Crate 'Em Up!

 

QUESTION: I like primitive antiques. Recently, while browsing a local primitive antiques show, I discovered several dealers selling old wooden fruit crates. I imagined many uses for these. But are they really collectible?

ANSWER: Today, we have all sorts of plastic containers to hold foods and other goods. But back in the good ole days—as late as the 1930s—goods came packed in wooden crates. Everyone knows the colorful ones used by the fruit industry to pack fresh fruit, but, in fact, there were as many different crates as their were products sold in general stores. 

Old wooden crates tend to evoke feelings of nostalgia—of the simple, good life. And thanks to interior decorators, they’ve become a versatile source of inspiration for creative furniture, decorative home accents, and inventive storage solutions.

Wooden crates go back to the time of the general store. Norman Rockwell reminded everyone of the nostalgia of those bygone days in his paintings, depicting men sitting by a warm, pot-bellied stove in the general store, smoking a pipe, reading a newspaper, with a dozing dog stretched out on the floor. In the 19th and early 20th century, especially in rural locations, the general store acted not only as a source of dry goods and food ingredients, but as a social center as well. 

Like the modern supermarket, the general store sold the essentials for living. Storekeepers displayed their goods mostly in packing crates with the lids pried off, so customers could buy the contents straight from the crate. Everyone knew what was in each box because each crate showed its contents in bold stenciling on the sides or with a brightly colored paper label.

Lucky customers may have been able to wrangle a packing crate from the storekeeper and turn it into a handy kitchen cabinet, bookcase, or vegetable rack. People back then reused everything, and wooden crates were no exception. 

More unusual, and highly sought after, are the pieces of folk art furniture built around these boxes, making them into extremely decorative storage units for collections of anything from fishing lures to rubber stamps and other paraphernalia.

In the early part of the 20th century these units were made by encasing wooden cheese boxes or Baker's' chocolate boxes, adding knobs and a coat of paint. Men made these utilitarian storage units to keep their woodworking or metalworking bits and pieces together in one place. 

In the last quarter of the 20th century these engaging folk art pieces have become highly prized, usually expensive, decorator items for a country look in the home. They now take their place in sitting rooms, dining rooms and kitchens, no longer relegated to the work room or garage.

In 1847, a stamping process became available that produced tin cans cheaply. Canneries proved to be invaluable during the Civil War and just five years after the war, 34 million cans of food were on the market throughout the United States. By 1878 canning factories proliferated all over the country, and almost every type of food could be found in a can. Many of the early cans were decorative and made in fanciful shapes to induce sales as some people were suspicious of canned foods. Canneries shipped their products in nothing other than wooden stenciled crates.

By the 1880s there were almost four million farms and about half of the world's annual yield of precious metals being panned or mined in America. More and more factories  turned out packaged goods such as whiskey, soap, stoves, clocks, watches and cast-iron items like doorstops and banks, as well as pots and skillets, for the home. All these goods came packed in wooden crates.

By the end of that decade, refrigerated railroad cars were hauling fruits and vegetables from California and Florida to New York. Seafood traveled to Chicago and freighters  carried food goods around the world. For the first time, Easterners could buy Hawaiian pineapples and Maine residents could buy Florida fruit.  All shipped in wooden cases with brightly colored labels. Today, these are all very collectible.

Soon catalogs, known as “Farmer's Bibles" and "The Nation's Wishbook," appeared. Each new issue contained even more and better things. These books changed the way America shopped in the late 19th century. The railroad depot replaced the general store, as people awaited the delivery of their large goods by freight train. One thing that didn’t change was that goods still came in wooden crates.

Of all the old-time packaging methods, the one that has mostly been ignored by collectors is wooden crates. It's true that for many years, decorators have been taking apart early shipping crates and just using the stenciled sides or ends to create "atmosphere" both in homes and restaurants. However, it has only been in the last few years that collectors have recognized the historical significance, decorating possibilities, and value of these wooden boxes from a bygone age.  

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.

Carrying on a 150-Year-Old Pottery Tradition

Catawba Valley swirlware vase

QUESTION: Last Fall, I discovered several pieces of pottery with a swirl design at a local antiques show. The dealer called it Catawba Pottery but couldn’t tell me much more than it had been made somewhere in Appalachia. What can you tell me about this pottery? And where did it originate?

ANSWER: Catawba Valley Pottery describes an alkaline glazed stoneware made in the Catawba River Valley of Western North Carolina from the early 19th century to the present day.

