Simplicity and Comfort Rolled into One

 

QUESTION: Some time ago, I bought a simple chair at a country estate auction. I love that chair but know very little about it. Someone told me that my chair was Shaker. Since I didn’t know much about the Shakers, I couldn’t tell. It just looked like a simple country chair. What can you tell me about my chair? 

ANSWER: Your chair certainly looks like a Shaker chair. But you need to know a bit about the Shakers to know for sure. 

Mother Ann Lee, who led the Shakers to America in 1774, had enough to do to get her sect organized. She began with a community in Albany, New York, and sent out missionaries to establish Shaker communities elsewhere in New England. But it wasn’t until Mother Lee had died and another generation of leadership took over the Shakers that the idea of producing items for sale as a way of supporting the communities came to be.

The Shakers attracted skilled cabinetmakers and craftsmen to their ranks, so it was a natural to use their skills to produce furniture for the communities. By this time, the Shakers were totally self-sustaining. In the early 19th century, the sect began to attract large numbers of people, mostly those who were discontent with society in general or were out of work. The communities offered security and food and lodging to people who might otherwise not have had it.

To support all these people became a major problem. So the elders of each community came up with ways to produce items for sale. Some made chairs, others produced seeds, clothing, especially wool capes, or took in mending and such. Many members were very creative and invented unique items such  as the electric washing machine. They were extremely organized as well, so mass-producing items like chairs wasn’t a problem.  

Those who called themselves Shakers—officially the United Society of Believers in Christ’s Second Appearing—eventually numbered over 17,000. As the number of communities, referred to by the Shakers as “families,” their furniture making flourished. At their peak of production, the Shakers produced chairs at more than 50 locations. From their first base in New York, the Shakers expanded their communities to Connecticut, Massachusetts, New Hampshire, Ohio, Indiana, Kentucky, and even Florida.

The Shakers made many of their chairs along straight and simple lines to be light weight, strong, easy to clean, and comfortable, not every piece of furniture made by Shaker hands is a design masterpiece: Some pieces were poorly crafted. Some were beautifully crafted but poorly proportioned. And some exhibit such bare-bones functionalism that they’re awkward and ugly. Often they’re barely distinguishable from country furniture of the same time and place. Indeed, unscrupulous dealers and auctioneers often promote plain country pieces as Shaker and sell for several times more than they would otherwise bring.

For use in their communities, the Shakers created three kinds of chairs—dining chairs, side chairs and rocking chairs. They designed the dining chairs with low backs so that they would stand clear under the table when not in use. Or they could be hung on a peg rail against the wall while someone cleaned the floor. And to make sure the chair seats stayed clean, they hung them upside down. 

Side chairs came in several different styles. A sister’s chair had a lower seat than the brother’s chair. The dining chairs had two back slats while the side chairs usually had four, all of which were slightly slanted for extra comfort.

As early as the 1820s, many communities began mass producing chairs for both community use and for sale. They used the same designs from the 1840s to the early 1900s. Chairs produced in the early 19th century were mostly for community use. But during the last quart of the century, the Shakers heavily marketed their chairs to the “Outside World.”

The chairs that the Shakers designed to be sold to the public were lean and severe and produced in huge quantities that ended up on back porches and summer cottages across America. Their popularity led other manufacturers to copy their look, and these pseudo "Shaker" chairs appear in quantity at country auctions and small antiques shows. Each of the endless variety of styles has its own Shaker-designated model number. Most were originally stained dark brown, and slat-backs predominate. 

Even though the largest Shaker chair didn’t weigh over 10 pounds and the smallest less than 5 pounds, both could support the weight of the largest person. 

Each community made their chairs a bit different from those of other communities, changing or adding little details. And while they all began with the same design template, each community’s craftsmen added their own touches for their community. For instance, many people believe that all Shaker chairs have tiny acorn finials and arms that terminate in mushroom-shaped turnings. Not so. It’s possible to tell which community made which chair by the shape of the finial alone. The back slats were also often slightly different. The Number 7 rockers, for example, have mushroom arms, four slats, and a shawl rail connecting the backposts that replaces the more common finials. The Shakers often attached a decal identifying the piece as Shaker to the back of a slat or leg. But pieces meant solely for use within the Shaker communities didn’t have decals. 

