Basic Furniture Refinishing

QUESTION: I have a 1930's silky oak drop-door desk that has been in our shed for about 20 years.
It has seen a few cyclones and had a lot of weathering and the doors are off and knobs missing.
This desk holds special memories for me as a young child watching my dad working at it. I’d like to refinish it but have no idea where to begin. How hard would it be for a beginner like me to refinish it?

ANSWER: Your desk sounds like the ideal piece of furniture on which to learn about refinishing furniture. For many beginners, refinishing seems easy, but it’s far from it. First you need to decide if the piece needs to be completely refinished or the original finish preserved. Your desk sounds like it may fall somewhere in between.



It’s only been within the last 20 years or so that refinishing products have appeared that make the job less intimidating. However, most people think you have to strip off all the old finish before applying a new one. That all depends on the condition of the piece.

You piece sounds like it’s been through some tough times. Before you do anything, you need to evaluate it. Has the finish been mostly removed by weathering or is it spotty. If it’s the former, then you’ll need to sand it following the grain of the wood with fine to medium grade sandpaper. If it’s the latter, you may be able to just clean it up and apply a new coat of varnish. With refinishing, a little effort goes a long way. The nearer you can keep your desk to its original condition, the better.

Let’s assume the worst. If the finish has mostly been removed by weathering, you’ll need to remove what remains with a good varnish remover. Be sure to buy one that’s water soluble. Even though this takes longer to achieve the results you want, the fumes are mild and cleanup is easy. When using a remover, always brush it on with the grain of the wood. Do a little section at a time, turning the piece on end if necessary to make it easier to apply the remover. Scrap it off with a putty knife, and be sure to have a roll of paper towels handy to wipe up the excess and stripped varnish or paint.

After you’ve completely stripped your desk of its finish, lightly sand it with fine sandpaper. Wrap the sandpaper around a wooden block for support and sand with the wood grain. Be careful not to over sand----just enough to smooth the surface. After you’re finished sanding, wipe the desk with a damp cloth to remove all the dust. Do not get the wood wet.

Once you have prepared your desk for its new finish, let it rest for a day to make sure the surface is thoroughly dry. Dust it off with a dry cloth to make sure it’s clean, then begin to brush on a new finish using a soft-bristle brush and a furniture finish called tung or Chinese oil. Several manufacturers make this, including Formbys, and you should be able to buy it at your local hardware or home center. Apply the tung oil or a piece of white tube sock or other soft cotton material going with the grain of the wood.. The first coat will soak into the newly stripped wood. Let it dry 24 hours, then sand lightly with fine sandpaper. Dust it with a damp cloth again and let dry. Apply a second coat of the tung oil and repeat the process, except this time rub it with 0000 steel wool after it dries. Dust off again and apply a third and final coat of tung oil, but don’t rub with the steel wool this time.



The advantage to using tung oil is its rapid drying capability. Though it will feel dry to the touch in an hour or so, be sure to let it thoroughly dry for 24 hours. And don’t apply it on a humid or rainy day. And here's a tip: Wrap your application cloth in plastic wrap or put it into a Zip-Loc sandwich bag and place it in your freezer. Take it out 30 minutes before you're ready to apply another coat, and it will be ready for you.

Be sure to tune in next week to learn about preserving the finish of a piece of furniture that isn’t in such bad shape.

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.

Getting the Word Out Victorian Style

Trading card scrapbook.

QUESTION: I recently purchased a scrapbook full of brightly colored cards displaying advertisements for various products. Can you tell me about these types of cards and about how old they might be?

ANSWER: You seem to have stumbled on a scrapbook full of advertising trade cards. While
T.V.  commercials, as well as magazine and Internet ads  promote everything from cars and medicines to food products, during the latter part of the 19th century, trade cards did the selling.

In the 1890s, manufacturers focused their advertising efforts nationwide. Although the Industrial Revolution gave them the know-how to mass-produce consumer goods, they needed a way to show off their new products. At the time, magazines were just beginning to show ads. A new inexpensive method of color printing called chromolithography appeared in the 1870s and paved the way for trade cards. Reproduced by the millions, these colorful handouts flooded the country, becoming at once an effective business device, as well as folk art. Companies mailed them. Merchants gave them to their customers. Traveling salesmen distributed them door to door. And consumers saved them, often trading them with friends.

