Enriching the Human Spirit Through Pottery

 

QUESTION: A few years ago, I found several Pewabic ceramic tiles while browsing a local thrift shop. I’m not sure how old they are, but I suspect they’re newer ones, purchased as souvenirs of a visit to the Pewabic Pottery in Detroit. Since the tiles were very attractive, I bought them. However, I don’t know anything about Pewabic tiles. Recently, a friend told me they were by Pewabic. Can you please tell me more about the company? I’d like to buy more of these tiles and possibly start a collection.

ANSWER: Pewabic ceramic tiles have been a popular collectible for many years and are relatively easy to find. The pottery is still producing them, including special ceramic Christmas tree ornaments. 

In 1903, Mary Chase Perry Stratton, an artist and educator, and Horace J. Caulkins, a dental supplier and kiln manufacturer founded Pewabic Pottery in Detroit, Michigan, the same year that Henry Ford established his motor company in the city. Caulkins was considered a high-heat and kiln specialist, and developed the "Revelation kiln". Mary Chase Stratton was "the artistic and marketing force." The collaboration of the two and their blend of art and technology gave the pottery its distinctive qualities as Detroit's contribution to the International Arts and Crafts movement and exemplified the American  Craftsman Style. The pottery became a leader in the Arts & Crafts Movement for its handcrafted pottery and ceramic tiles.

The word Pewabic is derived from the Ojibwa (or Chippewa) word "wabic", which means metal, or "bewabic", which means iron or steel, and specifically referring to the "Pewabic" Upper Peninsula copper mine where Stratton walked with her father. Her workshop was an integral part of America’s Arts and Crafts movement, a backlash against mechanization that began in the late 19th century. In it she fashioned handmade, delicate wares, and was much like Henry Ford’s factory with its assembly-line production. 

Challenged by a friend to replicate a piece of shimmering Babylonian earthenware, Stratton decided to fire her pieces three times, adding a spray of kerosene for the final blast. The oil burst into flames, combusting with the metal oxides in the glaze to create a swirl of metallic colors. By 1909 she had perfected the iridescent glaze and the process of “fuming” that became the studio’s trademark.

The pottery started out in a carriage house in Detroit’s Brush Park neighborhood (pictured). Quickly outgrowing this “Stable Studio,” renowned architect William Buck Stratton was hired to design the pottery studio on Detroit's East Side, which is still in use today. Production moved into this building in 1907.

Demand for Pewabic grew thanks to our stunning iridescent glazes and inspiring architectural tile installations throughout southeast Michigan and across the country. Generations have been enriched by the Pewabic art and tile adorning homes, schools, churches, and public institutions, cementing Pewabic into the rich cultural fabric of Detroit.

Under Mary Stratton's artistic leadership, Pewabic Pottery employees created lamps, vessels, and architectural tiles. Architectural pieces have been a staple in Pewabic's history. They were known for their iridescent (like an oil slick with an incredible translucent quality and a phantasmagoric depth of color) glazes. Architectural tiles were used in churches, concert halls, fountains, libraries, museums, schools and public buildings. The studio's work graces numerous edifices throughout Michigan and the rest of the United States. Noteworthy examples include Herzstein Hall at Rice University in Houston, Texas, and the Shedd Aquarium in Chicago. Illinois. 

Stratton  oversaw operation of the pottery until her death at the age of 94. She gifted the pottery to Michigan State University in 1965 which used it for its ceramics education program. 

Pewabic tiles have long been in great demand in Detroit and southeastern Michigan for  use in buildings, and they can be found in many of the area's finest structures. 

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  Vernacular Style" in the 2024 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.

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.

Memories of Childhood

 

QUESTION: When I was a kid, I collected flicker rings. I loved the way they produced a flickering image of my favorite super heroes. Trading them with friends became a passion. I forgot about them until I saw a story online about them and did a search on eBay to see if I could find any. Low and behold I discovered some of the ones I had collected as a kid. Heaven knows what happened to them. I’m thinking about collecting them again but don’t know anything about them. Can you tell me how they originated and a little about how they were made?

ANSWER: No problem. There are many little promotion items like flicker rings out there that make wonderful collectibles today. 

A flicker ring has a clear, ribbed lenticular plastic lens over a specially created image underneath. When viewed at different angles, it optically switches between two or more separate images. 

Though invented in the 1950s, it wasn't until the 1960s that flicker rings reached their peak of popularity. Made by the millions, these small plastic pop cultural icons appeared as cereal premiums, were sold in vending machines, hung on display cards at drugstores and supermarkets, and could be found by the box full on counter tops at variety stores across the country. 