During the second half of the 19th century, the Shakers painted some of their chairs and woven brightly colored tapes into their seats. Often they combined colors, such as red and black and tan and maroon. Most colors, however, had more conservative names like Trustee Brown, Meetinghouse Blue, and Ministry Green.

In addition to the colorful tape, the Shakers also used cane, rush, and woven splint for their seats.

The woods used in chair construction varied according to the regional supply. But it was always of top quality and well cured. The most commonly used woods included walnut, cherry, butternut, and birds-eye maple, as well as pine and fruitwood if the others weren’t available.

Although for years Shaker chairs never sold for more than $500, now even the most common three-slat rockers bring $600 to $800 or more. Some even go as high as $1,700 to $2,200. 

Pieces from Kentucky, Ohio, and Indiana—often less austere, less "Shaker-looking" than their eastern counterparts—often have a Victorian feel and sometimes resemble local country furniture even more closely than classic eastern designs. .

The quality of many reproductions of Shaker chairs, made using the same tools and techniques, is often so good that they sell for as much as the originals.

For over a century, the creation of Shaker chairs was but a simple fulfilling of the motto of their faith, “Hands to work and hearts to God.”

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 art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Be There or Be Square

 

QUESTIONS: I really like the look of Mid-Century Modern design. I’ve started to gather furniture and accessories to decorate my apartment. I’ve been looking for a distinctive set of dishes to use in my kitchen. Can you recommend any?

ANSWERS: Yes, I can. While not many people are familiar with this, I recommend dinnerware from the Blair Ceramics of Ozark, Missouri. While often similar in price to its modern day counterpart, the 1950s dinnerware is superior in that it is often hand-painted and decorated. No two pieces are exactly alike 

Originally from Mount Vernon, Ohio, William Blair graduated from the Cleveland School of Art, after which he studied art and traveled throughout Europe. After returning to Ohio, he painted children’s portraits for a year before he apprenticed in ceramics for a pottery in Mount Vernon. His sister, Dorothy, and her husband, Bernard Purinton, opened the Purinton Pottery Company in 1936. Blair went to work for them painting decorations on their pieces. In 1941, Bernard and Dorothy moved their pottery to Shippenville, Pennsylvania.

Blair directed his artistic talent toward the production of pottery and was instrumental in the design of Purinton's characteristic handpainted wares. While there, Blair designed several of the most recognizable patterns including Apple which was the most popular while the factory was in operation. He also created the off-round shapes of the dinnerware lines with the Heather Plaid and Normandy Plaid motifs.

Blair believed that the design of American dinnerware needed to be overhauled. So he left Purinton and sought the help of his nephew Bart Higgins, who blueprinted molds while Blair worked on the designs. When they were ready, they traveled to the Springfield area and began searching for a building to convert to a factory. In Ozark, they found the old Fray Johnson Ford auto agency building, located just north of the Ozark square,  which was just the right size. For a year, they worked to convert it into a ceramic factory. They bought a $15,000 kiln from West Virginia and installed it into their factory. By 1946, they were hiring local workers and training them  to work in mixing, molding, glazing, painting, and kiln rooms. Each piece had to be painted by hand. 

By 1949, the company employed 32 workers, who produced as many as 3,600 pieces per week during peak production times. The firm shipped dinnerware to all 48 states, Hawaii, Cuba and Canada, to be sold by such retail outlets as Neiman Marcus and Marshall Field's department stores.

Blair Ceramics produced several lines of dinnerware, most with innovative square-shaped plates and platters. Blair frequently voiced objections to round plates and dinnerware while employed  by the Purinton Pottery. At his own company, Blair had the opportunity to produce what he considered more pleasing and appropriately shaped dinnerware. These distinctive pieces are also characterized by unique twisted handles and leaf-shaped knobs on the lids of serving pieces.

