On the Lamm

 

QUESTION: My grandmother has been collecting fancy cups and saucers for several decades. Some in her collection are simple in design, but others are artistically decorated. Two sets have an unusual shape with pedestal cups decorated with ornate paintings. The mark on the bottom of the cup and saucer is a blue lamb with the word "Dresden" below it. Who produced these cups and saucers and when were they made?

ANSWER: Chances are that the two cups and saucers in your grandmother’s collection are from Dresden, Germany. Ceramic factories such as Rosenthal and Meissen produced blanks that were later decorated by independent studios. Ambrosius Lamm owned and operated one of the top decorating studios, producing consistently high quality wares. 

The city of Dresden became a leading cultural center in the 17th century. In the 18th century, the city became known as the "Florence on the Elbe" because of its magnificent Baroque architecture and its outstanding museums. Artists, especially  porcelain decorators, took up residence there.

Between 1855 and 1944, more than 200 painting studios existed in the city. The studios bought porcelain white ware from manufacturers such as Meissen and Rosenthal for decorating, marketing and reselling throughout the world. Ambrosius Lamm owned one of the top decorating studios consistently producing high quality wares.

Lamm operated a porcelain painting studio and arts and antique shop from 1887 to 1949. It was located at Zinzendorfstrasse 28 in Deesden. He had approximately 25 employees by 1894, which grew to about 40 in 1907. 

 studio became well known for painting in the Meissen, Vienna, and Copenhagen style. Lamm's specialties included Old Dresden flowers, Watteau and mythology, as well as decorated luxury and utility articles in the old and new styles. Lamm bought blanks from a number of manufacturing firms, including Meissen, Rosenthal, Hutschenreuther and Silesia.

Lamm used at least three different marks by Lamm, including a pensive angel with Dresden and Saxony, an L within a shield, and the most common mark, an outline of a lamb with Dresden underneath.

He also produced cabinet cups and saucers. Middle and upperclass Victorians often had display cabinets in their dining rooms in which they displayed fine decorated plates and cups and saucers. A set of six flared cups with scrolled handles, hand painted with French court beauties, such as Mme. Lebrun, sell for between $3,000 and 4,500.

Collectors can still find desirable cabinet cups, as well as sherbets and goblets can be found, decorated  on Rosenthal blanks with a gilt cutout star or flower inside the cup. Usually, well-painted portraits of men and women in period dress appeared on the outside with heavy gold paste work.

Lamm often used rich cobalt blue and luster glazes for his ground colors. His favorite decorative techniques were jeweling and beading. His studio was well known for using heavy intricate gold paste work on borders of plates and cups.

 also enjoyed painting cherubs or putti. Many of his pieces featured cherubs holding fruit, flowers, and playing musical instruments. He often portrayed them floating amid fluffy clouds.

His paintings on porcelain cups and saucers and cabinet plates rivaled the quality of Royal Vienna and Sevres porcelains.  For example, he pronounced a series of 12 plates portraying ones from various oil paintings displayed in the famous Scamper Gallery in the Zwinger Palace. These plates had cobalt blue borders with elaborate gold paste gilding.

Lamm’s excellent reputation as a top porcelain decorator encouraged wealthy families in Germany and abroad to commission demitasse sets and dinner services from his studio. These sets included the monogram of the owner in intricate gold work. Examples for sale today include dinner plates and serving items with one to four hand-painted courting scenes within medallions on the border.

 occasionally decorated dinnerware with the floral and gilt patterns typically used by other Dresden studios. But he preferred to be more creative in his designs. His studio produced a line of dinner and tea ware featuring bold, large vibrant flowers covering each piece. Lamm’s studio was particularly known for its artistic rendering of flowers.

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 militaria in the 2022 Fall Edition, with the theme "After-Battle Antiques," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Pottery Marks and What They Tell Us

Mark showing pottery name, factory,
country, date, and pattern.

QUESTION: I go antiquing with a long-time friend. Inevitably, whether we’re browsing the tables at a local fleamarket or browsing in an antique shop or show, he always picks up a piece of pottery or porcelain and turns it over to see the mark. What do these marks say about the pieces besides who possibly made them? And are there any other marks from the making of the piece and what do they tell him?

ANSWER: An experienced collector of pottery can tell a lot about a piece’s origin by reading the manufacturers' marks on the bottom of each piece. These marks tell the pottery's name, its location, its company symbol, and often the pattern name or the name given to the body shape of the piece. 