Chromolithographic trading card.

Although most were about the size of a playing card, others measured up to 3 x 5 inches. The typical card featured a colorful picture on one side and a sales pitch on the other. Frequently, the manufacturer left a blank space for a merchant to add his name and address.

Two-sided trading card

Die-cut trading card.

The most common trade cards are flat pieces of colorful cardboard, however even more popular are die-cut cards—those cut in the shapes of the objects they advertise. Particular favorites include such varied subjects as pickles or teacups. Some are two-sided, with a different scene on either side, each of which promotes one of the company's products. Others fold or have movable parts.

Metamorphic trading card.

Metamorphic cards have flaps that fold out to reveal pictures different from those seen when closed. Some cards encourage the viewer to open the flap to discover what happens next. One titillating card pictures a woman sitting in a bathtub with her knees visible. When opened, the card reveals her serving drinks to two bald men.

Cards with movable parts are fragile and often in poor condition. Unfortunately, few of these cards with all their parts intact have survived decades of wear and tear. Hold-to-light or see-through cards are even more fragile. The picture changes or words come into view when the card is held up to the light, completing the advertisement.

At the Philadelphia Exposition of 1876, manufacturers put thousands of these bright little pasteboard salesmen into the hands of a product hungry public. Grocers handed them out for every imaginable product, from soup to soap! Manufacturers inserted some cards right into packaging. People saved the cards with a passion, pasting them into scrapbooks.

Arbhuckle Brothers Coffee trading card.

As their popularity grew, trade cards evolved into trading cards which manufacturers frequently packaged as serialized premiums in products such as cigarettes and coffee. Arbuckles' Coffee, for example, offered  a 50-card series of states and territories.

Medicine trading card.

Some of the products most heavily advertised by trade cards, included those involving medicines, food, tobacco, clothing, household goods, sewing items, stoves, and farming tools. Two of the most popular categories were medicine and tobacco. In the late 19th century, claims made for patent medicines weren’t  regulated by law, and trade cards advertising these medicines often promised miraculous results.

Tobacco companies inserted trade cards into cigarette packs as stiffeners to protect the contents. Allen and Ginter in the U.S. in 1886, and British company W.D. & H.O. Wills in 1888, were the first tobacco companies to print advertisements. Several years later, colorful lithographic illustrations began to appear on these cards which featured a variety of topics ranging from sports to nature. By 1900, over 300 tobacco companies produced thousands of tobacco card sets. Children would often stand outside of stores to ask customers who bought cigarettes if they might give them the trade cards in their packs. By the 1950s, trading cards boy began to collect sports, military, and automobile cards contained in packs of bubble gum.

The popularity of trade cards peaked around 1890, and then almost completely faded by the early 1900s when other forms of advertising in color, such as magazines, became more cost effective. The more common antique trade cards sell for about $1 to $15, depending on quality and condition.

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.

The Cadillac of Chintz

Royal Winton

QUESTION: My grandmother left me quite a few beautiful pieces of china, decorated with floral patterns. What seems like the pattern name appears with the mark on the bottom of the pieces. Names like Summertime, Royalty, Florida, and such are common among them. Can you tell me anything about this china? I really like its bright, happy decoration and would like to collect more of it.

ANSWER: The pieces that you have, which are actually pottery not china, are known as chintz. Made from earthenware, they’ve become one of today’s most popular collectibles.

Chintz dates back to the 18th century when English merchants imported exotic fabrics with elaborate floral patterns from India. By the early 19th century, Staffordshire potteries began to emulate these patterns on the decorations of their wares, using large flowers and exotic birds. By the 1820s many potteries in the Staffordshire area manufactured chintz for everyday use. Although they produced many Victorian patterns, today's collectors prefer the chintz made from the 1930s to the 1950s.

The four major companies making chintz back then—Grimwades Royal Winton, James Kent, Crown Ducal, and Lord Nelson—needed a product that was cheap to produce so that their chief market, the English middle class, could afford it. Since they made chintz from earthenware and decorated it with lithograph transfers, it filled the need nicely. All together, there are over 200 different patterns of chintz.

