Those Happy Days

 

QUESTION: After the death of my mother, I’ve started to clear out my parent’s house to get it ready for sale. Among the items I’ve been sorting through were a good number of what I believe were things from the 1950s. Since I was only a small child during that time, I’m really not exactly sure what is from back then. Can you give me an idea of the type of things that might have some resale value and where I might sell them?

ANSWER: The 1950s were a time of relative prosperity after the end of World War II. However, items from back then fall into two categories—higher end pieces like futuristically designed furniture and accessories and everyday items like kitchen and household wares. And collectors are pretty much divided into these two groups, also.

Many people, especially younger ones, view the 1950s as a time of carefree happy days. The T.V. show “Happy Days” did a lot to help that a long. But, in fact, the decade was filled with rules and restrictions, the result of which caused the backlash among younger people in the 1960s.  But recently collectors have been resurrecting and rediscovering the era, albeit while wearing rose-colored glasses.

However, the 1950s was a decade of creative solutions and bold designs. Objects once outdated, corny and embarrassing, whose final resting place was yard sales and thrift stores, are now found in pricey shops in major cities. This serious second look from dealers,. collectors and architects transcends all the outlandish fads, weird shapes, silly ideas and annoying colors. What they’re now seeing are progressive designs and superb workmanship, mostly on the high-end pieces. 

Transitional best describes the Fifties decade. America was passing out of the dark, serious, wartime 1940s into a colorful era of discovery, experimentation, and prosperity. Veterans were starting families in the suburban developments like Levittown in both Long Island and southeastern Pennsylvania. Mom’s found themselves bound by their apron strings in the kitchen while dads went off to work. Dwight Eisenhower led the country while Willie Mays and Mickey Mantle dominated centerfield. And automobiles were large, showy, and powerful.  

Designers, fueled by the exploration of outer space, applied the graceful, soft curves and lines of Art Deco to furniture and appliances, which took on streamlined, futuristic shapes. When the Russians launched the world’s first satellite, Sputnik, in October 1957, merchandise that resembled sleek spacecraft seemed all the more apropos for the times.

News broadcasts came over Bakelite and C radios that sported rounded, curved lines and often bold coloring. Designers adopted shiny chrome for lamps, table and chair legs, blenders, toasters, and waffle irons. Tubular steel added simplicity, beauty and durability to furniture and accessories. Lighting fixtures and clocks sprouted appendages resembling sparkling celestial bodies or satellites.

For the growing middle class, manufacturers employed chrome's step-sister, aluminum, to mass-produce inexpensive tumblers, goblets, cocktail shakers, trays and ice buckets. Plastic, especially red, could be found in most kitchens in condiment containers and curtains. Cabinets contained Fiesta ware, simple, pastel-colored dishes for everyday use.

Decorative figurines became popular. No living room was complete without a black ceramic panther slinking on a tabletop or used as a lamp base. Small ceramic lamps with a doll, animal, or other figure, marketed as the perfect little glow to set atop the TV, supposedly helped to save viewers’ eyesight in darkened rooms.

Coffee tables assumed the shape of boomerangs. Wall clocks looked like exploding, atoms or models of molecular structure. Kitchen tables, made of durable Formica in bright red, yellow, and often turquoise, complemented shiny white enamel hanging cabinets. Builders of new suburban homes tiled the bathrooms in black and pink or sea green. 

In the better part of towns, a sophisticated 1950's home might contain a pair of Eero Saarinen's all-enveloping womb chairs in bright red, or had as its piece de resistance a free form, walnut and glass coffee table designed by Isamu Noguchi. 

Baby boomers, looking to recall items with which they grew up, have fueled the current interest in what’s now commonly referred to as the Mid-Century Modern style—taking in the 1950s and 1960s. They perceive the Fifties as an innocent time compared to now.

Manufacturers designed products for the Machine Age, using mass-production and assembly line methods. Thus, many of today’s collectors seek pieces developed by specific designers whose creations bring higher prices.

Charles Eames worked for the Herman Miller Company of Zeeland, Mich. He popularized furniture made of laminated plywood and bentwood. George Nelson, also of Herman Miller, designed clocks and furniture. Paul Frankl designed furniture from the 1920s to the 1950s. Influenced by Art Deco, he used both geometric and curved shapes. His simple, black and white, curved lacquered pine tables and desks today sell for several thousand dollars each.