Stamped mark

But there may also be other, less obvious, marks that indicate the method of production or factory flaws that show the level of quality control used by the firm. Collectors familiar with these signs can quickly distinguish between factory flaws and more serious indicators of damage and wear inflicted upon that same piece once it has left the  factory. Knowing the difference allows the experienced collector to purchase pottery with confidence.

While most manufacturer’s marks, which may he printed, incised, impressed, stamped, or applied as paper labels, usually contain the pottery’s name, initials, symbol and location---or some combination of these—some are rather sparse and may only contain a letter within a geometric shape or a crest. 

In the case of the larger firms, a pottery mark also has publicity value and shows the buyer that  a long-established company with a reputation to uphold has made a piece. Such clear name- marks include Wedgwood, Minton, Royal Crown Derby, Royal Doulton, and Royal Worcester in Britain and Bennington, McCoy, and Hull in the U.S.

Though these marks are one of the best and easiest ways to identify ceramics, the shear number of them makes it impossible to every mark. Additionally, many small firms either saw no reason to use marks or sometimes used marks that haven’t been identified because of the short life span and limited production of the company.

Metal stamped mark into clay

To the collector a pottery mark can also identify the manufacturer and help establish the approximate date of manufacture and in several cases the exact year of production, particularly in the case of 19th and 20th century wares from the leading firms which employed private dating systems. With the increasing use of ceramic marks in the 19th century, a large proportion of English and American pottery and porcelain can be accurately identified and often dated.

Pottery’s added marks to their wares in several ways. They could incise them into the soft clay before the piece air dried, in which the mark will show a slight ploughed-up effect. Potters often do this to handmade pieces. Some manufacturers of quantity pieces, such as Wedgwood, impressed a mark into the soft clay using a metal or clay stamp or seal. 

Many pottery manufacturers used painted marks—usually containing their name or initial—added over the glaze at the time of decoration. Some used stencils.

Engraved transfer printed mark

Lastly, most 19th-century pottery makers used printed marks transferred from engraved copper plates at the time of decoration, often in blue under the glaze when the main design is also underglaze blue.

Pottery marks weren’t always universally used. In 1890, President William McKinley introduced the McKinley Tariff Act that imposed tariffs on many imports, including pottery, so that American manufacturers could more easily sell their products. The Act required that all such imports show the name of country of manufacture, such as “England,” “Germany,” “Nippon,” or “France.” In 1921, an amendment to the Act required that the phrase “Made in” precede the country of origin, such as “Made in England” or “Made in Japan.” However, some foreign companies began using the phrase as early as 1898. This is a great way for collectors to date foreign-made pieces.

Underglaze marks

Beginning pottery collectors often miss marks or flaws from manufacturing and instead focus only on the maker’s mark. These marks give clues to the quality of the ceramic bodies each maker used. Potteries used different firing techniques for different grades of ceramics and the distinctive marks each technique left behind, once known, help to establish the quality of a piece.

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  world's fairs in the 2020 Summer 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.

Elusive Rosenthal

QUESTION: My mother has a 12-place setting of Rosenthal china that she uses only on holidays and special occasions. I’ve always loved this pattern—her dishes say “Rosenthal Maria” on the bottom—but other than her set, I’ve never heard of this china company. I guess that’s because today we don’t entertain as formally as people used to. She told me that the set was given to her as a wedding gift. She and my father just celebrated their 60th wedding anniversary. I’d love to know more about this china since I’m sure one day it will be mine. What can you tell me about Rosenthal?


ANSWER: Rosenthal is and has been one of the finest European potteries since Abraham Rosenthal founded it in 1883 in Selb, Germany. Some experts compare it to some of the best German porcelain manufacturers. Even though they’ve been around for over 130 years, the firm’s products remain elusive to collectors because people who own pieces like them so much they tend to keep them.

Rosenthal originally started out founding a porcelain-painting business, but when he couldn’t get enough pieces to paint, he opened his own porcelain factory.

In 1881, there were four porcelain painters working for the company. By 1951 the number had grown to 6,000. Today, the Rosenthal firm owns two porcelain factories, the Selb and Rotbuhl both in Selb, and a ceramic factory in Kronach, plus several others not pottery related.

The Rosenthal family had a great interest in modern art. Philipp Rosenthal, son of Abraham, was a designer and his son together invited famous modern artists to collaborate in the development of both artistic porcelain and pieces for everyday use. In 1961, Rosenthal introduced the Studio Line, characterized by the simple lines modern design.

