Giving New Life Through Restoration

QUESTION: For years I also collected antiquities. Now I have a particular passion of writing boxes or old English boxes. I enjoy to restore by myself. I beg to ask for an opinion. I attach here two photos. On the lid, at the corners, something is missing! Do you think the angles were made of brass? Or in wood ... or mother of pearl? I doubt it because the thickness is a lot (about 3 mm.) Then I had never seen the brass corners that did not go vertically.

ANSWER: The corners on your box would have been brass, so if you can find someone to make these for you, they should be easy to replace. Be sure to glue them with a strong glue. Box makers usually used brass on the corners of better boxes to protect them while traveling. Victorians took writing and other types of boxes along on long trips so that they could communicate to their friends and family back home. It’s not unusual to find boxes from this time period in poor condition. Restoring them is not as difficult as doing furniture but can be challenging.

Antique boxes acted as portable storage workhorses for past generations. They served a variety of purposes from document boxes in which to keep valuable papers to writing boxes for correspondence to dressing boxes for grooming while traveling to tea caddies for storing precious tea. Victorians, in particular, loved boxes and people from all classes used them.

Unfortunately, people handled boxes a lot, so most antique ones aren’t in the greatest shape. Some boxes may have sat on a table in front of a window in the sunlight and became faded over time while others suffered from neglect.

A good example is an Indian sadeli mosaic-covered writing box that outlived its usefulness. Someone decided that instead of tossing it out, they would give it to their children to play with. The children drew all over the beautiful mosaic with crayons and someone did a bad job of pasting a piece of chartreuse felt over the writing surface on the inside. Needless to say, this restoration wasn’t a walk in the park.

Unlike antique furniture made before 1830, many antique boxes will benefit greatly with even modest restoration. And since they’re not large, it doesn’t take a lot of materials or time to restore them.

Antique boxes are valuable because they’re antique and looking old isn’t bad. And while restoring a box may make it look better, it may reduce its historical value. Boxes from the 18th century should only be restored by a professional restoration expert. In most cases, they need to be conserved, that is the deterioration of the box should be halted. Restoration is a more radical solution and often includes refinishing the wood and replacing metal parts. So the question to be asked is whether the box is in bad enough shape to render it less valuable than its being restored?












While restoration usually begins with reviving the wood of the box’s body, it also takes in exterior decorations made of ivory, tortoiseshell, and mother-of-pearl. These materials are all fragile and should be checked for cracks, abrasions, and chips. Metal ornamentation may be missing, dented or creased, or it may just need polishing. Veneers and inlay are much more difficult to repair and may require professional assistance.

Antique boxes also contain small and sometimes specialized hinges and locks that must also be examined for repair, restoration, or replacement. Finding replacements can be a real challenge since many of these may have been made for a particular box.

But minor conservation can do wonders for an antique box. First, tighten any loose screws and gently tap in any loose nails. Repair loose joints with wood glue. Finally, clean the box with a soft lint-free cloth dampened with Murphy’s Oil Soap solution. Do a small area at a time and use another lint-free cloth to dry it. After letting the box dry thoroughly for 24 hours, give it two coats of Minwax past wax to protect the exterior. Follow the directions on the can.




Dust the interior of the box with a soft shaving brush. If the wood is bare, as with some inner areas of the box, switch to a solvent-based cleaner. Use a toothbrush or toothpick to clean out any crevices. If this has markedly improved the box’s appearance then it may be a good time to stop.

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," online now. 

Give Me Your Tired and Your Poor, Yearning to be Free

QUESTION: My mother collected Statue of Liberty memorabilia for a long time. She began when she was only a teenager with a little statue she bought on a class trip to New York. Seeing Lady Liberty up close inspired her to buy the statue. After that, she couldn’t get enough of her.  Her collection began with canceled stamps showing the Statue of Liberty which she tore off of envelopes. She added a postcard of the statue that a friend sent to her. Over the years, she amassed a collection of over 100 items, all depicting the Statue of Liberty.  My mother is gone now, but her collection lives on. I’d really like to know more about these collectibles and the Statue of Liberty, itself. Can you help me?

