Inside Out

 

QUESTION: While browsing a recent antique show, I discovered a delightful little copper box with what looked like an embossed design. The dealer told me it was probably made around the turn of the 20th century or at least before World War I. She said the design was repoussé on copper. I’d like to know more about this repousse technique. Can you give me a bit of history and an explanation of how it’s done?

ANSWER: There are two techniques for hammering copper—chasing and repousse. The difference between the two is that chasing pushes the metal in from the front side while repousse pushes the metal out from the backside.  Both techniques frequently employ a backing to support the work material and confine the movement of the metal to the immediate area around the tool.

While the word repoussé comes from the French word repoussage, meaning "pushed up," the word chasing, which also derives from the French word chasser, meaning ”to drive out.” Repousse is a metalworking technique in which an artisan shaped a malleable metal by hammering from the reverse side to create a design in low relief. Chasing is a similar technique in which the piece is hammered on the front side, sinking the metal. The two techniques are often used in conjunction. Many metals can be used for chasing and repoussé work, including gold, silver, copper, and alloys such as steel, bronze, and pewter. Tool marks are often intentionally left visible.

With the simplest technique, sheet gold could be pressed into designs carved in intaglio in stone, bone, metal or even materials such as jet. The gold could be worked into the designs with wood tools or, more commonly, by hammering a wax or lead "force" over it.

Both techniques date from antiquity and have been used widely with gold and silver for fine detailed work, such as the burial mask of King Tutankhamun, and copper, tin, and bronze for larger sculptures, such as the Statue of Liberty. Both methods require only the simplest tools and materials, and yet allow great diversity of expression. They’re also more affordable, since there’s no loss or waste of metal, which mostly retains its original size and thickness.

Before the use of repousse, ancient artisans pressed gold sheet into a die to work it over a design in cameo relief. Here the detail would be greater on the back of the final design, so some final chasing from the front was often carried out to sharpen the detail.

In 1400 BCE, ancient Egyptians used resin and mud as a softer backing for repoussé. The use of patterned punches dates back to the first half of the 2nd millennium BCE  Craftsman made the simplest patterned punches using loops or scrolls of wire.

By 400 BCE., the ancient Greeks had begun using a combination of punches and dies on a beeswax backing to produce repousse on their bronze armor plates.

The resurgence of repousse and chasing first occurred in England during the late 19th century as part of the British Arts & Crafts Movement. Most notably was the work produced at the Keswick School of Industrial Arts, founded in 1884 by Canon Hardwicke and his wife, Edith Rawnsley, as an evening class in woodwork and repoussé metalwork at the Crosthwaite Parish Rooms, in Keswick, Cumbria. Hardwicke designed the curriculum to alleviate unemployment. The school  prospered, and within 10 years more than 100 men had attended classes. 

The school prospered and swiftly developed a reputation for high quality copper and silver decorative metalwork. By 1888 nearly 70 men were attending the classes. By 1890 the school was exhibiting nationally and winning prizes; Its students numbering over 100,  it had outgrown its cramped home in the parish rooms, forcing Rawnsley to raise funds for a purpose-built school nearby.

The Newlyn Industrial Class, later renamed the Newlyn Art Metal Industry, established in 1890 by John D. Mackensie, was similar to Keswick and shared a common purpose with it. Inspired by the teachings of John Ruskin, they aimed to provide a source of employment in small communities where work came and went with the seasons. At the Newlyn classes, held in a net loft above a fish-curing yard, the pupils were mainly fishermen, while at Keswick students were pencil makers, laborers, gardeners, shepherds, and tailors.

Both metal workshops specialized in the production of repoussé copper work, This technique and material was popular with amateur craftsmen and women across the country because it was easy to learn. A student placed a flat piece of copper face down on a bed of pitch, or, as in the Newlyn workshops, lead. These materials were chosen because they would yield to the force of the blows of the punch but would still support the metal. Once a student had punched the design out from the reverse, he or she turned the metal over and chased finer details on the front.