Blair had all his pieces hand-painted and marked most of them with an underglaze backstamp "Blair decorated by hand" The firm’s most popular pattern was Gay Plaid which it distributed and made continuously during its operation. This design featured horizontal forest green stripes and chartreuse and brown vertical stripes. Also produced were Rick-Rack with yellow stripes and brown zigzag bands; Yellow Plaid, similar to Gay Plaid except the predominant color is yellow; Bamboo, an ornately decorated design with multicolored leaves and bamboo in brown; and Autumn Leaf, consisting of a three deaf pattern in several shades.

The era of Blair Pottery came to and end in the Mid-50’s when lightening struck the factory building in Ozark and the resulting fire burned it to the ground. Bill Blair, who had overseen the operation each day, was weary of being tied to the business, and chose not to rebuild.

Prices for Blair dinnerware are still reasonable. For example. a coffee server sells for approximately $45; a five-piece place setting, $35; a creamer and sugar or 14-inch platter, $20; a stick-handled gravy bowl, $18; and ice-lip jug, $25. Prices for most patterns are approximately the same for comparable pieces.

While dinnerware produced in the 1940s-1950s was out of favor with the public for many years, recently it has been rediscovered by savvy collectors who see a certain charm in the quirky designs. 

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 "Antiques of Christmas" in the 2021 Holiday 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.

There’s Nothing So Liked by a Small Boy Than a Toy Truck

 

QUESTION: As a kid, I loved playing with three little cast-iron trucks. It’s only recently that I learned that they may have been made by the Kenton Toy Company when I saw one of the trucks I had at a small antique show at the local volunteer fire company. The dealer said she believed that the truck had been made by Kenton. Can you tell me anything about Kenton’s cast-iron toys?

ANSWER: At the turn of the 20th century, the Kenton Hardware Company promoted itself as "the largest factory in the USA exclusively making cast iron toys." The factory produced a variety of toys that were miniature versions of fire engines, circus wagons, carriages, banks, trains, and stoves. From the 1890's to the 1950's, the town of Kenton, Ohio, was a center of American cast-iron production.

F. M. Perkins founded the Kenton Lock Manufacturing Company in Kenton, Ohio, in 1890. The firm first produced high-quality, elaborate bronze and brass locks, and coat hooks. 

Perkins didn’t begin manufacturing toys until 1894 when a series of patent disputes caused Perkins to change the name of his company from the Kenton Lock Manufacturing Company to the Kenton Hardware Manufacturing Company. Kenton’s line consisted of banks, horse-drawn vehicles, and stoves. The production of the Columbia Bank, a souvenir of the World's Columbian Exposition, which provided a successful launch into the U.S. toy market.

What followed was a wide range of toy vehicles—hansom cabs, sulkies, surreys, chariots, fire-patrol carts, sedans, racing cars, buses, blimps, air-planes, milk wagons, bakery wagons, bandwagons, dump trucks, lumber trucks and circus trucks. Also, mechanical and regular banks in the forms of teddy bears and polar bears, the Statue of Liberty, the Flatiron building, radios and other playthings such as cap pistols, ranges and miniature sadirons.

Kenton constructed its toys from several parts, each of workers cast in a mold into which they poured the hot, liquid iron. After a short cooling period, they opened the  mold and removed the part. They then assembled the separate parts with rivets or bolts. Because of their rough surfaces, cast-iron toys couldn’t be lithographed like tin ones. Workers then hand painted or dipped the toys in two or three bright colors.  

Kenton became part of the National Novelty Corporation combine in 1903. It marketed its toys under the Wing Manufacturing brand. Fending off a series of takeover attempts, the toy division survived as a separate unit within Kenton Hardware Company. It continued to manufacture cast iron toys from 1920 to 1935.

Like most other businesses, the Kenton Hardware Company suffered during the Great Depression, so much so that it was in danger of going bankrupt. Then, just as Shirley Temple saved the Ideal Toy Company and Mickey Mouse did the same for Lionel trains and Ingersol watches, another popular icon came to the rescue of Kenton. Gene Autry saved the day with the Gene Autry toy pistol.