Knoll International of New York employed Eero Saarinen. Best-known for his molded plastic womb chair, he worked also in cast aluminum. Italian immigrant and sculptor Harry Bertoia also designed for Knoll, where he pioneered in using metal rods and wire in side and lounge chairs. And Gilbert Rohde, also associated with the Herman Miller Company, combined traditional mahogany and maple with chrome and glass.

Russel Wright worked in glass, plastics, aluminum, textiles, pottery and furniture. He designed tableware for the Steubenville Pottery Company, Iroquois China Company, and Harker Chinaware. And he developed furniture for Knoll and Heywood Wakefield.

Unlike painters, these artists didn’t sign their work, so collectors need to learn to identify furniture by shapes, materials, and quality of workmanship. Although the furniture usually had manufacturer data on paper labels, many of the labels have long since fallen off.

Other companies mass-produced less expensive look-alike imitations of designer furniture. And the U.S. courts refused to allow the original designers to legally. protect their work, which further complicated matters.

Fifties merchandise sells consistently well, especially chrome kitchen appliances, decanters, cake covers and lazy Susans. During the 1990s, items from the 1950s was cheap by today’s standards. But as the popularity of these items has grown, so have the prices. Aluminum Christmas trees, illuminated by a revolving color wheel, are a good example. Once castaways, they now sell for over $150.

And while Fifties kitchen appliances are still popular with collectors, especially if they’re in excellent condition, the market for them has softened somewhat.  However, colorful Bakelite and Catalin radios still sell for three figures.

As far as selling items from the 1950s, both eBay and Etsy are probably the best bet. Selling them at yard or garage sales or fleamarkets won’t really yield much of a profit. Regardless of the site, the Internet offers a global market with the possibility of selling at higher prices.   

The consensus among dealers today is that a lot of 1950s furnishings sit in attics, basements, and thrift shops waiting to be purchased for a song by the wise buyer who has memorized the music. And that means that happy days may be making comeback.

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.

  

The Plastic That Shaped the Future

 

QUESTION: Recently I purchased a box of assorted costume jewelry at a flea market. What intrigued me was the variety of colorful plastic bracelets in the assortment. While these look like they’re made of regular plastic we know today, the dealer told me they were Bakelite. My grandfather once told me that Bakelite was the first plastic. He had an old radio that seemed to have a plastic case. At the time, I didn’t believe it because I thought plastic was a mid-20th century invention. What can you tell me about Bakelite? Who invented it and when?

ANSWER: Without knowing it, you’ve discovered a treasure of the early 20th century. Bakelite was a chemical miracle of the 20th century. It enabled manufacturers to make a variety of items—children’s toys, kitchenware, pipe stems, wall switches, appliance and cutlery handles, colorful radio cases, and yes, jewelry. Dubbed the “Material of a Thousand Uses” by the Bakelite Corporation, Bakelite was versatile and nonflammable.

Leo Baekeland developed this innovative form of plastic in his backyard laboratory in Yonkers, New York, between 1907 and 1909. He attempted to create a synthetic shellac when he discovered that phenol, or carbolic acid, and formaldehyde, when combined under certain conditions, resulted in a molasses-colored resin with unique and exceptional properties.

Once cured, the phenol formaldehyde resin could be ground into powder and mixed with a variety of fillers to create a molding compound that was practically indestructible. Slate dust, asbestos, wood flour and ground walnut shells were all used for this purpose, but because of their dark color, molded Bakelite was limited to shades of black, maroon and brown.

In1911, he founded the General Bakelite Company in Perth Amboy, New Jersey, which produced up to 200,000 tons of the plastic each year. Because it was resistant to heat, moisture, and chemicals, it became a component of the electrical industry. It also had excellent insulating properties, making it perfect for use in electrical insulators, switches, plugs and sockets. 

Making Bakelite was a multi-stage process. It began with the heating of phenol and formaldehyde in the presence of a catalyst such as hydrochloric acid, zinc chloride, or the base ammonia. This created a liquid condensation product, referred to as Bakelite A, which was soluble in alcohol, acetone, or additional phenol. Heated further, the product became partially soluble and could still be softened by heat. Sustained heating resulted in an "insoluble hard gum." 