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Forecasting the Weather in Vane

 

QUESTION: I’ve noticed that old weathervanes are bringing some pretty high prices at high-end Americana antique shows and in online antique auctions. Why are they so valuable? When I was a kid, my family lived in a rural area with weathervanes on a lot of the barns. What is the origin of the weathervane? And if I find one that isn’t too expensive, should I be concerned that it isn’t restored?

ANSWER: It doesn’t really matter how old a weathervane is, as long as it’s not new. Old weather vanes atop old barns are an American tradition and today are worth a good deal of money, even if they’re weathered.

Weathervanes have been blowing into the wind for as long as farmers and sailors needed to know the direction of the breeze, but they have traditionally performed another function as well. A weathervane was often an emblem that showed the profession of the person who mounted it---a dory for a fisherman, a cow for a dairy farmer, a locomotive for a railroad engineer.

The earliest known weather vane, dating to 48 B.C.E., was an image of Triton—a Greek god with the head and torso of a man and the tail of a fish—mounted on The Tower of the Winds in Athens.

Weather vanes didn’t gain popularity until English nobles during the Middle Ages flew banners from their castle walls emblazoned with their coats of arms. After the Normans conquered England, these "fanes,” as the banners came to be known, were made of iron with designs cut into them. Since what wouldn't bend might break, fane makers soon rigged them to turn with the breeze. By the English Renaissance, the fane had become a vane, a simpler and more functional device affixed atop a merchant's shop as often as on a knight's battlement.

The colonists who settled America brought their traditions with them, including the weathervane. While the first colonists crudely cut vanes from wood, iron ones could be seen topping several Puritan meeting houses by the late 17th century. Boston's Old State House, erected in 1713, had a swallow-tailed vane with an arrow, and by 1740, America's first craftsman of weathervanes, Shem Drowne, had begun fashioning copper vanes for Boston's public buildings.

Prior to the 1850s, blacksmiths created most weathervanes. And though they devoted considerable skill and imagination to them, forging iron vanes or beating them out of copper was largely a sideline, something a blacksmith did on request.

Blacksmiths in coastal New England towns, where watching the wind has always been vital, made vanes in the shape of ships for sea captains, cod and flounder vanes for fishermen, and leviathans for the whale hunters on Nantucket and at New Bedford. Inland, farmers sawed crude wooden vanes in the shapes of plows and farm animals, or found a blacksmith who could fashion more sophisticated weathervanes for their barns.

After the 1850s, metalworkers like Alvin Jewell, of Waltham, Massachusetts, began manufacturing copper vanes using templates and molds, a process that was faster than the ancient repousse method, in which they pounded copper into the desired shape. Speedier manufacturing processes meant lower costs, and Jewell found that his patterns sold quite well through mail-order catalogs.

L.W. Cushing, perhaps the best-known weathervane manufacturer of the 19th century. He added them to a collection of over 100 silhouette and full-bodied vanes in his catalog. Other weather vane companies soon opened for business, including J.W. Fiske and E.G. Washburne, both of New York City, and Harris & Company of Boston.

It was during the height of the Victorian Era when weather vanes became one of the most sought after items. They began appearing on everything from stables to gazebos. Prices ranged from $15 to $400 for the weathervane, its brass turning rod, a copper ball, and a set of brass cardinals indicating the points of the compass.

The boom in weathervanes didn't last long, only 50 years or so, but during that time people bought hundreds of designs throughout the country, including fire engines, Statues of Liberty, clipper ships, river steamers, cannons, even sea monsters and dragons. Still, the traditional designs—roosters, horses, and other animals—remained the most popular.

By the early 20th century, changing tastes and simpler home design—particularly the decline of the cupola—caused a decline in weathervane popularity.           

People began to be collect weather vanes as folk art about 40 years ago. Many sought vanes made by factories that originally sold them through catelogs, so handmade vanes weren’t even an issue. The highest amount ever paid for a weather vane was for a factory-made, copper Indian chief vane from 1900 that sold for $5.8 million at Sotheby’s in October 2006. Others have sold for prices from four figures on up.

Collectors prefer scarce and unusual weathervane forms, such as mermaids, cars, trains, and firemen. The most common ones, however, are horses, roosters, and cows which tend to fetch lower prices.

