The Aroma of Beauty

 

QUESTIONS: I’ve always loved the look and variety of antique perfume bottles. Since most of these are small, they’re often overlooked in the cases of smalls at flea markets and antique shows. It takes determination to seek them out. I’d love to know more about the history of perfumes, as well as some history about perfume containers.

ANSWERS: The Egyptians were the first to use perfume, but not for personal, everyday use.  They utilized scents to celebrate prayers and religious ceremony by burning essential oils, resin, and perfumed unguents.

Early civilizations used perfumes—usually aromatic resins and oils, burned to release an aroma—to scent the air. The Latin term “per fumum” means “through smoke” which is where the name ‘Perfume’ came from. 

In ancient Greece, common people began using perfumes as part of their daily hygiene. The ancient Egyptians traded spices, aromas, and resins abundant in Egypt, as well as those  imported from the Middle East, Arabia and India. Myrrh and incense made up some of the main ingredients of the scents of the time.

For much of recorded history, perfumes were only available to aristocrats and the wealthy. By the late 18th century, perfumes were in common use among the upper classes, and it didn’t take long to become de rigueur for the fashionable set, both male and female. In 1856, Harper’s Monthly railed against overuse of scents by men, calling the practice "foppish, effeminate, a waste of money, and a foolish gratification of sensual appetite."

After the Civil War, a variety of cheap perfumes came on the market. Such labels as Little Tot, American Girl, Boudoir, Bridal Bouquet, Duchess Ladies, Sensible, Home Sweet Home, Bow Wow, and Happy Family were common. By far the most popular, however, was the Hoyt's 5-Center, sold over general store counters everywhere. Hoyt's became the great odor of the common man. Like most other cheap brands it had a faint aroma of rose and honeysuckle. And while lavender and violet were popular with upper class women.

Queen Victoria’s preference was for simple, fresh and understated fragrances. Following Victoria’s lead, English women began wearing delicate scents such as lavender, jasmine, bergamot and lemon. Violet became particularly popular, as well as herbaceous notes of thyme, clove and rosemary. 

Besides flowers, aromatic woods, odorous spices, grasses and herbs, animal substances were primary ingredients of perfumes. Ambergris was a secretion of the sperm whale that net only mellowed other scents but gave them greater longevity. The most lasting of odors came from the musk deer of China and Tibet. One part of musk was said to scent over 3,000 parts of "inodorous powder" with an intoxicating aroma that impregnated any surface with which it came in contact. 

Given the nature of perfume, from the confidence it gives its wearer to the indescribable effect it sometimes has on its very targeted audience, it’s not surprising that perfume has long been kept in bottles whose shapes seem to echo the mysterious properties of the fluids inside them. Whether it’s a slender phial, a tiny tear-shaped lachrymatory, or a round, flat-sided ampullae, perfume bottles are designed to contain magic, which is only unleashed when a woman opens the bottle and applies a drop or two of the precious liquid to her body.

The earliest examples of perfume bottles come from Ancient Egypt, initially crafted from clay or wood. As the popularity of perfume spread across cultures, artisans created more ornate designs. The Romans hollowed out precious stones or blew magnificent glass bottles to hold their fragrances, while the ancient Greeks used terracotta sculpted into animal forms and shells. By the late 18th century, perfume containers came in a variety of materials, such as porcelain, silver, copper and white glass in various shapes influenced by artistic movements of the time. Enamel became popular as a base to hand-paint detailed pastoral scenes. 

As luscious as perfume smells, so were the shapes and designs of the bottles that contained it. Some were small enough for a woman to wear on a chain around her neck, in which case, the bottle became a piece of jewelry. Glassblowers in Britain, Bohemia, Germany, and France made perfume bottles throughout the 19th century. U.S. glass manufacturers such as the New England Glass Company and the Boston & Sandwich Glass Company also made perfume bottles during that time. Some of these were hexagonal and opaque—white, blue, and green were common colors—with knobby, pineapple-shaped stoppers.

Fashionable Victorian women revived the use of the vinaigrette filled with a variety of delightfully sniffable scents. They also developed a preference for French labels on their dressing table bottles. The allure and snob appeal of French fragrances swept the perfume industry until even the down-to-earth Sears & Roebuck catalog succumbed with terms such as parfums, odeurs , and flacons. A typical 1905 ad offered: "Our Special Violette France Perfume, put up in magnificent 2-ounce cut glass stoppered bottle, for only 60 cents.”

