain Flower and a group of associates formed the Long Island Flint Glass Works to make lamp chimney and lamps for burning coal oil or kerosene in 1852, they asked Dorflinger to head up the new firm. That same year, he married Elizabeth Hagen. 

By 1856, Dorflinger had added a cutting shop with 35 cutting frames and had begun producing rich cut glass tableware in addition to the company’s commercial products, making the Long Island Flint Glass Works a leading manufacturer of cut glass tableware in New York.

In 1860, Dorflinger built a larger glass factory, the Greenpoint Flint Glass Works, on Commercial Street at Newtown Creek on the northern edge of Brooklyn. Dorflinger, in partnership with Nathaniel Bailey, a vice president at the Greenpoint Savings Bank, formed C. Dorflinger & Co. to own and operate the new glass works. The Greenpoint works included a blowing shop to produce blanks for cutting, a cutting shop, wharf facilities, and housing for the factory’s workers. In less than a decade, Dorflinger had become the premier manufacture of cut glass in New York, operating the newest and most advanced glass factories in the city.

By 1861, the Greenpoint Flint Glass Works had received an order for a set of rich cut and engraved glassware from the Lincoln White House. The pattern, character of English and Trish glass during that period, was very light and intense, with no deep cutting. The Great Seal of 'the United States was on each of the 600 pieces. The eagle was facing away from the arrows because there was no war threatening in 1860, when the order had been placed. The state glass service went on to be used for the next 30 years. 

The following year, Dorflinger began experiencing health problems and decided to take a leave of absence and move to the country. In September 1862, Dorflinger purchased a 600-acre farm in Wayne County, Pennsylvania  from his friend Captain Flower. Dorflinger also purchased an additional 350 acres in White Mills, which later became the location of his Wayne County Glass Works. 

In 1863, Dorflinger moved to Wayne County. He sold the Long Island Flint Glass Works, but retained his ownership interest in the Greenpoint Flint Glass Works. White Mills offered all of the elements needed to build and operate a large, modern glass factory. The adjacent Delaware & Hudson Canal delivered coal from nearby Carbondale, Pennsylvania, to fuel the factory’s furnaces, brought in the raw materials needed to make the fine lead crystal glass, and delivered Dorflinger’s finished goods to market.

Dorflinger’s newest glass factory included a five-pot furnace close to the Lackawaxen River in White Mills. He also constructed a cutting shop and seven cottages for the skilled glassblowers he brought over from France. By 1869, the firm employed 182 workers. That same year, Dorflinger opened the St. Charles Hotel to house his visiting business associates, tradespeople, and friends, as well as a company store. In 1875, he added a decorating shop, and in 1883, a new cutting shop and a glassblowing shop.

The Dorflinger Glass Company exhibited at the Centennial Exposition in Philadelphia in 1876, and received a certificate of award for its glass table wares. The heavily cut glassware exhibited at the Centennial Exposition began what is now known as the “Brilliant Period” of cut glassmaking in America, which continued until about 1917.

In 1891, Dorflinger produced a new state table service for President Benjamin Harrison, replacing the Lincoln state service with a more modern design cut in the Russian pattern with the U.S. Coat of Arms engraved on a shield.

 two sons, Charles and Louis, joined the business, and the firm's name changed to C. Dorflinger and Sons, based in Wayne County, Pennsylvania.

Blowing, cutting and engraving were part of the manufacturing process fur more than 60 years. The recipe for glassmaking materials included pure Berkshire sand, imported German potash, lead oxide and cutlet.

Every morning, workers skimmed the glass mixture for impurities. Dorflinger produced pure crystal and colored glass with a high lead content, giving it brilliance and making it easier to cut.

The Dorflinger factory also supplied blanks in hundreds of shapes to a number of cutting shops  for almost 70 years. One such shop was Thomas Gibbons Hawkes, based in Corning, N.Y. During President Grover Cleveland's administration in 1885, Hawkes was asked to supply the White House with 336 pieces of tableware cut in the Russian pattern. Hawkes received 28 dozen blanks manufactured at White Mills, ready for cutting and engraving.

 incorporated several basic motifs into many heavy cut brilliant glass items. Among these were Renaissance, Buzz Star, aka pinwheel, 48-point flash star, a stone engraved rose design, Old Colony, Hobstar (diamond) and a Russian design.