Early Catawba pottery jar

Before modern conveniences such as electricity, plastic and refrigeration, pottery jugs. jars and crocks stored a family's perishables. A springhouse or pantry were the equivalent of the Frigidaire. Local potters were essential. When refrigeration and inexpensive glass came to the South between 1900 and 1930, the use of pottery to store food declined. However, a few potters in North Carolina's Catawba and Lincoln counties began making pottery for tourists attracted to the small stoneware pots with their distinctive alkaline glaze. The smarter potters kept their traditional pottery-making ways and shapes, but added customer-friendly swirl pitchers, miniatures, exotic vases, umbrella stands and, in a burst of creative marketing, face jugs.

Beginning with river-dug clay, potters turned milled clay on a foot-powered wheel, glazed the green-ware with a slurry of wood ashes, powdered glass, clay and water, and then fired it in a pine fueled ground hog kiln nestled against a hillside. This has been an unbroken 150-year-old tradition.



Stoneware, hard but not as brittle as earthenware, is durable, vitreous, easy to clean and non-toxic. Its strength made it ideal for the 5- to 20-gallon food storage jars needed by 19th-century farmers.

Catawba Valley potters used alkaline glazes on their wares

Catawba Valley potters used alkaline glazes in shades of brown or green instead of the commonly used salt glaze. Potters from Edgefield, South Carolina, originally brought alkaline glazes to the Catawba Valley. These potters made alkaline glazes by combining hardwood ash or crushed glass with clay and water. Catawba potters had an abundance of wood ash from burning their kilns but didn’t have plentiful salt deposits in their region.

The Catawba potters initially fired their alkaline glazed wares in what were known as "groundhog kilns." These kilns were a unique southern U.S. variation of climbing kilns built into hillsides. Semi-subterranean in construction, the groundhog kiln featured a door leading into a long, low passage of brick or rock construction, with a stack or chimney poking out of the ground up hill. Potters loaded pieces in the low passageway or "ware-bed" and built a fire in a sunken firebox, located just inside the door. The design allowed the stack to draw heated air, flames and ash through the pottery grouped inside and created the draft needed to generate the intense heat required to create stoneware. This type of firing or "burning " worked particularly well with large pieces of pottery. Contemporary Catawba Valley potters still use variations of these kilns, usually referred to as "tunnel kilns."

Pre-Civil War bulbous jug

Before the Civil War, jars from the area were bulbous with a flared top, gradual widening body, fat waist, and narrow base. After the war, jars maintained the same overall shape, but got bigger and fatter. By the 1930s, influenced by Ohio pottery jars, they became straight-walled, open top cylinders.

Jugs held all kinds of liquids from water to whiskey. During the 1920s and 1930s, Catawba potters added faces to these jugs, easily identified by their strap handle, pulled in shoulder and narrow spout. Catawba Valley potter Harvey Reinhardt was one of the first to produce this grotesque, but extremely popular form. However, potters made few face jugs until Burlon Craig, who produced thousands between the late 1940s and the present day.

Early Catawba Valley potters also made swirlware. Made by layering light and dark clays, they created a swirl pattern by moving diagonally up and around the body of a jug, jar, pitcher, birdhouse, vase, or dozens of other forms.

Burlon Craig face jug

Among the 150 to 200 potters scattered throughout the area between the late 19th and early 20th centuries, a dozen individuals and two families stand out. Neighbors Daniel Seagle and Sylvanus Hartsoe were two of the most prolific potters with signed pieces surfacing at area auctions and antique shops. The meticulous work of Samuel Propst, called 'the best turner of all" by Burlon Craig, is less frequently seen. Enoch and Harvey Reinhardt were business partners between 1932 and 1936. Many of their larger pieces, produced by Enoch, and small tourist items, Harvey's specialty, have the stamp "Reinhardt Bros,/Vale, N.C." The Propsts and Reinhardts began making blurred, mottled edged swirlware in about 1930.

Two area families also produced several generations of potters. The Ritchie family, the largest, began making pottery with Moses and ended their work, 12 potters later, at the death of Luther in 1940. Producing 10 noted potters, the Hilton family established a half dozen potteries in and around the valley. By the 1920s, they dallied in decorated dinnerware and figurines for the tourist trade which locals called "fancyware." The Hilton family pottery-making business ended in 1939 or 1940. Crisscrossing nearly all of the prominent families as an apprentice, neighbor or co-worker, is Burlon Craig. It was he who kept traditional 19th-century pottery-making alive and continuous.

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.

Tea for Two or More

QUESTION: I recently started going to antique shows. I’m new to antique collecting and find the whole thing fascinating. On a trip to a recent local show, I saw several unusual boxes. The dealers told me they were tea caddies. All of them had locks. Can you tell me a little about these unique boxes? I’d love to collect them, but they seemed rather pricey.