However, the high temperatures required to create this tended to cause violent foaming of the mixture when performed at standard atmospheric pressure, which resulted in the cooled material being porous and breakable. Baekeland's innovative step was to put his "last condensation product" into an egg-shaped "Bakelizer." By heating it under pressure at around 300° F, he was able to suppress the foaming. The resulting substance was extremely hard and both infusible and insoluble. The range of colors available included black, brown, red, yellow, green, gray, blue, and blends of two or more of these. 

Bakelite came in various forms to suit varying needs, including clear material, for jewelry and smokers' articles, cement, used in sealing electric light bulbs in metal bases, varnishes, for impregnating electric coils, lacquers, for protecting the surface of hardware, and enamels, for giving resistive coating to industrial equipment. In addition, there was laminated Bakelite, used for silent gears and insulation; and molding material, used to form items of utility and beauty.

When Bakelite’s patent on phenol formaldehyde expired in 1927, other companies using the chemical came on the scene, including the American Catalin Corporation which pioneered a purified form of phenolic resin that did away with the dense fillers used in molded Bakelite. The company introduced casting resins in 20 different colors.

The Bakelite Corporation quickly developed its own phenolic resin, producing it in thousands of colors. In reality its recipes were exactly the same as American Catalin, except they experimented more with dye saturation and mixing colorants with clear resin to create mottled and swirled effects.

By the mid 1930s, several competitors had begun producing phenolics which forced the price of both Bakelite and Catalin down. One of these other companies, Fiberloid, introduced Opalon in lapis lazuli, mottled red, alabaster, onyx and mottled walnut, fabricated into board game pieces, jewelry, and umbrella and knife handles.

The introduction of electrical power gave rise to a wide range of labor-saving devices that utilized Bakelite and Catalin in one way or another. The modern appearance, durability and hygienic qualities of plastic made it superior to traditional substances.

Bakelite quickly replaced wood and metal in telephones, clock and barometer cases, as well as knobs and handles on small appliances like electric irons, toasters and cookware. Colorful Catalin cutlery handles and novelty napkin rings dressed up the table and brightened the kitchen.

In 1933 the Bakelite Corporation began to produce wood-tone radio cabinets of compression-molded phenolic resin. Thermosetting plastics resisted the heat generated by radio tubes, making Catalin ideal for radio cabinets. It wasn't long before colorful, modernistic Catalin radios began to make their appearance.

By 1936, various companies made two-thirds of all costume jewelry produced in the U.S. by fabricated molding and fabricating cast phenolic resin. The fabricating process, however, was labor-intensive and lengthy.

First, molds had to be made by dipping a steel master into molten lead. Once workers  assembled enough molds, others prepared phenolic resin and carefully poured it into each mold by hand. A technician carefully combined resins as casting occurred if special swirled or mottled colors were desired, the technician needed to carefully combine resins as they were being cast.

Once filled, workers wheeled the molds into a huge oven to be baked  at176 degrees F. until the resin cured. Curing time varied. Dark red and blue cured in three to four days while whites took six to eight days. Once the cast resin cured, workers removed it from the lead molds using air hammers. This always resulted in damaged molds. Other workers tossed the broken pieces back into the vat of molten lead to be melted down for reuse.

To make jewelry components, workers cut shaped or hollow phenolic rods into individual pieces, much like slicing a loaf of bread. Then they carved and machined by hand them for added adornment. Once they completed the decorative carving, they finished the pieces by tumbling or buffing on a polishing wheel.

Bakelite became a symbol of progress and modernity as the streamlined Art Moderne style overtook the chic style of Art Deco. The sharp-stepped sides of skyscrapers softened into curves, while boxy trains and automobiles became sleek, with fluid lines that created the illusion of speed and motion.

By the late 1930s, plastic moldings reflected the streamline design trends. Shiny surfaces, modernistic curves, waterfall fronts and facades, made to look like car grills, all found their way into jewelry, small home appliances and decorative household objects.

Perfectly suited to Bakelite and Catalin molds, the Art Moderne style enabled the resin to easily flow inside a curved mold. In addition, it was easier to mold, fabricate, and polish the resulting casts than the boxy, stepped sides and sharp corners of Art Deco designs.