ANSWER: Statue of Liberty memorabilia is probably one of the more popular collecting categories. While some items are worth just a few dollars, others can reach four figures.

Although the French Government conceived the Statue of Liberty as a symbolic gesture, no one had any idea at the time just how important a symbol she would become. Frederic Auguste Bartholdi, her creator, envisioned her as a monument to the mutual love of the French and Americans for liberty, and as propaganda against the then conservative leaders of the French government. It was thought that building a huge monument for the United States would forever link that powerful democratic country, with France, and cement that country's new Third Republic. But not everyone shared Bartholdi's vision.

Fundraising, especially in the United States, proved difficult. The Statue of Liberty Committee had planned to unveil that the statue would be unveiled in 1876 for the Centennial of American Independence. But sluggish fundraising delayed the gift for at least 10 years. This resulted in a variety of wonderful memorabilia. Most souvenirs sold for pennies to dollars each to raise money to complete the big statue and bring her to America. The French, on the other hand,  raised money to complete the building of the statue piece by piece while the Americans raised  funds to complete the gigantic base. By 1884, The French had completed Miss Liberty an d were ready to ship her. But the American Committee was short the $100,000 needed to complete her pedestal. To raise additional monies, the Committee commissioned more than 100,000 models which it sold by subscription, and at Macy's and other department stores. Each $1 purchase added to the Liberty coffers. It sold some 12-inch models for $5. Today, the small metal models sell for $250 to $300 and the large ones from $500 to $1,000.

Meanwhile, the French disassembled the statue into over 300 pieces and shipped it in more than 200 wooden crates. The arm bearing the torch filled 21 boxes alone. On June 17, 1886, she arrived. Workers placed the statue on the immense supporting monument designed by Richard Morris Hunt. On Oct. 28, 1886, the Committee officially installed and dedicated the Statue of Liberty. There was a huge inaugural parade and President Grover Cleveland delivered a dedication address. Collectors covet the programs, tickets, and invitations from this gala occasion.
   
During the earliest Liberty years, many souvenirs appeared. During the 10 years before Liberty arrived, many publishers printed lithographs, including early pieces of sheet music. There are stereopticon photos from the 1876 Centennial Exhibition in Philadelphia of Liberty’s right arm, which appeared at the fair, showing visitors standing on her torch. These souvenirs now sell for $125. Visitors to the fair could purchase large, finely detailed bronze medals, crafted in Paris.
 

In 1878, Liberty had no body, but when Europeans gathered in Paris for the 1878 Expeditions, the head had been completed and was displayed on the banks of the Seine. Visitors filled her crown and for several francs, could take home a lovely 4-inch Liberty bust, a few of which found their way to America and today sell for upwards of $500. Other French souvenirs included tasseled, silks and ribbons made for the fair by B.B. Tilt & Son in Paterson, New Jersey.

For a substantial contribution to aid French fundraising, up to 100 zinc statuettes went on sale, including a small edition, finely detailed statuette in terra cotta, hand-finished by Bartholdi, himself. During the 1986 Liberty Centennial, several of these reached more than $100,000 at auction. In the United States, a New Jersey furniture maker named Follmer, cast a few detailed zinc statuettes carrying 1883 and 1885 patent dates. These are quite rare, much more so than the American Committee Models. Follmer's statuettes feature the original Hunt pedestal design that the Committee ultimately abandoned for the one actually under Liberty's feet. Today, these statues sell for over $5,000.

The 20th century witnessed many more souvenirs—some as works of art, some as advertising, some as satirical commentaries, some as cheap souvenirs for the hordes of tourists who visited her. Practically everything had the image of Miss Liberty reproduced on it, including clocks, lamps, statuettes, compacts, cigarette cases and boxes, cookie tins, pitchers, spoons, china and even trade cards satirizing Liberty in order to sell a product. Though some of objects were beautifully done, others appear cheap with muddied facial features and poor workmanship. But even the cheap ones are collectible.