Beginning around 1890, artisans and glass factories alike produced elaborate cut or blown glass perfume bottles with ornate caps, some of which had hinged silver stoppers and collars. Purse-sized conical bottles with very short necks and round stoppers were often decorated with gilt flower-and-leaf patterns.  

The world of perfumes was then and is today one of mystery and magic. And the containers that house them are highly collectible. 

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Going to the Dogs

 

QUESTION: I bought these little white match holders from an antiques dealer in northern France, just across from Dover, England, so it’s quite possible they’re English. I’d like to find out their origin and date if possible. I have a collection of match holders but have never seen any like these before.

ANSWER: These match holders are quite unique and seem to be made of Parian, a type of biscuit porcelain imitating marble that was made in England and the United States in the 19th century. Designed to imitate carved marble, it had the advantage that it could be prepared in a liquid form and cast in a mold, enabling mass production.

Parian became popular with middle and upper middle class Victorian women who desired to own the marble statuary and china of the upper classes but couldn’t afford them. Parian filled this need at an affordable price. And while people normally associate Parian with grander sculptural forms and statues and items like water pitchers here in the U.S., it seems that as it’s popularity began to wane that some companies began making smaller less expensive items such as match holders. 

Because Parian had a higher proportion of feldspar than porcelain, makers fired it at a lower temperature. The increased amount of feldspar caused the finished body to be more highly vitrified, thus possessing an ivory color and having a marble-like texture that’s smoother than that of biscuit, or unglazed, porcelain. In its Victorian heyday, potteries produced hundreds of thousands of pieces of Parian ware annually. 

Though the Great London Exhibition of 1851 gave Thomas Battam credit for inventing Parian, indicating that he succeeded in producing a very perfect imitation of marble, there seemed to be controversy about who actually invented it.  While Battam may have invented it, several English factories claimed credit for its development. But the Staffordshire firm operated by William Taylor Copeland and Thomas Garrett was the first to produce and sell it in 1842, and went on to become one of its major manufacturers.

Several potteries marketed it under different names. The Copeland firm called it "statuary porcelain" because of its resemblance to the fine white marble of neoclassical sculpture. Wedgwood named it "Carrara," after the Italian quarry patronized by Michelangelo. But it was Minton which coined the word "Parian" to suggest Paros, the Greek isle that furnished much of the stone used in the classical period. Thus, it quickly became the medium's generic name.

Ultimately, potteries produced two varieties of Parian ware—Statuary Parian, used in the making of figures and reproductions of sculpture, and Standard Parian, from which they made hollowware. 

Standard Parian, with a greater proportion of feldspar in the composition but no frit, was hard porcelain. The presence of iron in the feldspar without iron silicate caused early Parian statuary to appear ivory tinted. Both English and American potters either obtained details of the original formula or worked out their own, resulting in enormous production of Parian wares on both sides of the Atlantic. Plus the invention in 1844 of a patented machine that allowed scaled reproductions of larger bronze or marble originals made replicas of figures and busts by noted sculptors widely available.

Though Minton produced several small Parian statues of dogs, it seems far more likely that Copeland-Spode produced these dog match holders since they produced a wider array of Parian ware, including match holders. They probably date from the 1890s. As time went on, Parian ware went from a less expensive substitute for marble in statuary to the material for inexpensive knickknacks.

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The Origin of American Studio Pottery

 

QUESTION: I’ve always loved handmade pottery. And looking back over history, it seems to have existed since ancient times. Recently, a friend told me that Charles Binns was the father of American studio pottery. Exactly what does that mean? Isn’t all handmade pottery made in a studio?

ANSWER: While pottery, itself, has existed for eons, what’s referred to as “studio pottery” is a relatively recent phenomenon, dating to the very late 19th century and early 20th. 

Although now nearly forgotten, Charles Fergus Binns, a studio potter and instructor, enjoyed a national reputation during the early years of the 20th century for his classic stoneware pots. Binns' made many of his legendary stoneware vases, bottles, bowls and jars during the height of the Arts and Crafts Movement in the U.S.

Born in England in 1857, Binns left school at age 14 to become an apprentice at the Royal Worcester Porcelain Works, where his father was a co-managing director. Eventually, he occupied an administrative position at the Royal Worcester factory and  became a recognized scholar and lecturer concerning world ceramics. In Paris, in 1878, he exhibited his early experiments with clay bodies and glazes. Binns accompanied the Royal Worcester exhibit of 1,400 pieces to the Chicago World's Fair in 1893 and made the United States his home in 1897. 