Vice president William Bixler persuaded the company to manufacture a copy of Gene Autry’s pearl handled six-shooter. Autry sent one of his guns to Ohio to assist in the creation of a child’s size model. Joe Solomon made the master mold in 1938. By 1939, over two million Gene Autry Repeating Cap Pistols had been sold.

Introduced in December 1937, it became a huge success in both the U.S. and then the world. One million were sold from February to August of 1938 alone, keeping the factory going night and day.

The peak of cast-iron toy production extended from shortly before the turn of the 20th century until the 1940's, when lighter-weight models that were less expensive to produce and transport superseded them. Kenton ceased production of horse-drawn toys in the early 1920's, except for a beer wagon made in the 1930's, but in 1939 the firm introduced a completely new line of horse-drawn toys, which continued through the early 1950's.

Most of these toys, except for the early banks and stoves, weren’t marked. Company catalogs, the first of which appeared in 1892, can help with identification. Prices for authentic early pieces in good condition can sell for four figures for some horse-drawn Victorian carriages and fire vehicles.

Kenton ceased operations in 1952. 

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 "Antiques of Christmas" in the 2021 Holiday 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.

Potting Up Some Beauty

 

QUESTION: I love plants and for the last few years I’ve been buying a variety of colorful vintage ceramic flower pots at local flea markets and garage sales. Few of them have any makers’ marks. I’d like to have some idea who made some of the pots I have. Can you help me?

ANSWER: Unfortunately, many of the potteries that produced these pots didn’t mark them. But I should be able to give you some clues to their makers through descriptions of their patterns. Some things never go out of style. And so it is with vintage ceramic flower pots. 

Gardening furniture and accessories have become one of the hottest vintage collectibles. For the last several decades, decorating magazines have shown them in rooms adorned with vintage garden ware. Produced in many styles and colors, there’s a flowerpot available to harmonize with almost any decor.

Many American potteries, such as McCoy, Shawnee, Roseville, and Camark produced flowerpots from the 1930s to the 1950s. And people are still using many of them today to display their houseplants. Some even collect them.

The Nelson McCoy Pottery Company, which operated in Roseville, Ohio, from 1920 to 1967, made over 10 different patterns of flowerpots with attached saucers. Some of the most common patterns, available in three sizes and glazes including aqua, green, dark green, white, yellow, rust, plum and pink, were Basketweave, Beaded Tower Patch, Greek Key, and Stonewall. These are quite common and can still be found at garage sales, although prices have risen to $5 to $45 in the past few years. 

Roseville Pottery operated several potteries in Roseville and Zanesville, Ohio, from 1892 to 1954. Early on, they made utilitarian ware, but by 1902, the company had begun to produce art pottery, such as Rozane, Fuji, and Della Robbia. Talented designers such as Frederick H. Rhead and Frank Ferrell contributed to the success of these   lines. Roseville later produced molded flowerpots in a variety of glazes and patterns, including Apple Blossom, Bittersweet, Bleeding Heart, Bushberry, Clematis, Columbine, Corinthian, Cosmos, Donatello, Ferella, Foxglove, Freesia, Iris, Ivory II, Ixia, Jonquil, La Rose, Magnolia, Moss, Pine Cone, Poppy, Primrose, Rosecraft, Snowberry, Water Lily, White Rose and Zephyr Lily. These had separate, not attached, saucers and were usually available in several glaze colors. Most were 5 inches tall, although the Donatello and Rosecraft patterns came in three sizes—4, 5 and 6 inches. Roseville flowerpots cost more than others and are usually hard to find than those of other manufacturers. Most sell for $75 to $200.

Shawnee Pottery Company of Zanesville, Ohio, produced not only kitchenware but inexpensive flower pots from 1937to 196 for Samuel Henry Kress,  F.W. Woolworth, and Sears Roebuck. Patterns included burlap surface, diamond quilted, square, three-footed with embossed flower, scalloped rim, and five-petal flower around rim. Their flowerpots sell for under $15.  