During the Liberty Centennial in 1986, there was a rush of interest in Liberty collecting. At that time, there were thousands of souvenirs and "limited editions" sold, including watches, medals, limited-edition plates, rugs, cookie jars, mugs, and jewelry.

Most collectors agree that, although items are becoming more scarce, there are still plenty of them out there. Statue of Liberty items usually appear at flea markets. Since many aren’t that large, collectors often find them in glass cases with other small items.

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," online now. 

Ways to Say I Love You

QUESTION: I’ve loved Valentine’s Day ever since I was in the first grade and my new best friend gave me a valentine card at our class’s party. Every year I would go out of my way to give really different cards. I became so inspired that I began looking for valentines all year round. I’ve amassed quite a collection of old valentine cards, but I really have no idea how the tradition of giving valentine greetings began. Can you help me put this in perspective?

ANSWER: Sending valentine greetings actually began during Roman times. Legend says that Valentinus, a Roman priest who encouraged young couples to many, sent the first valentine in 270 A.D.  Unfortunately , the reigning Emperor, Claudius II, disapproved of Christianity, and of marriage, in general. It was the Emperor's belief that married soldiers would soon forget that their primary allegiance should be to their Emperor, rather than to their wives.

The Emperor ordered Valentinus beheaded for disregarding his orders to cease his actions. Legend also says Valentinus befriended the blind daughter of the jailer, and apparently restoring her sight. In turn, the young woman brought food and delivered messages to him during his incarceration. On February 14, the eve of his execution, he wrote her a note of appreciation, signing it "From your Valentine."

A forerunner of the valentine greeting began in the 16th century with religious mementos of the Sacred Heart created in convents in France, Germany and Holland. Carefully crafted on parchment or vellum, the designs emulating the hand-tatted lace of the period.

The custom of Valentine's Day as an occasion developed gradually as the techniques of making paper advanced.  In 1834, the English made improvements to lace paper, originally  made in Germany and Austria in the early 19th century. The openwork, cameo-embossed lace paper allowed English publishers to publish elegant love letters, romantic stationery and valentines for an increasing number of customers.

These were miniature works of art which incorporated the use of ribbons and scraps, pearls and Dresden die-cuts. Some were movable or perfumed, while others had tiny mirrors attached to them to reflect the image of the beloved.

People made most early American valentines by hand. The influence of the immigrant German cultures resulted in folk-art paper items known as scherenschnitte, meaning paper cutting, and fraktur, or paper designs incorporating German calligraphy and imagery.

By the early 20th century, several publishers of lithographs and wood engravings began making  valentines in New York City. But it was Esther Howland who many consider the mother of the American valentine.



The Howland family operated the largest book and stationery store in Worcester, Massachusetts. As a student at the Mount Holyoke Female Seminary, Class of 1847, she had been exposed to annual Valentine's Day festivities, which were later banned by the college for being too frivolous.

After graduation, Howland received an elaborate English valentine from one of her father's business associates. She convinced her father to order lace paper and other sup-plies from England and New York City. With these she made a dozen samples, which her brother added to his inventory for his next sales trip. When her brother returned with more than $5,000 in advance sales, she established a cottage industry where ladies would have materials and samples delivered and picked up at their homes, thus allowing them to mass-produce valentines.

While Esther Howland was not the first to create valentines in America, she did popularize the lace valentine, enabling her to earn $100.000 a year. In 1881, she sold her valentine business to an associate, George Whitney, whose company patterned many of their cards on the Howland model.

Another Victorian passion was the postcard. Publishers produced popular designs in huge quantities, since Valentine's Day was a big card-sending holiday at the time. But despite the availability of a wide variety of valentine cards, the demand for beautiful and unusual images has driven up the price for collectors. Ordinary postcard valentines can sell for $5 or less, but quality valentine postcards tend to sell for $8 to $10 each.






Production of valentine postcards ceased by World War I. It wasn’t until the 1930s that folded cards were became popular. The 1960s produced cards with red satin hearts, sachet centers, and simulated jewels and lace.

Today, Valentine's Day is the second largest holiday for giving a greeting card, with approximately 180 million cards exchanged. About 30 percent of all modern valentines are for meant for romantic love relationships. Valentinus would be proud.

