A Slide on the Ice

 

QUESTION: My father has been involved in curling since he was a teenager. Being of Scottish background, curling seems to be in his blood. Over time, he’s amassed quite a collection of curling memorabilia. And while I’m not as interested in participating in curling, I do love the idea of collecting its memorabilia. With all the recent attention that curling got from the recent Winter Olympics, how has the value of memorabilia been affected?

ANSWER: The key to smart collecting is discovering today’s sports-related souvenirs that could become tomorrow’s hot collectible. Spotting trends is the key, especially when a sport skyrockets to international acclaim as just happened with curling at the Milan/Cortina Winter Olympics. 

While most Americans aren’t familiar with curling, the widespread coverage of the sport at the recent games brought it to the forefront, along with the memorabilia that goes with it. Its colorful buttons, stylish pins and embroidered badges often appear at sports shows, flea markets and in online auctions.

Curling developed in 16th-century Scotland where it was played outdoors on frozen ponds or lochs. Simple equipment for the game included natural curling stones and primitive brooms. When slid across the ice by a player, the stone would quite often curve, or curl, as it traveled toward its target, a large bull’s eye. Players used brooms to brush snow and particles from the path of oncoming stones.

The first recorded evidence of the sport came from John McQuhin, a notary from Paisley, Scotland.  A challenge between a monk and a representative of the local Abbot took place on a frozen lake regarding throwing stones across its surface. Eventually, the first curling clubs formed. Curling spread across North America and Europe with Scottish immigrants.  In 1838, the Grand Caledonian Curling Club codified the first universal rules of curling.  Four years later, members demonstrated the game for Queen Victoria. She loved the game and allowed the club to use "Royal" in its official name, changing it to the Royal Caledonian Curling Club.

When Scottish immigrants came to America, they brought the sport of curling with them. It soon spread across Canada and the northern part of the United States. By the mid-19th century, curling clubs prospered in the states surrounding the Great Lakes and in New York City. The Victorians popularized the sport, and its popularity has grown even more today. 

The first official international competition for the sport occurred during the first Winter Olympics in Chamonix, France in 1924.  In 1932, the Olympic Committee downgraded curling to a demonstration sport.  On April 1, 1966, the formation of the International Curling Federation helped to further legitimize the game to once again gain an Olympic spot. Nearly 30 years later, on July 21, 1992, the International Olympic Committee finally gave full medal status to both men and women's curling. 

During the curling season which runs from October to March, it’s estimated that several million people play the game worldwide. In Canada, curling is the second most popular sport next to ice hockey. In the United States, it’s played in 25 states.

Although the game has undergone modernization with uniform equipment, sleek uniforms, and modern facilities with refrigerated ice, the traditions of good will and fair play continue. Curlers play to win but never to humble their opponents. A true curler would rather lose than win unfairly.

The spirit of camaraderie is what attracts many players to curling. At the close of tournaments, known as bonspiels, curlers often exchange their club buttons, embroidered badges, or pins for coveted like pieces from opposing team members. Each club’s piece is unique in size, shape, color and design.

In fact, many curlers also collect the sport’s hats, sweaters, and ephemera-related items. Each button, badge, or pin elicits lasting memories.

So what is this sport all about? Two teams of four players make up the game. The players are respectively lead, second, third and skip. Each player slides round stones across the ice. The stones are concave on the bottom and have a handle on the top. They are slid toward a fixed mark in the center of a circle, called a house. The circle is marked with concentric bands. The object of the game is to slide the heavy granite stones closest to the center. 

Each player delivers two stones alternately with his opponent, beginning with the lead of each team and ending with the skip, who is also the team captain. One point is awarded for each stone that comes to rest nearer the tee than does any rival stone. A team can score up to 8 points with the 16 stones delivered in an end, or inning, unless no stone is in the house or the nearest opposing stones are equidistant, in which case there’s no score. Important strategies of the sport include blocking and knocking out an opponent's stones.

A distinctive part of curling is the use of a corn broom, or brush, by the partners of the deliverer to sweep the ice in the path of the oncoming stone. This is a tradition carried over from the days when people played curling on frozen lakes. It was necessary to clear the snow to provide a path for the oncoming stone. Curlers still sweep today to remove stray ice particles and smooth the surface of the ice, thus assuring the stone a longer ride. 

Prior to the 1950s, most curling brooms were similar to household brooms. In 1958, Fern Marchessault of Montreal inverted the corn straw in the center of the broom. This style of corn broom was referred to as the Blackjack. Today, brushes have replaced traditional corn brooms at every level of curling.