A catastrophic fire of suspicious origin in 1892 heavily damaged some buildings and destroyed others. Dorflinger immediately rebuilt the factory. Five years later, he introduced new lines of tableware that were graceful and light, refined in style and cut in a new intaglio pattern. Buyers could order glass with various degrees of cutting. In 1910, the firm began producing a line of etched glass-ware and lightly cut tableware that was less expensive.    

In 1897, Dorflinger hired an Englishman, Walter Graham, to head the engraving department. Graham introduced stone engraving from his native country to the White Mills factory, creating the modern lighter floral designs known as “Rock Crystal.” In 1901, Dorflinger added a new subsidiary named the Honesdale Decorating Company managed by Austrian Carl F. Prosch. Honesdale Decorating produced a line of gold decorated table ware and a new line of cameo glass in the Art Nouveau style. This new art glass style used color cased glass and acid cutting with gold decoration. 

 introduced a second art glass line in 1907. The Kalana art glass line used acid etching to etch intricate floral designs on colorless glass. Some pieces were also cut and/or engraved. World War I interrupted Dorflinger’s supply of German potash, an essential ingredient used to make the company’s fine lead crystal glass. 

In response, in 1914, Dorflinger developed a third art glass line known as “Reproductions Venetian.” Made in solid pastel colors, this blown glass without decoration hid the imperfections resulting from the lack of potash. Finally, from 1919 to 1921, Dorflinger produced an art glass line known as “Opal Glass” for its opaque, opalescent appearance. These new glassware lines were attempts by the company to appeal to changing tastes as the demand for heavy cut glass began to decline.

Building on his success, he added a third blowing shop in 1902, and a coal gasification plant to produce natural gas for the newest furnace in 1905. At the peak of its operations in the early 20th century, the Dorflinger Glass Factory employed 650 people and was one of the largest enterprises of its kind in the country. The factory employed women as well as men. Women worked in the factory office and in the washing and packing department, but there were also some women cutters.

Christian Dorflinger died in 1915. His sons, Charles and Louis, continued to operate the firm. By the end of World War I, the heavy cut glass of the American Brilliant Period which had been the mainstay of the firm’s output had gone out of favor. The interruption in the supply of German potash during the war years had limited the company’s ability to produce fine lead crystal table ware, and Prohibition further reduced demand for the company’s table and bar ware. Faced with these challenges, the family decided to close the factory in 1921.

 glass is noted for the consistent clarity and brilliance of its lead crystal, the elegance of its designs, and its excellent cutting and engraving. Color cased pieces, in which workers laid colored glass over clear glass, then artisans cut the pattern through the color layer to the clear glass underneath, are among the most prized examples of the company’s work. Collectors also highly value pieces with silver ornamentation, known as silver mounts.

To identify Dorilinger glass, it’s necessary to compare a piece with others in pattern books. The company marked its glass with a small, round paper label depicting three items—a wine goblet, a cordial glass, and a bottom-heavy wine decanter----over which the name DORFLINGER was printed.

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What Goes Around Comes Around

 

QUESTION: For the last couple of years, I’ve been buying vintage kitchen utensils. At first, I had planned to use them to decorate my Mid-Century Modern kitchen, but I got hooked on them and now purchase them not only at flea markets but online. Some I recognize, others I don’t. What types of gadgets did women use in their kitchen? And are these old utensils worth collecting?

ANSWER: Kitchen gadgets are a popular collectible. And what’s interesting about them is that most are still usable in today’s kitchen. Even with all the electric and electronic devices available today, there are just some things that need to be done by hand, preferably with some sort of gadget. The proliferation of gadgets advertised on T.V., the Internet, and social media attests to this.

There are dozens of quirky looking utensils—graters, slicers, ice cream scoops, ice picks, juicers, peelers, sharpeners, mashers, ricers, strainers, sifters, scoops, scales, and ladles. The list is almost endless.