The majority of collectors like old copper vanes that have a green or verdigris patina which helps to date it.  But the biggest problem are the vanes made now from original molds from defunct factories. Though manufacturers generally don’t conceal the replicas’ origins, subsequent sellers often do.

The weathervanes that command the highest prices have not been restored. They have a patina—often noticeably different on one side thanks in part to prevailing winds and decades of exposure to sun, sleet, rain, snow and birds.

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Out, Out Brief Candle

 

QUESTION: One of my aunts recently passed away. She had a collection of antique candle snuffers that was truly unique. Now I’ve inherited them. I know absolutely nothing about them. Some look very strange. What can you tell me about candle snuffers? How far back do they go—obviously before the invention of electricity. 

ANSWER: Most people call the bell-shaped cone at the end of a long handle used to put out candles a snuffer. But the device known as a snuffer is actually an “extinguisher” or candle “douter.”

As candlesticks became more sophisticated in the mid-18th century, people required a method to safely put out candles without blowing them. While the candle snuffer's component parts—scissors, a stand, dustpan—might be familiar to some people,  combined, they do look strange. However, before electricity, candles and candle snuffers were an integral part of everyday life. Candle wicks used to be made of cotton which would start smoking and burst into flames as they grew longer, therefore necessitating regular trimming. The scissor part of the candle snuffer would sever the burnt wick, which would safely fall into the dustpan to be extinguished and discarded. This would also catch any dripping hot wax.

Christopher Pinchbeck the Younger developed and patented the true candle snuffer in England in 1776. His device looked like a pair of stunted scissors with a raised round bowl on top of them. The user would to snip the wick, catching it in the bowl and extinguishing the candle safely with no soot or wax on the walls from blowing, or hot wicks catching anything on fire. In the 18th and early 19th centuries, it was considered a sign of candle skill for a person to be able to use the snuffer to trim a wick without extinguishing the flame.

There’s considerable confusion among collectors, antiques dealers and the public concerning the name and function of these little devices known as candle snuffers.

The problem is due to two meanings of the word "snuff." Used as a noun, snuff refers to the burned ash from the spent wick of a candle, but when it's a verb, usually used with the word "out" – then it means to extinguish.

Back in the 18th century, people used snuffers to trim the candlewicks, and to remove the burned snuff, but not to extinguish the candle. At times the flame might have been inadvertently put out in the process, but that wasn’t the intent.

A snuffer was a device made of metal for cutting off, or snuffing, and holding the charred part of a candlewick. Before the invention of the self-consuming wick, around 1830, the hanging burned wick caused the flame to dim, flicker or even go out. Or it may have dropped against the side of the candle, forming a channel or gutter in the precious wax. So it became expedient to reach in with the snuffer to clip the wick and remove the snuff every hour or so. 

The earliest snuffers were plain and simple but over time became more decorative and complicated. The first snuffers were simple scissors types with no container for the snuff. This presented the problem of dropping charred, sometimes still burning wick onto the table, and so the idea of adding a little box to contain the snuff was born.

Craftsmen made all snuffers, douters, and extinguishers of brass, copper, or pewter and  elaborately engraved them. They added delicately twisted handles, basket woven cones, or beautifully etched patterns to make the snuffer a beautiful addition to any home.

Besides improving the efficiency of their snuffers, craftsmen began engraving and chasing them with cupids, garlands, leaves and flowers, and sometimes with the monogram of the owner. They used elaborate finishes, such as gilt, enamel, silver plating and even inlaid fancier ones with faience and porcelain. 

Snuffer trays were flat and usually rectangular, with cut off corners, deep enough to hold the snuffer and the clippings with safety. Sometimes, the tray had small feet to raise them up The invention of the box addition and the automatic spring mentioned above affected the style of the tray. The deep dish of early days was no longer required, for the snuffer box contained the burned snuff. So a more shallow tray with a low rim grew in favor. At the same time, makers fitted trays with three short feet—one beneath each finger hold on the scissors end and one on the pickwick end. These lifted the tool a bit above the tray and made it easier for the user to grasp.

