Capturing the World in Bronze

 

QUESTION: Recently, I attended an antique show where one of the dealers had a modest collection of what he called Vienna bronzes. These little sculptures of mostly animals were like nothing I had ever seen. The prices of these bronzes seemed a bit high. What can you tell me about these little bronzes? How old are they, who made them, and did they really come from Vienna, Austria?

ANSWER:  Vienna bronzes are antique bronzes made by artists from Vienna. They became popular in the 1850s. Known for their extremely great detail, many were painted in beautiful colors. Many of the bronzes took the form of animals, such as dogs,, cats, pigs, and foxes.. Though Vienna bronzes come in all sizes, but are most popular with collectors in the smaller sizes due to their high cost. 

Bronze is an alloy of copper and tin, but it can also be an alloy of copper and another metal. The word “bronze” originated from the Latin Word “Aes Brundisium” = ore from Brindisi, and came via Italian and French into the German language.

Franz Bergman, a professional chaser from Gablonz who came to Vienna, founded a small bronze foundry in 1860. It later became one of the most famous of the Vienna bronze factories under the leadership of his son, Franz Xavier Bergman, who based many of his designs on ones from his father's workshop.

The younger Bergman was an artist who became well known for the many sculptures produced at his foundry in Vienna. He inherited the foundry from his father but had such success with his work that he opened a second one in 1900. Often referred to as a sculptor by historians, Franz Xavier Bergman was actually a designer who hired other sculptors to carry out his ideas. He had his designs made in bronze and cold painted with many layers of vivid colors. The majority of his figural sculptures for sale featured Arab subjects, animals, mythological creatures, and figures in erotic poses.

He expanded the production by adding Art Nouveau objects, seals, and erotica. Bergman disguised sensuous poses of young women in the Art Nouveau style by a covering that revealed all when the viewer pushed a button or moved a lever. Often carefully sculpted animals, such as bears, could be opened to reveal an erotic figure inside. To avoid punishment by immorality laws  for his erotic sculptures, he signed them with either the letter “B” in an urn-shaped cartouche or produced them under the pseudonym Nam Greb—the name Bergman backwards. 

Franz Xavier’s son, Fritz, graduated from the Vienna Art Polytechnic Institute and took over the company in 1927. As did his father, he commissioned models from many Viennese sculptors and modelers and continued production during the economic crisis of the 1920s. The models survived World War II undamaged in the cellar of his house which had been completely destroyed. 

Stylized cats, frogs and dogs were Viennese specialties. They were treasures of the Biedermeier Era with their pleasure in caricatures, mockery and satire. Published political and satirical cartoons of the time had become very popular and also served as models for the bronzes. Today, the life-like statues of pets and forest animals are more popular with collectors.

After the turn of the 20th century, hunting had become accessible to the middle class. The passion for hunting made animal bronzes popular. In the early 19th century, Vienna residents could admire exotic animals in the Imperial Zoo, known as the Imperial Menagerie. In 1818 the first giraffe at the zoo caused a big sensation, and artists   spent hours in front of the cages to model wild cats, elephants, monkeys and parrots.

In the mid 19th century, when traveling was still a big adventure, the Viennese discovered their passion  for the mysterious Orient. Even if people didn’t dare to set out on expensive and dangerous journeys to far off Asia, they could bring a taste for the Orient right into their parlor with Vienna bronzes. 

Expeditions of Austrian explorers in the mid 19th century brought back early photographs of a new world. Due to the construction of the Suez Channel and the trip to the Orient of Crown Prince Rudolf, the Viennese enthusiasm for the Orient grew. The famous and remarkable “Turkish Room” of the Crown Prince's apartment in Vienna’s Hofburg illustrates the trend of fashion during that period. 

In the late 19th Century a number of Austrian bronze foundries situated in Vienna and the Austrian-Bohemian border began to specialize in the technique of “cold painted” processes. Women, working at home, achieved this naturalistic finish by painting the raw bronzes with several layers of special and secretive enamel colors called “dust paints,” which resulted in fine lifelike studies of the various models and sculptures. They often applied the paint when the cast was still warm, the natural shrinkage on cooling adding to the permanency of the color as it annealed the paint firmly into the metal. As the color was not ‘fired’ this process came to be known as “cold painted.” Unfortunately, the knowledge for mixing this kind of paint has been lost. 