The Vari-Vue Corporation perfected the dual image camera that took two separate images and split them into hundreds of fine lines. Then workers applied hundreds of images to a sheet of plastic which had been rolled out by a machine that left lenticular lines, allowing the individual photos to be viewed by slightly tilting the sheet. Unlike the later holographic process, which used laser technology and produced an image with three-dimensional qualities, the flicker consisted of two distinct images. Finally, workers  cut the sheets and applied the flickers to a ring base which was usually made of plastic  in Japan or Hong Kong. Some of the more desirable rings had metal bases or were larger, and some resembled a tiny T.V. set. Vari-Vue often contracted out piece work to local families, who would take thousands of flicker pictures and ring bases home and attach them.

Since there are two pictures on flickers, it's quite common to have linked images. Often  one image is split into a positive and negative form, like the Famous Monsters and Universal Studios Monsters sets. Characters who didn't have a strong tie to a partner appeared in two poses, such as Superman standing and Superman flying with cape out-spread. And then there are the type that show animation such as the Roadrunner with legs in motion. Rings showing pop culture icons of the 1960s are the most sought after by collectors. 

Collectors also seek the multi-image sheets used to make the rings. When Vari-Vue shut its doors in the mid-1980s, much of its stock of uncut sheets made its way into the hands of collectors and dealers. These sheets aren’t all that rare and can be found at toy and collectibles shows.

One of the rarest and earliest rings on the market is the Howdy Doody version from the early 1950s. This ring, along with a set of five premium rings offered by Famous Monsters Magazine in 1968 are two of the most collectible of flicker rings. 

Rock 'n' roll, too, came of age in the 1960s, with the Beatles and the Monkees topping the list of flicker rings. The 1964 World's Fair, the Space Program, television shows, movie characters, political campaigns, and even products, all made their way onto flicker rings.

Along with rings, flickers appeared on pins, earrings, keychains, cufflinks, rulers, in books, ads in magazines, promotional premiums, and on business cards. In fact, the  cardboard cards on which displayed the rings are now more valuable than the rings themselves. Usually a dealer threw away these header cards once he or she sold the stock, which is the reason for their scarcity.

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 Retro style in the Fall 2020 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.

                          

Every Car Had Its Mascot

QUESTION: Way back when, my grandfather owned a 1925 Packard. My father says he loved that car, so much so that he removed the hood ornament from it and kept it as a souvenir when the car no longer worked, and he took it to the junkyard. He gave it to my father, who, in turn, gave it to me. It now sits proudly on my desk. It’s a real beauty, but is it worth anything or am I just being sentimental?

ANSWER: Your hood ornament, a Packard cormorant, is something very special. If you haven’t noticed, cars don’t come with them anymore. At the time your grandfather owned his car, hood ornaments were all the rage. Every car had one—some were extremely elaborate, more like works of art.

Collectors refer to these hood ornaments as automobile mascots. They began as radiator caps at the turn of the 20th century. Automakers added decorative touches to differentiate their vehicles from others during an era when there were 3,000 automobile manufacturers in the U.S. There are now only a handful.

Back when drivers had to negotiate muddy roads and weren’t sure if they’d get back home, St. Christopher, the patron saint of travelers, supposedly brought them good luck. He also protected them from robbers, who prayed on unsuspecting motorists. If you owned a car back then, you had some money.

Birds, chosen by auto makers to convey quick flight, became a common ornament theme. Packard chose a cormorant. Ford chose a quail for its Model A’s and Duesenberg, a stylized bird.

Many collectors consider the stork, used by European automaker Hispano-Suiza, to be the most distinctive and collectible. The stork commemorates French World War I ace Joseph Vuillemin, who had a stork painted on his airplane.

Some auto makers chose to use graceful ladies. Moon Motor Co., a now defunct St. Louis manufacturer, had the Greek goddess Diana on its cars to appeal to women. The glass lady hood ornaments crafted by Lalique before World War II are worth $1,000 to $10,000 depending on subject matter, condition and rarity.

Bugatti Royale selected an elephant balancing on a ball to demonstrate agility. World War I ace pilot Eddie Rickenbacher used an airplane mascot before his auto business failed in the 1920s. Chevrolets also sported airplanes in 1932. Designers for the Lincoln chose a greyhound mascot to dispel rumors that the auto was slow.