All these utensils—from food mincers, pitters, and corers to spiral whisks and jar lifters—eased even the most basic of a housewife's culinary chores. Ingenious kitchen gadgets made exacting tasks—such as defining the outer edges of a pie crust with a pie crimper—a pleasure. Colored handles added to their attraction.

During the late 19th century, the modernization of the American kitchen had begun. The kitchen was a place where families gathered informally to cook and bake, make butter, can and preserve fruits and vegetables, peel potatoes, dry herbs, and wash dishes. And it took a variety of utensils to complete these jobs.

From the 1920's through the 1940's, large and small companies manufactured  hundreds of these gadgets, trying to help make kitchen work easier and more colorful. Brightly painted cooking utensils of the 1920s brought the first dab of color into American kitchens. Apple green led the cutlery color wheel, followed by Mandarin red. 

What could be better than homemade pie with homemade crust? Most pie crimpers had wooden handles and resembled small versions of today's pizza cutters Whalers often carved them of whale ivory for their wives and sweethearts back home. By the 20th century, makers introduced metal with the wood. Of course, there were many other baking gadgets like dough blenders, pie lifters, rolling pins, and spatulas. 

Before food processors and electric beaters, there were efficient hand and mechanical beaters. Among these were a variety of wooden handled spiral whisks, flat wire whips, and, of course, those very efficient rotary beaters. The forerunner to the food processor was the glass pitcher beater which came in variety of shapes and sizes.

Old choppers and mincers had wooden handles and stainless steel curved blades. Many of the old ones, made of glass, wood, or steel, were more durable. Some glass jar choppers and mincers had handles to turn, making the work easier and faster. Of course, cooks also used grinders mounted to the corner of the kitchen table. Simply by putting almost anything into the wide opening at the top and turning the handle, they could grind meat, nuts, and berries.

Department stores such as Abraham & Straus, Macy's,, and Wanamaker's led the market selling colorful vintage utensils and other kitchen paraphernalia. 

Many small businesses produced these labor-saving utensils. One of the most notable was A & J Manufacturing Company of Binghamton, New York. Colored utensils from A & J can be found at flea markets and antique shops and shows simply because these products proliferated nationally and internationally in the kitchen-cutlery market for nearly 40 years.

A & J began humbly in 1909 in the homes of Benjamin T. Ash and Edward H. Johnson, who lived in rural upstate New York. After creating and marketing their first product—a one-handed eggbeater—they added numerous other kitchen gadgets with natural wooden handles to their product line. By 1918, A & J had moved to a commercial building and employed 200 workers who cranked out some four million tools annually.

The company was the first to offer knives, spatulas, ladles, and other items in one package. 

These early 20th-century kitchen gadgets have a strong relationship to today’s “As-seen-on-TV”  gadgets, advertised on many of the retro channels. Take the one-hand blender. Except for its streamlined shape and lack of a colored handle, it’s very similar to Ash’s and West’s one-handed eggbeater. It puts a new spin on the old saying, “What goes around comes around.”

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 Age of Photography" in the 2023 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.

What Exactly is a Pier Table?

 

QUESTION: I like to visit historic houses. Invariably, the first stop is by a narrow table in the main hall. Next to it usually stands a hall tree. The docent usually begins by telling us that the women of the house would stand in front of this narrow table and adjust their petticoats using the mirror placed behind it. This seems like a plausible explanation. When and how did this practice begin? And why is the table called a “pier” table? According to the dictionary, a pier is a structure leading from the shore out to sea, used as a boat landing or for entertainment. 

ANSWER: The English language can be complicated. There are many words that sound the same but are spelled differently and have different meanings. Over time, the word “peer,” meaning to look through a window with difficulty, may have been confused with the word “pier,” a seaside structure used for landing boats or for entertainment. Since most people coming to the United States in the 18th and 19th centuries spoke a different language—even British English was different than American English—it’s only natural that along the way, the two words got confused. It’s also likely that because a pier table juts out from the wall that it resembled a pier jutting out from the shore.