The Bergman foundry normally stamped with a capital 'B' that is placed in a twin handled vase. They are also often inscribed “Geschutzt” which refers to the model/design being 'registered' or copyrighted, along with its mark.

The value of a Vienna Bronze depends on the detail and subject of the sculpture. It also helps if the bronze is marked Vienna or Austria. These marks usually occur on the side or bottom of the bronze. In addition to the country there may also be an artist signature. The Bergmans, most notably Franz Bergman, were the most popular bronze artists. Generally, his bronzes sell from $800 to over $10,000 each.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Simplicity and Comfort Rolled into One

 

QUESTION: Some time ago, I bought a simple chair at a country estate auction. I love that chair but know very little about it. Someone told me that my chair was Shaker. Since I didn’t know much about the Shakers, I couldn’t tell. It just looked like a simple country chair. What can you tell me about my chair? 

ANSWER: Your chair certainly looks like a Shaker chair. But you need to know a bit about the Shakers to know for sure. 

Mother Ann Lee, who led the Shakers to America in 1774, had enough to do to get her sect organized. She began with a community in Albany, New York, and sent out missionaries to establish Shaker communities elsewhere in New England. But it wasn’t until Mother Lee had died and another generation of leadership took over the Shakers that the idea of producing items for sale as a way of supporting the communities came to be.

The Shakers attracted skilled cabinetmakers and craftsmen to their ranks, so it was a natural to use their skills to produce furniture for the communities. By this time, the Shakers were totally self-sustaining. In the early 19th century, the sect began to attract large numbers of people, mostly those who were discontent with society in general or were out of work. The communities offered security and food and lodging to people who might otherwise not have had it.

To support all these people became a major problem. So the elders of each community came up with ways to produce items for sale. Some made chairs, others produced seeds, clothing, especially wool capes, or took in mending and such. Many members were very creative and invented unique items such  as the electric washing machine. They were extremely organized as well, so mass-producing items like chairs wasn’t a problem.  

Those who called themselves Shakers—officially the United Society of Believers in Christ’s Second Appearing—eventually numbered over 17,000. As the number of communities, referred to by the Shakers as “families,” their furniture making flourished. At their peak of production, the Shakers produced chairs at more than 50 locations. From their first base in New York, the Shakers expanded their communities to Connecticut, Massachusetts, New Hampshire, Ohio, Indiana, Kentucky, and even Florida.

The Shakers made many of their chairs along straight and simple lines to be light weight, strong, easy to clean, and comfortable, not every piece of furniture made by Shaker hands is a design masterpiece: Some pieces were poorly crafted. Some were beautifully crafted but poorly proportioned. And some exhibit such bare-bones functionalism that they’re awkward and ugly. Often they’re barely distinguishable from country furniture of the same time and place. Indeed, unscrupulous dealers and auctioneers often promote plain country pieces as Shaker and sell for several times more than they would otherwise bring.

For use in their communities, the Shakers created three kinds of chairs—dining chairs, side chairs and rocking chairs. They designed the dining chairs with low backs so that they would stand clear under the table when not in use. Or they could be hung on a peg rail against the wall while someone cleaned the floor. And to make sure the chair seats stayed clean, they hung them upside down. 

Side chairs came in several different styles. A sister’s chair had a lower seat than the brother’s chair. The dining chairs had two back slats while the side chairs usually had four, all of which were slightly slanted for extra comfort.

As early as the 1820s, many communities began mass producing chairs for both community use and for sale. They used the same designs from the 1840s to the early 1900s. Chairs produced in the early 19th century were mostly for community use. But during the last quart of the century, the Shakers heavily marketed their chairs to the “Outside World.”

The chairs that the Shakers designed to be sold to the public were lean and severe and produced in huge quantities that ended up on back porches and summer cottages across America. Their popularity led other manufacturers to copy their look, and these pseudo "Shaker" chairs appear in quantity at country auctions and small antiques shows. Each of the endless variety of styles has its own Shaker-designated model number. Most were originally stained dark brown, and slat-backs predominate. 

Even though the largest Shaker chair didn’t weigh over 10 pounds and the smallest less than 5 pounds, both could support the weight of the largest person. 