The Vernon Kilns Pottery of Los Angeles, operating between 1931 and 1958, produced flower pots with separate saucers in several of their handpainted dinnerware patterns, such as Brown-Eyed Susan, Homespun, Organdie, and Gingham in three sizes—3, 4 and 5 inches. Though highly sought after by collectors, all are hard to find, especially the saucers, and prices range from $40 to $60.

Founded in 1926, Camden Art Tile and Pottery Company was the third and last producer of art pottery in Arkansas. By the end of its first year, its name had changed to Camark to include both the city of Camden and the state of Arkansas. The firm produced flowerpots that were similar to, if not exact copies of, those of other manufacturers. The bottom line for Camark was to keep abreast of market trends and either meet them or anticipate new ones as was the case with flowerpots. By the mid-1930s, Camark had introduced a line of flowerpots with attached saucers. Camark realized the potential for flowerpot sales and predicted that growing plants will be sold in very large quantities and flower pots will become a necessity—a prediction which definitely came true. To cut costs, Camark changed the types of clays it used for its flowerpots. Previously, the company relied on Arkansas clays but began to use clays from outside the state.

With flowerpots, it’s really not whether they’re worth anything as collectibles— although some are—but whether they appeal to you.

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 Ancients" in the 2021 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 Sparkle of Findlay Flint

 

QUESTION: My mother loved collecting antique glass. She collected what she liked but didn’t pay too much attention to each piece’s history. I now have her collection and display it proudly. I’m trying to figure out exactly what I have. Some are readily identifiable but there are several that are puzzling. A friend told me they may be Findlay Flint glass. What can you tell me about this company? And what types of glassware did they produce?

ANSWER: While glassmakers like Heisey and Fenton are well known, there were plenty of others nestled in the Ohio River Valley. One of these was Findlay Flint Glass of Findlay, Ohio.  

Not a single glass factory remains in Findlay today. It was once home to 22 glass manufacturers, including five tableware companies, not all of whom were in production at the same time. But from 1889 to 1891, sixteen factories operated at once. The town boasted being the second largest glass producer in the country. Findlay's glass factories disappeared almost as quickly as they appeared, but in their brief existence, they produced hundreds of pressed glass patterns which are widely recognized and collected today.

It all started with the discovery of natural gas in the Findlay area in 1884. The rapid rise and fall of Findlay', glass industry was directly linked to the city's natural gas supply. But it wasn’t until 1886 before residents drilled wells to tap into the fuel source. The first was the great Karg well. A Geological Survey of Ohio in 1890 estimated it produced 14 million cubic feet of gas per day. Reports said gas escaping from the well could be heard as a roar five miles away.

City leaders believed they had an inexhaustible gas supply and lured industries to town with the promise of free or inexpensive gas. Glass companies in particular saw this as an incentive since they required a tremendous amount of heat. Multiple glass factories  soon sprang up, bringing thousands of new workers. Housing boomed and stores thrived in the gas boom town.

No one imagined that in just a few years, Findlay's gas would be in short supply, but only two years after drilling the Karg well, some local wells began failing.  By 1890 city officials saw trouble ahead. Fearing serious gas shortages, they urged glass companies to convert to other fuels. A few years later, the situation worsened. They had no choice  but to cut off the gas supply to industries in order to satisfy the needs of residents. Although a few glass companies remained for several years. Findlay’s shining moment in the glass industry abruptly ended.

The Findlay  Flint Glass Company was the last tableware factory to locate in Findlay. Organized mainly by local people, it opened in 1899 producing a full line of tableware and employed 192 workers.

Unfortunately, the company didn’t last long. Business had already slowed down by December 1890. And in 1891, city officials warned of possible gas shortages. The end came on June 6, 1891, when a midnight fire started in the shipping department and destroyed the factory. The owners had planned to rebuild the factory to produce glass bottles, but the intense heat of the fire ruined the limestone foundation so the factory was never rebuilt.