Grimades Royal Winton

The decoration of chintz required an amazing amount of handwork and skill since women transferred the designs by hand from lithographs on to the individual pieces. The process, which was similar to applying a  decal, required meticulous cutting and matching to ensure that the junctures of each piece were practically invisible. Other workers gilded each piece by hand before firing.

During the 1930s, the companies producing chintz, in ever-increasing competition, introduced fresh new patterns and shapes at the British Industries Fair. In order to come up with these new patterns, some  reversed the foreground and background colors. One of the leading manufacturers, Grimwades Royal Winton, changed their Welbeck with yellow background into Hazel with black ground and their Spring background into white. Companies often named their patterns for the flowers in them and incorporated them into the backstamp or mark.

Royal Winton 1950s

When World War II broke out, the British Government forbade all unnecessary manufacturing, so chintz production halted. After the war, people became starved for color and the chintz produced in the 1950s had a different look, with flowers larger and farther apart. Makers also changed background colors to  black, burgundy and navy.

But in the late 1950s tastes changed, and housewives’ preferences turned to modern Scandinavian design in furniture and accessories. The fussy chintz patterns clashed with the new decorating tastes, and most chintz production came to an end. It wasn't until the 1990s that interest in cozy, comfortable chintz returned.

Of all the chintz manufacturers, collectors deem Grimwades the “Cadillac of Chintz.” It produced over 60 different patterns from 1929 through the early 1960s.

Grimades Royal Winton

In 1885 Leonard Grimwades founded the pottery with his brother at Winton Pottery, Stoke-on-Trent. They started production in a simple shed and expanded rapidly, taking over the Stoke Pottery in 1900. They introduced the first modern chintz pattern, called Marguerite, in 1928. In 1932, they came out with their Summertime pattern which immediately became immensely popular. Grimwades applied this pattern to many different articles, including clocks, invalid feeders, and jardinieres, and shipped large quantities of it to the U.S. The company awarded Wright, Tyndale and Van Roden Inc., a luxury store in Philadelphia, exclusive rights to Floral Feast, Somerset and Summertime. However, many of these pieces bear only the store’s stamp. The cup and saucer in your photo bears this pattern. Throughout its history, Grimwades produced nine chintz patterns, more than any other company.

Crown Ducal

In 1915, Albert Goodwin Richardson bought the Gordon Pottery in Tunistall, England and renamed it the A.G. Richardson Ltd. He wanted to produce good quality earthenware under the name Crown Ducal. In 1919 he sold his interest to Harry Taylor who owned a lithograph company. Crown Ducal wares also appealed to Americans during the late1920s through the 1950s.

Richardson developed a deep ivory glaze base color in 1931, and a number of chintz patterns employed it, including Pansy, Peony, Primrose, and Priscilla. In 1980, the Wedgewood Group purchased the  company and renamed it Unicorn Pottery.

James Kent

James Kent took over the Old Foley Pottery at Longton. in 1897 and renamed it James Kent Ltd. to produce earthenware for the English middle class. He first produced the chintz pattern DuBarry in 1934, and it remained in production until 1980. The most popular Kent pattern is Hydrangea with a white background. The quality of James Kent wares is inferior to Grimwades, and prices are somewhat lower.  M.R. Hadida Fine Bone China Ltd. Bought the company in the 1980s.

Another factory turning out great quantities of chintz was Elijah Cotton's Lord Nelson ware. The firm Elijah Cotton Ltd. operated at the Nelson Pottery in Hanley from 1889, making mostly kitchen and hospital ware. Their chintz earthenware is chunky in shape and poorly decorated. To avoid having to hire skilled decorators, they purposely didn’t decorate the spouts and handles of their teapots and jugs. Black Beauty and Green Tulip are their most popular patterns.

Lord Nelson Ware

Today’s collectors include tea and coffee pots, whole tea sets, bud vases, and serving pieces in their collections. Some focus their collections on a single pattern while others mix and match designs. Still others collect only tea cups in as many patterns as possible.

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  La Belle Epoque in the 2020 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 Cream of the Crop

QUESTION: Last year I went antiquing in the English Cotswolds. In nearly every shop I went into, I saw at least one or more little cow creamers waiting for new homes. How did these little ceramic accessories come about and why did they choose to make them in the shape of a cow?