Makers also decorated snuffer trays with handles, scrolls, and masks, and often finished them in Sheffield plate. Heavy borders became popular. By the late 18th century, large “table snuffers,” that sat between a pair of large candlesticks, came into fashion. By that time smaller ones became known as “chamber snuffers.”

It may seem strange today that so much effort went into the design and making of simple snuffers and trays. But since candles provided all lighting during the darker hours, it’s easy to see why so much went into care went into these devices. A pattern bock of around 1800 shows 165 different tray designs, and in 1839 a directory of the city of Birmingham, England, listed 30 manufacturers of steel candle snuffers, the plainest kind.

With the invention of the self-consuming candle wick and improved wax, snuffers and their trays became unnecessary. In fact, many people used the snuffer trays as ashtrays when cigar smoking came into vogue during the Victorian Age.

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Gone Fishin'

QUESTION: My grandad loved to fish. He took me along at a very young age. My job was to carry the bait. The thing I carried it in was green and shaped like a bullet and had holes all over it. I used to feel very important carrying it. Then he taught me how to bait my own line and from then on I became hooked. What he didn’t tell me was that he had a small collection of unique containers called minnow buckets. It wasn’t until later that I found out. When he died, I got his collection of minnow buckets. Being an avid fisherman myself, I’ve always wanted to add to his collection but didn’t know much about them. What can you tell me about minnow buckets? Would it be worth my while to add to his collection or aren’t they really worth much?

ANSWER: Collecting sports-related memorabilia has his the big time. Though the market is small compared to regular antiques, it, nevertheless, is a lively one. The pastime of fishing has long had a variety of interesting objects to collect. And one of the most interesting—and most obscure—is the minnow bucket.

Keeping bait alive is important for the fisherman. Early sporting goods companies produced a variety of buckets, floats and other ingenious devices for this purpose. While today's fishermen use state-of-the art aerated buckets to keep minnows alive, fisherman of the 1880s had to be more inventive.

One of the best minnow buckets made was the oval No. 1, made by the Hall Manufacturing Company of Cinncinnati, Ohio in the 1880s. The largest made, measuring 5½ inches tall by 16 inches wide by 10 inches deep, this innovative minnow bucket had a middle compartment for minnows and two hinged end compartments for other baits or ice to keep the water cool. It cleverly telescoped when two wing nuts were loosened and the inner pail was pulled upward.

Hall made five different styles of telescopic buckets. They came in a japanned green finish or in oxidized copper on tin. The green japanned No. 1 bucket originally sold for $3.90 and the copper version sold for $4.50, both expensive at the time. A Hall No. 1 tin-plate bucket today in very good condition sells for over $300 while the copper version would be more than double that.

Another unique early bait container is the Lucas No. 28L rectangular floating bucket with a 10-quart capacity, measuring 11 inches high by 10½  inches wide and 6 inches deep. Advertisements claimed that its shape was more convenient to carry and more compact, thus taking up less room, and a fisherman could carry it in a suitcase. The Lucas rectangular bucket in a dark green japanned finish, with room for ice above the insert liner, sells for over $400.

For those fisherman doing stream fishing, there were several styles of trolling minnow floats—the Novelty Live Minnow Float, which held 10 quarts and measured 24 inches long by 77 inches in diameter and weighed 3½  pounds, and the Hartford Minnow Float, made by Shinners-Russell Company of Hartford, Wisconsin, which was 28 inches long by 7½ inches diameter and weighed 4 pounds. Designed to be trolled behind a boat, they both had torpedo-shaped bodies with conical ends.

The Hartford Minnow Float had air chambers at each end and a bottom ballast to keep it right side up while being towed.  Perforated in the rear to aerate the minnows, it’s forward portion was not, which protected the minnows while the fisherman trolled the float. The Hartford float sold for $2.50 and was available from the late 1890s through 1920. In very good condition, it now sells for $100 to $300.

