Seashells by the Seashore

QUESTION: Ever since I was a child playing in the sand at the seashore, I’ve loved seashells. I started collecting them and eventually began making shell crafts with them. I’ve seen antique shell-covered boxes at antique shows. How old are these boxes? And why are they decorated with shells?

ANSWER:  When you pick up a pretty shell on the beach or purchase a shell souvenir from a seaside gift shop, you’re following a tradition that goes back as far as the 16th century. A homemade sewing box decorated with shells gathered during an outing at the seashore evokes memories of a wonderful vacation.

Shells from the Far East were rare and expensive collectors' items as far back as the late 1590s. Archduke Ferdinand II devoted four rooms of his castle near Innsbruck, Austria, to shells, fossils, amber and mounted branches of coral. Soon, all over Europe, it was the fashion to decorate rooms with both common and exotic shells.

With the exploration of the Pacific and Indian Oceans and the expansion of European trade, interest in sea shells as decorative items grew even stronger in the 17th century. Merchants imported large quantities of exotic shells into Europe, and shell collecting became a serious hobby. 

In the early 18th century shellwork became a popular pastime for upper-class women. They practiced all sorts of shellcraft, including making shell plaques and pictures. To help Georgian ladies with their shellwork, Mrs. Hannah Robertson published The Ladies School of Arts in 1806. In it she described various techniques of shellwork. When Victoria became Queen in 1837, the study of shells and their inhabitants became a popular subject in school. Teachers encouraged their students to take walks along  the seashore to study marine life which led to an increased interest in shell collecting and shellwork.

Ladies covered glove boxes, trinket boxes, work boxes, and musical boxes with shells. They used heavy pasteboard to construct the boxes, using patterns they found in books on shellcraft. Once they had the parts cut out, they lined them with absorbent cotton and covered them with velvet or silk, then they sewed the sides together with strong thread. They then pasted muslin over the seams and fastened the lids with strips of muslin attached with strong glue. The box makers then made a cushion which they attached  the top of the box with a glue and proceeded to cover it with shells. Those who didn’t want to make their own boxes could buy plain ones onto which they could attach their shells.

Many of the Victorian boxes contained mirrors inside the lid and had heart-shaped pincushions attached. Ladies often gave them as gifts and pasted sayings such as "Forget-me-not" and "To My Dear Mother." Some Victorian women glued on paper scraps and pictures cut out from magazines to enhance their designs.
   
To obtain shells for their projects, some ladies would gather them on trips to the seashore. Those who lived too far away from the sea could obtain them from sailors or purchase them from shell dealers.

After women gathered their shells, they soaked them in fresh water for a few hours. Some shells naturally possessed a fine polish and required no preparation for display. In many cases, however, when shells became dry, they lost their natural luster, which women restored by washing them with clear water into which a little glue had been dissolved. The most popular shell, the periwinkle, which lined almost every box, had to be specially treated. The natural, grayish outer scale had to be removed with acetic acid to reveal the pearly iridescence underneath.



After cleaning their shells, women had to sort them according to size and color. It was important to have large quantities of tiny "rice shells," and other small shells in order to fill in spaces. Ladies then laid out their shells to form a design. Roses and hearts were popular in the center of a design. Once they had their designs finalized, women dipped the ends of their shells in a mixture of white wax and glue which adhered them to the cotton batting or paper.

Shell work declined in popularity toward the end of the 19th century though it has never faded as a home pastime.

 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 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the Victorians in the Winter 2018 Edition, "All Things Victorian," coming this week.

The Look of Beauty

QUESTION: I recently have become interested in possibly collecting ladies’ compacts. I see them at flea markets all the time and the prices are reasonable enough to fit my budget. Also, I live in an apartment, so their small size is a plus. But I don’t want to randomly begin collecting them without knowing a little about their background. What can you tell me about ladies’ compacts? Are they a good item to collect? Will I be able to find enough of them to make collecting them worthwhile?

ANSWER: They say good things come in small packages and ladies’ compacts are a good example. These little treasures not only represent a lost art but are also a connection to the past that’s still affordable.  With so many different types on the market, you’ll have no problem finding plenty in to fit your collecting budget.

For the sheltered few who may not know, compacts are devices women carry that help them pursue their quest for beauty. Many of the compacts are works of art themselves. They first appeared during in the early 1900s. In 1908, Sears, Roebuck & Co advertised a hinged, silver-plated case that sold for 19 cents, described as “small enough to carry in the pocketbook.” This small and round housing for face powder, puff, and mirror became known as a compact. By the 1920s, during the age of the flapper, the compact had become a fashion accessory. And right from the beginning there was lots of competition.