Some mascots invented in that time still exist, including Mercedes-Benz's three-point star and the Mack Truck bulldog. The height of hood ornament use was the 1920s and early '30s. By the mid-'30s, they began to fade as the Streamline Moderne movement, which emphasized aerodynamics and eschewed features that slowed down vehicles, caught on. But Mercedes held on to its mascot anyway. The company cared more about prestige than it did aerodynamics.

Other ornaments, such as Cadillac’s Lady, Rolls-Royce’s Flying Lady, Packard’s Cormorant, Desoto’s Explorer and Imperial wings, lasted through the 1950s, though they were much smaller than their  predecessors.

Collecting hood ornaments began in the 1940s when the owners of great old cars like the 1920s Rolls and Packards began scrapping them. Some of the first collectors visited junkyards, armed with screwdrivers and pliers, to hunt for mascots among the wrecks, for which they paid a dollar or so. Today, it’s almost impossible to find them in junkyards—junkyard owners know their value. Today, a typical Chevrolet mascot from the 1950s costs $100.

Lighting Up the Night

QUESTION: The other day I was going through some old things that belonged to my father and came across what looks to be an almost brand-new Coleman lantern still in its box. Since I’m not much of a camper myself, I wondered if people collect these lanterns and if they have any value.

ANSWER: According to your photo, your lantern looks to be one made in the late 1940s. Soldiers who had fought in World War II and had used special field stoves designed and made by the Coleman Company were familiar with their products. So as they settled down to have families, they saw the need for vacations. Car camping became very popular, as these new families loaded up their station wagons and headed out to explore America.

Anyone who has gone camping knows the glow emitted from campgrounds as campers sit around their tables having dinner by the light of a Coleman lantern. Promoted as the "sunshine of the night," these lanterns have long since become essential gear to car campers.

The incandescent electric light, invented in 1879, was a long way from reaching rural America in 1900, when William C. Coleman, an itinerant salesman, first sold indoor pressurized gasoline units, which he called Efficient Lamps. Coleman had poor eyesight, and the standard lamp of that time burned kerosene and produced a smoky, flickering, yellowish light. The steady white light produced by his new lamp enabled him to read even the smallest print. Two years later he bought the manufacturing rights for the lamp, and by 1905 he had begun producing them in his Wichita, Kansas, factory.

By1909, Coleman had improved his 300-candlepower, portable table so that it provided light in every direction for 100 yards and could light the far corners of a barn. Single-handedly, he changed the way farmers worked and thus increased their productivity. His lamp became a staple in rural America, eventually transforming the local company into a national one on which people depended.

Coleman’s initial lamp featured decorative brass or nickel-plated elements that arched up around the lantern´s glass shade, providing an upper loop for hanging or grasping the lantern for barn use. Later, he designed ones with bulbous bases that could sit on tables. And like other lamps at the time, some had colorful glass shades with elaborate designs around the edges.

Coleman’s first lamps for indoor use differed from oil lamps. Each had a pressure tank that acted as its base, replacing the oil lamp's fount or reservoir. In place of the oil lamp's chimney and wick, Coleman’s lamp used a generator, which vaporized air-forced white gas. The burning vapors ignited a mantle of loosely woven fabric. Both of these features helped Coleman lamps produce 20 times more light than oil wick lamps.

By 1914, the first self-contained, portable Coleman lanterns for outdoor use—the ones so familiar to campers today—appeared on the market. He enlarged the fount so that it stored two quarts of white gas, enclosed the generator and mantles in a wind- and bug-proof glass globe, and added a bail for easy carrying and hanging.

Coleman designers continued to improve their lanterns and by the 1930s, many came with housings in   different colors. The tops of some of the lamps of this period had a green finish which eventually became the signature look of Coleman products. The company also supplied lanterns to the National Forest Service, some of which bore the familiar “NFS” insignia.

From the 1940s on, Coleman lanterns featured a forest green finish combined with shiny nickel-plated brass elements. The upper and lower parts of one of the company’s most popular and long-running lanterns, the Model 200A, produced from 1952 through 1983, are bright red.

Most people use Coleman lanterns for camping. They’re as prized now as they were decades ago for chasing darkness from a campsite. When night falls, a few strokes on the pump primes it for action. And at the touch of a match the lantern throws its magic circle of light in a 360-degree arc.

Starting in 1901, Coleman has produced close to 50 million gas lanterns. The long history and the range of styles and models makes the Coleman lantern a popular collectible that’s affordable for most collectors. A Coleman lantern can sell today for $20 to $400, depending on its age, condition, and rarity.