Binns's ceramic technique focused on his pots as utilitarian objects. His work included vases, urns, and bowls. He threw each piece in three forms on a wheel, turning them on a lathe and piecing them together afterwards. One of the concepts Binns taught was “dead ground,” in which the parts of making pottery that couldn’t be precisely controlled, such as firing temperature or glaze calculations, were mitigated by control over glaze placement.

In 1899, Binns helped found the American Ceramics Society. His role in this organization led to the directorship of the newly formed ceramics department of Alfred University, the first United States college to combine programs in ceramic art and science. In the years that followed, Binns shared once-secret clay recipes and glaze formulas with his students, including Arthur Eugene Baggs, William Victor Bragdon, R. Guy Cowan, Maija Grotell and Elizabeth Overbeck, who were largely responsible for fostering the idea of the artist-potter in America.  

Binns is commonly referred to as the "father of American studio ceramics." This title reflects not only his creation of unique stoneware pots in the Arts & Crafts style, but additionally acknowledges his accomplishment of bringing vital information about ceramic clay bodies and glaze recipes to ordinary people, thus laying the foundation of the flourishing studio ceramics movement in the United States that began in the early 1900's.

In 1900, New York Governor Teddy Roosevelt signed a bill establishing the New York State School of Clay-Working and Ceramics—now the New York State College of Ceramics at Alfred University. Appointed as the founding director at that time, Binns held the position for over 30 years until his retirement in 1931, during which time he became known for his classic pots with rich monochrome glazes.

Before Binns' arrival at Alfred University, it was customary for one

person to throw art pottery on the wheel and another person to glaze or decorate surfaces mar reflected his respect for the natural materials he used. He admired Oriental forms and glazes. and sometimes signed his pieces by putting his initials, “CFB" inside a circle closely resembling Chinese marks. His signed pieces ;following Asian tradition, Include his initials along with the year in which he made them.

Binns' work was widely exhibited during his lifetime, including his earliest documented stoneware vase, signed and dated 1905, and his final creation, a fragile bisque vase that he

signed and dated 1934, which he left unglazed and unfired at the time of his death. A memorial exhibition Of Binns’ works drew admiring crowds at the Metropolitan Museum of Art in New York in 1935.

American studio ceramics really began with Charles Fergus Binns, who introduced the principles of chemistry and materials science into the ceramic arts. 

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Tile It

QUESTION: In the last few years, I’ve begun to buy decorative tiles from the early 20th century. I buy what I like and not because a particular company made them. One I purchased recently supposedly came from the Moravian Tile Works in Doylestown, Pennsylvania. Since I live in the Midwest, I haven’t had an opportunity to visit the Tile Works. What can you tell me about this tile?

ANSWER:  Go to any Arts and Crafts auction and you're sure to find art tiles, ranging from $20 to several thousand dollars. But what makes one tile worth more than another? And what makes these late 19th/early 20th century tiles any different from the ones we see today at our local home renovation store?

Combine the rise of the Aesthetic Movement, the desire to get back to basics, and a variety of unique techniques, and tiles can represent some of the most interesting objects made during the heyday of the Arts & Crafts Movement." It’s these "art" tiles that are of real interest to collectors, and these are the tiles that command the highest prices. Commercial production tiles, while they're old, even when made by a well-collected maker, are usually only valued in the $20-$30 range.

Although a large number of American potteries made tiles, six are most popular with collectors and/or the most historically significant---American Encaustic, J.G.Low, Grueby, Rookwood, Batchelder, and the Moravian Pottery and Tile Works.

Henry Chapman Mercer, an archeologist and antiquities collector, founded the Moravian Tile Works in 1898. His intent was to bring back the medieval craft of tile making and established the Moravian Pottery and Tile Works on his family's estate in Doylestown, Pennsylvania. Mercer chose the name Moravian to represent the German immigrants who brought tile making to Pennsylvania in the 18th century.

Although Mercer designed all the tiles, using patterns derived from European an Middle Eastern ones, as well as photographs of ones from Mexico, he trained a crew of men to produce them by pressing wet local clay into handcarved molds. Workers slow fired these molds in a wood burning kiln, painted the bisque ware with glaze, and fired them again.