Rosenthal dining sets first appeared in 1900. Even though it was a new century, they were influenced by Victorian design and decoration. This dinnerware came in complete sets of 12, as was the custom of the time, including many pieces no longer included in today’s dinnerware sets. Back then sets included handled soup tureens, ragout bowls, fish dishes, fruit bowls on feet, salt and pepper cellars, blueberry bowls with saucers, chocolate plates, four sizes of coffeepots, three sizes of sugar bowls and cookie jars, as well as the usual dinner plates and cups and saucers. While the shapes of some pieces evolved over the years, some have remained unchanged, such as the pear-shaped coffeepot, the round teapot, and the oval  chocolate pot.

Early painted patterns included "Rococo/Louis XIV," 1892, made in Selb, "Gladstone" and "Moliere," both produced at Kronach factory in 1900. Art Nouveau style services included "Flora" in 1899, "Iris" in 1900 and "Botticelli" and "Donatello," both made at the Selb factory. The firm’s most successful dinnerware service, "Maria," appeared in 1914.

The challenge that collector’s face when identifying which Rosenthal pattern they have is that through the years Rosenthal placed hundreds of designs on the same shapes. While a collector may say he or she owns pieces of Donatello, for instance, what they actually have is Rosenthal’s Donatello shape. Artists rarely signed their decorations on Rosenthal china. The company mostly used a combination of transfers and hand painted details over top. Even the modern Studio Line with its incredibly bright colors is usually decorated with a transfer and then hand applied gold and other colors.

Rosenthal produced china using all the design innovations of the 20th century, including Art Deco, Bauhaus, and International Classicism in the 1920s and 1930s.

Today, collectors can purchase open stock of the exquisite "Suomi" pattern, designed by Timo Sarpaneva in 1976. Other artists who decorated "Suomi" included Salvador Dail and Victor Vasarely. Rosenthal has also developed a collector line of cups. The first was in the "Cupola" shape—each decorated by a different artist and boasting a diagonally mounted, grooved handle impossible to actually use. The second was a group of 10 espresso cups taken from the "Mythos" service, plus more than 30 artist cups. Rosenthal also produced limited edition Year Plates and Artist Plates designed by such artists as Roy Lichtenstein, Edna Hibel and LeRoy Neiman.

While Rosenthal produced some dinnerware sets in great quantity, putting them on the lower end of the value scale, there were special pieces painted by famous artists which sell for as high as $800 to $1,000.

To read more articles on antiques, please visit the Antiques Article section of my 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 the Victorians in the Winter 2018 Edition, "All Things Victorian," online now.  

Remembrances in China

QUESTION: I recently purchased a souvenir plate at an antique show. The plate shows a picture of Jackson Square in New Orleans and has a stencil-like border design around its edge. On the bottom is a mark that says “Wheelock, Made in Germany for the Curio Store, Canal St., New Orleans, La.” What can you tell me anything about Wheelock? I’ve never heard of that china company.

ANSWER: Souvenir china was popular from the last two decades of the 19th century to eh first decade of the 20th because most of the pieces came from Germany and Austria and with the outbreak of World War I, the flow of pieces stopped. 

Tourism blossomed during the last decade of the 19th century and the first two decades of the 20th. As people traveled, they collected souvenirs as remembrances of where they had been and what they had seen. Postcards, photographs and small items of souvenir china became popular. At first, all of the souvenir china came from Europe.

Souvenir china is often overlooked by serious collectors of antiques, yet it’s a fascinating part of Americana, especially pieces produced from 1890 to 1916. Merchants in over 2,000 villages and towns throughout the U.S. sold a variety of pieces, each featuring a local landmark—a church, school, store, bank, river, train depot, street, hospital, or historical site or monument.

China collectors consider Wheelock one of the founders of ceramic pictorial souvenir ware in the U.S. It wasn’t a large firm but a cooperative enterprise owned by three brothers—Charles, George, and Arthur Wheelock.

In 1877, Charles took charge of a store selling fine china in South Bend, Indiana. Five years later, his brother George joined Charles as a clerk in the store. A year after that, George opened his own store, also in South Bend. In 1887, Charles moved his business to Peoria, Illinois, while George operated the two stores in South Bend. About 1888, a third brother, Arthur, opened a branch of the Wheelock stores in Rockford, Illinois, with later branches in Des Moines, Iowa and Milwaukee. A fourth son, Frank, remained with his father store in Janesville, Wisconsin.