A curler also uses a brush for balance during delivery of the stone and by the skip to indicate where the curler should aim. The ice is meticulously groomed to keep it completely level. Prior to a competition, a member of the ice maintenance crew sprays a mist of water on to the ice to create a pebbled surface that helps guide the stones. Each stone weighs an average of 40 pounds and cannot exceed 44 pounds. Its circumference cannot be more than 36 inches. The minimum height is 4½  inches.

Pins for curling events in different Olympics have saturated the collectibles market and are easy to find. However, curling pins aren’t limited to the Olympics.  Pins from other curling competitions are also popular with players and collectors.  Because of the sport's popularity in Europe, European and specifically Scottish pins are some of the most common. Canadian curling pins are also fairly easy to find.

Popular curling collectibles also include personalized curling ornaments and novelty items like curling stone keychains and coasters. Additionally, collectors value unique memorabilia such as custom curling signs and miniature curling stones.

Antique curling stones are another popular item. The oldest stones hail from Scotland.  These can be more difficult to identify as curling stones often have no trademark or logo. An antique curling stone can cost as much as a new one.

The value of curling collectibles can vary widely based on rarity, condition, and demand. Values have increased significantly in the last 25 years. Items like vintage pins and memorabilia from significant events can fetch from $10 to $30 each while unique curling stones can sell for $50 to $150 for vintage ones to $200 to $700 for those from the late 19th to early 20th centuries. A new 2026 Milan Winter Olympics Curling Pin is selling for $10 to $20.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 50,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Colonial America" in the 2026 Winter 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.

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.

Mysterious Mauchline Ware

 

QUESTION: As I browse the booths of antique shows in my area, I’ve come upon small ochre-colored wooden boxes in various shapes with a black printed image of a historical landmark, most of which seem to be from America. The prices of these little boxes are through the roof. What are these items, and why are they so pricey?

ANSWER: What you’ve been seeing is known as Mauchline (pronounced Moch’lin) Ware, a form of souvenir ware made by the Smith family of Mauchline, Ayrshire, now Strathclyde, Scotland, and favored by affluent Victorians traveling abroad.

Adorned with transfer ware scenes of landmarks, this Scottish wooden ware dates from about 1880 to 1900. Though the Smiths sold it throughout the United Kingdom, they also exported to North America, Europe, South Africa, Australia, and elsewhere.

Mauchline, located 11 miles inland from the Scottish coastal resort of Ayr, was the center of the Mauchline Ware industry, which at its peak in the 1860s, employed over 400 people in the manufacture of small, but beautifully made and invariably useful wooden souvenirs and gift ware. Because of the contribution its originators, W. & A. Smith of Mauchline, the majority of souvenirs produced in southwest Scotland from the early 19th-century to the 1930s has come to be commonly known as "Mauchline Ware."

Mauchline Ware developed partly by accident and partly through necessity. Towards the end of the 18th century in the town of Alyth, Perthshire (now Tayside), a man named John Sandy invented the "hidden hinge" snuff box. His invention eventually spread to at least 50 other Scottish snuff box manufacturers in the early 1820s, most of them in Ayrshire, including William and Andrew Smith of Mauchline. 

With so many manufacturers, snuff box production continued at an all-time high, but the habit of taking snuff was on its way out. Although they made mostly snuff boxes, manufacturers like W.& A. Smith also produced other items, from postage stamp boxes to tea trays, all out of wood. The first of the new products were tea caddies utilizing the hidden hinge. In fact, they were so highly prized that when a female employee got married, the Smith’s Box Works gave her one of their tea caddies as a present.

Over the next century, the Smiths of Mauchline and their competitors produced tens of thousands of articles in hundreds of styles and in several different finishes. They generally used sycamore wood, which has a very close grain and a pleasing color. The precise date of the first transfer wares isn’t known, but companies manufactured them from the early 1850s until 1933.

Woodworkers created more items with transfer decoration than any other finish. These were true souvenir wares, since they decorated each piece with a view associated with the place of purchase.

Skilled craftsman applied transfers to the finished articles prior to coating them with several layers of slow drying copal varnish. This process took from 6 to 12 weeks to complete, although it seems that they must of developed an accelerated means of varnishing to cope with the sheer scale of production. However, this lengthy and careful process of manufacture accounted for the extreme durability of these products, many of which have survived in near mint condition.

As with earlier hand-decorated snuff boxes, manufacturers used sycamore wood, known as "plane" in Scotland, its pale color making an excellent background for the black transfers. While the majority of Mauchline Ware items were small, thus warranting only a single transfer, it was by no means unusual for craftsmen to apply six or more transfers to some of the larger pieces. Where they applied more than one transfer, the Smiths related views to one another, either by subject or geography.