Deshler Mail Box Co. of Deshler, Ohio, made the Jones Aquarium Minnow Pails in B-and 12-quarts capacities from 1911 to 1937. These were "race track" oval minnow buckets that contained an air chamber that you pressurized with a bicycle pump. It forced a stream of air bubbles through the water for four to six hours aerating the minnows and keeping them alive and active. The air chamber also kept the Jones minnow bucket afloat if the angler wished to use it in a lake or stream. They came in a dark green japanned finish with striping and ornamental artwork. The value of a Jones Aquarium Minnow Pail in very good shape is over   $200.

A second example of a compressed air self-aerating model is the Air-Fed Minnow Bucket made by the Air-Fed Manufacturing and Stamping Company of Quincy, Illinois A brass air primp was attached to the outside of this bucket. Made of galvanized steel with a green finish and an attractive gold label, it came in two sizes, 8 and 10 quarts, from the 1920s through the early 1930s. Today, one in very good condition would cost $100 to $150. This Air-Fed Minnow Bucket has an interesting warning on the label—“The air chamber in this bucket has been tested to 25 lbs. Never pump it more than this amount of pressure. DO NOT FILL AT A FILLING STATION. Test pressure after eight strokes of the pump.”

Geuder, Pasachke and Frey Co. made Cream City buckets, some of the most attractive minnow buckets ever produced. Early Cream City minnow buckets are the most sought after. These were tin-plated and featured a japanned finish with classic trade names such as Victor, Good Luck, Security, Progress, Perfection, Favorite and Climax, and each model came with appealing Victorian designs and stenciling. Many of the buckets came with the Cream City name, but the company shipped some to customers who wanted only these special classic trade names on their private-label buckets. Again, depending upon condition, some of the rare early tinned Cream City buckets can sell for $200 to $300 and more.

Galvanized buckets started to gain popularity between 1910 and 1920. Galvanizing is the coating of iron or steel with rust-resistant zinc, generally by plunging the item into a bath of melted zinc. The rust proofing characteristics of galvanized buckets lasted longer than japanned tin-plated steel. Cream City eventually started making galvanized buckets as well, and these were available in round and oval shapes up to 20 quarts. Galvanized buckets generally came with single-color black stencils with simpler designs. Their values run from $50 to $100 depending upon condition and rarity of the model.

The Shakespeare Company of Kalamazoo, Michigan, also marketed minnow buckets starting in 1916. Their extensive line of nine different styles appears to have been made by Cream City. Six of the series were tin-plated steel and japanned finished in dark green with gold striping, and three series were painted galvanized steel. These early Shakespeare minnow buckets are rare and sell for $100 to $300 based on condition.

Individual blacksmiths and tinsmiths made copper minnow buckets for local orders only. They can sell for $200 to $1,000, depending on their condition.

So you see, minnow buckets have quite the history, and the values are going up all the time. But collecting them can get pricey, so make sure your budget can withstand the extra strain.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about Colonial America in the Spring 2018 Edition, "Early Americana," online now.

Don’t Take Any Wooden Nickels

QUESTION: I was recently cleaning out drawers in my mother’s house after her death and came across a bunch of coins with the slogan “Millions for Defense, But Not One Cent for Tribute” impressed on one side. On the other side is the Liberty Head and the words ONE CENT. At first glance these look like pennies but are larger. What can you tell me about them?

ANSWER: What you have aren’t coins but tokens. Like the famous wooden nickels, merchants used tokens as a way to promote their businesses and some commemorated events. By 1900, tokens had become a common type of coinage by which merchants not only advertised, but created good will and repeat business. The token was in effect a pledge redeemable in goods but not necessarily for currency.

Tokens are coin-like objects used instead of coins and either have a denomination shown or implied by size, color or shape. The use of tokens dates back to Roman times. Back then, the Romans used coin-like objects called spintria to gain entrance to brothels and gaming establishments.

Medieval English monasteries issued tokens to pay for services from outsiders. Residents of nearby villages called these tokens "Abbot's money."

Though token manufacturers usually made them of cheaper metals, such as  copper, pewter, aluminum, brass, and tin, they also used fiber, bakelite, leather, porcelain, and wood.