The Wheelocks became one of the largest wholesalers and retailers of fine china in the United States. When Charles moved his business to Peoria, he hired John H. Roth to work for him, and the brothers became interested in a new enterprise, souvenir china. Their contacts with German and Austrian potteries, which produced their fine china, provided a source for the souvenir ware.

Around 1894, the Wheelock Brothers hired traveling salesmen specifically to market souvenir china in the towns and hamlets of Illinois and nearby states. The salesmen carried pattern books that listed the hundreds of shapes available. The merchants provided the scenic photos which the salesmen sent to the European potteries which   reproduced them as black decals that workers applied to the porcelain blanks before the initial firing. Other workers hand colored the pieces and applied other decoration before the final firing. A hand-painted label identified the scene on each piece.

Most of the pieces received a stamp on the bottom or back with the name and town of the merchant as well as the word Wheelock and the town and/or country where it had been produced. The European potteries then shipped the pieces directly to the shopkeepers. 

The Wheelocks continued to produce souvenir china until the start of World War I when access to the European potteries ended. Unfortunately, it never resumed.

Wheelock souvenir ware comes in over 1,500 shapes and sizes, ranging from 2-inch trinket boxes to 12½-inch dishes and plates. More than 80 percent of the pieces produced were white porcelain. Less than 20 percent were white porcelain coated on the outside with cobalt blue or, in a few cases, dark green pigment.

Of more than 7,000 different pieces of white Wheelock souvenir china, a little more than half are plates, the most popular of which ranged in size from 5½ to 6½ inches in diameter. The most common of these are smooth-edged rimless plates, ranging in size from 3½  to 10 inches in diameter. Creamers and cups each represent a bit less than 10 percent of the pieces.

The makeup of the shapes of the cobalt pieces isn’t the same as the white porcelain ones. Creamers are the most common, representing 20 percent of the more than 1,400 cobalt pieces. There are nearly as many cobalt vases as creamers. Cobalt cups, toothpick holders, and dishes follow in that order.

Today, the average price of a piece of Wheelock china is around $20. But some of the more unique ones, like beer steins, have sold for several hundred dollars. Prices paid for Wheelock pieces vary widely, with the higher prices being paid for some unique pieces or historic locations. For example, a dish from the historic mining town of Lead, S.D., sold for $242, while a dish from Watertown, South Dakota, sold for $24. Plates tend to sell for more than other forms.

Part of the enjoyment of collecting souvenir china is the search. Even though Wheelock had thousands of pieces made, they’re scattered all over the country. Antique shops in the East and Midwest seem to have more of them than shops in the South and West since nearly 75 percent are souvenirs of the former areas.

Read more about Victorian souvenirs in  "Wish You Were Here," the story of souvenir postcards in The Antiques Almanac.

What the Devil is That?

QUESTION: My mother left me her collection of deviled egg plates. While I’ve eaten deviled eggs at parties and picnics, most of time they’re served on a regular dinner plate or in a plastic Tupper Ware-like container. How did these plates originate? And are they still collectible today?

ANSWER: Deviled egg plates are a throwback to the 1940s and 1950s when hostesses entertained in a more formal manner. It was also not long ago when eggs were a desirable food, especially when they were served deviled on ornate plates made especially for that purpose. Happy housewives back then didn’t have a guilt trip about whether her gourmet delights would clog the arteries of her dinner guests.

What the devil are deviled eggs? Various dictionaries and food encyclopedias trace the history of the devil egg to 18th century England. People began using the term “deviled”  to describe kidneys and other meats served hotly spiced. Most sources accepted the comparison to heat and the fires of Hell, resulting in the adjective deviled.

From the 1940s to the 1970s, hostesses served deviled eggs at all sorts of occasions, from finger food at outdoor barbecues and picnics to appetizers at fancy sit-down dinners. Down South, no proper home was without an deviled egg plate. A North Carolina businessman, who grew up in the 1950s, remembers his mother always putting out two platters of deviled eggs when receiving guests. And deviled eggs became a standard dish at church suppers.

Though egg plates came in a wide variety of shapes and designs, all shared a common feature—a series of half-egg shaped depressions in which deviled eggs could be nested. But despite a centuries-old history of the deviled egg, most museums don’t have any pre-19th century egg plates in their collections. The decorative egg plate seems to have peaked in the 1950s and 1960s.

Deviled eggs reached new heights with proliferation of cocktail parties from the 1940s to 1960s producing an explosion of decorative egg plates during that period. The 1970s, however, marked the end of egg plate’s hey day. 