Mercer gained a reputation as a serious proponent of the Arts & Crafts Movement. Many of America's top tile makers, including Grueby and  Batchelder, copied his tile designs. Mercer also produced several lines of four-inch molded tiles representing tall ships, zodiac signs, and farming. He also used them to build items like inkwells and bookends. For more elaborate installations, Mercer produced cookie-cutter-shaped paving tiles referred to as “brocades.”

Mercer remained active with the company until his death in 1930. The company remained in business until 1964, and in 1969, it opened as a museum.

The reproduction tiles made today come from Mercer's original molds, locally dug clay, and have properties similar to those of Mercer's slips and glazes that follow his final formulations, although some have been modified to reduce the lead and heavy metal content to less toxic levels. The manufacturer of reproduction tiles began in 1974, but there’s no danger of deceit. When the Bucks County, Pennsylvania, Department of Parks and Recreation took over the Tile Works as a working museum, they insisted that all the tiles made at the museum bear the mark of a stylized "MOR," the words "Bucks County," and the year of manufacture.

Today, collectors can expect to pay from $30-100 for common tiles, $35-250 for brocades, $300-3,000 for “built items” made from tiles, and $1,000-5,000 for the more unique medieval-style tiles.

You can find some of the largest collections of Mercer tiles at John D. Rockefeller's New York estate, Grauman's Chinese Theater, and the Casino at Monte Carlo. Your tile represents "Virgo," a sign of the zodiac.

Elephant Mugs and More

QUESTION: I recently bought a small mug in the shape of an elephant at a monthly flea market. It has GOP 1968 embossed under the top edge. On the bottom it says "Frankhoma" What can you tell me about this cute little mug?.

ANSWER: The mug you found was a souvenir of the Republican Party Women, created by John Frank.

After graduating from the Chicago Art Institute, John Frank moved to Norman, Oklahoma., in 1927 to establish the first Ceramic Art Department at the University of Oklahoma. In 1933 he started his own pottery company to create a line of fine art ware and sculpture that ordinary people could afford to buy. A year later, Frank's wife, Grace Lee, suggested the company name should incorporate both their family name and the last letters of their state, thus the company officially became Frankoma Pottery.

The Franks and their new business moved about 20 miles south of Tulsa to Sapulpa in 1938, but soon hardship followed. Their first building, constructed partially by Grace's father, burned down shortly after their arrival. Despite the economic hardships caused by the fire and the Great Depression, the Franks followed their vision and rebuilt.

Instead of reissuing early sculptures, such as figurines, ashtrays and vases, the Franks decided to make bookends, candleholders, wall vases, face masks and plaques following the fire. Frankoma also became the pioneer in colored tableware with bold designs in vibrant Southwestern colors such as Prairrie Green and Desert Gold. From 1942 until 1988 Frankoma created a line of wagon- wheel dinnerware that became its signature product. The Pottery also produced dinnerware in other patterns, including Mayan-Aztec, Plainsman, Lazybones, and Westwind.

In 1968 John Frank designed an elephant mug as a fundraiser for the National Republican Party. The following year it became a collectible series. The Frank’s daughter, Joniece, designed the first Democrat donkey mug in 1975. The company produced other collectibles,  including 14 Teenagers-of-the-Bible plates issued from 1972 until 1982 and Christmas plates,  first issued in 1965. From 1955 until 1967, Frankoma also manufactured earrings, pins, and tie clasps and the bolo tie designed by John Frank, who had received an award for jewelry design in 1927.

The type of clay and trademarks help collectors identify old and new Frankoma pieces. John Frank experimented with many types of clay from different areas of Oklahoma. From 1933 until 1954 he used tan clay found near Ada, Oklahoma. Collectors now call pieces made with this clay Ada Clay.        

In 1954 he switched to a brick red firing clay located a few miles from the factory in an area known as Sugar Loaf Hill. Collectors call this Sapulpa Clay Pre-1980. In the 1980s, additives affected the red brick color of the clay, and it became either a light pink or a light orange. Collectors refer to this as Sapulpa Clay Post-1980. The changes in the clay also affected the color of the glazes. Today, Ada clay pieces are generally worth the most.

Collectors today regard the pieces with Frank's initials "JNF" or '"JF” as the most desirable. During 1933 and 1934, Frank marked his firm’s wares with one of three marks—“FRANK POTTERIES NORMAN OKLAHOMA,” “FRANK POTTERIES NORMAN OKLA” or “FRANK POTTERIES.” It wasn’t until he incorporated Frankoma Potteries in February 1934 that he used a rubber stamp with the of the word “Frankoma.” He didn’t use it for long, so it’s quite rare. From late 1934 until 1954 the company used an impressed mark.