ANSWER: Originally made in England, then in Scotland and America, these unique creamers were the pride and joy of many late 18th and early 19th-century English housewives, both rich and poor. They kept these spotted bovines sitting on top of their dining room dressers, ready to use on special occasions.

These pottery cow creamers are little jugs standing firm on all four legs. They’re  usually about six inches long and four to five inches high. Housewives would pour fresh cream through a hole in the cow’s back, then seal up the whole with a cover. Unfortunately, many a cow creamer today is missing its cover. The cow’s curved tail served as the handle while its mouth served as the spout.

Cow creamers are among the oldest forms of decorative tableware still in existence today. Their ancestry can be traced back  to a decorative European jug used for washing the hands before and during a meal called an “aquamanile.” These jugs were very fancy and often doubled as a centerpiece. Ironically, an aquamanile had many of the same features as a cow creamer—a body in the shape of an animal standing square on its legs, a tail arched to meet its back that served as a handle, a hole in its back by which the jug could be filled, and a gaping mouth from which to pour the water.

Made from gold, silver, bronze, or pewter, the aquamaniles were most commonly shaped like lions, sometimes encrusted with precious stones.

It was the Dutch that chose the cow as the shape for the cow creamer which became a luxury accessory.

During the 18th century, coffee drinking became popular among the social elite of Europe. The new coffee ritual demanded novelty jugs to hold the cream. Those depicting a cow with a bee perched on its back were the most popular.

Initially, silversmiths created cow creamers in different sizes but using the same freestanding cow. There were all sorts of whimsical variations—some had garlands around their necks, hinged lids, or handles shaped like flies, bees, or flowers. But when the Dutch began making the creamers in tin-glazed Delftware, the fencegates opened and a whole herd of creamers rushed out.

The first cow creamer came from the Whieldon Pottery, which imitated the silver cow jugs made in 1755 by John Schuppe. The most well-known of these had a mottled brown tortoise shell-type glaze. Others had brown and yellow spots, black with a criscrossed yellow pattern, and even light blue with yellow circles.

But the clay was more difficult to control and sculpt than metal, so the potters introduced a few changes to the design to make it conform more to the different material. While a silver cow could stand directly on its legs, a pottery cow could not. This necessitated the addition of a base to help stabilize and strengthen the clay.

It seems every potter added his touch of whimsy. In fact, there are almost as many different decorations as there are creamers.

 potters also crafted these unique little jugs, essentially copying from the earlier Whieldon design. None of these have markings on the bottom. The Welsh potters added their own creative touches to their cow creamers. Many decorated them freehand or applied transfer designs of rustic farm scenes. After 1850, the Scots developed a love affair with the cow creamer. Scottish potters experimented with sponged decoration and brightly colored glazes.

After the American Revolution and into the early 19th century, imported English pottery became too expensive, so the United States Pottery in Bennington, Vermont, began making its own version of the cow creamer. Each cow had crescent-shaped nostrils, open eyes, folds in the neck, and visible ribs. I guess the American cows weren’t as well fed as their English, Scottish, and Welsh cousins. After Bennington closed in 1858, its potters sought work at potteries in Ohio, Maryland, and New Jersey, taking their skill at making cow creamers with them.

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  La Belle Epoque in the 2020 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.

Not Quite Fit for a King

QUESTION: I purchased an old Dewers pottery flask in an antique shop a while back. The brown glazed pitcher features two characters from Charles Dickens’ book, Oliver Twist—The Artful Dodger and Oliver Twist. The tag on the flask said it was kingsware by Doulton Pottery of England. What can you tell me about kingsware

ANSWER: Kingsware is one of the most unusual and colorful items produced by the Doulton Pottery Company. It was very popular when it was made in 1899 because the owner could drink the contents and then display the attractive stoneware container.

Charles Noke, an artist at Doulton, experimented with glazes and eventually  developed kingsware. Born in Worcester, England, near the Worcester porcelain factory, to a father who had one of the largest old china collections in the Midlands. Through his fathers influence, he was often allowed to roam freely through the local potteries and see all phases of their operations. What fascinated Noke the most was the process of modeling and sculpture.