One of the most popular motifs for egg plates were hens, roosters and chicks. There were trays decorated with hens, shaped like hens or with figural hens, salt and pepper shakers. Small oval plates with matching hen shakers can easily be found in the ochre and avocado colors of the 1970s. Manufacturers also produced plates of other designs with matching salt and pepper shakers. A plate with deviled egg depressions plus two small, flat rimmed depressions is likely one that’s missing its shaker mates.

Multipurpose plates often have space for dips, relishes or other finger food in addition to the deviled eggs. Creative hostesses often place a salad, salad dressing, or relishes in the center of these plates, decorated with a hand-painted hen and rooster decorated egg plate.

Collectors often follow a decorating theme, gathering only those plates embellished with hens or flowers or plates with matching` shakers, etc. Others are more eclectic, preferring highly decorative or unusually shaped egg plates. Flowers, such as roses and violets, matching the china patterns and tastes of the times were quite popular, as were those with fruit or vegetable themes to correspond with kitchen and dining decor. The most commonly found glass egg plates are the ones of blue and green Carnival glass, made by the Indiana Glass Company.

People often confuse egg plates with oyster plates. Deviled egg plates have perfectly oval depressions with smooth edges while oyster plates have jagged edges and slightly kidney shaped depressions. The majority of egg plates are made of heavier china or stoneware, while oyster plates are more commonly found in fine porcelain and majolica. Generally, oyster plates are older, frequently dating from the mid- to late 19th century.

Prices for egg plates vary widely. Fine china and elegant glass egg plates seem to command the highest prices, the market apparently being driven more by the porcelain or glass pattern collectors than egg plate devotees. Many egg plates can be found for under $30, but values for ornate examples or those made by elegant glass or well-known pottery manufacturers can be much higher.

It May Not Be What It Seems

QUESTION: I’m a big fan of the Civil War. I’ve read a lot about it and go to re-enactments regularly during the summer. Recently, I started a collection of Confederate items. My most recent purchase was a cartridge belt plate with the letters “CSA” on the front. It looks real enough, but I’m not so sure. Can you tell me how to tell the fake from the authentic items?

ANSWER: As in all collecting, the more educated you are as a collector, the better off you’ll be. You must become an educated buyer. Purchasing on sight just because an items looks good and the price is right isn’t enough.

There’s a sucker born every minute. And when it comes to identifying Confederate militaria, there’s probably one born ever couple of seconds. In fact, someone once said that if the Confederates had everything that’s now believed to have belonged to them, the would have won the war and had a surplus.

Confederate items can be worth 10 times those that belonged to Union soldiers. So the market for Confederate fakes is ripe. Be wary of dealers that won’t tell you anything about an object, then offer it to you for what amounts to a bargain basement price. If the price is too low, the item most likely is a fake. Even selling it for a low amount, the dealer will make out on the deal.

To make objects look as if they’ve literally been in battle, some have minie balls hammered into them. A tell-tale gray ring will show that the ball had not been fired into the object.

Demand that a dealer authenticate a Confederate object. Ask if you can get the item appraised by a professional appraiser before agreeing to purchase it. Whether you plan on buying a $1 minie ball or a $10,000 Henry repeating rifle, it always pays to ask. If the dealer refuses to let you get it appraised, just walk out of the shop or away from his or her booth at a show. If the dealer is selling legitimate Civil War memorabilia, he’ll let you bring it back for a refund.

If you purchase what you think to be an authentic Confederate object for a relatively substantial price and it turns out to be fake, then you have the right to prosecute the dealer for fraud. Doing so will probably prove difficult, since fraud is difficult to prove, but it doesn’t hurt to try.

Confederate coins are a good case in point. Unscrupulous dealers have hundreds cast, and sell them for modest prices. Coins are minted, not cast, so they’re fakes. But, then again, how do you prove that the maker wasn’t making honest reproductions to sell to re-enactors?

Sometimes labels on objects will reveal their authenticity. First, paper labels didn’t come into common usage until the turn of the 20th century. If an item has a paper label on it, it would pay to have the paper tested. You might just discover that the process used to make the paper didn’t exist before the 1930s.

As for belt plates, two types exist, excavated—dug out of the ground—and unexcavated. Fakers will use acids and brass-black to pour over the buckle and create a dark color to make a patina. Look for signs of liquid in tiny pits, or smell the buckle. It will have a harsh foul smell, like something rotting.