Sometimes called merchant tokens or “good fors,” American trade tokens originated during the late 18th century, when early circuses produced them for admission to their performances. In the 1820s, manufacturers began commercially producing tokens and this led to a greater demand.

In July, 1836 Congress enacted President Andrew Jackson's "specie circular" law, requiring specie—that is, gold or silver—to be used to pay for government land. This caused people to believe that paper currency, at the time issued by state banks, was unsound. As more and more people began using specie, regular coins disappeared from circulation.

To make it easier for individuals to trade for goods, business men and various organizations began issuing tokens that could be used instead of coins. These tokens became a substitute for one-cent pieces, since they had the same metallic content and size. The token designs could be divided into four categories: those that mentioned the bank and the banking crisis; those that were satirical and sarcastic, the political cartoons of the day; those that were made in imitation of real money; and those issued by enterprising merchants carrying advertising.

The Hard Times tokens of the 1830s and 1840s continued to make merchant tokens popular. During the Civil War, tokens again came into wide use because of the coin shortages caused by it. After the war, merchants once again issued tokens and people continued to use these “good fors” to trade for goods.

Among the many tokens made in imitation of the coins driven from circulation were a number using the phrase, "Millions for Defense, but Not One Cent for Tribute." These tokens bore the familiar Liberty Head and on the reverse the wording was strategically placed to have an enlarged ONE CENT appear as it would on government issued coins. The phrase, "Millions for Defense, but Not One Cent for Tribute," was a rallying cry for America on two occasions in history.

Besides Civil War tokens, there were also wooden tokens, transportation tokens for bridges, toll roads, ferries, and the like, gaming tokens, political tokens, as well as those used by magicians for admission to their acts, churches for permission to receive communion, tokens for telephones, and to pay sales tax. Elongated coins—often pennies pressed flat and made smooth on one side to take etchings of the Lord’s Prayer, Scouts’ oath, and club insignias also were popular.

All kinds of merchants issued tokens for use in their own businesses, including general stores, grocers, department stores, dairies, meat markets, drug stores, saloons, bars, taverns, barbers, coal mines, lumber mills and many other businesses. The era of 1870 through 1920 marked the highest use of "trade tokens" in the country, spurred by the growth of small stores in rural areas.

Railways and public transportation agencies used fare tokens for years, to sell rides in advance at a discount, or to allow patrons to use turnstiles that only to took them. The use of transit tokens in America began in 1831, when John Gibbs issued them for use on his U.S.M. stage in New Jersey. The 1830s saw tokens used on horsecars and horse-drawn omnibuses. By 1897, the U.S. had its first subway in Boston, and in 1904 the New York subway system opened. Ferry, bus, and streetcar companies also produced tokens often out of cheap white metal, aluminum, or more costly bronze. Most of them featured cutouts in the shapes of letters to differentiate them from other coins.

Some churches used to give tokens to members passing a religious test prior to the day of communion, then required the token for entry. Most of these were pewter, often cast by the minister using the church’s own molds.

But probably the most well-known token is the wooden nickel. Merchants and banks gave them to their customers to redeem for a specific item, usually a drink. On December 5, 1931, during the Great Depression, the Citizen’s Bank of Tenino, Washington, failed and issued emergency currency printed on thin shingles of wood. Local merchants couldn’t get change without traveling 30 miles over mountainous roads which took four hours one way.  So the bank, at the insistence of the Chamber of Commerce, decided to issue it’s own money, some of which was in five-cent denominations.

The Chicago World's Fair in 1933 issued wooden nickels as souvenirs, and the tradition of wooden nickels as tokens and souvenirs was born. The phrase, "Don't take any wooden nickels," reminds people to be cautious in their business dealings since some unscrupulous characters tried to use them in their dealings with people.

Step Right Up and Try Your Luck

QUESTION: I just inherited my mother’s collection of carnival glass. I always admired it while growing up, but she never really told me much about it. Now that I have it, I’d like to continue collecting, but I have no idea where to begin. Can you give me some background on carnival glass and also some tips on growing and maintaining my mother’s collection?