Manufacturers used metal because it was readily available, cheap to produce, and could be brushed, enameled, engraved, and painted. Sterling silver was extremely popular, as was brass, aluminum, gunmetal, nickel, and gilt bronze. Those made at the close of World War I featured shapes, patterns, and motifs that reflect the geometric style of what would become known as Art Deco.

The companies making compacts had intensive marketing campaigns, assuring women that they simply had to have a collection of compacts, not just for every occasion, but also to make a particular statement during each occasion. A Coty double compact advertisement urged women to "be lovely always”— morning, noon and night... and it is so exquisitely smart with its polished platinum tone that you will feel a subtle bit of pride in having it in your handbag.”

The ones most sought after by collectors, however, include those made by obscure companies such as Fisher, La Mode, F & B, R & G, FM Company, DFB Company and the makers of Italian silver vermeils.

Volupte, founded in 1920 in Elizabeth, New Jersey, made one of the most desirable designs —the Golden Gesture Hand, designed by Ruth Warner Mason for a special promotion of "Genuine Collector's Items." These compacts are also referred to as the "Praying Hands" or "Gay Nineties" compacts. The most desirable and costly ones feature either a black or white lace mitt and enhanced with a faux engagement ring, diamond bracelet, or with manicured fingernails or multiples of these enhancements. The hand compacts are about five inches long and can cost as much as $800 each.

These compacts are extremely fragile and dent easily. They’re relatively rare to find in anything but the plain gold version, which sells cheaply compared to the decorated ones. The latter are rare and even then, to get one in mint condition is like finding a needle in a haystack. Condition on these is very important with compacts, as with other collectibles. Dents and wear will lessen their value considerably. Beginners should always seek the unusual over the commonplace.

At one time, compacts were all similar in design. Collectors call these "flapjacks" because of their shape. They measure approximately 4½ to 5 inches and their size allowed a woman to see herself from her chin to the top of her hairdo. However, the cases of these large flapjacks often warp. If the mirror is intact and the case closes, collectors usually overlook any side gaps. The design and overall condition is the deciding factor when it comes to value.

Divine compacts, on the other hand, are small but often have fantastic designs. Many are souvenirs, depicting buildings, cities, landmarks, or world's fairs. Generally, prices for souvenir compacts are lower, but there are still some very stunning examples out there.

Guillouche compacts are highly collectible. The guillouche technique was an attempt to copy Faberge. By using colored foil stamped with appropriate patterns and topped with a clear plastic dome, the results were surprisingly effective. Not to be confused with cloisonné, guillouche enameling always has a translucent pattern. Faux guillouche is stamped on foil with a plastic top. Compact experts define genuine guillouche as machine-engraved decoration on metal, over which a translucent enamel is often applied.

Many companies marked their compacts on the powder cover or inside the powder well and on the puffs. Sterling compacts may have a word or number stamped into the tiny rims of the mirror or base. These marks are highly desirable by collectors. These can be identified by old catalog advertisements or simply by getting a feel for the quality of workmanship that particular company produced. However, even an unknown compact with no identifying features can still be a work of art and be of high value.

Before purchasing a vintage compact, the beginning collector judge the quality of construction, detail of artwork, and the type of base metal. Top quality items will always retain their value —an unmarked piece may have been produced by a small company that made excellent pieces and therefore there will be fewer of them, thus the price will be higher.

Collecting compacts should be fun. Part of the fun is in discovering unique pieces. It’s like finding a piece of history.

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The Fair Where Electricity was the Star Attraction

QUESTION: I love to browse the small items found in showcases at antique coops and at flea markets. Recently, I came across a matchsafe with a cigar cutter that came fro the Pan-American Exposition in Buffalo, New York. I’ve never heard of this. Could you tell me more about it? Is this matchsafe something I want to hold onto?

ANSWER: You’re not alone when it comes to knowing much about this world’s fair. Unfortunately, all the hoopla about the technology exhibited at the fair was overshadowed by a traumatic incident—the assassination of President William McKinley. And while this happened towards the end of the fair at the beginning of September, it undermined the importance of this event.

For six months in the summer of 1901, all the world came to Buffalo, N.Y ,to see the wonders of the new century and to celebrate the unity of the countries of North and South America during the Pan-American Exposition. More than 8.3 million people came to the exposition. Visitors called it “Doing the Pan.” For most, it was the trip of a lifetime. For one person, President William McKinley, it was his last. While canals and gardens dazzled them, the midway seduced them. The buildings, covered in the new electrical lights, kept them in awe.
                   
President William McKinley was shot by anarchist Leon Czolgosz while he was shaking hands with visitors in the Temple of Music on the fairgrounds on September 6, 1901. He died eight days later.