Even though Findlay Flint Glass produced glass for only about 22 months, it produced a large quantity of glass in several fine patterns. One of its major patterns was the Block and Double Bar which can sometimes be found with ruby flash. Though the company made its Pillar pattern midway through its production, it introduced Pattern No. 19 only a few months before the fire, making it extremely difficult to find today.

Stippled Forget-Me-Not, originally called Dot, was another popular pattern made in several colors including white milk glass and a fiery opalescent glass which are both difficult to find. Besides the regular tableware line, there were three baby plates with Stippled Forget-Me-Not borders. One featured a baby in the center, another had a cat, and the third had a stork.

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.

Watt's It All About?

QUESTION: I have been doing research on some antiques I have, as I plan to open a booth in a local antique mall soon. I have a Watt oven ware bowl that doesn’t have a number however, it has a clear mark on the bottom that looks normal except the part that appears to say “Watt Ware.” I have never seen this before and haven’t been able to find it online. Also, the blue stripe doesn’t look correct or is faded. What can you tell me about this bowl?

ANSWER: Your pottery bowl came from the Watt Pottery of Crooksville, Ohio. It’s an early rare pattern of oven ware that’s highly collectible today. The color of the stripe looks odd because the pottery had problems with some of its decorative glazes earlier in the 1940s.

W.J. Watt founded the Brilliant Stoneware Company in Rose Farm, Ohio, in 1886. It began as a family business and continued so through its several transitions until 1965. The pottery made mostly stoneware jugs, crocks, and jars and jugs which it sold in general and hardware stores throughout Ohio, Northern Kentucky, and Indiana. Watt sold the company in 1897.

Watt then went to work for the Ransbottom Brothers Pottery in Ironspot, Ohio, owned by his brothers-in-law, until 1921 when he purchased the Globe Stoneware Company in Crooksville, in Perry County, Ohio, and renamed it the Watt Pottery Company. The firm opened for business in July, 1922, and once again, it was a family affair, employing  his sons, daughter and a few other relatives.

Through the remainder of the 1920s and into the early 1930s they made stoneware butter churns, crocks, jugs, and preserve jars, which they marked with an acorn or an eagle  stamped in blue, plus how many gallons the vessel would hold marked in a circle on the bottom.

Watt managed to make it through the Depression, keeping his employees working 40 hours a week. By the late 1930’s into the early 1940’s, cooking technology was changing. Porcelain self-igniting stoves began to replace cast-iron cookstoves while electric refrigerators replaced the old ice boxes. To meet the new demand, Watt created ovenware that could withstand very high temperatures.

Cooks wanted to take a container from their new refrigerators and put it directly into their new ovens. Stoneware just couldn’t do this, so Watt discontinued its stoneware line and pursued the more lucrative production of ovenware.



The lightweight cream clay body, consisting of a percentage of feldspar and whiteners which prevented the clay from discoloring after firing in the pottery kilns, also made it resilient enough to withstand the extremes in temperature. The whiteners also gave the Watt’s pottery its brightness, especially when over painted with brightly colored motifs featuring apples, cherries, roosters, and flowers.. This became known as yellow ware.

In 1949, the Watt Pottery began hand decorating its wares using simple patterns in bright colors on an ochre-colored clay base. Workers glazed kitchen ware in solid colors with patterns called moon and stars, arcs, loops and diamond and grooves. Collectors, not the company, adopted these names.

The first designs didn’t fare too well as they used raised decorations that either discolored or had rough edges. Watt hired a professional artist who taught 15 people at different stations how to hand-paint designs.



The first hand decorated patterns are called the "Classic Patterns" and were produced from 1949 until about 1953. They are: Rio Rose, Moonflower, Dogwood, White Daisy, and Cross-Hatch.

To minimize the cost of producing these wares, teams of three decorators used as few brush strokes as possible. The housewives of the 1950s loved the country charm of these wares. And because they were so inexpensive to produce, Watt wares began appearing as premiums in grocery and department stores. And because the pieces were all hand-painted, with no two  exactly alike, this makes them highly collectible.

Altogether, Watt Pottery produced wares decorated in 16 patterns, including four variations of the Apple Pattern, introduced in 1952, one in the Cherry Pattern, two of the Tulip Pattern, six in various flower patterns, plus Autumn Foliage and Eagle Patterns.