Cast phenolic resins weren’t as durable as compression molded phenolic compounds because they shrank over time, often resulting in cracks. Catalin averaged a 4 percent shrinkage in the first 10 years. Cracks developed in radio cases because the parts were bolted to the housing, leading to stress as the plastic shrank.

Though companies produced Catalin in 20 opaque and translucent colors, engineers limited the color range because they felt all other dyes would cause instability in the plastic.

Unfortunately, Catalin reacted to ultraviolet light by converting to phenyl alcohol, which was brownish in color. That was why so many Catalin items are amber colored. The effect turned original white to butterscotch, bright blue into drab olive, green into butterscotch, and brilliant red marble into brown.

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 "folk art" in the 2023 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.

The Mystique of Cobalt Blue

QUESTION: I’ve always loved objects made of cobalt blue glass. The shimmer of the deep blue glass as the sunlight filtered through it used to fascinate me as a kid. So it’s no accident that I began to collect various glass objects made of it. But even though I have a modest collection of glasses, pitchers, vases, and the like, I really don’t know much about cobalt glass. Can you please give me some background on it and perhaps tell me what’s really collectible and what isn’t?

ANSWER: Cobalt blue glass offers something for everyone. It’s color is distinctive and the variety of pieces available is great. People often associate cobalt glass with 19th and early 20th-century medicine bottles, as well as ink bottles. But the number of different objects made of it goes well beyond these two mundane things.

The addition of a small amount of cobalt to molten glass turns it a deep blue. Its use goes back thousands of years. It was the Egyptians who first developed a process to color glass using impurities found in raw materials. The Romans copied and perfected this method. In Mycenae, around 1400 B.C.E., the production of cobalt glass reached its peak. The large amount of jewelry and dishes made of cobalt blue glass found at archaeological sites show how popular it was. However, today’s collectors look to more recent times and the glass objects made during the Great Depression.

While not all cobalt glass is Depression Glass, a lot of it is. This is the most fertile area for beginning collectors because so much of it appears on the market. Besides being known as “cobalt blue,” Depression glassmakers also referred to it as Deep Blue, Dark Blue, and Ritz Blue.

Depression glass collectors particularly like to collect the Royal Lace Pattern, made by the Hazel Atlas Glass Company in the 1930s. They continued to produce this elegant pattern until 1941.

Many companies created Depression-Era cobalt glass. In the late 1920s, the Diamond Glassware Company offered cobalt blue pieces in the Victory pattern. Hazel Atlas Glass Company introduced cobalt blue glass pieces in its Aurora line, New Century, Florentine No. 1, Florentine No. 2, Hairpin, Ships and Sailboats, and Starlight. The Fenton Glass Company added cobalt blue glass to its Lincoln Inn pattern. The Moondrops and Radiance patterns by New Martinsville Glass Company provided cobalt blue pieces. Paden City Glass Company's offered cobalt blue glass pieces in their Orchid and the Peacock & Wild Rose patterns. Westmoreland Glass Company showcased cobalt blue glass in the English Hobnail line. Everyone, it seems, got in on the act.

Many companies also made beautiful cobalt blue glassware for more formal dining and entertaining. For example, Morgantown Glass Company created a line of elegant glassware in the Golf Ball pattern. The Cambridge Glass Company, on the other hand, created glassware with overlay designs.

Many companies have produced eye-catching decorative items made of cobalt blue glass. During the 1940s and 1950s, the Fenton Glass Company, of Parkersburg, West Virginia, began including cobalt blue glass pieces in its line of eggs and slippers as well as baskets. Another company that created distinctive looking slippers and other decorator pieces was the Degenhart Glass Company. Animals in every shape and size have remained popular with collectors. The Imperial Glass Co. was only one of many companies producing animals in cobalt blue.

Avon Products Inc. took advantage of the popularity of cobalt blue glass and offered a variety of items, including cruets, cologne bottles, and salt and pepper shakers, to its customers over the years, To reach those looking for more elegant items, Avon had the Fostoria Glass Company, long known for its quality glass, produce glassware in the George and Martha Washington pattern.

Lastly, some people collect cobalt blue glass kitchenware, including mixing bowls, rolling pins, refrigerator boxes, and measuring cups, produced by well-known glass manufacturers.

While some people collect cobalt glass for its value, many collect it for its beauty, especially when displayed in a window so the sunlight can shine through it, giving the room a mystical blue glow.