Valentines from Across the Seas

QUESTION: While vacationing in Nantucket last summer, I came across some beautiful souvenirs made of shells. The shop owner said they’re called “Sailor’s Valentines.” While the one I purchased is newly made, I saw others in the Nantucket Whaling Museum a few blocks away. What is the history behind these things of beauty? Who made them and where did they come from?

ANSWER: Most sailor’s valentines date from the early 19th century. Beginning in 1830, whaling ships set sail from Nantucket and later New Bedford, Massachusetts in search of mighty whales, from which they extracted whale oil used to grease the machines of the Industrial Revolution.


While Nantucket was the center of whaling in New England–at its height nearly 400 ships called the island port home—these weren’t the only types of ships that sailed the oceans of the world. Sailing ships, later known as clippers because of their fast speed, sailed to all the major ports of the world. From the early to the latter part of the 19th century when steam-powered ships took over the seas, the sailors aboard them spent years aboard in search of whales and moving cargo from one port of call to the next, often gone from home for several years. When they stopped to exchange cargo or gather provisions, they went ashore, discovering unique souvenirs to take home to their wives and girlfriends. Besides objects decorated with scrimshaw, which they, themselves, made, they found some unusual octagonal wooden boxes filled with seashells in shops on the island of Barbados in the Caribbean.

Between about 1830 and 1880, residents of Barbados made and sold what came to be known as Sailor’s Valentines to the lonely English and American sailors.

From the 1630s to the end of the 19th century, Barbados was an important port of call for sugar, rum, lumber, and fish. Because of this, a number of shops catered to the souvenir trade. The Victorian love for collecting and displaying exotic objects from afar possibly fueled the industry and contributed to the popularity of the valentines.

Historians believe that most of the sailors' valentines came from the New Curiosity Shop on McGregor Street in Bridgetown, Barbados, owned by two English brothers, B.H. and George Belgrave, who hired locals to make the valentines.

The local valentine makers constructed the special octagonal, hinged boxes, ranging in size from 8 to 15
inches across, using mahogany veneer for the sides and native cedar wood called cedrella, for the bottoms. Then they lined the insides of the boxes with colored paper, most often pink, onto which they placed cotton batting. Next they glued hundreds of colorful tiny seashells in intricate symmetrical mosaic designs incorporating hearts and flowers, which often featured a compass rose centerpiece. After gluing down all the shells, the maker placed a piece of glass over the design to protect them. They called these double valentines.

Sometimes the makers incorporated a special sentimental message that a sailor would request into the design, thus the name Sailors’ Valentines. Sentiments typically appeared only on the smaller 9½-inch double valentines, which often displayed a heart motif on the opposite half. Some of the more popular ones were “To My Sweetheart,” “To My Love,” “Home Again,” and “From a Friend.” The larger 13½- to 14-inch valentines rarely had sayings, but instead had more intricate shell-work designs on both sides.

Today, Sailors’ Valentines command high prices at auctions and antique shows. Some of the best, however, are part of the collections of the New Bedford and Nantucket Whaling Museums, and the Peabody Essex Museum, all in Massachusetts. Collectors value antique sailors' valentines for their beauty and unusual qualities. But their high prices make it difficult for most beginning collectors to acquire the originals. A small double valentine that twenty years ago sold for $350 to $600, now sells for $500 to $1,500, and the price for a large double valentine has jumped from $1,000 to between $2,500 and $10,000—that is if either can be found.

Plus, a thriving business making new sailors’ valentines has emerged on Nantucket Many of these have frames that have been faux finished to imitate the original woods and their designs copied to imitate the originals. Beyond the souvenir shops, collectors must be vigilant because many of these imitations have been sold as antiques.

A, B, C, D, E, F, G...

QUESTION: My grandfather gave my parents a wooden child’s chair, covered with letters, that he had when he was a kid for me to use. I remember singing the alphabet song while sitting in the chair, and that’s pretty much how I learned my ABC’s. My grandfather is gone now, but I still have the chair. Can you tell me anything about this chair?

ANSWER: What you have is a wooden alphabet chair with lithographed letters of the alphabet decorating it. If your chair is in really good condition—many of these are not—then you have something of some value.

Lithographed toys range from dollhouses to acrobat figures to nests of blocks to an array of boats, horse-drawn carriages, and trains. Collectors value for their often substantial size, handsome graphics, and careful attention to precise details.

Of the three types of lithographed toys—tin, wood, and cardboard—the latter two have vibrant, two-dimensional details printed on paper that’s combined with a three-dimensional shape. Collectors appreciate the intimacy and color of these hand-drawn but mechanically printed designs.

Before the development of chromolithography—the process of printing a color picture from a series of lithographic plates—by German printers in the 1840s, toys had to be handmade. So most toys were too expensive for all but wealthier people. Less affluent families had to make do with homemade toys.

By the 1870s, French, English, and American firms had patented chromolithography production methods, which offset designs from inked sheets or rollers onto toy surfaces. By the 1890s, they had standardized the process, and both the American and European toy industries were able to mass-produce colorful toys inexpensively. In time, American toymakers, such as Rufus Bliss, John McLoughlin, and Parker Brothers, refined the technique and became world-leading toy manufacturers.