Each community made their chairs a bit different from those of other communities, changing or adding little details. And while they all began with the same design template, each community’s craftsmen added their own touches for their community. For instance, many people believe that all Shaker chairs have tiny acorn finials and arms that terminate in mushroom-shaped turnings. Not so. It’s possible to tell which community made which chair by the shape of the finial alone. The back slats were also often slightly different. The Number 7 rockers, for example, have mushroom arms, four slats, and a shawl rail connecting the backposts that replaces the more common finials. The Shakers often attached a decal identifying the piece as Shaker to the back of a slat or leg. But pieces meant solely for use within the Shaker communities didn’t have decals. 

During the second half of the 19th century, the Shakers painted some of their chairs and woven brightly colored tapes into their seats. Often they combined colors, such as red and black and tan and maroon. Most colors, however, had more conservative names like Trustee Brown, Meetinghouse Blue, and Ministry Green.

In addition to the colorful tape, the Shakers also used cane, rush, and woven splint for their seats.

The woods used in chair construction varied according to the regional supply. But it was always of top quality and well cured. The most commonly used woods included walnut, cherry, butternut, and birds-eye maple, as well as pine and fruitwood if the others weren’t available.

Although for years Shaker chairs never sold for more than $500, now even the most common three-slat rockers bring $600 to $800 or more. Some even go as high as $1,700 to $2,200. 

Pieces from Kentucky, Ohio, and Indiana—often less austere, less "Shaker-looking" than their eastern counterparts—often have a Victorian feel and sometimes resemble local country furniture even more closely than classic eastern designs. .

The quality of many reproductions of Shaker chairs, made using the same tools and techniques, is often so good that they sell for as much as the originals.

For over a century, the creation of Shaker chairs was but a simple fulfilling of the motto of their faith, “Hands to work and hearts to God.”

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Finding the Way Around the World

QUESTION: I’ve always liked maps. When I was a teen, I read the road maps when my family went on road trips. Then later, while taking a world geography class in college, I had to color in large maps of the different continents. I soon learned where all the countries were, even many I never knew existed. As an adult I still love maps, but now I like the really old ones. I’d like to start collecting maps but I’m not sure where to start. Any help would be greatly appreciated.

ANSWER:  Maps teach people about geography and history, as well as politics, religion, and culture. But most collectors love maps for their beauty and relevance to history.  

Collectors seek out maps for many reasons. Some appreciate the beautiful artwork and intricate etchings on early maps and purchase them for decorative purposes. Others seek all maps depicting a specific geographic area and want representative examples of all time periods showing changes resulting from exploration, wars, or just an increase in population.

Others use maps to trace their ancestry or showcase where they’ve traveled. Above all, it’s important to focus on a particular time period or geographical location rather than just collect maps from anywhere. 

Antique maps, like other antiques, are those printed over 100 years ago. Beginning in 1550, cartographers depicted the exploration and discoveries made throughout the world during the next 350 years. During the 17th and 18th centuries, cartography became one of the highest forms of fine art.

Some collectors look for accuracy while others look for inaccuracy–towns incorrectly sited, coastlines incorrectly charted, and rivers incorrectly routed.

Printers produced the majority of antique maps using woodcuts from the 16th to the early 19th centuries. Later, they used copper and steel engraving to create the majority of antique maps found today. By the early 19th century, the lithographic process allowed the artist or cartographer to draw directly onto a specially prepared stones—often using multiple stones for several colors. This was cheaper and faster since lithography required no engraver, but most lithographic maps have a fuzzy quality. By the late 1880's modern machine lithography and printing took over and maps lost their decorative quality.

While some maps were never meant to be colored, most antique maps look better with appropriate hand coloring. Ideally, collectors like to find maps with original hand coloring that’s applied at the time of printing. 

Elaborate cartouches giving the title, the cartographer, the dedication and perhaps details of scale, as well as compass roses, ships, sea monsters and human figures gave the map painter ample opportunity to be creative. Those on engraved maps became more elaborate through the 16th and 17th  centuries. 

When the fragility of maps is considered, it’s remarkable that so many survived over 300-400 years. Collectors will likely find early maps printed on strong, thick hand-made paper from France, Germany and Switzerland and the finest of all from the Ancona area of Northern Italy.

