Beat Those Biscuits

QUESTION: I live in South Carolina, though I’m not a native. Recently, I attended an estate sale at an old farm. Out of all the items for sale, I bought an old clunky table that looks like it may have been used for baking. It stands higher than a regular table and has a hinged top under which is a rectangular stone block. What can you tell me about this table?

ANSWER: It seems that you stumbled upon an old biscuit table. These specially made baking tables were a stable in 19th-century Southern kitchens.

When people think of Southern biscuits, they imagine fluffy, buttery pillows of golden, flaky pastry made from White Lily flour. But these delicacies weren't always common fare on the Southern dinner table. Until baking powder came on the market in the late 19th century, most biscuits were unleavened and beaten.

Housewives and plantation cooks back then pounded the dough, Iayer upon layer, to make the otherwise tough dough flaky and palatable. Recipes in the 1850s required the dough be worked for at least a half hour. The work was so labor intensive that rhythmic pounding resonated from plantation kitchens in the early mornings. One neighborhood in Danville, Kentucky, along its historic Third Street became known as "Beaten Biscuit Row." According to legend, the steady pounding of biscuits from the outdoor kitchens of the houses lining the street greeted passersby during the 19th century.

Preparing biscuits was a tiring job, so cooks, who had to bend over their kitchen tables to knead and pound biscuit dough, needed a special table to save their backs. The result was a worktable of appropriate height at which they could stand and beat the dough into layers for the required 30 minutes. In the beginning, slaves on plantations probably made the first biscuit tables from wood. They were about three feet in diameter and four feet high.

The biscuit table, like the sugar chest, evolved into a furniture form as the 19th century progressed. Increased sugar production and the demand for candies in Creole New Orleans fostered the concept of using marble slabs to prepare confections. This worked so well that the idea crossed over to bread making. By the 1850s, biscuit table makers began incorporating slabs of marble, limestone and granite into the once simple wooden biscuit slab. Going one step further, they added hinged covers to the tabletop to allow dough to rest without fear of insects or other critters ruining a morning's labor. Like the beaten biscuit, itself, the biscuit table seemed to appear in Kentucky, Tennessee and Alabama, all of which take credit for its origin. Cooks in Louisiana used a related form to make candy confections.

Carpenters used mostly poplar wood to make plantation biscuit tables, though tables of yellow pine and walnut have been known to exist. Most biscuit tables that have survived are sturdy but crude in construction, with many having been fashioned from roughly finished lumber and square nails or pegs. The slabs or stones were generally of locally quarried limestone.

The biscuit table lost its usefulness with the invention of the beaten biscuit machine, a roller contraption cranked by hand much like that found on old wringer washers. This little device could be mounted onto the kitchen worktable or a cook could order one attached to a cast-iron table that could be delivered to a home. Factories in St. Louis commercially produced and shipped biscuit tables to eager housewives throughout the South.

It seems that by the beginning of the 20th century, the beaten biscuit had become Southern folklore, though still preserved in many old-fashioned kitchens of the day. But as the century progressed, southern biscuit tables were either destroyed or stored in barns.

An American Tradition

QUESTION: My grandmother always had several hooked rugs on the floors in her house. I grew up playing on them and grew to love them. As an adult, I’ve learned how to make them and have purchased several antique ones. But no one seems to know anything about antique hooked rugs, other than approximately when they were made. Can you tell me more about these beautiful old rugs? I’d love to know how rug hooking began and how it got to where it is today.

ANSWER: The making of hooked rugs dates from New England in the early 19th century. Poor farmers’ wives, in need of some padding on cold dirt floors, began using old fabric scraps no longer suitable for clothing which they cut into strips and pulled through old burlap sacks to create mats for their floors. And while these original rugs were somewhat crude, the women who made them got ideas for improving the process and for decorative patterns from their friends and neighbors.

For centuries the method of pulling loops of colored material through a mesh of open fabric was well known but the settlers who came to America. The technique of pulling up or hooking rag strips and woolen yarns through a woven fabric base proved to be an economical and undemanding method of making floor coverings for drafty homes. Plus the simplicity the simplicity of the hooking process allowed rug makers the freedom to express their individual creativity.

While the craft began earlier in the 19th century, it wasn’t until the 1850s, when jute burlap from the Indies, which lasted longer than earlier materials, came into common use for burlap feed sacks, that rug hooking gained popularity. Women would stretch the empty burlap feed sacks onto a wooden frame, draw a pattern with a charcoal stick, and then draw yarn or thread through the burlap. And while the result was usually artful as well as very practical, it look a long time to make a rug. To make a rug with an intricate pattern took nearly as long as it took to sew a full quilt. 

By the 1860's, the art of making hooked rugs had spread all over New England and as far away as Ohio, Tennessee, and North Carolina.