Docents in historic houses always seem to have interesting stories about the furniture in them. One of these concerns the pier table. Supposedly, Southern women would stop in front of it and check the mirror below it to see if their petticoats were showing before going out. However, there are two things wrong with this story. First, the table did not appear primarily in the South, and second, women of the 19th century did no such thing. A woman of the time wouldn’t have been caught dead adjusting her undergarments in a public area of her house.  Besides that, the architecture of the table, with the top projecting forward, well out over the mirror, prevents anyone, male or female from actually seeing beyond  the area of their feet.

So what exactly is a pier table? Simply, it’s a low, usually narrow table that stands in the pier, or wall section between two windows, often in the parlor of a wealthier person’s house. Cabinetmakers often made them in pairs of expensive woods, such as mahogany, rosewood, and giltwood. Unfortunately, ill informed curators of historic homes—originally wealthy women who joined groups who raised money to restore and manage historic homes—had heard the story of the pier table and placed it in the main hall where it didn’t belong in the first place. 

The pier table first appeared in continental Europe in the 16th and 17th centuries and became popular in England in the last quarter of the 17th century. The first known use of such a table in America was in 1765 and remained popular until the mid 19th century.

During the Regency Period from 1800 to 1830, a pier table had a mirror mounted between its back legs against the wall, or sometimes above it. The purpose of the mirror was to reflect the light around the room, not to check petticoats. The mirrors were often slightly angled towards the ceiling in order to catch as much light as possible, thus precipitating the fictional account. The extensive use of concave looking glasses in the 18th century and mirrors in the 19th century bounced the dim light from oil lamps around the room, increasing overall brightness. The mirror also reflected the pattern in the tile or carpet and helped make the room feel larger.

Eventually, pier tables became symbols of wealth. Reflecting light around a room on highly-polished surfaces, including mirrors, glass, crystal pendants on chandeliers, or fine wood surfaces, was a way of demonstrating wealth. It dazzled the eye and demonstrated a great deal of labor from servants who maintained that high degree of cleanliness.

At the beginning of the 19th century, cabinetmakers around Philadelphia usually produced pier tables in the Chippendale style. They used Chippendale’s English design and traditional construction techniques since most had been trained by English cabinetmakers. The table became an American staple in larger homes during the Federal Period in the early 19th century, primarily in the Northern states, not in the South. 

The most commonly seen example of the table is in the Classical style of the early 1800s, usually with a marble top and columns of some sort—often also marble—at each corner supporting the heavy top. But why a marble top on a hall table? These tables were almost always 30-inches high, the exact height of a dining room table. As such, they could be used in the dining room as an extra serving space without fear of damage from hot plates on the marble top.

The pier table reached it decorative zenith in the Empire period of the 1820s at the hands of such designers as Charles Honoré Lannuier, Thomas Hope and Joseph Meeks. The use of gilded caryatids—winged, female figures from Greek architecture—were frequently used as columns. Meeks used a set of lyres at each end to support the top.

One of the greatest designers of pier tables was French ébéniste Charles-Honoré Lannuier, who emigrated in 1803 and became one of the leading furniture makers in New York. Trained in Paris, he rose to fame during the American Federal Period. After the Revolutionary War and War of 1812, anti-English sentiment made French goods especially appealing to Americans. Lannuier imported French pattern books to keep abreast of the latest Napoleonic style. His work featured robustly carved and gilded caryatid supports, carved dolphin feet, and elaborate gilt-bronze ormolu mounts. And while not every wealthy person could afford a Lannuier pier table, his tables reached the height of design excellence in the first two decades of the 19th century.

After the Empire period, the Late Classicism style prevailed in the 1840s and 1850s with its large cyma curves, scrolled supports and undecorated expanses of crotch-cut mahogany veneer. This is the table that was frequently associated with the Southern plantation and the petticoat myth.

After the Civil War, the pier table came to be known as a console table, and that’s when it began appearing in the foyers and front hallways of houses of the wealthy. Generally speaking, console tables stood higher than their pier table counterparts. They also usually didn’t have mirrors behind them as lighting technology had greatly improved since the beginning of the 19th century. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Age of Photography" in the 2023 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.