Charles took some clay home from the pottery and sculpted it into different forms which he showed to the top modelers at the company. They thought his work showed promise. At the age of 16 he became an apprentice modeler and designer at Worcester Porcelain. Meanwhile, he enrolled at the Worcester School of Design to study sculpture. Noke worked under direction of such noted Worcester modelers as George Evans and George Owen.

After working at Worcester for 16 years, John Slater, the General Manager at Doutlon’s Burselm Pottery, asked him to come work for him at the Doulton Company. The main reason his joined Doulton was for artistic freedom. Eventually, Noke became Doulton’s chief modeler.

Noke helped develop the glazes for Doulton’s Sung, Chinese Jade and Flambe wares. In 1895, he developed an unusual method of slip painted underglaze called Holbein. It gave the effect of an "old masters" painting with the application of slip in yellow, green and shades of brown on a cream earthenware body.

In 1899, Noke introduced a new method of stoneware production called kingsware which was much cheaper to produce than Holbeinware. He applied colored slips of subdued green, yellow and reddish brown to the interior of plaster molds into which he had impressed a design. When he poured another brown slip, the colors fused to give a deep and soft effect to the embossed design. Noke most commonly used a dark brown glaze, but also used an unusual paler yellow one which he called "kingsware yellow glaze."

Noke also used a method of finish on kingsware known as "aerographed brown." Using an ivory earthenware base, he added the colors to the shape after it left the mold. These colors lacked the soft effect of the usual kingsware and were sharper and more vibrant. These wares were also different because they had handles and necks and bases aerographed with a spray painting technique. One of these embossed pitchers features a golf scene, one of Noke's favorite pastimes.

 produced kingsware flasks to hold whisky. The pottery produced it in large quantities for firms such as John Dewars & Sons of Perth, Bullock Lade, Greenlees & Watson and the Hudson's Bay Company. Not only did kingsware flasks hold products from these firms, it also became a way of advertising. Many of the flasks had a company name embossed on them. The flasks also had designs depicting the pleasures of drinking and smoking. For example, an ovoid flask, called "Connoisseur,"  showed a gentleman studying the quality of a glass of wine. A wine pitcher featured an image of Bacchus, the Roman god of wine. Doulton also produced a variety of other items in kingsware, such as vases, water jugs, pitchers, mugs, and tobacco humidors.

The range of characters used on kingsware was extensive. Besides his work, Noke loved to play golf and read the works of Charles Dickens, William Shakespeare, and Robert Burns. It’s no wonder that he used so many characters from these literary works on kingsware. For example, a kingsware water jug called "Memories" shows Dickens characters wearing wigs. A flask called the "Artful Dodger and Oliver Twist" portrays two Dickens' characters from his book Oliver Twist. This gave kingsware a universal appeal.

Collectors look for kingsware for a variety of reasons. Some pieces have amusing mottoes and express fitting sentiments, such as "A bumper to her who adores me and another to her to adore" can be found on a loving cup. The motto, "Be content the sea has fish enough," can be found on an ashtray. On a whisky jug a motto would read, "It's hard for an empty bag to stand straight up.”

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  La Belle Epoque in the 2020 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.

G-Man Toys Took America by Storm

QUESTION: I love to read crime novels, especially those dealing with gangsters from the time of the Great Depression. Several months ago, I discovered a few “G-Men” toys in a local thrift shop. I didn’t know they made such things, so I bought them. And having read about the bad guys in the 1930s, I think I might like to collect some of these toys. What can you tell me about them? Are they worth collecting?

ANSWER: The 1930s was indeed an exciting time for both criminals and law enforcement. During the Great Depression, everyone’s thoughts turned to money—or the lack of it. So the robbing of people’s savings in local banks was a prime concern.

In the mid-1930s, newspapers and radio stations reported daily on the extensive crime escapades throughout the United States by John Dillinger, "Baby Face"Nelson, George "Machine Gun" Kelly, "Pretty Boy" Floyd and other notorious and dangerous gangsters. Their brazen murders, kidnappings, bank robberies and other heinous crime sprees constantly stunned the nation and were headline stories everywhere. Newspaper reporters and radio announcers often reported these crime sprees with more drama than actually happened, heightening the imaginations of young boys everywhere, most of whom wanted to play the parts of law enforcers.