Every country in the Americas participated. The exposition Vacant land at the northern edge of Buffalo was transformed into a Spanish Renaissance style wonderland. Electric light bulbs outlined all of the major buildings. The 391-foot Electric Tower alone boasted 40,000 bulbs. At dusk, visitors gazed in awe at the display of electrical lighting, a novelty at that time.

The fair’s theme was to unite the Americas. Prior to the opening, the exposition’s organizers held a contest for the design of the logo. Raphael Beck, an artist from Lockport, a city on the Erie Canal northeast of Buffalo, won the $50 prize with his entry. The logo featured a map of the western hemisphere. North America was depicted by a fair-haired woman and South America depicted by a dark-haired woman. The women joined hands to form Central America.

The Pan-American Exposition produced thousands of souvenirs which collectors seek today. Many souvenir items were made picturing the buildings and other features of the fair. The Electric Tower pictured on your letter opener was the tallest structure at the fair and often appears on souvenir items.   Many of the souvenirs were pans, said Boyd. One frying pan had a button on the side. When the button is depressed, the lid opens and one sees a tiny buffalo standing in the middle of the pan.

Many of the souvenirs were made of aluminum, a new metal introduced at the Columbian Exposition in 1893. By the time of the Pan-American Exposition, aluminum had become a major industry in nearby Niagara Falls. After President McKinley's death, people bought presidential memorials made of aluminum.

Among the most popular souvenirs were postcards, of which about 500 different ones have been identified. Pan-American stationery allowed exposition visitors to send letters. The Pan-American logo, with or without a buffalo, appeared on the envelope.



Nearly every day was a special day at the Pan-American Exposition, and sponsors of various ceremonies and special days sent invitations. Many of these invitations as well as the envelopes have survived.

Post offices sold special issue stamps in denominations of 1, 2, 3, 4, 5, 8 and 10 cents. These stamps weren't to be used as postage and had to be specifically requested by customers.

And visitors could find free samples of food or beverages or free souvenirs in the Manufacturers & Liberal Arts Building, free sample soap bars in the Larkin Building, free machine-woven ribbons, bookmarks, etc. These, in addition to free brochures and advertising cards, enabled those who could afford only the costs of getting to the Exposition to carry away remembrances of their experience.

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Did Someone Yell Fire!

QUESTION: My father was a fireman for most of his life. During that time he acquired a modest collection of firehouse memorabilia. When he passed away last year, I became the keeper of the flame, so to speak. And while I appreciate the history of these items, I don’t really know much about them. What can you tell me about firehouse collectibles? What is the market like for them today and are they readily available should I wish to expand his collection.

ANSWER: Firehouse memorabilia is one of those very specialized areas of collectibles. Not everyone is into them. In fact, many of the collectors of these objects are or were firefighters and, therefore, have a nostalgic attachment to them. And while fire fighting today is very much high-tech, it wasn’t always that way. The days of throwing buckets of water on a fire are not that far long gone.

To understand what firehouse memorabilia collectors seek, and why, it’s helpful to know something about firefighting history. Man has been struggling to control fire ever since its discovery. In 24 B.C., the emperor Augustus Caesar established groups of watchmen to stand guard, watching for fires in the city of Rome. If and when one of them spotted a fire, he would alert the local residents who would work together to fight the blaze.

The regulation of building construction, as well as restrictions on the building of intentional fires, became an integral part of many future legal codes. Until the time of the Great Fire of London in 1666, individuals were responsible for rebuilding anything damaged by fire, a responsibility shared with their neighbors. As a result of this shift in responsibility, insurance companies established fire brigades of their own, consisting of hired crews of firefighters.

American colonial cities relied on these fire brigades to protect their insured properties. Building owners prominently displayed fire marks, symbols of various insurance companies, on their buildings to indicate to firemen those buildings that fell within their realm of responsibility. Not only did firemen refuse to fight fires not covered by their sponsoring insurance companies, but they often hindered the progress of competing fire brigades.

While Benjamin Franklin founded the first volunteer fire brigade in 1736, it wasn’t until  April 1, 1853, the country's first full-time paid fire department was established in Cincinnati, Ohio. The introduction of the steam fire engine, which provided steam-powered pumping, coincided with this.

But what sparked the interest in firefighting collectibles. Mostly it’s a fascination with personal courage and pride in this special brotherhood.

Some firefighting collectibles are becoming scarce. Fire alarms are of particular interest. Prices for them have increased dramatically over the years. Alarms can sell for as much as $10,000. Other items collected include hand lanterns, engine lamps, uniforms, axes and hoses, fire marks, nozzles, apparatus adornments, as well as presentation items, such as trophies, pocket watches and plaques—the list is seemingly endless.