A faker often makes a reproduction of an unexcavated buckle by making it look damaged. You should look for evidence that parts have been filed off. The belt plate also should have the same color throughout and "no spots where the brass is shining through. Above all, be suspicious of any buckle marked "CSA" or "CS." And if it has a date like 1862 on it, it’s not authentic.

Within militaria, the Civil War is a problem because there are more items from it around. One way in general to tell if a product is fake is to judge its quality. Very few can duplicate the quality of merchandise that they had back then.

The Ultimate in Elegance

QUESTION: What can you tell me about this plate? Is it collectible or ready for the dumpster.

ANSWER: If I were dumpster diving, I certainly would take a tumble for your plate. What you have is an authentic, hand-painted plate made in Limoges, France.

French Limoges is the name of delicate porcelain ware made in the Limousin region of France since the 18th century. It includes dinnerware, centerpieces, and the distinctive porcelain snuff and pill boxes that have become valuable collectors' items. The town of Limoges contains numerous factories that produced these wares, and, in fact, still do. The kaolin found in the rich soil in this French region is the vital element in the mix that makes up Limoges porcelain paste and gives it its delicate character.

Your particular type of plate, depending on its size, could be a case plate or a charger. Victorians loved to collect things and during the late 19th century, decorative display cases placed in the dining room, later to be commonly known as “china closets,” held various porcelain wares. Small hand-painted plates, usually from 7-8 inches in diameter, became a popular item to display in these cases. Housewives also displayed their best china in these cases.

Chargers, on the other hand, are larger decorative plates that a hostess would put at each place setting. Servants would take these away and replace them with plates of food. In French dining service, there should always be a plate in front of the person dining, whether full or not. So between each course, the serve would set the charger in front of the guest or family member.

Your plate has all the marks of authentic Limoges china. The McKinley Tariff Law went into effect in 1891, so all imported goods after that time had to be marked with the name of the country of origin. All Limoges items lacking the word "France" were made before 1891.

First, it has the maker's mark (partially obscured) in green on the bottom of the piece. This identifies the specific factory in Limoges that cast and fired your plate. This mark was impressed into the porcelain under the glaze at the point when the porcelain was still blank or "whiteware." Sometimes the mark just says "Limoges France," but in this case it seems to bear the name of Magnac-Bourg Limoges. Some marks incorporate a symbol such as a bird or a butterfly, but in this case it’s star with the word “Limoges” set into it.

The decorator's mark appears on the front of the plate. It seems to read “F. Faure.” While one of the presidents of France was named Felix Faure, there isn’t any evidence that he was a lowly plate decorator before winning that high office. The signature in this case is handwritten. Many Limoges pieces say "Peint Main," which stood for hand painted, on the back.

The mark on the back of your plate that is the clearest is that of the importer. In this case LS &S stands for Lazarus Strauss & Sons of New York, founded in 1869. The company imported chinaware from various countries in Europe, including Britain, France, and Germany and Czechoslovakia. In 1874, his son Nathan, got RH Macy to permitted them to have a glass and chinaware department in their store, making LS & S wares the first china and glassware to be sold by Macy’s. And while LS & S imported china, they also operated factories in the leading china making centers in the above countries.

Today, case plates and chargers made in Limoges, France, sell for $25 and up, depending on their age. Sets of 6 sell for much more.

Those Happy Days

QUESTION: My mother had a cabinet full of Melmac dishes in a variety of pastel colors. We used them for every meal. Now I have them and while most have seem better days, they bring back fond memories of my childhood. What can you tell me about them? Are they collectible?

ANSWER: Your Melmac dishes are certainly collectible, as hundreds of collectors of the plastic ware can attest. The most collectible pieces are from the 1950s when items such as this signaled the dawn of future of ease for American housewives.

Everyone knows of “Happy Days,” the 1950s-era T.V. sit com, featuring a typical middle class family. The mother on that show, much like scores of other American housewives of the period, must have thought she had died and gone to housewares heaven with the advent of Melmac dinnerware. That was just one of the items that made her days truly happy because its durability made it ideal to use in homes with children.

Initially discovered by William F. Talbot in the 1940s, Melmac, the name given for the hard plastic melamine resin by its chief maker American Cyanimid Corporation, was first used in the military.
Dishes made of early plastics and Bakelite did not hold up well or withstand regular washings or heat, but American Cyanimid showed that its new "improved plastic" could indeed hold up well. While the company produced the resin, itself, it sold it to other manufacturers which molded it into dinnerware lines for both home and restaurant use.