The Teapot King

 

Aladdin Teapot

QUESTION: My mother was an avid tea drinker. When she was a young woman, she began buying old teapots at flea markets and yard sales. When I grew up and left to go on my own, I started giving her a teapot for her birthday. Over time, she amassed a collection of some 50 teapots. She passed away recently, and her collection has passed on to me. I chose the teapots I bought for her because of their unusual shapes, but I noticed that a good many of them seem to be marked for the Hall China Company. I’d like to continue adding to this collection. Why would so many have been made by Hall China? And as collectibles, are these teapots of any value?

ANSWER: Indeed, the Hall China Company is the king of teapots. Lots of people probably have one and don’t know it.

Gold Decorated Los Angeles Teapot

Albany Teapot

Robert Hall founded the Hall China Company after the dissolution of East Liverpool Potteries of East Liverpool, Ohio, in 1903. Taggert Hall, Robert’s son, became president following his father’s unexpected death in 1904. The company initially made jugs, toilet sets, and utilitarian whiteware. Robert T. Hall’s major contribution to the firm’s growth was the development of an economical, single-fire process for lead-free glazed wares introduced in 1911.

Robert Hall died just a year after founding his company. One of his eight children, Robert Taggart Hall, took it over and immediately began developments to introduce the single-fire process, which had first been used centuries earlier by Chinese potters during the Ming Dynasty from 1368 to 1644. His aim was to change from the two-firing manufacturing method, using first a biscuit firing and then the glaze firing. With the help of staff chemists and ceramic engineers, Hall experimented from 1904 until 1911, when the process was successful. The new process fused together the white body, color and glaze when it was fired at a temperature of 2,400 degrees Fahrenheit.

Pear Teapot

The new glazes allowed the creation of brilliant colors never before seen on American china: 47 colors developed for the new process, which allowed for rapid expansion of the company and its product selections at the onset of World War I. After tepid sales of its new housewares lines in the 1910s, the company tried designing and selling decorated teapots. The teapot business was so successful that the company decided to expand it from the original three designs to a plethora of new shapes and colors. In the 1940s the teapot business began to dwindle. By the 1960s, probably due to the increased preference for coffee by the public, teapot sales had fallen to insignificance.

In the mid-1920s, Hall China began producing a range of ware exclusively for the Jewel Tea Company. Jewel started using Hall teapots as premiums, and then expanded the promotion to include its own line of distinctive dinnerware and kitchenware.

Globe Teapot

Hall’s teapots were durable, non-porous, and unlike other types of china, didn’t craze.  The Hall palette of colors included no fewer than 47 different variations over the years.  The non-crazing process used to manufacture its pieces were made to emulate beautiful wares made in China during the Ming Dynasty, although the shapes and decor didn’t generally show any Asian influence. 

Hall also produced novelty teapots shaped like cars, footballs, and doughnuts that remain popular with collectors although they're often difficult to find today. These include the popular Nautilus and Aladdin teapots.

Nautilus Teapot

A Selection of Hall Teapots
Hall produced over 160 different shapes and color combinations of teapots. The first, the Gold Decorated Teapot line, also known as the Los Angeles teapot, was extremely popular.

Loc Angeles Teapot

The second, the Boston teapot, which also began production in 1916, came in two styles, the Boston Knob, included here, and the Boston Sunken Lid. Both came in seven sizes from one cup to seven or eight cup. The Boston is one of Hall China Company’s earliest and most enduring styles. In 1916, the McCormack Tea Company purchased the Boston in the seven cup green. The seven cup green and brown Boston teapots were the first ones carried by the Jewel Tea Company in 1924.

Boston Teapots

Philadelphia Teapot

Another teapot Hall introduced in 1916 was the New York teapot and was one of Hall’s longest running styles, available from 1916 through 1989. It was originally and continually produced in nine different sizes for the Hall hotel ware line but was also added to the Gold Decorated line in 1920.  

The Philadelphia  teapot, produced during the 1920s, came in seven different sizes, ten, seven, six, five, four, three and one and a half cups. Later in that same decade, Hall introduced the Hollywood teapot which came in four, five, six and eight cup sizes.

