Samples or Toys?—That is the Question

QUESTION:  Can you tell me anything about these two small pieces of Chippendale furniture?
Could they have been for little girls to play with?

ANSWER: Your pieces of furniture seem too detailed and too small for say a 6-8-year-old girl to play with. But it’s quite possible that they were samples that a salesmen carried with them to show shopkeepers or rural customers in the late 19th and early 20th centuries.

A salesman would leave items like these in a shop to use as display pieces. General stores needed to carry a lot of items and didn’t have room for full-sized furniture. This finely made armchair and birdcage table, made in the Chippendale style, would have given customers a good idea of their detailing and construction.

Itinerant sales representatives would loan miniatures of their company’s products with country store owners to promote their wares. A shop owner might receive a sample for display if they had enough sales of particular items to warrant it. Most of these samples were 1/4- to 1/3-scale models and were very expensive to make. Therefore, companies only made a small quantity of each.

A salesman sample was in essence a complete, and often working, scale model. Companies used them especially to show off large heavy items like ice boxes, washing machines, furniture, and the like. Each featured the same materials and hardware as the original, only in scaled-down size.

A customer could study the sample, and if he or she wanted to purchase it, they’d give the store owner a deposit, and the owner would order the item from the manufacturer by mail or telegram. The customer would pay the balance of the price when they picked up the item. People who lived in the vast Midwest often had to travel long distances to towns to do their special shopping. Usually, they shopped for many of their needs from catalogs. And sometimes salesmen would stop by to show them samples of their wares. This was especially true if they sold farm machinery, cooking stoves, or washers.

Samples of mechanical items like cooking stoves, for example, featured authentic nickle plating and functional fireboxes, plus a manufacturer’s nameplate. These usually distinguish salesman samples from toys. Toys of the same mechanical items, often made in Germany, were as finely detailed as the samples but had nameplates or other markings from the toy manufacturer. Or none at all which makes distinguishing them from salesman samples more difficult.

Some collectors argue that a salesman sample has to have a case or box that the salesman would have carried it in on his rounds. However, most salesman samples didn’t have cases.

There are two types of salesman's samples on the market today—ones that worked and ones that didn’t. Obviously, as technology progressed through the 1880s and 90s, and through the turn of the century, machines became more prevalent and large ones required salesman samples. Cooking stoves could weigh in at 500+ pounds and took up too much room in shops to be practical. In fact, many homeowners bought them directly from the manufacturer. But no matter if they worked or not, the goal of all salesman's samples was to sell a product. Those salesman's samples that actually worked were more common before 1920. Using a scaled-down sample of their weighty product was a very cost-effective way for the machinery companies to do business.

However, the differences between salesman samples and toys aren't always so obvious. Children’s toy furniture, for example, was smaller than salesman samples and usually not nearly as well made. The samples were the real thing in a reduced size, so they used all the same woods and hardware. Fine pieces like this armchair and table would have possibly been commissioned by a wealthy family and would have been signed by the maker. Salesman samples, on the other hand, had to look as good or better than the actual piece of furniture because people didn't change furniture as often as they do today, so they bought quality pieces that would last.

It’s important for collectors of salesman samples to be wary of imitations. Prices for them can reach astronomical amounts mostly because sellers overprice toys which they sell as salesman samples. And as with all antiques, it’s buyer beware.

Waffling Around

QUESTION: I recently purchased an old electric waffle iron at a garage sale. Are these things collectible and can I still use it?

ANSWER: Mmmmmmm. Just the mention of waffles reminds me of the smell of them baking on a cold Sunday morning, then smothered in butter and warm maple syrup, and perhaps topped with strawberries and whipped cream. But I digress...

Depending on the age of your electric waffle iron, it has the potential to be collectible. Small appliances like this are just coming into their own as collectibles. However, if you plan to use it, you had better have the appliance checked out and the wire replaced with a higher-voltage cord by a certified appliance repair dealer. Once that’s done and the waffle iron cleaned up, you should be able to enjoy delicious old-time waffles whenever you like.

Before the waffle iron became electrified, the making of waffles had an interesting history. Traditional waffle irons consisted of two hinged metal plates, molded to create the honeycomb pattern, which the maker held over a wood fire to bake the batter poured between them, one side at a time. Knowing when to turn the iron took skill learned by trial and error since these early waffle irons had no temperature controls.

Some historians believe the waffle dates back to ancient Greece, when Athenians baked obelios—flat cakes held between two metal plates—over hot coals. The word waffle evolved from wafer, one of the only foods early Catholics could eat during fasting periods because they contained no milk, eggs, or animal fats. Monks were the only ones making these wafers until the late 12th century, when lay bakeries began making a tastier version which they called waffles.

Eventually, waffle iron makers molded the plates with religious symbols and the familiar honeycomb pattern, which was supposed to represent interlocking crosses. In 1270, an special guild to train the street vendors who sold waffles came into existence.

Peasants soon began making their own flour and water waffles, although some started adding eggs and honey to make them lighter and sweeter. Even Geoffrey Chaucer mentions waffles in his Canterbury Tales: "He sent her sweetened wine and well-spiced ale/ And waffles piping hot out of the fire."