Antique maps can be divided into four main groups, depending on how a single sheet of paper can be folded. Double folio refers to maps printed on a complete sheet measuring 20 by 25 inches. Quarto refers to maps printed on one quarter of a sheet. Octavo refers to maps printed on one eighth of a sheet. Miniature maps of 3½ x 4½ inches appeared during the late 16th and early 17th centuries. 

As with most other antiques, quality and condition are important in map collecting. Since antique maps are paper items, they’re subject to wear and tear similar to any item which was intended to be used. However, with antique maps this isn’t always true. Most maps were printed on paper, and while modern paper is cheap, thin, and tears easily, antique paper is typically much more robust. This is due to the fact that paper used to be made by hand using cotton or linen rags. The paper-making process resulted in long, sturdy fibers within the paper that made it thick and durable. 

It’s not uncommon to find a 400-year old map that appears in perfect condition while a  100-year old map will often suffer from tears and other condition issues. Collectors are more forgiving about condition when it comes to newer maps printed on wood-pulp paper.

Some flaws, such as tears, worm holes, and toning, can be professionally repaired by a paper conservator, making the flaws nearly invisible and therefore minimizing any impact to the map's value.

And while color doesn’t always increase a map’s desirability, it can highly interesting geographical and decorative details.  Some maps were not meant to be colored; in particular maps from the late 15th through early 16th centuries were published in black ink without any color added. With these early maps, most collectors prefer that they remain in their original uncolored state. 

Choices in color ranged from simple outline color, which means that only the borderlines were highlighted, to elaborate full color examples that only the wealthiest could afford.

If color was added soon after the map was printed around the time of its publication, it is referred to as original or contemporary color. Maps that feature original color are a big draw for collectors, especially when the color is well-preserved.

Older, rare, highly sought after maps can be very expensive, sometimes reaching five figures. Collectors can find originals from the 16th century for less than $100, and many from 19th-century atlases are available from  $20 to under $100.  Rarity, age, historical importance, decorative value, coloring, and overall condition of the map and the paper it’s printed on also affect price. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Antique Air Fresheners

 

QUESTION: Recently, my father died. For as long as I can remember, my father gave a small ceramic fantasy-like cottage pride of place. My mother said he wanted me to have it. There’s a large hole in the back. At first I thought it was a candleholder, but my mother told me that an older woman friend of his send it to him from Haiti, where she had gone on a cruise. The odd thing about this gift was that it took a long time to be delivered and arrived after the woman had died. Can you tell me anything about this little cottage—how old is it, what was it used for?

ANSWER: What your father received is called a pastille burner–-a little device that made rooms more fragrant in the past. By its appearance, it probably came from one of the potteries in Staffordshire, England. 

Times past weren’t always fragrant. While air fresheners come in all shapes and sizes today, back then people used various ways to cover up the noxious odors which permeated the environment. Scent vinaigrettes, pomanders and perfumed handkerchiefs were effective enough while out and about in the streets of a city.

Bronze pastille burner Regency

By the 16th century, a special device had been developed to release a pleasant scent into the air in the home. These devices, called pastille burners, had become quite popular in aristocratic homes during the reign of Queen Elizabeth I. By 1811, most upper class homes had at least one pastille burner, and some of the better ones had  more than one.

The word pastille dates back to the 15th century. It takes its name from the Latin word, pastillus, meaning a small roll or little loaf of bread. Initially, pastilles were tiny lozenges compounded of aromatic herbs blended with a sweetener which people used to freshen their breath. In the mid-16th century, pastille makers produced them to be burned in order to release pleasant scents into the air of an upper class home.

Ceramic pastille burner Wedgwood

But these new pastilles weren’t made commercially until well into the reign of Queen Victoria. Before that, servants made pastilles in the still rooms of the homes of the aristocracy and the gentry using a recipe provided by the lady of the house. These scent pastilles consisted of finely ground charcoal, saltpeter, a binder, and a fragrance. People preferred charcoal made of willow wood because it could be finely powdered and burned evenly without an abundance of smoke. They blended this with saltpeter to ensure the charcoal would continue to burn once it was lit. The binder was most often Gum Arabic or Gum Tragacanth, either of which they added to the powdered charcoal and saltpeter mixture in the amount necessary to create a stiff dough. The addition of either of these gums would ensure the pastilles remained firm once they had dried. 