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," online now.

To Restore or Not—That is the Question

QUESTION:  Hi, my father, who is 93, has a chest his grandfather brought over from Sweden. I'm pretty sure its a Biedermeier. It has some wood damage, and the desk flap needs repair,. If we have it repaired, will it lessen the value? I have always loved it and don't have plans to sell it, but don't want to take away from its worth either. Can you help me?

ANSWER:  Yes, definitely get your Biedermeier secretary restored. For the most part, it’s in excellent condition. Restoring it will only increase its value. Unlike what experts say about antiques produced before 1830, those made after that can often benefit from restoration. In this case, just make sure you use the best restorer you can find. I can’t emphasize this enough. Your secretary is worth a lot of money and will appreciate even more. This is because a lot of Biedermeier pieces got damaged from dampness and such when the style went out of favor. Many sat in barns for years until the veneer literally fell off of them. So there aren’t very pieces that have survived.

So why are Biedermeier pieces so valuable? Next to the Bauhaus, the Biedermeier style movement had perhaps the most influence on modern styles to come. This Neoclassic style  originated in Germany in the early 19th century and played a major role in furniture design. It spread throughout Europe from 1815 to 1848.

The style’s name derived from Ludwig Eichrodt and Adolf Kussmaul, who depicted the typical bourgeois of the period under the name "Gottfried Biedermeier"—from "Gott" meaning "God," fried" meaning "peace," "Bieder" meaning "commonplace," and meier" meaning "steward"—in their Fliegende Blatter, a Viennese journal of the day. However, people didn’t call it Biedermeier until 1886, when Georg Hirth wrote a book about 19th-century interior design, and used the word "Biedermeier" to describe domestic German furniture of the 1820s and 1830s.

Biedermeier furniture suited the modest size and unostentatious needs of comfortable bourgeois houses. And the secretary was the most popular piece.

The less severe appearance of Biedermeier furniture led to a less formal arrangement of rooms as a whole. Flowers, screens, worktables and knick-knacks of all sorts helped to give a sense of family life. The bourgeoisie began to form a personal style, thus creating what’s now known as interior design, making Biedermeier one of the first design movements to reflect it.

People arranged suites of furniture in the corners of rooms. They created areas for eating, chatting, reading, and doing embroidery. Each had a sofa, table and chairs, and some sort of storage cabinet. Biedermeier comfort emphasized family life and private activities, especially letter writing—giving prominence to secretary desks. These featured a central niche, a mirror, and secret drawers.

Most Biedermeier furniture is extremely geometric in appearance. As the popularity of the style grew, some pieces took on new roles—the table became the family table, around which family members could site  for evening activities. Or table tops could be placed against the wall in a vertical position. A portable piano had a drawer for sewing things, while the upper drawer of a chest of drawers might be converted into a writing desk.










Prior to 1830, mahogany appeared in Viennese furniture and gradually replaced walnut. The adoption of this imported wood, which was often given a light finish, caused some craftsmen to apply matching stains and finishes to pieces made in walnut, pear wood, and Hungarian "watered" ash.

Attention to economy meant that local timber was mostly used, especially walnut veneers over a soft wood frame. Inlay served as the main decorative element, featuring the patterned graining of walnut and often reduced to a light-colored border. Sometimes, craftsmen used black poplar or bird's eye maple and colored woods such as cherry and pear became popular.

Cabinetmakers decorated their furniture with black or gold paint, and often employed less expensive stamped brass wreaths and festoons rather than bronze for decorative effect and gilded wooden stars instead of the elaborate metal ornaments of the Empire style. They designed furniture to be seen from the front and concentrated most of the decoration there.

With pieces of furniture as valuable as Biedermeier ones, it’s important to get them appraised by a certified antiques appraiser who specializes in European furniture. While getting an appraisal may appear costly, the cost is well worth it if the piece is damaged or sold. It’s also important to research former owners of the piece to create a provenance.

 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.

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.

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.

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.


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.

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.

 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.