ANSWER: Carnival Glass is pressed glass—glass that has been formed by being pressed into a mold while in a hot molten form—that has had an iridescent coating applied. As it cools, it takes on the shape and detail of the mold. Once removed from the mold, and while still somewhat hot, the glassmaker sprays it with metallic salts in liquid form which gives it an "oil-on-water" multicolor appearance. He then refires the piece.

The Fenton Glass of Williamston, West Virginia, first produced carnival glass, which it called "iridescent ware," in 1907. The company called its first line Iridill and labeled it "Venetian Art."  They wanted to mass-produce a product that could compete with the expensive, iridescent art glass made by Tiffany and Steuben. Though half a dozen companies, including Northwood, Imperial, Millersburg, Westmoreland, Dugan, and Cambridge, originally made it, Fenton did so longer than any of the others.

Competition became so fierce between makers that new patterns appeared regularly, so each company ended up making a wide range of patterns of most types adding up to a panoply of choice.

Its eye-catching multicolor shimmer seems to change colors when viewed at different angles. Over the years, carnival glass has been dubbed "Taffeta," "Cinderella," and "Poor Man's Tiffany," as it gave the average housewife the ability to adorn her home with fancy vases and decorative bowls a prices she could afford.
   
But this new type of glass didn’t catch on with the public the way Fenton had hoped, especially since they tried pricing it higher than their regular pieces without the carnival finish. Unfortunately, most consumers didn't see carnival glass as quality glass and refused to pay higher prices for it. Other glass manufacturers soon began making carnival glass using the same iridization techniques. This overloaded the market and soon prices plummeted. To get rid of their excess inventory, carnival glass makers at first began giving it away to carnival owners to use as prizes, but later sold sample pieces to them in hopes that winners could then purchase additional items in the same or a similar pattern. Together all the manufacturers produced over 2,000 different patterns.

This new market for carnival glass was a boon for Fenton, which produced iridescent ware in 150 patterns up until the late 1920s. Carnival glass sold for pennies at five-and-dime stores, and businesses could buy it wholesale at minimal cost. This allowed movie theaters and grocery stores to give it away as premiums. For example, Imperial Glass struck lucrative deals with companies like Woolsworth's and Quaker Oats.

Fenton's earliest patterns included Waterlily and Cattails, Vintage, Butterfly and Berries, Peacock Tail, Ribbon Tie, Wreath of Roses, Thistle, and Diamond and Rib. Among Northwood's first glass patterns were Waterlily and Cattails, Cherry and Cable, and Valentine, but Grape and Cable became their most popular. Millersburg collectors look for Hobstar and Feather, Blackberry Wreath, and Rays and Ribbons.

Collectors call the most popular color of carnival glass “marigold,” although the companies, themselves, didn’t call it that. Marigold has a clear glass base and is the most easily recognizable carnival color. The final surface colors of marigold are mostly a bright orange-gold turning perhaps to copper with small areas showing rainbow or 'oil-slick' highlights. The highlights appear mostly on ridges in the pattern and vary in strength according to the light.

Carnival glass is highly collectible. Prices vary widely, with some pieces worth very little, while other, rare items command thousands of dollars.

However, identifying carnival glass can be a challenge. It involves matching patterns, colors, sheen, edges, and thickness from information contained in old manufacturer's trade catalogs, other known examples, or other reference material. Many manufacturers didn’t include a maker's mark on their product, and some did for only part of the time they produced the glass. Since many manufacturers produced close copies of their rivals' popular patterns, carnival glass identification can be difficult even for an expert.

By 1925, carnival glass started to fall out of favor with Americans, and many U.S. glass companies quit producing it during the Great Depression.

Blowin' in the Wind

QUESTION: We just purchased an old farm house and barn. The barn has an old weather vane mounted on top of a cupola on the roof. My husband and I aren’t sure if we should restore it or leave it as is. What can you tell me about weather vanes in general and whether we should have it restored?

ANSWER: It doesn’t really matter how old your weather vane is, as long as it’s not new. Old weather vanes atop old barns are an American tradition and today are worth some bucks, even if they’re weathered.