To collect firehouse memorabilia is not only to pay homage to the men who fought fires,  but also to appreciate the increasingly sophisticated tools they used. However, the collecting field isn’t limited to firefighting tools alone. It also includes non-firefighting memorabilia, as well.

The earliest American firefighting collectibles aren’t related to those who fought fires, but to those who alerted others of the imminent danger. People used rattles, resembling large wooden noisemakers, at the first sight of smoke or flames. Those  commonly used between 1658 and the early 1800s are less than a foot long and have a paddle-like rattle attached at a right angle to a round wooden hanger.

Collectors also seek leather buckets. Typically holding three gallons of water or sand, they’re generally made of cowhide stretched over wooden frames and were individually marked to ensure safe return to their owners following the fighting of a fire. It’s these identifying marks that make them particularly appealing to collectors.

Other collected items range from fire-fighters' hats and helmets to actual fire engines,  including steam pumps as well as red fire trucks. Collectors also seek certain badges and ceremonial items like trumpets. Ephemera collections often turn up firehouse-related articles, as well.

Because it’s getting more and more difficult to find good items, collectors are paying more for what they do find. Many have broadened their collections to include fire insurance memorabilia. And then, of course, there are the modern-day firehouse collectibles like caps and T-shirts.

As with any category of collectibles, collectors need to be wary of reproductions and fakes. The best advice is for you to limit your purchases to well-documented items from reputable sources.

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The Best of Antiques Q&A

This year marks the ninth anniversary of my antiques blog, “Antiques Q &A.” What began as a pastime evolved into weekly answers to hundreds of questions sent to me by interested followers. In all that time, I never took the time to create a “Best of” list of posts.  So before I dive into answering questions already coming in for 2018, I thought it would be a good idea to give you a list of posts that you, my readers have found the most interesting. Check them out.

Ironically, one of the most popular posts was the last one I posted to this blog, “The New Kid on the Block,” an explanation of the beginnings of electric lamps and light bulbs.

Here’s a list of other popular posts, in no particular order. Click on the links to read any or all of these posts.

A Spoonful of Memories - March 4, 2013 (The most popular blog post) A look at Rolex souvenir spoons.

A Stitch in Time - June 18, 2012 - A look at Martha Washington sewing cabinets.

Saving With Uncle Sam - July 8, 2015 - A look at Uncle Sam banks.

Newlywed Furniture  - January 28, 2013

Deck the Halls Victorian Style - December 21, 2015 - A look at how Victorians celebrated Christmas.

As Delicate as Lace - August 18, 2014 - A look at Dresden lace figurines.

9 Ways to Help Identify Antique Furniture  - September 22, 2014 - A look at ways to identify antique furniture.

Less Work for Mother - February 18, 2013 - A look at old kitchen gadgets.

The Ultimate All-in-One - December 5, 2011 - A look at the hoosier.



What are some of your favorite posts from this blog? Let me know by leaving a comment.

Stay tuned for many more blog posts to come. Here’s wishing all who follow my blog a very happy and prosperous New Year.


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The New Kid on the Block

QUESTION:  This lamp has been in the family for reportedly over 100 years. It does not have a signature of any kind. The lighting fixture itself had been missing and my father installed a new one some years back. Is there any way to date and identify the maker of this piece?

ANSWER: Looking at your hanging lamp, it doesn’t look to be over 100 years old. Most likely it dates from the 1920s, maybe slightly earlier, based on the configuration of the socket frame.

Although Thomas Alva Edison is often given the credit for inventing the electric light bulb in 1879, the actual creation can be credited to several people, each of whom improved upon the basic concept.

In 1875, Henry Woodward received a patent for an electric light bulb. And four years later, Edison and Joseph Wilson Swan received a patent for a carbon-thread incandescent lamp. Edison initially worked with J. P. Morgan and a few privileged customers in New York City in the 1880s to light their homes, pairing his new incandescent bulbs with small generators.

In 1878, Thomas Edison began serious research into developing a practical incandescent lamp and on October 14, 1878, Edison filed his first patent application for "Improvement In Electric Lights." So it could be said that Thomas Edition created the first “commercially practical” incandescent light.

The first electric lamps, however, were nothing more than electrified gas lamps. Often the manufacturer didn’t know which sockets to use, so they put in a variety in the same lamp, and the wiring left a lot to be desired. Safety wasn’t even thought of much back then. Even the light bulbs were different. There was no standardization like we’ve known through the latter part of the 20th century and into the 21st. The electric lighting industry took a while to take off.

Back at the turn of the 20th century, electricity was just beginning to find its way into the homes of average Americans. Before that, it was mostly a new toy of the wealthy.

