Up to Snuff

 

QUESTION: I’ve been fascinated by antique snuff boxes for some time. Most are a bit above my budget, but I’d like to purchase one or two soon. However, I know little about snuff and the origins of these decorative little containers. When did people start taking snuff? And where and where were the first snuff boxes made?

ANSWER: Snuff was a type of smokeless tobacco made from finely ground or pulverized tobacco leaves. Users snorted or "sniffed" it into their nasal cavity by inhaling it lightly after placing a pinch of it either onto the back of their hand, by pinching some between their thumb and index finger, or holding a specially made "snuffing" device.

Friar Ramón Pane, a missionary who came to the New World with Christopher Columbus in 1493, was the first European to witness the inhaling of snuff by the Taino people of Haiti. Until then, tobacco was unknown to Europeans. But by the 1650s, artisans were making small boxes the snuff dry.

Traditional snuff production consisted of a lengthy, multi-step process, in tobacco snuff mills. The selected tobacco leaves were first cured or fermented, which gave it the  individual characteristics and flavor for each type of snuff blend. Many blends of snuff required months to years of special storage to reach the required maturity. Fine snuff consisted of varieties of blended tobacco leaves without the addition of scents. Varieties of spice, piquant, fruit, floral, and mentholated soon followed, either pure or in blends. 

Each snuff manufacturer usually had a variety of unique recipes and blends, as well as special recipes for individual customers. Common flavors also included coffee, chocolate, Bordeaux wine, honey, vanilla, cherry, orange, apricot, plum, camphor, cinnamon, rose and spearmint.

The 18th century witnessed an increase in the use of snuff, especially among the English and French aristocracy. Because it was a small, fine substance, it needed a vessel to contain it. Both snuff and the little boxes that contained it became important expressions of class. Originally made for daily use, snuff boxes became important symbols of personal representation. Snuff taking had become an important marker of social status.

Although men could ingest other forms of tobacco, both men and women could take snuff. Tobacco would often be used by men while socializing in coffeehouses, thus becoming linked to public masculinity.

Taking snuff could be unpleasant, especially if there were a crowd in a room. In the act of ingesting it, a person had to remain dignified. Society considered it rude for snuff takers to make excessive noise making or reaction. Like tea or coffee consumption at this time, it wasn’t only about the substance being ingested: but the ingestion itself that had to adhere to society’s rule.

The manufacture of snuff boxes became a lucrative industry when taking snuff was fashionable. Snuff boxes ranged from those made of horn to ornate designs featuring precious materials made using state-of-the-art techniques. Since prolonged exposure to air caused snuff to dry out and lose its quality, manufacturers designed snuff boxes to be airtight containers with strong hinges, generally large enough to hold a day's worth of snuff. The wealthy kept larger snuff containers, called mulls, on their dinner tables for use at dinner parties. These could be quite elaborate and often included rams horns decorated with silver or in some cases a depiction of the head of a ram.

In the early 18th century, French jewelers created snuff boxes of gold set with diamonds, amethysts, and sapphires. By 1740, specialized artisans took over the production of these ornate tabatières, which they engraved, chased, and enameled. 

The shapes of these boxes weren’t limited to rectangular boxes. Porcelain containers resembling little trunks were popular, as were ovals, but tabatières shaped like shells were more rare. And while the materials used to construct a box were often enough for its decoration, sometimes artisans hand painted these snuff boxes, depicting everything from miniature landscapes and bucolic scenes to tiny portraits or cameos of their owners.

Miniatures often adorned the lids of snuff boxes. These could be scenes from various mythological, Biblical, or pastoral settings, but portraiture was the most common decoration, especially on those boxes given as gifts. It was usually men who adorned the portraiture present on the jewelry of women.

Silver snuff boxes became associated with Sheffield, England, where silver-plating had been perfected on these small containers in the late 18th century. By the early 19th century, the silver industry had blossomed in Birmingham, England, where snuff box makers such as Samuel Pemberton, Nathaniel Mills, and Edward Smith produced oblong containers with images of castles and abbeys on their tops and sides.

Birmingham was also a center for papier-mâché snuff boxes, which manufacturers hardened using several layers of enamel. A market for these inexpensive boxes developed in the United States, so Birmingham box makers began decorating their wares with portraits of U.S. naval heroes and victory scenes from the War of 1812, often using engravings by such renowned American artists as Gilbert Stuart as their source material.

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 Art Deco World" in the 2024 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.

Horn a Plenty

 

QUESTION: I’ve always been fascinated by antique items made of horn. I see them in cases at antique shows all the time. I’ve even purchased a hair comb or two and a walking stick with a horn handle. But I have no idea how these items were produced. I assume most of them were made in the 19th century, but I’m only guessing. Can you give me some insight into the production of products from cow’s horn.