Through print and radio, the public intensely followed every detail of their crimes, high-speed chases and blazing shoot-outs with authorities. The eventual captures of these criminals were equally covered by radio programs, in the newspapers and on newsreels at the movies. People all across the country breathed sighs of relief each time agents of the then Bureau of Investigation, renamed the Federal Bureau of Investigation in 1935, captured on of these criminals.

George "Machine Gun" Kelly and others on July 22, 1933, kidnapped Charles F. Urschel and another man in Oklahoma City, Oklahoma, and held them for $200,000 ransom. After the ransom was paid. Kelly released Urschel and the other man. Government agents Kelly captured Kelly on September 26, 1933, in Memphis, Tennessee and when he was told he was under agents as government men. The "G-Men" acronym stuck and has been used ever since that time when referring to FBI Agents.

While T.V. romanticized and popularized the exploits of Elliot Ness later on in the 1960s, it was Melvin H. Purvis, the special agent in charge of the FBI’s Chicago office, that caught everyone’s attention. His most famous case was when he led the team of agents who killed John Dillinger, Public Enemy No. I, in a shootout in Chicago in July 1934. Purvis instantly became an American hero. Thereafter, every kid in the country wanted to be a "G-Man" and to play "G-Man."

 left the FBI and got into the toy and cereal premium business with General Foods of Battle Creek, Michigan, to develop and market a line of "Junior G-Man Corps" badges, toys and other cereal premiums in about 1936. Kids would send in boxtops from Post Toasties. Kellogg’s Corn Flakes, and POST-O Cereal, usually with 10 cent in stamps, to become members of his Junior G-Man Corps. They could also get specially marked Junior C-Man Corps toys, including a ring, fingerprint set, wallet, watch fob, sparking machine gun, an invisible writing and secret code writing kit, and a whistle. Toy badges of different rank ranging from a "Junior G-Man” to a "Roving Operative Junior G-Man,” and then the ultimate rank of "Chief Or Operative Junior C-Man" were also available. Along with the badges, members also received an identification card for the lower ranks and an elaborate 8-x-10 "Commission" appointing them to the highest rank.

Back before all the added sugar, breakfast cereals tasted bland and kids weren’t drawn to them. Cereal companies realized they needed to create incentives to get kids to eat their products. Out of this incentive necessity grew the cereal premium. This was usually a toy which kids could get by sending in boxtops from numerous boxes of cereal. Each toy sold not just one box of cereal but many.




Around 1937, Purvis and General Foods started the Secret Operator Law and Order Patrol for kids to join and also so they could get specially marked Secret Operator Law and Order Patrol toys. Included were a ring, fingerprint set, whistle, knife, pencil and toy badges of different ranks, ranging from Secret Operator to Lieutenant Secret Operator and then finally to the highest rank of Captain Secret Operator. The consumer was prepared to send cereal boxtops and usually 10 cents in stamps. Post cereals advertised these two lines of premiums extensively in newspapers, magazines, and in free catalogs. They all featured former "Ace G-Man" Purvis' name and photograph along with various G.Man stories and pictures of the badges, toys and other premiums offered - "just like the real G Men used." Purvis was a hero to parents and young children who wanted to be like him, and the cereal promotions were successful. Children had to eat a lot of Post cereal in order to send in the required number of boxtops to get the badges, toys, and other exciting premiums.

They got their Junior G-Man badges, G-Man machine gun that sparked, their G-Man fingerprint set, Secret Operator Law and Patrol knife, and other toys so they 'could play Galan. Purvis and Post devised the various higher ranks within the Junior G -Man Corps and the Secret Opera-tor Law and Order Patrol for the kids to attain by passing certain tests and sending them in to headquarters for grading and 'issuing the higher rank badges and com-L missions. Before they could take the tests, kids had to study the "Manual of Instructions" for Junior G-Man Corps members and the Secret Operator's Manual for Secret Operator Law and Patrol members. However, there was an important catch to attaining these higher ranks besides just passing a test—the kids also had to eat more Post cereals because they had to send in more boxtops for the new badges and “commissions” of their higher ranks.



Both the Junior G Man Corps and the Secret Operator Law and Order Patrol had Girls Divisions with their own distinctive badges, were featured in 1936 and 1937 on the sides of the Post Toasties cereal boxes, asking boys and girls to join them.