Waffles became a staple of the Dutch diet by the 1620s and early immigrants brought them to New Amsterdam, eventually to become New York..

But the waffle wouldn’t achieve nationwide appeal until Thomas Jefferson brought a waffle iron back from France in the 1790s as a souvenir. He had his cook make and serve them at the White House, which helped popularize "waffle parties."

It wasn’t until 1869 that Cornelius Swarthout patented the first waffle iron in the U.S.. What made his waffle iron unique was that he joined the cast iron plates by a hinge that swiveled in a cast-iron collar.

Soon after the invention of electricity came the electric waffle iron. Lucas D. Sneeringer eventually designed the first electric heating elements that used a built-in thermostat to prevent overheating, a common problem with early versions. With his revolutionary design and General Electric funding, the first electric waffle iron rolled off the assembly line on July 26, 1911.

While the first electric waffle iron did the job—the process of making waffles this way is a relatively simple one—it didn’t look very pretty. So designers set about making the exterior of the waffle iron more attractive. Other innovations, like an iron that could cook two waffles at the same time, soon followed.  Charles M. Cole invented the first twin waffle iron in 1926, but it wasn’t until 1939 when Karl Ratliff designed the "Twin-O-Matic" for the New York World's fair that it really caught on with the public.

By the time the New York World’s Fair rolled around, Art Deco design had influenced everything from dishes to utensils and small appliances. Some waffle irons, like the Hotpoint waffle iron by Edison General Electric, became works of art in themselves. Some resembled flying saucers, having lost their legs and taking on a lower, sleeker look. One of these was General Electric’s Diana, designed by August Propernick. Toastmaster and Sunbeam soon got in on the act and began producing their own electric waffle irons.

It’s said that in the Midwest, the waffle iron holds a special place in marriages. It seems that the nuptials aren’t complete until a  relative gives a waffle iron to the happy couple. As long as the waffle iron remains intact and in use at least once a year, the marriage will prosper. If the couple neglects the waffle iron or lets it fall into disrepair, then so will same happen to their marriage.

Fiesta Fun

QUESTION: My aunt had a large collection of Fiesta dinnerware which she left to me. I added a few pieces that I found at flea markets over the last few years, but now I want to sell it. Is this pottery worth much and where would be the best place to sell it?

ANSWER: Depending on what pieces you have, your collection of Fiesta dinnerware could be worth a small fortune. But before you get dollar signs in your eyes, there are a few things you should know about it.

The style and bright colors of Fiesta dinnerware look very 1950s. But actually it appeared during the Great Depression in the mid-1930s. Englishman, Frederick Hurten Rhead, designed the simple Art Deco shapes while chief engineer Victor Albert Bleininger fabricated the colorful signature glazes. Both worked for the Homer Laughlin China Company of Newell, West Virginia.

Originally, the company offered 37 different affordable pieces, ranging from candle holders and ashtrays to large serving dishes, each in five bright colors: red-orange, yellow, green, cobalt blue, and ivory. It added turquoise in 1939 for a total of six basic colors..

Homer Laughlin pioneered a whole new concept in dinnerware with Fiesta. When it first introduced the dinnerware at the annual Pottery and Glass Exhibit held in Pittsburgh, Pennsylvania in January 1936, its line was the first widely mass-marketed, solid-color dinnerware in the country. It was also the first dinnerware that consumers could purchase by the piece instead of in complete sets, as was the custom at the time. This allowed customers to mix and match, perhaps choosing a different color for each place setting, or have all their dinner plates one color, their cups and saucers another, and so on. This concept became instantly popular with the public, and soon Fiesta dinnerware became a runaway hit.

At its introduction, Fiesta dinnerware consisted of the usual place settings of dinner plates, salad plates, soup bowls, and cups and saucers, plus occasional pieces such as candle holders in two designs, a bud vase, and an ash tray. A set of seven nested mixing bowls ranged in size from five to twelve inches in diameter. The company also sold basic place settings for four, six and eight persons. But the idea from the start was to create a line of open-stock items from which the consumer could pick and choose based on their personal preference.

The Homer Laughlin Company quickly added several additional items to their line and eliminated several unusual items—a divided 12-inch plate, a turquoise covered onion soup bowl, and the covers for its set of mixing bowls. The Fiesta line eventually consisted of 64 different items, including flower vases in three sizes, water tumblers, carafes, teapots in two sizes, five-part relish trays, and large plates in 13- and 15-inch diameters.

But with the onset of World War II, the company was forced to reduce the number of items in the Fiesta line as public demand declined and companies cut back non-war related production. By the end of the war, Homer Laughlin had reduced the items in its Fiesta line by one third.

The design of the original dinnerware pieces remained unchanged from 1936 to 1969. However, the company did change its colored glazes to keep up with home decorating color trends. It introduced four new colors—rose, gray, dark green, and chartreuse, replacing the original blue, green, and ivory. Yellow and turquoise continued in production.