Tea-for-Two Teapots

From 1930 to 1996, Hall produced the Tea-for-Two, a combination teapot and a hot water pot, It’s distinguished from the Twin-Tea set by the sloped shape of the body, It can also be found as a Tea for Four set. 

Musical Teapot

From the late 1930s to the 1940s, Hall produced one of two Globe shaped teapots. The No-Drip is a Globe shape teapot with a different spout and decoration. The Globe teapot, introduced in the late 1930s, was usually found with the gold decoration pictured. By 1942 it was available in black, blue, brown, cadet, canary, delphinium, Dresden, emerald, green, green luster, ivory, marine, maroon, orchid, rose, turquoise and yellow. 

Hall’s Musical teapot, made in the 1930s, wasn’t a success. The music box, which played “Tea for Two,” sat under the teapot in a “well,” held in place with a spring clip. Often, users would wash the teapot without removing the musical box, causing damage to the mechanism. 

In 1937, Hall added the Streamline to the Gold Decorated teapot line. It featured the standard gold decoration around the top, edge, and spout found on other teapots in the line.

Streamline Teapot

Doughnut Teapot

The Automobile was one of the Hall China Company’s Novelty teapots introduced in 1938. Although it has a very unusual shape it was very popular. Introduced in 1938, the Basket was another Novelty teapot that included the Doughnut, the Birdcage, the Football, and the Basketball. In 1982, Hall was commissioned to make a caricature teapot of newly elected President Ronald Reagan. After a partial delivery the customer defaulted on the remaining order and subsequently the teapots were sold at the local Hall Closet store.  

Automobile Teapot

Rhythm Teapot

Hall China produced some of its most beautifully designed teapots in the 1930s, many of which featured Art Deco styling. Introduced in 1938 in the 8-cup size with the 6-cup introduced the following year, the Airflow was colored marine in its standard design. It was perfectly balanced and was as simple to lift as a purse, easy to pour, plus the lid wouldn’t fall off.

Hall introduced the Rhythm teapot in 1939. Originally introduced as a gold decorated teapot with gold dots on the upper two drapes, it was later a part of the Hall American line and came in over 100 different colors. That same year, Hall produced a special souvenir teapot for the 1939 New York World's Fair.

1939 New York World's Fair Teapot

Twinspout Teapot

Designer Oscar Ottoson invented the Twinspout teapot for which he received a patent in 1938. Hall China produced it for the Twinspout Pottery Company of New York.  When a user removed the lid, there were two openings, the larger for the tea and the smaller for the hot water. 

Produced from 1939 to 1963, the Aladdin teapot was one of Hall’s most popular shapes. It came with either a round or an oval opening, both with and without infusers, and in narrow and wide bodies.

Sani-Gold Teapot

During the 1940s, Hall came out with the Sani-Gold teapot. It first appeared in the 1941 Hall China Special Catalog #4. The firm made it in three and six cup sizes, with grid in the spout  to catch the tea leaves which was also shortened for easy cleaning.. The style, often referred to as “pert” was also easier to store. 

Introduced in 1940, the Hook Cover teapot, produced only in the six cup size, had a lid that wouldn’t fall off when pouring. The body has a hook over which the lid fits, thus the name.

Hook Cover Teapot

Windshield Teapot

The Windshield teapot, introduced in 1941, had a collar similar to the one worn by Queen Elizabeth I of England.

From the mid 1950s through the 1960s, Hall produced the Parade teapot as one of its Gold Decorated teapots.. It had a hook cover lid and a non-slip handle.

Hall produced the E-Style Cameo Rose teapot, designed by J. Palin Thorley, another of Hall’s top designers, exclusively for the Jewel Tea Company from the 1950s to the 1970s. Another of its noted designers was Donald Schreckengost who designed the Pear teapot, first introduced in 1970.

E-Style Cameo Rose Teapot

Airflow Teapot

Hall China produced so many teapots during its existence that it’s nearly impossible for a collector to collect them all. 

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.