The makers added the fragrance last, in the form of an essential oil, which had been distilled in the still room at some time prior to the making of the scent pastilles. Among the most popular scents were lavender, rose, jasmine, sandalwood and cedar, though there were a few recipes which included more expensive fragrances, such as myrrh, frankincense and orris.

Pastille cones

After blending the fragrance oil into the pastille dough, servants pressed it into a number of small, conical molds. In most cases, these molds would produce scent pastilles which were about a half inch in diameter and about one and a half inches tall, though there were some which were larger. They then left the scent pastilles  in the molds to dry for at least two days, though for larger pastilles, it took three to four days. Once the scent pastilles were fully dry, the small, hardened cones could be removed from the molds. They would then be ready to use. The fully dry scent pastilles were most often stored in air-tight containers to keep them dry and to help retain their fragrance until needed.

Early bronze pastille burner

Early pastille burner makers used bronze or brass and sometimes silver to make them. But by the second half of the 18th century, potteries began producing them in porcelain, which didn’t get as hot as the metal ones. Also, potters could easily mold porcelain, offering a wide variety of shapes to work with. And the growing palette of glaze colors made it possible to produce very colorful and highly decorative pastille burners.

At first, porcelain manufacturers produced burners in the same shapes as those of the early metal burners. Soon wealthier customers asked for pastille burners to complement the garnitures, or fireplace mantel sets, so as to camouflage the purpose of the burners. Others wanted decorative burners for their bedrooms. By the 1760s, many porcelain manufacturers began producing shapes molded to represent things of every day life, such as fruits and vegetables, animals and flowers. They also took inspiration for their burners from various buildings, from rural churches and cottages to ancient castles. Wealthy landowners commissioned porcelain copies of interesting buildings on their properties.

Building shapes offered open windows, enabling the pastille itself to burn steadily. And one with a chimney allowed a way for the white smoke given off by the pastille as it burned. By the end of the 18th century, rustic buildings such as the cottage orné became a popular as a form for pastille burners. Cottages orné were typically rustic cottages set in an attractive and secluded rural setting.

During the first decade of the 19th century, dove cotes, gate-keeper’s lodges, dairy houses and intricate, flower-covered summer houses had become popular forms for pastille burners. Other country building types included toll houses, churches, and castles, often covered with vines and colorful flowers. 

Sliding tray pastille holder

There were several ways the pastille could be placed inside the burner. In some, the user could remove the roof of the building, in others, the entire building could be lifted off its base. And in others the user could pull out a flat tray for the pastille out of one side of the building. Burner manufacturers often concealed these small slides as a bow window, an external chimney breast, or the gable wall side of a building.

Removeable chimney pastille holder

Back in the early 19th century, matches hadn’t been invented yet, so people used a spill, a long, thin sliver of wood or a twisted length of scrap paper, usually stored in small vases made especially for them and kept on the mantle near the pastille burner. The user would light the spill from the fire in the room, or by use of a tinderbox, and then hold it to the tip of the pastille cone until it caught fire. A one and one half inch tall pastille cone would usually burn for about 20 minutes, giving off its scent along with a thin white smoke. The scent could linger in the room for another 20 to 30 minutes once the pastille had burned out.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Toy That Became a Legend

 

QUESTION: When I was 8 years old, I got an Easy-Bake Oven for Christmas. It was the yellow, boxy Mini-Wave model that looked more like a microwave. I loved baking little hockey-puck sized cakes in it. My brother, who was 5 years old at the time, often played with me. One day he said we should try cooking one of the plastic steaks from Mattel Tuff Stuff Play Food set. He pushed dit into the oven’s slot but soon the plastic steak emitted a horrible odor as it melted inside the oven. And that was the end of my Easy-Bake Oven. It seems Easy-Bake Ovens were around for a long time in one form or another. What can you tell me about them, like who invented them and who produced them?

ANSWER: Easy-Bake Ovens were indeed on the market for a long time. In fact, the toy became a legend in its own time. It was one of the first toys that people went crazy over at Christmas.  

It all began back in November of 1963. That was when the Kenner Products debuted its new toy. By using light bulbs as the heat source, the firm was able to convince parents that the Easy-Bake Oven was safe.  