A number of improvements occurred as the 20th century dawned. Peter Cooper Hewitt created the first commercial mercury-vapor lamp in 1901. Alexander Just and Franjo Hanaman invented the tungsten filament for incandescent light bulbs. In 1904.

By 1913, Irving Langmuir had discovered that inert gas could double the luminous efficacy of incandescent light bulbs. Burnie Lee Benbow patented the coiled coil filament in 1917. But the most far-reaching improvement was the production by Junichi Miura of the first incandescent light bulb to use a coiled coil filament in 1921. Finally, in 1925, Marvin Pipkin invented the first internal frosted light bulb.

All these improvements had lamp makers reeling. Once the electric light bulb had finally been stabilized, they saw the opportunity to use this constant source of even light to their advantage.

As household electricity became increasingly common and the light bulb more stable and long lasting, so lamp manufacturers started paying attention to the art of lighting indoor spaces. Shades gave lamp makers an opportunity to shine a light on their sense of aesthetics, whether it was to create a romantic background glow or an eye-catching centerpiece.

Lamp makers of the early 20th century looked to the Art Nouveau style, with it plant and animal motifs, to inspire their designs. Manufacturers were soon creating shades in a spectrum of colored glass, either hand-cut into complex patterns or blown into natural forms like flowers.

Louis Comfort Tiffany designed and made some of the most recognizable Art Nouveau lamps, including shades made from iridescent Favrile glass or intricate stained glass mosaics. Originally conceived by designer Clara Driscoll, Tiffany’s Dragonfly lamp shade is possibly the Studio’s most famous, featuring minuscule glass pieces in each detailed dragonfly wing. Such shades were created using a leaded-glass technique the company perfected for stained-glass windows. Capitalizing on the Tiffany trend, companies like Duffner & Kimberly, Gorham, and Seuss also created ornate stained-glass shades in the early 20th century.

Because electricity for mass use was in its infancy in the first decade of the 20th century, no two lamp manufacturers used the same electrical components. Although   the sockets in your lamp have been replaced, the lamp, itself, is more sophisticated than those produced say from 1900 to 1910. A lot of manufacturers produced lamps like this. The thickness of the glass and the soldering of the lead came indicated that this lamp was made in a small factory, most likely by hand. But without a signature of any sort, it’s hard to tell exactly which company produced it.

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It’s Snowing—Babies!

QUESTION: Ever since I was a little girl, I’ve been fascinated by the little white porcelain figurines called “snow babies.” My mother had a number of them and would place them on the mantel above the fireplace nestled in a bed of fresh pine and holly. I can still remember handing them to her since I was too short to reach the mantel. What can you tell me about snow babies? How long have they been around? Are they collectible? If so, I’d like to start my own collection.

ANSWER: Believe it or not, snow babies have been around since the early 1890s. And, yes, they are very collectible. However, over the decades a number of different ones have been produced, not all of which are authentic. So unfortunately, it’s buyer beware.

Snow babies are small figurines, usually of a child, depicting a Christmas or winter sports activity. Like Hummel figurines, they emphasize the nostalgia of childhood and days gone by. But unlike Hummels, their manufacture wasn’t tightly controlled.

Since their introduction in the last decade of the 19th century, snow babies have enchanted collectors all over the world, especially during the holidays. They’re made of unglazed porcelain, also known as bisque, and show a children dressed in one-piece, hooded snowsuits covered in small pieces of hand-whipped crushed porcelain bisque, giving the appearance of fallen snowflakes.

The idea for snow babies evolved from early 19th-century German candy cake toppers, called tannenbaumkanfekt, used to decorate the tops of Christmas cakes and to decorate Christmas trees. Confectioners molded flour, sugar and gum for firmness into little figures, then painted them with vegetable dye. The best loved became known as zuckerpuppes or sugar dolls, which people used, along with igloos and polar bears, to create snow scenes under their Christmas trees. Later, confectioners began making them of marzipan, a mixture of crushed almonds, egg whites and sugar. They were especially popular with confectioners in Lubeck, Germany. One of them, Johann Moll, commissioned Hertwig and Company to re-create these adorable almond paste babies in porcelain bisque. The oldest ones were typically either all white with a painted face or painted in pastel colors.

Hertwig and Company began operation in 1864 in Katzhutte, Thuringia, Germany, making porcelain doll heads and bisque figures. However, the Hertwig snow babies didn’t thrill German children, who naturally preferred the candy version. But their  mothers loved them and used them to adorn their trees and homes during the Christmas season. Then they could pack them up and save them safely for another year.