The last new pattern was the Kathy Kale Royal Dutch pattern introduced just before a fire in 1965 that destroyed the manufacturing plant. Only a few pieces were manufactured and they were sold through Kroger's stores.



Most pieces of Watt Pottery ovenware featured large marks, often covering the entire bottom of each piece. These markings usually consisted of one or more concentric rings deeply impressed into the bottom of the pottery. Although the company didn’t mark all of its wares, the bottom mark associated with 1940s Watt ware is an impressed: "MADE IN U.S.A."  Pieces may also be marked: "Oven Ware" or simply have the bowl size impressed, usually in a circle. Most pieces also have the mold number impressed in the center, making identification easy.

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 Industrial Age n the 2020 Winter Edition, "The Wonders of the Industrial Age," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Going Retro

QUESTION: I recently purchased a one arm chair that has a metal stamp that says “The B.L. Marble Chair Company, Bedford, Ohio.” It’s a cool mid-century design and is walnut and leather. Do you know anything about this chair and what it may have been used for?

ANSWER:  Barzilla L. Marble founded the B.L. Marble Chair Co. in 1894, after working at several other chair comp. His grandfather operated a chair factory in Marbletown, New York, and others in his family likewise made chairs, so it was natural for Marble to do so. He formed a brief partnership with A.L. Shattuck in 1885, but struck out on his own nine years later.

His company produced fine wooden chairs made for comfort and elegance that were made to last. Up until 1910, it produced chairs for the home, but during World War I, Marble added a division to make wooden aircraft propellers for the military.

By 1921. Marble’s company had outgrown its small wooden buildings and construction began on new brick buildings which had more than four acres of floor space. After Marble died in 1932,  A. D. Pettibone became president of the company and part owner. In 1953 Pettibone sold his interest in the Marble Chair Company to a group of local investors. Eventually, another man, also named Pettibone but not related to the first, bought the company, and it became extremely successful.



The company produced one-arm “modern” chairs most likely in the mid-60s under the second Pettibone owner. Furniture makers intended one-arm chairs, both originally in the 1870s and then in the 1960s as chairs to be placed in a corner. Today, most people would refer to these 1960's chairs as “retro” in style.

But exactly does retro mean? According to the Oxford University Press Dictionary, it means,”imitative of a style from the recent past.” Retro is a culturally outdated or aged style, trend, mode, or fashion, most likely from the 1940s through the 1960s. Currently, eBay offers over 468,000 different retro items.

People born between the 1940 and 1950 became teenagers during the 1950s and 1960s. And because those two periods provide memories for many of them, anything retro is in, whether it’s furniture, accessories, clothing, and collectibles, especially those related to the Golden Age of Hollywood.

Life in the 1950s was conservative, but changes were about to take place. Such innovations as Velcro, Tang, frozen foods, transistor radios, Frisbees and the hula-hoop began to appear. Bill Haley and the Comets rocked around the clock while jukeboxes filled every burger joint and ice cream parlor with the sounds of the young.

Furniture and accessories, especially the ubiquitous pole lamp, featured streamlined styling in   avocado and gold. By 1957 there were 47 million T.V. sets in America’s homes, four times the number of seven years before. Families began to watch T.V. shows like “I Love Lucy” incessantly. They even ate in front of the T.V., thus necessitating the invention of the T.V. tray and comfortable casual furniture without frills.

Later on in the 1960s, the space race captured everyone’s attention as astronauts walked on the Moon and teens danced the twist to the music of Chubby Checker and sang along to Beatles’ tunes. More innovations such as lava lamps and electric knives caught on eventually providing the retro movement with lots of collectibles.

Coming up in #TheAntiquesAlmanac in October will be a special edition dedicated to the Retro style. In the meantime, enjoy the 2020 Winter Edition with the theme “The Wonders of the Industrial Age.”

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 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about vintage games in the 2019 Holiday Edition, "Games, Games, and More Games," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.