Working mini ovens have been around since the Victorian Era. From the late 19th century, manufacturers produced child-size ovens made of steel or cast iron which used wood pellets or solid fuel for heat. As electric ovens replaced wood-burning ovens in the 1920s, the toy world did the same. In the 1930s, toy-train maker Lionel produced a line of electric toy ovens. In the 1950s, kids coveted little fiberglass-insulated ovens with brand names like Little Lady, Little Chef, and Suzy Homemaker.

While the Easy-Bake Oven wasn’t the first working toy oven, it was the first to use a light bulb as the heat source. It was also first to become a wildly popular trend—every little girl had to have one.

By the early 1960s, Kenner had become a leading toy manufacturer, with salesmen all over the country. The executives at Kenner wanted to make toys that allowed kids to do the same things as adults. For boys, they produced construction sets and for girls, kitchen and baking sets. Although the firm thought of the Easy-Bake Oven came to be thought of as a girls’ toy, they always looked for ways to market it to boys.

Kenner also encouraged its employees to think outside the box. They believed that anyone could come up with a great idea for a toy. So they held brainstorming sessions where any employee pitch an idea. And that’s how the Easy-Bake Oven was born.

The employee with the bright idea for the oven was salesman Norman Shapiro, who demonstrated toys in the Macy’s store in New York City. He got his inspiration for the oven when he saw a pretzel vendor. But instead of cakes, he oven would bake pretzels. The executives loved his idea, but suggested that instead of a pretzel oven, it should be one that backed cakes and cookies.

But at that time electric toy ovens weren’t considered very safe. so Kenner’s creative team had to come up with a solution to overcome parents’ fears. And that solution was to use incandescent light bulbs as the heating source. By using conventional light bulbs, something kids were around every day, they were able to convince parents the toy was safe—even though it got up to 350 degrees Fahrenheit, a standard baking temperature, inside the oven. At first the designers wanted to name it the Safety-Bake Oven to emphasize the safety aspect. But print and radio advertising regulatory agencies told them they couldn’t because it had not safety track record.

The Easy-Bake Oven debuted in November 1963, just in time for the Christmas shopping season. “The first Easy-Bake Oven didn’t look like much of an oven. It was this box that came in turquoise or pale yellow, and a handle on the top. It had a slot that you’d push the pan into, and then a window where you could watch the cake being baked. The cooling chamber on the side had this fake range built over it.”

But its strange appearance didn’t prevent it from becoming the must-have toy of the season. They only had time to manufacture half a million of them before November. The first Easy-Bake Ovens sold out immediately.

Kenner made the Easy-Bake Oven its top advertising priority, placing ads with taglines like just like Mom’s—bake your cake and eat it, too!” in women’s magazines and Archie comics. On television, Easy-Bake commercials appeared not only during Saturday morning cartoons, but also during prime-time programs like “I Love Lucy” and “Hogan’s Heroes.”

Just as quickly as it released the oven, Kenner put out 25 different mixes and mix sets that could be bought separately. Because they were packaged in aluminum foil laminated with polyethylene, the first cake mixes could last two years—a long time for a cake mix.

The Easy-Bake Oven came out in a time when America was in love with technology, particularly appliances and other innovations that made day-to-day chores faster and easier. Engineers at Kenner were constantly attempting to improve the light-bulb cooking technology.

Kenner tempted kids with a variety of cake mixes. Besides cakes and cookies, Easy-Bake mixes eventually offered ways to make your own candy bars, fudge, pecan brittle, pretzels, pizza—and even bubble gum. The company tried all sorts of things—they even came up with a way kids could pop popcorn in the Easy-Bake Oven. But they always went back to cookies and cakes.

In 1967, four years after the Easy-Bake debuted, General Mills acquired Kenner Products, and immediately saw the cross-branding opportunity. The company adapted its Betty Crocker cake mixes for the Easy-Bake Oven: Kids could then make 3.5-inch cakes in popular flavors like Angel Food, Devil’s Food, German Chocolate, Yellow, Butter Pecan, Strawberry, Rainbow Chip, and Lemon.