Purvis and Parker Brothers developed a board game titled "Melvin Purvis' G-Men Detective Game,” with separate red and blue versions being produced. Board games by other companies included The Black Falcon of the Flying G-Men" and the "G-Men Clue Game."

Numerous other toy manufacturers, including Disney, Marx, New York Toy and Game Manufacturing, Pressman Toys, dropping toy G-Man-Detect-I-Phone had a transmitter, receiver and phone line powered by a three-volt battery that actually worked. A wiretapping set contained a badge, handcuffs, gun, identification card and a toy dial telephone resembling those used by telephone repairmen, complete with wires dangling from it and metal alligator clips on the ends of the wires so the Junior G-Man could tap into a telephone rule.

And other food companies, including the makers of Dan-Rich Chocolate Flavored Drink, used G-Man rings, tie clasps, lapel buttons and watch fobs to promote their products. Numerous rings were made, some with different color enamel around "G-Man" on the face of the rings. Some tie clasps had the same "G-Men" insignia on them as the rings, along with the same color enamel. Some "G-Men" rings were adjustable. At least eight different C-Men rings were made during this time.



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  La Belle Epoque in the 2020 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.

An Educated Collector is a Wise One

QUESTION: Every time I go into an antique mall or visit a show, I become overwhelmed by all the items.  How can I make sense of it all?

ANSWER: Looks like your mind and senses have gone into antiques overload. So many items—furniture, ceramics, pictures, jewelry, old Coca-Cola signs, and things that look like the cat dragged them in.

Go into any antiques mall, and you’ll soon be swooning. Lots and lots of stuff, much of it junk. Where did all of it come from? And who’s buying it?

The world of antiques is a big one and is often confusing. But there is a way through this maze. The key is education. If you’re serious about collecting antiques, it’s important to become an educated collector.

An education in antiques and collectibles can take many forms. You could begin by obtaining books on whatever category of antiques you plan to collect. You could enroll in evening classes dealing in antiques. You can visit the decorative arts collections in noted art museums. You can read antiques magazines, in print or online (Be sure to check out The Antiques Almanac.)

It all seems so confusing. And the prices for some products seem ridiculous , especially if you’re a beginning collector. But don’t despair. There’s a method to all that antique madness. Believe it or not, there are some main categories.

When most people think of antiques, they think of furniture. And though it makes up a good percentage of antiques out there, smaller items, known as “smalls” in the antiques business—ceramics, glassware, silverware, toys, and commemorative item—all play important roles.



All in all, there are about 15 major categories and 75 sub-categories. Within these there are other, more specialized areas, such as antique maps and posters, two very specialized categories.

Even though antiques can be categorized generally, dealers and serious collectors use historical periods—Victorian, Gothic, Civil War, Western, Retro—to sort things out. Often, these terms also indicate different styles.

For instance, in the world of furniture, you’ll probably see examples of English, French, American, and Chinese styles at most antique malls, shows, or auctions. Most English furniture falls into the pre-Victorian or Victorian category while American furniture tends to fall into different types: Pennsylvania, Shaker, New York, etc..

Porcelain or pottery pieces fall into categories associated with the country in which they were made–England, Germany, France, American, Chinese and Japanese are just a few. The four you’ll see most are English, German and Japanese, and American. You’ll soon become familiar with names such as Royal Doulton, Staffordshire, and Meissen, Blue Willow, Limoge, Belleek and Sevres, especially if you frequent the better antiques venues.

Glassware is the third most popular category. You’ll see all types, including Depression, Venetian, English, and Czech glass. Most glassware collectors specialize in a particular produce line–bowls, tumblers, decanters, etc. There’s also a refined category known as art glass in which you’ll find all those pretty vases blown in amberina, peach blow, and ruby.

Other specific categories include silverware, jewelry, memorabilia, militaria, toys, clocks, commemorative and architectural antiques.

These are just some of the many categories of antiques that you can begin to collect. While some tend to be higher priced, you’ll find plenty of small pieces of furniture, ceramics, and glassware to get you on your way.

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  La Belle Epoque in the 2020 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.