Weather vanes have been blowing into the wind for as long as farmers and sailors needed to know the direction of the breeze, but they have traditionally performed another function as well. Silhouetted against the sky for all to see, a weather vane was often an emblem that declared to the world the profession of the person who mounted it: a quill for a lawyer, a dory for a fisherman, a prize Holstein for a dairy farmer.

The earliest known weather vane, dating to 48 B.C., was an image of Triton—a Greek god with the head and torso of a man and the tail of a fish—mounted on The Tower of the Winds in Athens.

Weather vanes didn’t gain popularity until nobles in medieval England flew banners from their castle walls emblazoned with their coats of arms. After the Normans conquered England, these "fanes,” as the banners came to be known, were made of iron with designs cut into them. Since what wouldn't bend might break, makers soon rigged them to turn with the breeze. By the English Renaissance, the fane had become a vane, a simpler and more functional device affixed atop a merchant's shop as often as on a knight's battlement.

The colonists who settled America brought their traditions with them, including the weather vane. While it's likely that the first colonial vanes were crudely cut from wood, by the late 1600s several Puritan meeting houses were topped by iron vanes. Boston's Old State House, erected in 1713, sported a swallow-tailed banner with an arrow, and by 1740, America's first craftsman of weather vanes, Shem Drowne, had begun fashioning copper vanes for Boston's public buildings.

Prior to the 1850s, blacksmiths created most vanes. And though they devoted considerable skill and imagination to them, forging iron vanes or beating them out of copper was largely a sideline, something a blacksmith did on request.

Blacksmiths in coastal New England towns, where watching the wind has always been vital, made vanes in the shape of ships for sea captains, cod and flounder vanes for fishermen, and leviathans for the whale hunters on Nantucket and at New Bedford. In-land, farmers sawed crude wooden vanes in the shapes of plows and farm animals, or found a blacksmith who could fashion more sophisticated vanes for their barns.

After the 1850s, metalworkers like Alvin Jewell, of Waltham, Massachusetts, began manufacturing copper vanes using templates and molds, a process that was faster than the ancient repousse method, in which they pounded copper into the desired shape. Speedier manufacturing processes meant lower costs, and Jewell found that his patterns sold quite well through mail-order catalogs.

L.W. Cushing, perhaps the best-known weather vane manufacturer of the 19th century. He added them to a collection of over 100 silhouette and full-bodied vanes in his catalog. Other weather vane companies soon opened for business, including J.W. Fiske and E.G. Washburneboth of New York City, and Harris &Co. of Boston.

It was during the height of the Victorian Era when weather vanes were one of the most sought after items. They began appearing on everything from stables to gazebos. Prices ranged from $15 to $400 for the  vane, its brass turning rod, a copper ball, and a set of brass cardinals indicating the points of the compass.

The boom in weather vanes didn't last long, only 50 years or so, but during that period hundreds of designs were sold throughout America: banners, locomotives, fire engines, Statues of Liberty, clipper ships, river steamers, cannons, even sea monsters and dragons. Still, the traditional designs—roosters, horses, and other animals—remained the most popular.

By the early 20th century, changing tastes and simpler home design—particularly the decline of the cupola—caused a decline in vane popularity.
               
People began to be collect weather vanes as folk art about 40 years ago. Many sought vanes made by factories that originally sold them through catelogues, so handmade vanes weren’t even an issue. The highest amount ever paid for a weather vane was for a factory-made, copper Indian chief vane from 1900 that sold for $5.8 million at Sotheby’s in October 2006. Others have sold for prices from four figures on up.

Scarce and unusual weathervane forms, such as mermaids, cars, trains, and firemen, are very popular with collectors. The most common ones, however, are horses, roosters, and cows which tend to fetch lower prices.

The majority of collectors like old copper vanes that have a green or verdigris patina which helps to date it.  But the biggest problem are the vanes made now from original molds from defunct factories.
Though manufacturers generally don’t conceal the replicas’ origins, subsequent sellers often do.

The weathervanes that command the highest prices have not been restored. They have a patina—often noticeably different on one side thanks in part to prevailing winds and decades of exposure to sun, sleet, rain, snow and birds.