The Plastics Manufacturing Company of Dallas, Texas, produced Texas Ware, Dallas Ware, Oblique, SRO and Elan. The Boonton Molding Company of Boonton, New Jersey, offered Boontonware, Patrician and Somerset. International Molded Products in Cleveland, Ohio, produced Brookpark/Arrowhead Modern Design and Desert Flower lines designed by Joan Luntz. And the Prophylactic Brush Company of Florence, Massachusetts, made Prolon. Its Florence and Beverly lines were the most popular for home use.

During the late 1950s and 1960s Melmac dinnerware found its way into just about every American home. However, the tendency of melamine cups and plates to stain and scratch led sales to decline in the late 1960s, and eventually it became largely limited to the camping and nursery markets.

Melmac is used for just about any type of dinnerware, including plates, cups and saucers, serving pieces, and glasses. Manufacturers could add any type of color pigment to the resin during the molding process. As a result, they created it in a variety of colors and patterns. Muted colors, such as pea green and seafoam appeared in the late 1950’s, and during the late 1960s, makers experimented with interesting color combinations to complement the psychedelic look of the time.

Today, you’ll find vintage Melmac in thrift stores, at estate sales, online auction sites, and garage sales. It's fun to collect it and due to it's long production, it’s easy to make a whole set. Some Melmac pieces are worth more in value than others. Full sets in pinks or blues are generally priced higher. Though you may have a problem finding full sets, you can start collecting it inexpensively by piecing sets together. 

The Difference Between Real Collectibles and Created Ones

QUESTION: I have a 1939 New York World's fair desk calendar that has little knobs that change the date, month and a 1934 Chicago world's fair dish which could be silver plate with the federal building, electrical group, hall of science and travel and transport buildings embossed on the bottom.  Do these items have any value other than as keepsakes?

ANSWER: What you have are real collectibles. And while they may not be worth a fortune, they still have value in the collectible market. Unlike created collectibles, like decorated plates and such, objects like these, as well as those from 19th to mid-20th-century advertising, etc, can grow in value as the supply of them dwindles through breakage and deterioration. This is the cause of your uncertainty.

Collecting is one of the oldest hobbies. King Tut of Egypt collected walking sticks. Heiress Marjorie Merriweather Post collected Faberge originals. Franklin D. Roosevelt and King George VI of England collected stamps. There are also coin, doll, cup, and spoon collectors. All of them had one thing in common—the love of collecting unique and beautiful objects.

Why do so many people collect these objects? There’s a basic human need to possess items that have stood the test of time—items that have become a part of history.

Many people have the desire to own beautiful things but for mostly economic reasons, this isn’t possible. Up to the latter part of the 20th century, collecting valuable items has mostly been the hobby of the wealthy. To make it possible for the growing post-war  middle class to feel the same thrill of collecting as the rich, gift collectible manufacturers began to create items with implied value which the average person could afford and which, in time, were supposed to increase in value.

Collectibles manufacturers like the Franklin Mint began by minting special coins and producing figurines and plates. Eventually, people collecting these items grew into the largest group of collectibles collectors.

Part of the incentive of collecting is the inherent value of the object. While speculation was the motivation for collectible purchases in the late 1970's, most collectors today buy for the appeal of the item.

To keep the collecting public buying, manufacturers produced objects in series. This gave some people the incentive to purchase every piece in the series. The sad thing is that while the manufacturer guaranteed the value of the object with a certificate of authenticity, and that the value would definitely increase, they really had no control over the market they had created for their wares.

Another ploy of these manufacturers was the term “limited edition.” What this meant was that they'd produce only a certain number of each item, thus creating a built-in appreciation value. However, the number was often vague. For example, they guaranteed to produce ceramic items for a certain number of firing days, but no one knows just how many pieces they produced each day. Some of the more sought after items, such as Hummel figurines, had editions of 2,000 to 10,000.

In order to make their “collectibles” attractive to this new group of collectors, manufacturers made sure each piece evoked a nostalgic response in both men and women. The former liked the manly aura of collectible coins, military figurines, and model cars—the sportier and more luxurious the better. The latter like the beautiful images that adorned porcelain plates and delicate figurines, reminiscent of Meissen ware.

One of the most popular of the collectible figurine series was "Stormy Weather," picturing a little boy and girl huddled under an umbrella. The Goebel company introduced at least five new pieces a year, which kept collectors satisfied and the company in the black.