By 1867, Philena Moxley of Massachusetts had begun stamping patterns of horses, dogs and other animals onto the burlap to allow homemakers to then produce hooked rugs without first sketching a pattern. By the 1870's peddlers were traveling from house to house selling stenciled designs on burlap. It wasn’t long before general storekeepers began selling hooked rug patterns and completed rugs.

Ebenezer Ross enhanced the process of hooked rug making in 1886 with the invention of a mechanical punch-hook in Toledo, Ohio. Prior to that time, rug makers used crochet hooks made of wood, bone, or metal. Ross and his company became a major supplier of the punch-hook in both the eastern and central United States, and by 1891 the company also published a catalog of 56 color-printed patterns. Ross’ catalog stated, "every household has a supply of odds and ends, rags and ravelings which can be woven into articles beauty and utility.”

In 1895 the Montgomery Ward catalog featured patterns that included a Spaniel dog with  lake and mountains in the background.


Rugs depicting ships, landscapes, and people required far more skill than the simpler deigns. Those who were unable to purchase a commercial pattern often relied on a talented family member or friend to  draw the design. One or more family members would then hook the rug.

Because pictorial patterns took longer and required more skill, many rug makers chose, instead, to use floral or geometric patterns.

Floral patterns very often involved combinations of trees, flowers, vines, branches, and leaves. One of the most common featured a bouquet of flowers in the middle surrounded by a vine border. They were frequently produced on commercial patterns following the Civil War and into the1920's and 1930's.

Rug makers usually produced geometric patterns—featuring rectangles, squares, circles, and ovals—freehand. They were as popular as homemade patterns as they were commercial ones.

Still, commercial patterns persisted. Among the many innovators was Edward Sands Frost, a disabled veteran, who sold patterns made from metal stencils to the women of New England and built up a business which flourished into the 20th century.

By 1908, Sears, Roebuck and Company joined the many companies offering patterns with a selection that included a pretty flower design, Arabian horse, a large lion, and two kittens playing on a carpet.

During the 1920's and early 1930's, cottage industries of hooked rug making flourished in sites like Deerfield Industries in Deerfield, Massachusetts, Rosemont Industries in Marion, Virginia, Pine Burr Studio in Apison, Tennessee, and the Spinning Wheel in Asheville, North Carolina.

The popularity of hooked rugs peaked in the 1850s and again in the 1890s as part of the Arts and Crafts Movement which lasted well beyond the turn of the century, and as part of the American Colonial Revival of the latter 1920's. They were also popular for a time during the 1950s era of Early American decor.

Because hooked rugs were made in the home for personal use, they can seldom be traced back to their original maker or pinned down to an exact date. Those believed to be over 100 years old command the highest prices. 

Life in Miniature

QUESTION: My sisters and I loved to play with dolls. My mother bought us each several sets of large doll furniture made by the Hall’s Lifetime Toy Company. We took very good care of this furniture and still have it today. What can you tell me about it?

ANSWER: Hall’s Lifetime Toys of Chattanooga, Tennessee, made some of the best doll furniture on the market in the 1950s to 1980s. They became known for their quality pieces which came in every size, shape, and style to match various types of dolls available at the time.

Charles Hall built his company up from a single canopy bed which he took to the New York Toy Show in 1942 where it won several prizes and was even featured in the New York Times. He took home orders for 2,000 beds but didn’t have a place or a staff of workers to make them. So he rented a store, hired some workers from a local furniture plant to make the beds.

Eventually, he produced his canopy bed in five sizes. It became the basis of his new toy business.

The furniture Hall made in the 1950s was for 8-inch dolls like Ginny, Muffy, Ginger, Madame Alexander, and others. Later, he began producing pieces large enough for  Barbie dolls. To add some variety to his canopy beds, he created three styles of headboards.

Halls became the largest manufacturer of wooden doll furniture in the country. The company sold its wares to a number of high-end toy and department stores, including FAO Schwartz and Saks Fifth Avenue in New York, Marshall Fields in Chicago, and I. Magnin in San Francisco.

When Hall died in 1959, his wife Marie took over. She added doll houses, made by Arcade Lithographing, to the company’s product line, selling them for $25 in 1964.

The firm’s promoted the quality of their products and packed a guarantee pamphlet in every box. Also included was a black and white fold-out pamphlet with numbers assigned to each doll furniture item.

The peak years for Hall’s Lifetime Toys were from the 1960s to the 1980s. Over the years, they made furniture for 8 to12-inch dolls, 3/4" scale miniature furniture, and 1/12 scale furniture and dollhouses.