Frank also used what collectors call the cat mark from 1934 until it was destroyed in the 1938 fire. Known as the “Pot and Puma” logo, it was the company's first trademark and featured a large ceramic vase with a Taylor pacing cat in the foreground. It can be found on larger pieces. After he rebuilt the company after the fire, Frank again used an impressed Frankoma mark but this time the “O” was oblong, and not round. This Frankoma mark continued to be hand impressed until the early 1950s when the trademark was often inducted in the mold along with the mold number. However, some of the pieces made at this time had no marks since Frank never modified their molds. He often personalized pieces he gave as gifts to friends, family and special customers. His etched message and signature is definitely the most valuable mark.

After Frank’s death in 1973, his daughter Joneice took over, but in September 1983, fire once again claimed the Frankoma Pottery. The following year, after reopening, she had to declare bankruptcy. Two more owners took over the molds and tried to keep the pottery going, but in 2011, the company finally went on the auction block.

As Delicate as Lace

QUESTION: My aunt collected Dresden lace figurines for years. She died recently and left her collection to me. Unfortunately, I know next to nothing about these porcelain figurines, except that they came from Dresden, Germany. What can you tell me about them? Also, I’d like to maintain the collection and have no idea how to care for them. They seem so delicate.

ANSWER: Dresden lace figurines have captured the imagination of collectors for years because of their fragile beauty and grace. These delicate figures have been produced by many different German companies from the late 19th century to the present and shouldn’t be confused with the famous porcelain Meissen figurines.

Confusion about Meissen and Dresden porcelain has reigned for over 200 years. The Royal Saxon Porcelain Factory (now known as Meissen) first opened in 1710 in Dresden, Germany. A year later, it’s owners moved it to Meissen, Germany, where it remains today. During the 18th and 19th centuries Meissen porcelain became known as Dresden China in England, Canada and the United States. These lace Dresden figurines are completely different.

Between 1850 and 1914, as many as 200 decorating studios in and around Dresden created a "Dresden" style, a mixture of Meissen and Vienna. While some studios produced high quality pieces that outdid Meissen, others made inferior copies.

Most Dresden-style figurines aren’t as solid as those produced at Meissen. The makers of authentic Meissen figurines pressed porcelain clay into molds, making solid finished pieces. The makers of the  Dresden-style figures, on the other hand, made their pieces by pouring liquid porcelain or "slip" into plaster molds. Because the plaster absorbed the liquid near the sides, a thin wall of partially hard porcelain built up against the outline of the mold Then they poured the remaining slip out of the mold. The resulting impression was thin, hollow, and light in weight. Thus Dresden figures are less costly to produce than those of Meissen.

Meissen first introduced porcelain lace, the most distinctive feature of Dresden figurines, in 1770 as a fancy addition to the dress of some figures. Makers used small amounts to decorate collars and sleeves. In the late 19th century, various Dresden studios developed figurines in elaborately flounced lace skirts and dresses.

The lace was easy to produce. Workers dipped real lace into liquid porcelain, then cut and applied it to the figure in the desired position. During the firing process, the real lace threads burned away, leaving a replica of the mesh in the porcelain.

Dresden figurines also possess an abundance of delicate, applied flowers adorning the gowns, hair and base of the figures. Artists created these tiny leaves and flowers petal by petal, then individually applied them. Some pieces also had a hand-whipped, grouty bisque applied to the base to simulate grass or moss. The best examples appear on figures produced by the Carl Thieme Factory of Potschappel. In 1972 the company became the VEB Saxonian Porcelain Manufactory Dresden. Today, they’re the only official producer of Dresden china in Germany.

The most beautiful and sought-after Dresden pieces are the large figure groups made in the style of 18th-century Meissen. These so-called "crinoline" groups often portrayed court life and the diversions of noble people, such as playing musical instruments or doing the minuet. Avid collectors of Dresden figurines also seek groups that include animals such as Russian wolf hounds, as well as love scenes.

Many collectors love the Dresden ballerinas, each featuring tightly fitting lace tutus, as well as Spanish Flamingo dancers with their skirts of ruffled lace.