Twenty years later, Tonka Corporation bought Kenner Products, and then in 1991, Hasbro acquired Tonka. Hasbro also saw the Easy-Bake Oven as a marketing opportunity for other toys, characters, and brands they licensed or partnered with. Instead of making plain mini-cakes, in the early 1990s, kids could also decorate them.

Kids could make a Scooby-Doo-themed cake or a pizza from Pizza Hut. They could make a cake like an Oreo cookie or a McDonald’s apple pie. They even had a My Little Pony mix—basically a chocolate cake, onto which a little baker could place a Little Pony figure on top.

The look of the Easy-Bake oven changed drastically over the years. In the beginning, it was all about the colors that were trendy in the kitchen. In the 1970s, the ovens came in burnt orange, avocado green, and harvest gold. In the late 1970s and 1980s, microwaves became popular, so the Easy-Bake Oven looked more like a microwave. More recent Easy-Bake Ovens have had less to do with the kitchen decor and more to do with what colors and designs kids like, such as pink and purple.

Engineers at Kenner constantly attempted to improve the light-bulb cooking technology. Originally, the Easy-Bake Oven used two 100-Watt incandescent light bulbs, one on top and one on bottom, so it would heat the cake evenly on both sides.. Engineer Charles Cummings figured out how to design the inside of the Easy-Bake Oven so it worked like a convection oven, using only one light bulb. This made the Easy-Bake Oven smaller and easier to produce and ship. In the late 1970s, Kenner introduced the Super Easy-Bake Oven, a larger version that came with two pans, a regular-size Easy-Bake cake pan and a larger one.

Because the Easy-Bake Oven was rated as safe for children 8 and older, Kenner hoped to find a way to market it to kids as young as 4. Also in the 1970s, they produced the Warm-Bake Oven, which used hot water. There was a tray parents could fill with hot water. The young baker then put the cake batter in a sealed container and slid it in the oven, dipping it into the water. The hot water would then cause the dough to rise. The firm even tried  another version—the 3 Minute Cake Baker—that vibrated to help the dough rise. And so the legend continued.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Telling the Age of Glass

 QUESTION: I just started collecting antique glass. Unlike antique ceramics, most glass has no mark, so it’s really difficult to tell not only the maker but if it’s even old or not. How can I tell if a piece of older glass is, in fact, old? 

ANSWER: Identifying a piece of older glass is truly a challenge. Because most glass doesn’t have a maker’s mark, about the only way to tell anything about it is by studying its form and decoration. 

Of all the items for sale on the antique market, glass is probably the hardest to identify as being old. In fact, many of the old patterns have found new life in today's households, so much so that manufacturers scramble to fill department store shelves with reproductions. 

Pressed glass frequently is advertised as having been made recently from old– meaning 19th-century molds. However genuine the molds, the resulting glass cannot be compared with the original pieces. Both the glass and its color are somewhat different. The present-day manufacturer who uses 19th-century molds doesn't go to the trouble of mixing a batch of glass according to 19th-century formulas. As a result, his clear glass isn't an exact counterpart of last century's, and the red, green, blue, or other colored glass pieces rarely have the same tints and tones as the originals.

In addition to reproductions, many fakes are being made in pressed glass. One telltale sign of a fake is a slight difference in pattern. During the 1800's, variants of popular patterns became common, but a variant made by a glasshouse other than the one that introduced the pattern shows some alteration in the motifs or their arrangement. A fake, on the other hand, is an attempt to reproduce a pattern of the 1800's without bothering to copy every detail exactly.   

Twentieth-century imitations of the popular Wildflower pattern, for example, have fewer leaves and flowers in each motif. The band of pressed daisies also is narrower. Moon and Star, a pattern that probably wasn't made before the 1880's, can be confused with an inaccurate contemporary version in which the sawtooth-like cutting around the moon is smoother and flatter than in the originals. As a matter of fact, any colored Moon and Star pieces are definitely fakes, for the 19th-century pattern was offered only in clear or clear and frosted glass. Dimensions of pieces also differ, but this is impossible to judge unless you have access to an authenticated 19th-century piece.

Pattern glass was made after 1850 in large sets for the table. Reproductions of even the most popular patterns, however, seldom include the entire set. Goblets are the most widely reproduced pieces, with tumblers, mugs, salts, match-holders, and other small pieces likely in some patterns. Considerable lacy glass with its stippled background, first made by the Boston and Sandwich Glass Company in the 1830's, also is being made now. Lacy glass never was made in a complete table set. Other specific clues for distinguishing between antique pressed glass and this century's copies are discussed in the chapter on pressed glass.