Shining a Light on Flashlights

QUESTION: Throughout my life, I’ve owned a variety of flashlights. When I was a kid, my dad had a bulky one made of metal that was rather heavy. I’ve owned all sorts, from big ones that took four “D” batteries to a small one that took one “AA” cell. I still have several of these and was thinking of starting a flashlight collection. Are flashlights collectible? And can you tell me how they originated?

ANSWER: Flashlights are definitely collectible. Plus they have an interesting history beginning with the first one invented in 1888.

Most people most likely believe that the flashlight first appeared in the early 20th century. But actually its invention occurred much earlier. The development of the flashlight went hand in hand with battery production. A portable flashlight depended upon a portable battery, which first came to market in 1888. These early batteries, used to power telephone and telegraph lines, were six inches tall, so people referred to them as "#6" batteries. Around 1896, battery manufacturers began producing a smaller battery, known today as a “D” cell.



The earliest flashlights did not have an on/off switch, just a ring or tab that would push against a button or band of metal. These early flashlights suffered from inefficient bulbs and weak batteries that were short lived. People called them "flash lights" because the user would flash them on for a few moments and then turn them off. If just switched on, the battery would die within minutes. However, these were still a great improvement over candles and lanterns. As the technology improved, the bulbs gave off more light and batteries lasted longer.

Before 1920, consumers had to buy a multi-battery pack fitted to their flashlights. Owners of long tubular flashlights had to buy a battery pack with two or three cells permanently attached in a long, one-piece tube. Anyone with a vest pocket light, that was about the size and shape of a cigarette pack, bought a battery pack with the cells attached side by side. Merchants had to carry a variety of battery pack arrangements. The single battery or "unit" cell first appeared around 1920. After that, merchants only needed to carry unit cells.

Flashlight company batteries are difficult to come by since hundreds of companies came and went. Battery companies thrived and bought some of these flashlight makes. They knew that people could keep one flashlight for years, but they would need batteries every few months.

Battery companies began selling flashlights at cost during the 1920s to promote battery sales, causing many smaller companies to go out of business. Even Eveready, a well-known brand today, was bought by the National Carbon Company (NCC), which was Eveready's main supplier of the carbon used in making batteries. NCC also bought other flashlight companies, too. Eventually, NCC changed its name to Union Carbide, a union of carbon companies, to reflect what it had become.

 advertising campaign in 1916 attempted to change the name of the flashlight since flashlights could now be turned on to produce a steady beam. There was no longer any reason to call them "Flash Lights." In 1917, the company held a contest to select a new name for its product. The winning name for the flashlight was “The Daylo," a contraction of the phrase, "To and Behold, it is daylight."

While the campaign was a sales success, unfortunately the new name was not. Only Evereadys could be called Daylos. Other flashlight makers still called them flashlights so that's what the public called them.

Union Carbide dropped the Daylo name in 1921, which helps to date flashlights marked Daylo as having been made between 1917 and 1921. Daylo signs had been distributed to hardware companies across the nation. When the name charged, retailers discarded the Daylo signs and catalogs to make way for the new ad campaign. Only a few of these colorful advertising pieces remain, so they’re highly sought after by collectors.

Flashlight collectors also seek the advertising items put out by earliest flashlight makers. The brochures and catalogs provide information about what lights the companies’ produced  and when they sold them. Early flashlight maker companies included Ohio Electric, Electric Novelty Company, American Electrical Novelty and Manufacturing Company, Reliable Electrical Novelties, Interstate Electrical Novelty. and Western Electric.

As with other collectibles, there are rare flashlights that can sell for more than $1,000, while common ones can go for as little as $2. Generally, flashlights are, for the most part, very reasonably priced. Most people think of flashlights as being tube shaped which is the most common. There are thousands of nickel-plated or black tubular Eveready lights from the 1920s and 1930s that sell for only a few dollars.

One of the most valuable flashlights is the 1898 Eveready. It isn’t marked "Eveready," The patent dates are stamped on a metal ring around the middle of the light. There’s no switch, just a metal ring that presses against the metal band. The end caps don’t screw on, but the lens side is held on by friction and the other end cap has a bayonet latch. Most collectors will gladly pay $1,000 to acquire it.

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  La Belle Epoque in the 2020 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.