ANSWER: Horn has long been used to make various utilitarian objects. Ancient people blew through it to call meetings and such. Other horns held gun powder for muskets. And ornate hair combs made of horn were all the rage in Victorian times.

Long before synthetic materials like Celluloid, Bakelite,  and Lucite came on the scene,  Mother Nature provided an interesting assortment of moldable organic materials. These unique substances from plants and animals are known as "natural plastics."

Thermoplastics are materials that are made pliable by the application of heat, then molded with pressure or by casting in a cold mold. Additional applications of heat will subsequently re-soften thermoplastics and distort the original molded shape of an object. Though many modern thermoplastics are recyclable, antique thermoplastics can be permanently damaged by heat. Testing methods, such as exposure to hot water and the ever-popular hot pin test, can ruin valuable antique objects that are very often irreplaceable. So caution should be taken when trying to identify the materials from which some antique molded items are made.

Collectors seek objects fashioned from natural thermoplastic materials like cow horn in the 18th and 19th centuries. Over time, people used horn for a .variety of useful and ornamental applications. It required persistence and hard work to understand its unique properties. Through trial and error, ingenuity and luck, horn smiths developed successful fabricating techniques for working with horn.

Horn is a form of a protein called keratin, the same type of material as in fish scales, bird feathers, human hair and fingernails. Tiny compressed hair-like fibers, which can be seen with a magnifying glass, make up the structure of ' horn. Because of its unique protein formation, horn frays easily and has a tendency to split and crack during fabrication, making it difficult to work with. 

Horn smiths harvested, cleaned and fabricated horn into a variety of useful and ornamental objects such as dressing combs, hair ornaments, buttons, jewelry, decorative inlaid frames, trinket and snuffboxes. Because of Its beautiful pale translucent quality, they used horn extensively during the Edwardian Era for producing Art Nouveau accessories that depicted the dragon fly motif. 

Horn was a plentiful by-product of the meat and leather industries. It had been used for centuries n its raw state to make objects like powder horns and for fashioning common utilitarian items such as serving spoons and shoehorns. Oxen, steer and cow horn ranged in color from pale cream to light mottled gray. Buffalo horn, obtained from India, Thailand, and China, was dark brown. Domestic cattle horn vas plentiful and ranged in color tones from pale grayish green to streaked dark brown.

Manufacturers used raw cattle horn to make pressed rattans, umbrella and utensil handles, jewelry items and dressing combs. But Before these finished products could reach consumers, they had to first be fabricated. This process actually began with the meat industry.

Slaughterhouses had a surplus of raw cattle horn, which they stockpiled into various sizes and colors. This they sold cheaply to manufacturing companies or merchants who were in the business of applying horn to fabricators. A representative from the fabricating company would carefully select horn for specialty items like ornamental hair combs. Some representatives traveled the world searching for fine horn. When color wasn’t a consideration, the horn went for making common utilitarian objects like utensil handles or buttons.

After sorting, fabricators prepared the raw horn for the first step in processing. Workers trimmed the ends away by means of sawing two cross cuts—the first called the "head" or "rootº cut and the second the "screw" or "tip" cut. They then gathered the tips  to make utensil handles and buttons and used the ragged edges of the head cut to produce fertilizer.

They then sent the trimmed horn to the "opening department" where they soaked it with water and heated it over an open fire until it became softened. Another method commonly employed by fabricators involved softening the trimmed horn in huge vats of hot water or oil.

Nevertheless, once sufficiently pliable, the horn was ready to be split open. In order to prevent waste and in an attempt to end up with a rectangular piece of material, workers made an elongated, spiral cut beginning from the widest part of the horn up through the narrow section. After slitting, they forced the  horn open using tongs, and then placed it between screw plates to flattened it.

Fabricators often performed special finishing techniques on raw horn to change its appearance. They frequently clarified and sometimes stained it. The clarifying process involved squeezing the cleaned and flattened material between heated and oiled iron plates under tremendous pressure until it became translucent. Lantern makers used clarified horn, which had a slight greenish hue, as a "glaze" instead of glass in lanterns throughout the 18º and 19" centuries. Another use for ultra thin, translucent sheets of horn was to layer them between the pages of important documents in order to protect them from damage caused by bleeding inks. But the most important application of clarified horn was in the production of fancy ornamental hair combs.

Horn smiths stained clarified horn to resemble expensive tortoiseshell by first exposing it to diluted nitric acid which turned it a pale yellow. Once they achieved the desired amber color, they sprinkled and streaked the horn with a mixture of caustic soda, litharge, or lead monoxide, and dragon's blood, a colored resin derived from the rattan palm. This solution reacted with the nitric acid in the treated horn and turned the affected areas orange. The end result was a mottled imitation of tortoiseshell in mellow shades of amber and orange. Records show that in the late 1880s the comb factory of Stewart & Company of  Aberdeen, Scotland, used 3.5 million horns to only 600 pounds of authentic tortoiseshell per year.