Cup plates, which were generally used until about 1850, and dolphin candlesticks, which were made from the 1830's to the early 1900's, have been so popular that fakes and imitations found a ready market. Dolphin candlesticks made between 1900 and 1910 can hardly be classed as antiques yet, but most of the late ones are much finer work than the more recent fakes and reproductions. Again, some dolphin candlesticks are said to be made from old molds, but the glass isn't the same quality or the color a duplicate of the original.

Dolphin candlesticks were made by many glasshouses, from the Boston and Sandwich Glass Company, which introduced them, to firms in Pennsylvania and the Midwest. The earliest Sandwich glass ones had a single square base. Then came the double square or square stepped base, also made at Sandwich and widely reproduced before World War II in the United States and Europe. Other glasshouses during the 1800's produced candlesticks having the dolphin shaft but with bases and sockets differing from those made at Sandwich. A hexagonal base, for example, introduced by a Pittsburgh glass firm in the 1850's has been reproduced widely too. There is also the petticoat dolphin with a high round base first made in the 1850's or 1860's. All styles were made in clear, opalescent, and some colors, also opaque white and opaque blue. 

Anyone who looks carefully should be able to recognize copies of dolphin candlesticks. Those made within the last 30 years have sharper, clearer details--fins in particular are sharper to the touch. The sockets, whether ribbed or petaled, usually don't flare outward. The glass is of poorer quality and the colors more garish. The proportions aren't so good either, for the dolphin is likely to be larger, and many of the copies are shorter candlestick

In spite of the large number of patterns in which cup plates were made in the 1800's, comparatively few are being reproduced. Since the originals were early pressed glass, the quality of the glass was good enough to give a bell-like ring when the little plate was tapped lightly. Reproductions or 20th-century imitations sound dead or dull.

A classic example of a fake, imitation, or reproduction that can confuse all but the most knowing is the Butterfly pattern cup plate, first made by the Boston and Sandwich Glass Company in clear and colored glass. The butterfly that gives the pattern its name stands out in the center against a stippled background. Flower sprigs encircle the rim and the edge is scalloped. During the 1930's, Butterfly cup plates were reproduced from a new mold that was not an exact duplicate of the original one. On antique Butterfly cup plates, the stems of the two leaves below each blossom are at least 1/s inch apart, but on this century's, the stems are almost opposite each other. One blossom on the old Butterfly plate has seven petals; all the blossoms on the recent plates have six. It's particularly easy to be fooled by a blue Butterfly cup plate, for this color as made in the 1930's  compares favorably with that of the 1830's.

Imitations of curtain tiebacks and furniture knobs also were made in quantity and sold cheaply  during the 1930's. Old patterns, including some of the Sandwich ones, were copied in both clear   and colored glass. Neither the quality of the glass nor the workmanship are any more comparable  than the colors to those made during the 1800's. The appearance of 19th-century milk glass are quite different. The slightest acquaintance with any piece of antique milk glass should enable a person to distinguish between the old and the contemporary.

Fakes aren't confined to pressed glass. Bottles and flasks, for example, frequently are made in imitation of typically American styles of the 19th Century. A "golden amber" bottle in the shape of a fish, made recently in Italy, "queen of the glass-making industry for generations," is not worth any more than its retail price. Only the amber fish bottles made in this country to hold Dr. Fisch's bitters are antiques. For holiday sale, 19th-century milk glass is still being manufactured in quantity, and many pieces copy or are reminiscent of the forms and decorations used during the late 1800's. However, the character and appearance are different.

To tell the difference between a 19th-century pressed glass goblet and a 20th-century reproduction or fake, a person must be alert to the patterns and pieces that are currently being manufactured. Equally important are a knowledge of the authentic motifs, as well as of their make-up, proportions, and placement to form the patterns, and the ability to judge the quality of stippling and frosting.

Cost prohibits the reproduction of cut glass as it was made throughout the 1800's. Its surface distinctions are the sharpness of the decorative motifs to the touch and the heaviness of the piece. 

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