Production of all three types of lithographed toys ran from the late 19th century into the early 20th. But just as horse and steam power gave way to the internal combustion engine, production of wood and cardboard lithographed toys waned as technology developed. By the 1920s, after ore became available for cast-iron toys, manufacturers found metal better suited for mass production and that lightweight tin could more easily house clockworks and springs than wood.

The mass production of toys came at a time when parents were beginning to view their children less as miniature adults to be instructed and more as children to be entertained as well as taught.

Numerous wood lithographed replicas of horse-drawn fire engines, prairie schooners, steamboats, and luxury side-wheeler river steamers paralleled a strong interest in the rapidly changing modes of transportation at the turn-fo-the-20th-century.

Today wooden lithographed toys are available at auctions; estate sales, and flea markets. Because of their fragility, however, it’s difficult to find examples in excellent condition. Those that have survived the years are worth from $50 to $4,000, depending on size, condition, and rarity. Since your alphabet chair is of the larger variety, it’s worth more, depending on its condition.

Looking for Value in All the Right Places

QUESTION: I’m a novice at putting value on furniture and other old things. Can you tell me the best way to do this?

ANSWER: Putting a value to an antique or collectible isn’t as simple as black and white. Finding out about the value of an object involves several steps.  First you need to authenticate it—that is, find out if it’s real or fake. Then you need to determine the value you want to research. And if you discover that you have something valuable, you need to consult a certified antiques appraiser.

While there’s no fixed value in antiques and collectibles, there are two types of value you need to consider—replacement value and retail value. Which type you need to research depends on whether you’re planning keep or sell the object.

If you’re keeping it, you want to find its replacement value. Replacement value is the retail price you would pay to buy an object that’s identical to the one you own. Though that sounds simple enough, it isn’t. The object has to be exactly the same, including its condition. Then you’ll have to purchase it from the same type of source—an Internet antiques store, eBay, an antiques shop or show, or flea market. The retail price of the object will be different at each of the venues. So, unless you purchase it at exactly the same type of sales outlet, you may have a problem.

In the end, you’re the one who determines which price applies. Most beginning collectors use the highest price. While this may boost your ego, this may not be the best value. What about averaging all the prices? That won’t work, either. You’ll just have to consider the most likely place to which an average person might go to purchase the item.

Traditionally, insurance companies have considered the retail price asked by a dealer at an antiques show or at an antiques and collectibles mall as the replacement value. But, let’s face it, who pays the asking price? Smart collectors don’t. The object is to buy pieces at the lowest price possible, so that they’ll gain value right off. A lot of novices are turning to eBay to determine the replacement value. But this isn’t good, either. Any of the auction sites are just that—auctions. That means that buyers bid against each other, often sending the price higher than it should be. If you’re going to use eBay to determine value, you’ll need to study several months worth of pricing data.

If your goal is to sell your object, the price varies depending on retail venue. Traditionally, people sell items through garage sales, flea markets, eBay, and antiques shops and shows. You’ll need to research the potential value in all those categories. Each one has hidden costs, so the price represents only a portion of the amount paid. Auctioneers charge a commission to sell objects. Antiques dealers have to mark up their wares to make a profit. Flea market dealers have to do the same, albeit not as much, to make a profit over space rental fees. Ebay sellers have to add on numerous fees. Only garage sale sellers can charge the least amount and still make a profit. If you base your object’s value on their pricing, you’ll never get anywhere, even though some price their items based on what they see on eBay.

About the only way you’ll get the full value from an item is to sell it privately. However, while private buyers will pay the highest amount, they have to want the object. Most private buyers have been collecting for some time, so the list of what they want is usually short. Most of the time, they’ll already own the item. Further, finding a private buyer is a time consuming and difficult process. The best example is trying to find a buyer for collectibles from the 1939 New York World’s Fair. While there are certainly many collectors of these souvenirs, finding them is another story.

The Often Confusing World of Antiques

QUESTION: Every time I go into an antique mall or visit a show, I become overwhelmed by all the items.  How can I make sense of it all?

ANSWER: If you’re like this person, perhaps you’re mind and senses have gone into antiques overload. So many items–furniture, ceramics, pictures, jewelry, 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 products seem ridiculous , especially if you’re a beginning collector. But don’t despair. There’s a method to all that antique madness. Believe it or not, there are some main categories.

When most people think of antiques, they think of furniture. And though it 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.
All in all, there are about 15 major categories and 75 sub-categories. Within these there are other, more specialized areas, such as antique maps and posters, two very specialized categories.

Even though antiques can be categorized generally, dealers and serious collectors use historical periods–Victorian, Roman, Gothic, Civil War, Western and even the1950s–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, American, and Chinese styles at most antique malls, shows, or auctions. Most English furniture falls into the pre-Victorian or Victorian category while American furniture tends to fall into different types: Pennsylvania, Shaker, New York, etc..

Porcelain or pottery pieces fall into categories associated with the country in which they were made–England, Germany, France, American, Chinese and Japanese are just a few. The four you’ll see most are English, German and 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 venues.

Glassware is the third most popular category. You’ll see all types, including Depression, Venetian, English, and Czech 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.

These are just some of the many 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, ceramic, and glassware to get you on your way.