As with any antique or collectible, condition is probably the most important factor to consider. Examine the piece carefully for chips or small flakes, as damaged pieces lose 50 percent or more of their value. Because the lace is so fragile, you should expect a small amount of loss. However, be wary of pieces with large holes or breaks in the lace because it's virtually impossible to repair porcelain lace. If the piece contains many applied flowers, a small chip or two on a petal or leaf is acceptable.

The next thing to consider is quality. Do you like the face? Are the fingers slender and separated from one another? Is there much hand-painted decoration on the costume? Are the colors pleasing? How lifelike does the figure or group of figures appear?

You’ll need to take extra special care with your Dresden pieces. Because the lace and applied flowers are so fragile, use care in handling them. Keep them in a glass case or china closet to prevent them from getting dusty. If you must clean them, use a feather duster or carefully submerge them in a mild detergent and warm water. Gently pat dry the figure and blow dry the lace.

Figural Cookie Jars Hold Delicious Delights

QUESTION: I have a Goldilocks cookie jar...it was my mother-in-law’s mother’s, bought a long long time ago. On the bottom it has “Patent Pending” and the number 405.  Can you give me any information on this cookie jar?

ANSWER: The Regal Pottery Company, later known as Regal China, produced your beloved Goldilocks cookie jar in the 1940s. The jar stands a foot tall and is nine inches wide, and, yes, has “Goldilocks Pat Pend #405" stamped into the clay on its base.

Established in 1938, the company, located in Antioch, Illinois, remained in business for more then 50 years and became known for its high quality non-porous china and for the rich colored glazes that they used, especially on the fine cookie jars they made. Even earlier pieces of Regal china seldom have any crazing in the glaze. Besides the Goldilocks jar and lots of others, Regal also made the Quaker Oats cookie jar. Rumor had it that they made the original jar as a premium for the employees of the Quaker Oats Company. On the back of this cookie jar is the famous Quaker Oats Oatmeal Cookie Recipe. Unfortunately, the decline of the decanter business–Regal China also produced liquor decanters—forced the company to close in June of 1992.

Cookie jars don't have to be old to have substantial value since collectors determine a jar’s value  by design, rarity and condition more than its age. Though the British used covered jars of cut glass and silver made especially to hold shortbread biscuits during the 19th Century, thus the name “biscuit jar,” it was the American pottery jar that first caught the eye of collectors.

The first American cookie jars, either glass or pottery, gained popularity at the start of the Great Depression in 1929. Shaped like covered glass cylinders or pots with screw-on lids, these early cookie containers were more utilitarian than decorative although they were often painted with floral or leaf decorations.
                                      
The Brush Pottery Company of Zanesville, Ohio, produced the first ceramic cookie jar, in green and with "Cookies" painted on the front. The company marked their jars with “Brush USA.”
By the mid-1930s, stoneware became the predominant material for American cookie jars.

As the end of the 1930s decade dawned, most manufacturers followed the move to molded pottery, and designers became more innovative as they began to produce cookie jars in figural shapes resembling fruits, vegetables, animals, and other whimsical characters such as Goldilocks.

The golden age of American cookie jars got underway in 1940 and lasted until 1970, with several manufacturers rising to prominence, including the Red Wing, McCoy, Brush,. Hull, Regal China, Metlox, Shawnee, and Robinson-Ransbottom companies. Many of these companies located in the clay-rich Ohio River Valley. By the mid-1940s, cartoons and comics inspired many makers to reproduce the popular characters of the day–Superman, Winnie the Pooh, Dumbo, Mickey Mouse, and Woody Woodpecker, to name a few.

Collectors love McCoy cookie jars. The company, based in Roseville, Ohio, produced cookie jars from about 1939 until 1987. Their first jar–the “Mammy” cookie jar–is today one of the most valuable.

American Bisque of Williamstown, West Virginia is recognized as another top U. S. manufacturer, beginning in the mid-1930s. They’re particularly well known for the cartoon characters which they translated into cookie jars, and they marked them “U.S.A.” on the bottom.

Other well respected U.S. manufacturers are known for particular cookie jars or series, such as Metlox of California, maker of the highly sought after Little Red Riding Hood jar, and the Abingdon Pottery of Illinois, maker of the Mother Goose jar series.

Today, with the advent of Zip-Loc packaging and plastic, air-tight containers, the cookie jar, for the most part, has gone the way of the horse and buggy and the Ford Edzel. But the nostalgia lives in on the cookie jar collections of hundreds of admirers who long for those good old days and the delicious homemade cookies found inside these jars.