ANSWER: Tea caddies are one of the more unique items available to antique collectors. They’re good to collect because they don’t take up too much room, but their age and quality can make them prohibitively expensive, especially for the beginning collector. Before discussing tea caddies, themselves, it’s important to know how the tea trade began and why each of the caddies had locks.

People have been drinking tea since 2737 BC, when, according to legend, a few leaves from a nearby tree blew into Chinese Emperor Shen Nung's pot of boiling water. Apparently, the Emperor took a sip of the  brew, only to discover that it was both delicious and refreshing.

Tea brewing and drinking evolved into a ritualistic exercise. During the Ming Dynasty from 1368 to 1644, people brewed the delicate leaves in vessels with lids in which they steeped them in boiled water. Early 17th-century Dutch and Portuguese silk and spice traders tried to introduce Chinese tea to Europe, but it took time to catch on. Even the English, known for their love of a "cuppa," waited until the mid-17th century before trying it. Since tea was expensive, only the aristocracy could afford to drink it.

People believed it was therapeutic as well as delicious. Asians had known the health benefits of tea for thousands of years. And even though Portugal and Holland imported tea 50 years ahead of England, tea remained a precious commodity, so people used it sparingly.

The first recorded sale of tea in England occurred in 1657. At first it was available only in apothecaries, coffee houses, snuff shops and through shops catering for ladies needs. However by the second half of the 18th century smuggled tea was so widely available, that even respectable people bought it illegally for less money.

William Pitt tried to address this problem in his Commutation Act of 1784, which reduced taxes on tea and halved its price. The legitimate imports quadrupled making tea more accessible to a wider section of society.

It wasn’t until the 1750s that tea caddies became a home style accessory. The word caddy derives from the Malay word "kati," meaning a measure of weight about 3/5 of a kilo. The 17th century tea containers were bottle shaped tea jars in china, glass, silver, enamel and straw-work covered metal.

Cabinetmakers began to make tea caddies out of wood in box form beginning in the late 1820s. The made the first ones of mahogany in the shape of small chests which contained three metal canisters. They generally came in two styles—simple and ornate.

Both styles shared certain characteristics. Both had handles on top and stood on either bracket feet or a plinth-style base. They had stepped lids and molding of some sort along the edges. Usually, these caddies had straight sides. The fancier tea caddies often had gilded brass mounts and feet. As time went on, cabinetmakers introduced new designs, woods and shapes to their caddies.

Tea caddies came in three sizes—single, double, and triple.

Single caddies could be square, polygonal, oval, or elliptical and sometimes  urn-shaped. Tops were mostly flat with sometimes a small loop handle or finial in the center. Escutcheons of inlaid ivory, bone or boxwood surrounded the keyhole. Inside they had a free standing lid. Sometimes, the tops were shaped like pyramids, continuing the proportions of the side panels.

Double caddies were usually oblong sometimes octagonal or oval. They had two lids, or two removable canisters with hinged tops. Some had one lid and a space for a glass bowl that people usually used for storing sugar. Others had a second bowl for mixing the blend of tea.

Triple caddies had either two lids, three lids, two canisters, three canisters or two lids or canisters flanking a space in the center for a glass bowl. They had rectangular shapes and rarely contained two glass jars and a bowl.

Cabinetmakers covered the more elaborate tea caddies in luxurious veneers. Cutting veneers by hand was a highly skilled job. The veneers were much thicker than those used today. This created a problem because moisture could be absorbed into the veneer’s edge. To solve this problem, cabinetmakers edged their caddies with strips of contrasting plain wood, usually holly or boxwood or in herringbone designs.

Caddies made of plainer mahogany often had marquetry decoration. Makers inserted per-made panels, mostly of oval shape, of marquetry or penwork enhanced marquetry, onto the box by cutting the veneer to the required shape. The most common designs were in the Neoclassical style of flora, urns, garlands, paterae, lyres, stylized baskets, birds and mythical beings.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 17,000 readers by following my free online magazine, #TheAntiquesAlmanac.

Mystery Solved

QUESTION: I bought this piece of furniture recently, and I'm not sure what it's called. It has drawers on each side and a closet in the middle. The piece is extremely heavy and stands about six feet tall. Can you help me, please?

ANSWER:  Your piece of furniture is commonly called a chifforobe, a combination of the French word “chiffonier” and the English word “wardrobe.” These pieces have been somewhat of a mystery because different groups of people have given them different names over the years.