The first snow babies produced by Hertwig were one to two inches tall, but the company also made some five to seven-inch ones. As production increased, Hertwig began creating snow babies in a variety of winter activities, such as sledding, skiing, and tumbling. Eventually, the company’s artists made the figures’ hands and feet more clearly defined, and even gave their little figures shoes. Although babies predominated, Hertwig produced some older children as well.

Because of Hertwig’s success, many other German companies began to produce snow babies, including Wagner and Appel, Galluba and Hoffman, Bahr and Proeschild, Christian Frederick Klurg, and the Huebach Brothers.

In 1893, Josephine Perry, wife of the famous arctic explorer Robert, shocked the world by accompanying her husband to Greenland on his famous expedition to the North Pole, even though she was expecting a child. On September 8, 1893, Marie Ahnighito Perry, the first non-indigenous baby to be born that far north. The native Intuit came for miles to see the white-skinned baby they called her Ah-pooh-nick-ananny, Inuit for snow baby.

In 1901 Mrs. Perry wrote a book showing a photograph of her daughter wearing a white snow suit and called her a “snow baby.” Suddenly, the German-made figures were in high demand. For many years the Nuremburg firm of Craemer and Co. exclusively exported the figures from Germany. In the U.S., Scholl and Company and Westphalia Imports, both of New York, sold them, as well as confectionery and baking suppliers in the German communities of New York, Philadelphia and Milwaukee. They reached their peak of export to the U.S. between 1906 and 1910 as women’s magazines featured them as Christmas decorations.

In 1910, the R. Shackman Company of New York, an importer of fancy goods, toys and novelties, advertised and distributed them at 20 cents each. In 1914, Sears and Roebuck and Marshall Field, who called them “Alaska Tots,” sold them through their catalogs.

Prior to World War I, snow babies had highly detailed faces, with the paint fired onto the porcelain so that the color would be longer lasting. Some figurines had different pastel colors of ground bisque decoration while others were left all white except for painted faces. But then the Great War began and the export of snow babies came to a sudden halt.

When production resumed after the war, snow babies were smaller, usually ranging from one to three inches tall. Although the paint used came in vibrant primary colors, snow babies now had less facial detail than previous models. The paint was also less durable and prone to flaking. Models in more varied poses appeared, including children singing Christmas carols, riding polar bears, and building snowmen. 

In the 1920s, Japanese manufacturers began to produce snow baby replicas, though they were generally of a lesser quality than those made in Germany.

The early Depression years brought a final group of snow babies from Germany. People once again used them to create Christmas scenes, as well as for package tie-ons and table decorations. There were babies riding airplanes, playing musical instruments, and riding polar bears. However, these later pieces lacked the detail of early snow babies and were less lovable, so their popularity declined during the 1930s and by the outbreak of World War II, snow baby imports stopped. Here in America, interest in snow babies declined from 1950 to the 1980s. In 1987, an American company, Department 56, began producing replicas of the original snow baby designs and had them made in Taiwan. This helped generate a new interest in them as well as in the early pieces.

Obviously, the most collectible snow babies are those produced before World War I. These generally sell for the highest prices. Any of the German ones are also collectible, but as a beginning collector, you need to be aware of cheaper versions made in Asia.

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A 1950s World in Miniature

QUESTION:  My Grandmother had a village of Plasticville that we continue to put up each and every year.  I would like to add to it, but I don't know how to judge the scale of what I have compared to what is available to buy.  Can you tell me more about it and can you give me any guidance?

ANSWER: Except for the flag and Mom’s apple pie, there’s probably nothing more all-American than Plasticville, USA—America of the 1950s anyway. Baby boomers recall their delight as they watched a toy train chug around under the Christmas tree. And in the middle of the track were plastic buildings that helped create the illusion of a little town. It sound like you’re continuing that tradition.

Plasticville is a brand of plastic toy train building sold in the United States, made by formerly Philadelphia, Pennsylvania-based Bachmann Industries since 1947.At that time, the company began making small plastic fences for people to use to surround the displays under their Christmas trees. 

By 1950, Bachman added a variety of small accessories—trees and bushes, a foot bridge, a wishing well, a trellis—to its plastic fences, as well as a brown rustic fence and a picket fence. Before then, the firm sold its fencing in nondescript packaging. But after expanding its line of accessories, it needed to link the components. The key, executives knew, was a name, so they decided on  “Plasticville U.S.A.”

At that time, many Americans looked upon plastic as a symbol of progress. They also yearned for a simpler, rural past, when change was slower. Marketers at Bachmann, sensitive to this wave of nostalgia, added "ville" to the name of their new line in order to tap into the lingering sentimentality.