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 "Advertising of the Past" in the 2023 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.

An Apple a Day

QUESTION: I was cleaning out my father’s attic and discovered an old Apple computer, an Apple II to be exact.  It’s hard to imagine that this little device was at the forefront of computers of its day. How collectible are early computers and how collectible is this Apple II?

ANSWER: The answer to both your questions is simple—very. The Apple II was the granddaddy of home computers. It looked more like a closed typewriter with its built-in keyboard, but it packed a lot of punch for its day.

Steve Wozniak, who designed the Apple I with limited funds, was able to make some definitive and much improved changes in the Apple II. Appearing for the first time at the  first West Coast Computer Faire on April 16 and 17, 1977, it was an instant sensation.

The main difference internally was a completely redesigned TV interface, which held the display in memory and could display it on a TV via an NTSC cable. Not only useful for simple text display, the Apple II included graphics, and, eventually, color. Steve Jobs, Wozniak’s friend and partner, meanwhile wanted an improved case and keyboard, with the idea that the machine should be complete and ready to run out of the box.

But building the Apple II was financially challenging. Jobs began looking for funds. However, banks were reluctant to lend him money—the idea of a computer for ordinary people seemed absurd at the time. He eventually found Mark Markkula, who co-signed a loan of $250,000. Jobs, Wozniak, and Markkula formed Apple Computer on April 1, 1976. They chose the Apple name because they wanted to beat Atari, and Apple came before Atari in the alphabet and this in the phone book.

With its new case and graphics, the Apple II became one of the 1977 Trinity of computers—along with the Tandy Corporation’s (Radio Shack) TRS-80 and the Commodore PET—credited with establishing the home computer market. Apple Computer sold 5-6 million Apple II’s by 1993.

In terms of ease of use, features, and expandability, the Apple II was a major technological advancement over its predecessor, the Apple I, a bare-bones motherboard computer for hobbyists. First sold on June 10, 1977, the Apple II became one of the longest running mass-produced home computer series, with models in production for just under 17 years. Among the first successful personal computers, it put Apple Computers on the map.

Jobs and Wozniak aggressively marketed the Apple II through volume discounts and manufacturing arrangements to educational institutions which made it the first computer to be used in American secondary schools, displacing the early leader, the Commodore PET. The effort to develop educational and business software for the Apple II made the computer especially popular with business users and families.

To load and save programs and data, the Apple II used audio cassette tapes. In 1978, Wozniak implemented a Disk Operating System or DOS, which he commissioned from the Shepardson Company. The final and most popular version of this software was Apple DOS 3.3. Some commercial Apple II software booted directly and didn’t use standard DOS formats. This discouraged copying or modifying of the software on the disks and improved loading speed.

By 1992, the Apple II series of computers had 16-bit processing capabilities, a mouse-driven Graphical User Interface (GUI for short), and graphics and sound capabilities far beyond the original created in 1977.

Wozniak designed the Apple II to look more like a home appliance than a piece of electronic equipment. The lid lifted off the beige plastic case without the use of tools, allowing access to the computer's internal workings, including the motherboard with eight expansion slots, and an array of random access memory (RAM) sockets that could hold up to 48 kilobytes worth of memory chips.

The Apple II eventually had color and high-resolution graphics modes, sound capabilities and one of two built-in BASIC programming languages, plus a microprocessor running at 1 MHz, 4 KB of RAM—today’s computers run at 800+ Ghz with RAM at 8 gigabytes or higher. Jobs and Wozniak targeted the computer for  consumers rather than just hobbyists and engineers. Unlike other home microcomputers at the time, Apple sold it as a finished consumer appliance rather than as a kit.

To reflect the computer's color graphics capability, the Apple logo on the case sported rainbow stripes which remained a part of Apple's corporate logo until early 1998.

Wozniak eventually added an external 5¼-inch floppy disk drive, the Disk II, attached via a controller card that plugged into one of the Apple II's expansion slots, to replace cassettes for data storage and retrieval. Apple's Disk II became the first affordable floppy drive for personal computers.

Wozniak's open design and the Apple II's multiple expansion slots permitted a wide variety of third-party devices, including Apple II peripheral cards such as serial controllers, display controllers, memory boards, hard disks, networking components, and realtime clocks—all common on today’s computers.

The original retail price of the Apple II with 4 kilobytes of RAM was $1,298 and $2,638 with the maximum 48 kilobytes. Today, Apple II’s can be found on eBay selling for $300-400 in working condition.

While there’s a collector for just about any pre-1990 computer, any from the 1970s and earlier are hot. Though there’s a lot of computer related equipment and peripherals to  to collect from this era,  nothing beats the early Apple computers. Apple has staying power. They’re the last of the home-brewed companies that emerged out of the 1970s that are still in business.