These closet-like pieces of furniture originated in 1908 and became especially popular during the Art Deco Period in the United States from 1925-1935 or so. Your piece is a good example of high-style Art Deco, similar to French Art Deco. The drawer pulls on the bottom and the front feet are in the waterfall pattern. These pieces held a lot of clothes at a time when houses had very small bedroom closets.

A chifforobe combines a long space for hanging clothes with a chest of drawers. Typically the wardrobe section runs down one side of the piece, while the drawers occupy the other side.  It may have two enclosing doors or have the drawer fronts exposed and a separate door for the hanging space.

The 1908 Sears, Roebuck Catalogue first advertised chifforobes as a "a modern invention, having been in use only a short time." Southerners seem to use the term more than anyone else. However, others use this piece of furniture but may call it an armoire or a wardrobe.

A wardrobe is a standing closet used for storing clothes. Many people argue that wardrobes are different in use and style of closets, but the French created to use as a closet. While the earliest wardrobe was a chest, it wasn’t until the homes of wealthy nobles became more luxurious that a separate room held their clothing. Builders filled this room with closets and lockers since drawers didn’t exist at the time. From these cupboards and lockers the modern wardrobe, with its hanging spaces, sliding shelves and drawers, eventually evolved.
                                                                                                
Throughout the evolutionary changes in the form of the enclosure, it more or less retained its function as a place to store a noble’s apparel. Over time, the word “wardrobe” came to mean an independent storage place for preserving precious items belonging to the home’s wealthy owner. The modern wardrobe differs  from the historical one in its triple partitioning, with two linear compartments on either side with shelves as well as a middle space made up of hanging pegs and drawers, which came later. A clothes press, placed at the height of a person’s chest, enabled servants to lay clothing that they had just ironed on a pull-out tray.

In the beginning, cabinetmakers used oak to construct wardrobes, but later oak went out of use in favor of the more elegant walnut. They based the size on a wardrobe on the eight small men method.  A good sized double wardrobe would thus be able to hold eight small men.

In the 19th century the wardrobe began to develop into its modern form, with a hanging cupboard at each side, a press in the upper part of the central portion and drawers below. More often than not, cabinetmakers used mahogany for its construction. However, fine-grained, foreign woods became easier to obtain in quantity, and cabinetmakers used them to create elaborately and magnificently inlaid wardrobes.

While furniture designers in the 18th century often created luxurious wardrobes of highly-polished woods, the ultimate refinement occurred with the introduction of central doors, which had previously enclosed merely the upper part, were carried to the floor, covering the drawers as well as the sliding shelves, and were often fitted with mirrors.

As mass production of furniture became more common in the late 19th century, furniture manufacturers abandoned the refinements of early wardrobes in favor of simpler, if not downright plain decoration. By the 1920s, wardrobes appeared in cheaper woods so that they could be sold to the growing middle class of consumers. The term “chifforobe” became an everyday household word, especially to more blue-color people who could purchase one as part of a bedroom set when they got married. However, some manufacturers still made beautiful examples in the American Art Deco or Waterfall style. 

Bed in a Box

QUESTION:  My grandmother had a “bed in a box” that we used to sleep on as children when we would come to visit. My brother has it currently, but I amin the process of trying to get it home. We believe it is between 100-200 lbs and I think it is walnut. It is a 3x3 foot cube 23 inches deep and it is just a cot that rolls into a two-doored cabinet. I have always loved it, and it’s one of the few things I wanted when my grandma passed. I was wondering if you have any information for me because I can't find anything about it.

ANSWER: To save space, furniture makers over the 125 years or so have come up with some ingenious devices. The “bed in a box” the person mentions above is just one of the unique ways that city dwellers found to get more people into a room. When immigrants began arriving in greater numbers in the latter part of the 19th century, whole families often had to live in one room–eating, relaxing, and sleeping in the same space.

The first person to become aware of this problem was Sarah Goode, the owner of a furniture store in Chicago. She invented a folding cabinet bed that when not in use looked like a desk standing against the wall and became the first African American woman to receive a U.S. patent for her invention on July 14, 1885.

Since city apartment dwellers often had little space for beds, Goode and others created variations on what we now call the “hideaway” bed. Goode’s design was far more elaborate than a bed-in-a-box. Her folding bed unit had hinged sections that were easily raised or lowered by an adult.

Cabinet beds, like sofa beds, are another innovation along the same lines. Essentially, when the cabinet folds down, it changes shape revealing a bed. You'll also notice that the design of the furniture is similar to that found in early Sears catalogs. Many of these pieces were manufactured in Indiana. Another variation was the rolling trundle bed. This large rectangular box rolled under high late 18th and early 19th-century beds for storage during the day. At night, an adult or child would pull on a rope and drag the bed out for sleeping.