With the success of its first items, Bachman added a Cape Cod house, yard pump, and birdbath. They stamped each piece with the word “Plasticville” or the letters “BB” on a banner within a circle. Also available was a barn with a silo, roof ventilators and a weathervane. Bachmann then released two versions of a country church. All were easy to build, came apart, and only cost at most a dollar. Bachman loosely based its Plasticville buildings on "S" guage with "O" guage doors and windows so that they could be used with either scale trains.

By Christmas 1950, Bachmann offered a white and red grocery store, plus a gas station molded in similar colors. Especially striking were the window inserts depicting details that enhanced the look of both items. A new fire house completed the current line.



Over the next several years, the firm added all sorts of buildings to its Plasticville lineup. A new trolley-style dinner appeared in 1952, as well as other types of businesses----a supermarket, hardware store, drug store, and a 5 and 10—in 1953. The following year, Bachman added a fast food establishment called the Frosty Bar. All of these buildings reflected the rapid growth of suburbs in the Northeast.

The first church in Plasticville was a small white one with a gray roof, introduced in 1953, which came with paper inserts that simulated stained glass windows. As the suburbs grew, so did the Plasticville line. In 1954, Bachman added a New England ranch and a two-story colonial, both common in new post-war housing developments. Both of these came in a variety of color combinations to encourage buyers to purchase more than one.

Community buildings, also added in1953, included a hospital, complete with appropriate furnishings, a post office, an airport, and an airplane hangar.

Right from the beginning, the toy railroads under the Christmas tree demanded specialty structures. First came a station platform molded in light gray or brown plastic and featuring a brown or green roof and a small sign identifying the locale as Plasticville. A manually operated crossing gate with a white arm and a black or red base came next. The most impressive newcomer was a suburban station, with a brown platform and roof and trim in light gray, brown, or green.

By 1954, the toy trains graduated to model railroad layouts and Bachman expanded its railroad buildings to include a switch tower, plus a black signal bridge. To this, the company added a black trestle bridge, a larger Union Station, a water tank and loading platform.

Specialty buildings like a tan factory with gray or brown roof, a smokestack, and water tower, plus a red and white TV station came in 1957. All together, Bachman produced 104 different items in its Plasticville, U.S.A. line. And while the company had expanded its line of plastic buildings to cover just about every type of structure to be found in a small town, it would take another 20 years before anyone began collecting them.

Variations in common buildings can drive up the value. The common Plasticville one-story ranch house sells for about $5 while a variation using dark blue plastic sells for as much as $200. Larger buildings like the hospital and airport can go for much more.

To learn about Plasticville’s full story, read “Collecting Plasticville, U.S.A.” in #TheAntiquesAlmanac.

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Let the Star Wars Force be With You

QUESTION: My son was a big Star Wars fan when he was younger. He had just about every Star Wars action figure that came out—at least of the smaller ones. But now he’s grown and has his own family, and I seem to be left as the caretaker of his collection. I’d really like to know if these figures are worth keeping. Can you tell me something about them and if they’re collectible now or were they just a fad like Beany Babies?


ANSWER: Even though the first Star Wars movie premiered 40 years ago, the action figures that came out as a result of it and other Star Wars films are still highly collectible. Whether or not they’re still in their original packages will tell how much they may be worth.  If they’re still in unopened packages, then you have something. If not, maybe not.

In May 1977 "Star Wars: A New Hope" exploded across the big screen in a symphony of sound and light unlike anything audiences had ever seen. Fans went crazy over the film, some seeing it hundreds of times, and sci-fi films haven’t been the same since. Star Wars was the first movie franchise which created a voracious demand for film-related products. Fans clamored for tangible souvenirs of the new universe they were coming to know and love. Director George Lucas and film industry leaders were all taken by surprise.

While the variety and forms of Star Wars items are almost as numerous as the stars themselves, the most popular objects of Star Wars collectors’ desires are the toys. Furthermore, among the toys, the  most sought after are the 3 3/4-inch action figures.

Kenner Products is responsible for the most of the Star Wars toys that are on the collectibles market today. The firm obtained the original license to manufacture toys, games, puzzles and a few books prior the release of the first film in 1977. In time, the resultant outpouring of products from the Kenner factories far outstripped Lucas’ expectations. In fact, all he expected from his merchandising rights were a few posters and T-shirts with which to lure more children to his film. At a base price of just $2 or less, not only kids but adults quickly bought up the stock of figures. And over the years came back for more in a variety of re-incarnations.

Following Kenner, other toy manufacturers joined in on Stars Wars’ success. Chief among was Galoob, a company determined to "out-small" Kenner with its Star Wars Micro Machines. Play sets and spaceships were this company's main products. Action figures by Galoob were about the size of the smaller accessories that accompanied Kenner's figures. Galoob sold these tiny action men and women as part of  play sets. No other company ever came close to the Star Wars toy output of these two firms.