Today, you can find Hall’s pieces on eBay and Etsy and other online collectible auction sites. The value of these varies but has remained quite high. A four-poster Barbie-size bed sells for around $64 while a wooden make-up table and stool for Barbie sells for $59. A single bed plus make-up vanity and bench sells for $110 on eBay. Some pieces, such as a pink vanity table with mirror and bench for a Ginny Doll, can sell for as much as $110. A patio chaise lounge and side  table alone goes for $30.  A three-piece living room set—sofa, armchair, and coffee table—goes for around $100. All prices include shipping.

Hall’s made a wide variety of doll furniture, from period pieces to sleek modern renditions. The company even produced bathroom sets, complete with tub, sink, and toilet. All of its furniture was handcrafted out of wood and painted in a variety of colors. Beds came with mattresses, pillows, and blankets, and living sets had real upholstery.

The Sweet Smell of Success

QUESTION: My grandmother has what she calls a “Larkin” desk. It doesn’t look like a normal desk but more like a tall oak bookshelf with a drop-down writing surface. She remembers her parents acquiring it around 1911.  Can you tell me more about it?

ANSWER: One of the most popular items from the Larkin Company was the drop-front combination bookcase/desk, also known as the Chautauqua desk. This desk became a common piece in homes at the beginning of the 20th Century.

In 1875, John D. Larkin opened a soap factory in Buffalo, New York, where he made two products— a yellow laundry soap he marketed as Sweet Home Soap and a toilet soap he called Crème Oatmeal. He sold both products using wholesalers and retailers. Larking originally sold his Sweet Home Soap to street vendors, who in turn sold it to customers along their routes. By 1878, he had expanded his product line to nine types of soap products.

His brother-in-law, Elbert Hubbard, the eventual founder of the Roycroft Arts and Crafts Community, came up with what he called "The Larkin Idea"—door-to-door sales to private residences. To establish brand identity, Hubbard, inserted a color picture with the company's logo into every box of soap as an incentive for customers to buy more soap. Housewives accumulated and traded these picture cards, and eventually the cards became more elaborate. This concept of offering a gift directly to customers was a new approach to marketing. And by the 1890's, Larkin’s premiums had become an overwhelming success and a vital part of the company’s   marketing plan.

The premiums Larkin offered included handkerchiefs with toilet soap, towels with soap powder, or one-cent coins. Eventually, Larkin inserted certificates into the packaged products which could be redeemed by mail at the company’s Buffalo headquarters. A $10 order of soap resulted in the awarding of a premium with a retail value of the same $10. By 1891 he placed his first wholesale order of items to be given as premiums, $40,000 worth of piano lamps. The next year he acquired 80,000 Morris chairs and 100,000 oak dining chairs—all to be given away with the purchase of soap.

Larkin and Hubbard knew the key to mass merchandising was to eliminate the sales force and sell directly to the consumer via direct-mail catalog. Larkin realized he would be better off if he made not only the products he sold, but also the premiums he distributed. His pitch was that since he manufactured the products he sold, unlike Sears & Roebuck and Montgomery Ward and sold them directly to the consumer, he was eliminating the "middleman" and giving the customer better value for the money. The Larkin Company motto became "Factory to Family." By the end of the 19th century, catalogs jammed people’s mailboxes.

The plan worked. Both his product line and his premium line expanded. By 1893, the Larkin Soap Manufacturing Company was sending semiannual catalogs to 1.5 million customers.

His first venture was the furniture assembly plant in Buffalo that made furniture from parts cut and milled in Tennessee. Here for the first time was a major catalog distributor who actually made the furniture they shipped. Furniture was one of the company’s primary premiums. Since Larkin was appealing to the mass market, he made sure to offer furniture premiums that appealed to ordinary people and not the wealthy.

His most famous premium was his oak drop-front desk with open bottom storage, first appearing in the 1901 catalog, that the company gave as a premium for a $10 purchase of soap. Constructed of either cold or quarter sewn oak plank, assembled with nail and glue construction, with a golden finish, each desk featured applied ash or maple molding and trim and back panels of three-layer plywood. Better desks also had stamped-brass escutcheons and brass hinges on the drop panel. Cheaper ones had iron-butt hinges. A somewhat oval French beveled mirror finished off each piece. Variations included a glass front case with a drop-front desk attached to the side, two glass front cases with a desk in the middle, or simply a drop-front desk with a small open bookcase below the drop and candle stands above it, with a mirror in the high splashboard. This small desk reflected the taste and style of the Golden Oak period of American furniture in a form modest enough fit into any middle-class home.

This type of desk became "Everyman's" desk and was a common item in most homes of the period. It became a trendy decorating item and remained so for many years. People began to associate Larkin's name to the form, even though his wasn’t the only company to manufacture them, and so evolved what has become known as the "Larkin Desk." Today, Larkin desks sell on eBay for around $400 and sometimes higher.

John Larkin and Elbert Hubbard not only provided the means for a growing American population to stay clean at a reasonable cost, but they also helped them furnish their homes for free.