Collectible plates, which took up where magazine illustration left off, became the second most popular collectible. Some depicted characters from fantasy and fiction as well as adventurers, T.V. and film stars, and scenes of the past. Many were reminiscent of the old Saturday Evening Post covers. To create a cache for their collectibles, companies took on names such as the Bradford Exchange, giving collectors the impression that what they bought was an investment.

The plates created by Royal Copenhagen became some of the most popular. These familiar blue and white plates featured scenes from Danish life. Along with Hallmark and others, the company also produced collectible Christmas ornaments.

Ironically, these collectibles weren’t cheap. For all money they spent on them, collectors could have been buying real collectibles. These are objects tied to a certain event or period in history, such as 1939-1940 New York World’s Fair collectibles. Hundreds of companies produced over 25,000 different souvenirs in larger and smaller quantities for the Fair. Even early Coca-Cola advertisements and paraphernalia have value. Later manufactured Coca-Cola items, on the other hand, do not.

For more information on the created collectibles market, be sure to read this article, "9 Completely Worthless Collectibles."

Eating Above the Clouds

QUESTION: My father used to fly a lot on business, and each time he flew somewhere, he’d keep a souvenir of that flight. Sometimes it was just a timetable or a ticket jacket, but at other times, he’d bring home a cup or a silver spoon or a menu with the logo of the airline on it. Are these items worth collecting?

ANSWER: People who traveled by plane, especially internationally, during the 1930s to the 1970s often kept a souvenir of their flights, including decks of playing cards, flight wings, timetables, postcards, flight bags, silverware and dishes. During that era, flights served full meals to all passengers, not just those in First Class. To fly anywhere was a special experience. People dressed up in their Sunday best and expected to dine on fine china using silver flatware on most flights.

There are lots of collectors of airline memorabilia out there. Propelled by personal memories and an eternal fascination with flying, these collectors seek the well-crafted and designed implements used on those mid-20th-century flights. And when some airlines like Eastern and Pan Am came upon hard times in the late 1980s, the market for airline dinner and silverware became speculative. Some, like Pan Am, were in operation from the early days of commercial aviation in 1927 to its shut down in 1991.

Airline collectibles consist of a wide variety of items, including timetables, crew wings, safety cards, barf bags, trays, liquor miniatures, plasticware, swizzle sticks, playing cards, safety cards, seat occupied cards, inflight magazines, overnight kits, flight bags, soap, hat badges, patches, buttons, service pins, hats, uniforms, ticket jackets, boarding passes, annual reports, posters,  brochures, ashtrays, pins, badges, toy and model planes, advertisements, games, watches and coloring books. Collectors particularly covet china, glassware, silverplate, flatware, salt and pepper shakers, and menus bearing the airline’s name or logo. Also, the older the item, the more valuable. Likewise, the more renowned or limited the airline's history, the more collectors are interested in them.

Some airlines first began serving meals on board aircraft about 1930. But the earliest marked china which they used dates from the mid 1930's. Generally, any china pieces from before WWII are rare and highly sought after by collectors. Prices likewise reflect the rarity and some pieces from that era are nearly $1,000. Not only are these pieces valuable because of their age, but also due to their scarcity. Today's airlines have fleets of several hundred planes each carrying a hundred or more passengers, but in the 1930's even the majors had only maybe a couple dozen planes each holding a few dozen passengers.

American and PanAm had some of the earliest examples of nicely marked china. PanAm flew its famous Flying Clippers across the Pacific, so the china used on them is quite rare. Most of the early china was very lightweight so as to not overload the planes, but there are several exceptions with both American and PanAm.

While the postwar era found most of the larger airlines, both domestic and foreign, having china, some of the smaller carriers didn’t start using it until the jet era. Both Delta and Continental, for example, used plastic dishes in the prop era.

The early jet era was undoubtedly the Golden Age of fine airline china. Each carrier competed with the others for speed and service. The service often included luxury dishes like steak or lobster.  Many of the small foreign carriers got their first china on their first jets.

Airline dinnerware is probably the most commonly found collectible at the airline memorabilia shows, and the variety is often astounding.

Much of the china seen at the shows comes from legitimate sources. When airlines change their logo or their china design, they sell off the older material or give it to their employees. Depending on the quality, quantity and condition of these items, they may have value perhaps in the hundreds or the thousands. Those airlines who also fly internationally use different china on those flights. China used by foreign airlines is often made by the best manufacturers—Wedgewood, Spode, Royal Doulton, and Noritake. Generally any pre-World War II china pieces are rare and highly sought after. Prices likewise reflect that rarity and some pieces sell for nearly $1,000.