By definition, action figures are molded of plastic and designed for play. While they’ve varied in size over the years, the original ones were only a little over three inches high.  Kenner made these figures to have five points of articulation—at the neck, shoulders, and hips. They also had their clothing molded as part of the body, while some of the larger figures have removable clothing.

Toy companies package action figures of different sizes differently. The 12-inch and 8-inch figures generally are packaged and sold in boxes. The 3 3/4-inch-tall figures most often appear on store shelves sealed against a decorated cardboard backing within a plastic bubble commonly referred to as a blister. The package for the 3 3/4 inch figure is thus referred to as a blister pack.

Kenner designed its 3 3/4-inch high Star Wars figures for use with play sets, spaceships, and other accessories. But their 12-inch figures of Luke Skywalker, Darth Vader and such were too large to be equipped with play sets. But one thing that action figures have in common is that the come with a array of small accessories that tend to disappear quickly once a child removes the figure from its packaging.

Then Kenner’s line seemed to die out for a while. In 1995, the firm re-introduced its Star Wars figures with a new design and/or a repainting that appealed to both kids and adults. But one thing to be aware of is that the newer figures tend to come and go. From time to time, Kenner would play with the mix of figures on the market at any one time. It would remove some of the older models and replace them with newer ones.




Kenner first released its line of 12-inch figures in the late 1970s, sticking mostly to the film’s main characters. But these 12-inch figures didn’t compete well with Kenner’s 3 3/4-inch ones and the company stopped making them. But its smaller figures live on. 

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Hold That Door

QUESTION: My mother collected doorstops. She had a collection of about 50 which she left to me when she died. I know very little about them, but I’d like to continue collecting them. What can you tell me about them—how did they originate and when, and how collectable are they today?

ANSWER: It’s great that you plan on continuing your mother’s collection. Most people seem to want to get rid of whatever items they inherit while others just warehouse them. But curating and growing a collection is different. Now it’s up to you to figure out just what doorstops you have, selling those that aren’t very good and adding those that will enhance your collection. But first, you need to learn a bit about their history.

Doorstops date back to the last quarter of the 18th century, around the time of the American Revolution, but in England. They came in a variety of shapes and sizes and held open large doors. The British called them “door porters” and liked the cast in iron or bronze.

By the early 1800s, doorstops began appearing in a variety of materials, including wood, glass, and earthenware. The cast-iron doorstops had flat backs from the hollow molds used to make them, allowing them to stand flat against the surface of the doors.

By the middle of the 19th century and especially following the Civil War, doorstops had evolved into full three-dimensional figures and were becoming increasingly popular in the United States.

American manufacturers followed the basic English tradition of making cast-iron doorstops in the familiar shape of baskets and flowers. They also began to develop a variety of attractive shapes, including houses, ships, stagecoaches, and all kinds of wild and domestic animals. American makers hand painted them in bright colors until all sorts of colorful doorstops were readily available.

By the 1880s, it wasn’t unusual to find iron birds, story book characters, and even a few human-type figures propping doors where ventilation was seasonally so important in so much of the country.

Some believe the Amish developed the use of the human figure as a doorstop to its fullest form starting in the 1880s and continuing into the 1930s. They cast figures of men, women and children, painted them with pleasing facial features, and dressed them in time-honored Amish clothing. These seven to nine inch high doorstops today sell for a minimum of several hundred dollars each.

Casting techniques had improved enough prior to the turn of the 20th century to enable foundries in the U.S. to manufacture nearly every design of doorstop a home owner could want. In fact, some of the firms invited customers to send detailed sketches of doorstops, so that they could create them. But all this variety of design resulted in variations in both the size and weight of doorstops. Heights ranged from four or five inches to two feet.

One of the most popular forms of doorstops was the dog. Manufacturers produced doorstops in the shapes of just about every breed of dog, from Alaskan Malamutes to Russian Wolfhounds to a variety of terriers. Many of these animals were full figure, cast in two parts, screwed together, and painted.

The Albany Foundry Company of Albany, New York, and A.M. Greenblatt Studios of Boston, Massachusetts, were among the major manufacturers of doorstops in the early 20th century. Both did a booming business in the late 1920s, selling cast-iron doorstops  for about a dollar each.

Additional firms included Hubley Manufacturing Company in Lancaster, Pennsylvania, which made toys, Littco Products, National Foundry, and Eastern Specialty Manufacturing Company.

Doorstops were still quite effective and desirable well into the 1930s. Generally, production ceased abruptly at the onset of World War II, since factories converted to production of war materiel.

Today, antique doorstops sell for $50 or so in good condition, but can go as high as $200 for some special ones.

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