Views of Scotland dominated the transfer ware. "Burnsian" views, by far, formed the largest single grouping and views associated with Sir Walter Scott probably the second. In addition to virtually every town and village, producers immortalized a great number of beauty spots, country houses, churches, schools, ruins and even cottage hospitals in transfer ware. Other views included seaside resorts and the inland spa towns of Malvern, Cheltenham, Chester, Bath and Harrogate, which became increasingly accessible to a growing number of people as a result of the rapidly expanding rail network. The Isle of Wight was particularly popular, probably due to Victoria's love of the place. And the popular south and east coast resorts--Brighton, Eastbourne, Hastings, Margate and Scarborough--saw their share.

From the 1830s on, makers produced a steadily decreasing number of snuff boxes while producing an increasing array of needlework, stationery, domestic and cosmetic items as well as articles for personal decoration and amusement. In addition, companies created an incredible range of boxes in every conceivable size and shape and for limitless purposes.

A great many cotton, thread and ribbon manufacturers—J & P Coates, Chadwicks, Clarks Glenfield, Kerr and Medlock—purchased Mauchline Ware containers for their products, their names clearly yet discreetly displayed either inside the lid or on the base. Thus, manufacturers transformed rather mundane accessories into attractive gifts.

Producers also turned out novelty inkwells, pens, pencils, pencil boxes and letter openers, as well as many designs of bookmarks including a patented combined bookmark and paper cutter.

And it’s because of Mauchline Ware’s uniqueness that prices for it have risen to such high levels.

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.

Black as Jet

QUESTION: I recently purchased a beautiful shiny black brooch that’s made of a very hard material, almost like stone. I’ve never seen anything like it. Can you tell me what it’s made of and something about it?

ANSWER: It looks like you’ve discovered a piece of Victorian mourning jewelry. One of the primary materials used to make pieces like your brooch was jet, a hard type of coal found along the Yorkshire coast of England.

On December 14, 1861, Queen  Victoria woke to find that her beloved husband, Albert, had died in his sleep of typhoid. Deeply distressed, Victoria went into full mourning and the England, out of respect and love for her, followed her example. An atmosphere of grief permeated English society. It was customary during this time for a widow to remain in full mourning for two years, and then half mourning for six months, but Queen Victoria never stopped grieving.

During the last half of the 19th century in the United States, especially after the Civil War, death was rampant and grief overshadowed both the North and South. More than a million lives were lost. When the war officially ended on April 9, 1865, a crippled nation already reeling  from the devastation of war became shrouded with grief.

Symbolic images of sorrow, love and devotion were the custom at the time. Men and women wore carved and molded pieces of mourning jewelry, an acceptable behavior during the  bereavement period. But by the 1890s, fashion and attitude had lightened, and people tucked the mementos of grief away for posterity.

In the early 1860s, the material of choice for black jewelry was jet, a hard type of lignite coal.  The best jet, found along the rocky Yorkshire shoreline, had a compact mineral structure making it strong enough to withstand carving and turning on a lathe. Jet also retained a high polish and resisted fading. As a result, an industry grew up around the mining and fabrication of jet during the mid-19th century in the small coastal village of Whitby.

At one time, the natural supply of jet was so plentiful that people could find substantial chunks of the shiny black substance washed up along the shore. Eventually however, the supply of true jet dwindled, so a replacement had to be found. Jet miners discovered coal in lower York which they mined from estuary beds where the tide washed into fresh water channels. However, this alternative jet was inferior to the original. It was soft and didn’t respond to carving and polishing as well as the Whitby variety.

The jet industry then turned to other sources for their supplies, importing jet from Spain and Cannel bituminous coal from Scotland to Whitby for use in making mourning jewelry. While these types of coal lacked hardness and luster, both were still better than the coal from southern Yorkshire. Artisans soon began carving jewelry components from these alternatives, and then combined them with decorative components fashioned from true Whitby jet.

When supplies of alternative jet became difficult to come by, fabricators sought other black materials, including black onyx and French jet; also called Vauxhall. Both became equally popular. In reality, French jet and Vauxhall are black glass, and it became an excellent substitute for true jet because it remained shiny and wouldn’t fade. It’s often difficult to tell the difference between authentic and faux jet by sight alone. Handling the materials immediately tells the difference. Black glass is heavy and cold to the touch because it doesn’t conduct heat, whereas true jet is light and room temperature. The details on carved jet items are often clean and sharp, while molded black glass may not be as defined and can also show signs of chipping or flaking.

Jet wasn't the only black colored`natural material that jewelry makers used to carve into mourning items. Bog Oak, a brownish black fossilized peat found deep in the bogs of Ireland,  is dark, lightweight and room temperature. It may appear to have a slight wood grain visible through its matte surface. Jewelry makers also used ebony, the heavy, tight-grained dark wood from the ebonaceae tree, to carve into jewelry items.

But for the Victorians, jet symbolized the deep emotional tie to a loved one through death.