By the end of the 1950s, sales again dropped, so the company reduced its offering of items and changed the glaze colors once again. This time, it introduced a medium green, to distinguish it from other green glazes which the company had produced. This shade of green is in high demand by collectors, and certain pieces in this color command extremely high prices.

Homer Laughlin removed the original red-orange color, the most expensive glaze to produce, before 1944 because it contained uranium oxide which the government needed to construct the atom bombs. Therefore, red pieces also usually command a premium price in today’s collectible market.

By 1969, the company restyled the finials on covers, handles on cups, bowl contours and shapes to give them a more contemporary style.

Fiesta dinnerware became popular once again as baby boomers began establishing their own homes. Not long after Homer Laughlin discontinued the brightly colored dinnerware line in January 1973,  collectors began buying up what remained at garage sales and second-hand shops. Prices for it hit the roof and by the mid-1980s, prices of Fiesta items reached $100 for scarcer pieces.

Generally, serving pieces such as casserole dishes, carafes, teapots, and water pitchers almost always have higher values than normal place setting pieces. As mentioned earlier, certain colors are also priced higher, no matter what the piece.

It’s also important to look on the back of each piece for the familiar “Fiesta” backstamp,
followed by 'HLC USA', 'MADE IN USA' or 'H.L. CO. USA.' You may also discover some pieces with the word 'GENUINE' stamped near the Fiesta signature.

As far as selling your collection, you might do better selling off the pieces individually. If the pieces are from the 1930s and 1940s, you might want to consider sending them to a good auction house where you'll most likely get a better return on them.

A Key for Every Character

QUESTION: My grandfather had an old Corona portable typewriter which he left to me. It’s a small machine with the No. 3 on the rim below the space bar. I believe the serial number is 125512. I’ve looked for some information on it but haven’t found much. Can you tell me more about it?

ANSWER: Your typewriter dates from the second half of 1917 and is part of a long line of machines created to make writing easier. It began in 1714 when Queen Anne of England granted a patent to Henry Mill for a writing device that enabled the blind to write. Italian inventor Pellegrino Turri created his own version of a typewriter in 1808, along with carbon paper to provide the ink for his machine.

In 1829, William Austin Burt patented a machine called the "Typographer" on which he produced a letter to Secretary of State Martin Van Buren. But even in the hands of its inventor, this machine was slower than handwriting, preventing Burt and his promoter John D. Sheldon from ever finding a buyer for their patent. The typographer used a dial, rather than keys, to select each character and resembled the squeeze-style label makers of the 1970s. It wasn’t until 1843 that Charles Thurber invented a machine that operated in way similar to modern typewriters.

Rev. Rasmus Malling Hansen of Denmark invented the Hansen Writing Ball in 1865. It went into commercial production in 1870 and became the first commercially sold typewriter. He made a porcelain model of the keyboard and experimented with different placements of the letters, attaching the letters to short pistons that went through the ball and down to the paper to achieve the fastest writing speed. By placing the letters so the fastest writing fingers struck the most frequently used letters, Hansen made his Writing Ball the first typewriter to produce text faster than a person could write by hand.

In 1867, Christopher Latham Sholes invented the first practical typewriter. Commercially known as "The Type-Writer," it had a moveable carriage, a lever for turning paper from line to line, and a keyboard similar to that of a piano with two rows of black walnut keys with letters printed in white—capital letters only along with numbers 2-9, a comma and a period. Sholes also created the QWERTY keyboard layout to prevent frequent jamming of frequently used letters.

Philo Remington of the Remington Arms Co. manufactured the first marketable Sholes machine in 1874. He sold only eight the first year at $125 each. And after four years he had only sold 5,000. Three businessmen bought and reinvigorated the company under the name of the Remington Typewriter Co. in 1878.

The history of the Corona typewriter is similar to these other early models. The four Smith brothers—Lyman Cornelius, Wilbert, Monroe, and Hurlburt—opened the Smith Premier Typewriter Company in 1886. They produced the first typewriter to use both uppercase and lowercase letters using a  double keyboard. The advertisements for their new machine proclaimed that it had "a key for every character."

During 1906, the Rose Typewriter Company of New York City marketed the first successful portable typewriter. The Smith brothers bought the company in 1909, renamed it the Standard Typewriter Company, and moved its headquarters to Groton, New York. And with the success of their Corona model No. 3 in 1914, the firm became the Corona Typewriter Company.

By that time, the design of the mechanical typewriter had become standardized. While there were minor variations from one manufacturer to another, most typewriters had keys attached to a typebar that had the corresponding letter molded, in reverse, into its striking head. When the operator struck a key briskly and firmly, the typebar hit an inked ribbon, making a printed mark on the paper wrapped around a cylindrical platen mounted on a carriage that moved left or right, automatically advancing the typing position horizontally after the operator typed each character. The carriage return lever advanced the paper vertically for each line of text as it rolled around the platen.

Until recently, antique dealers considered old typewriters worthless, but prices of them on eBay have begun to climb. Of course, higher prices only appear for the most unique models in excellent condition. A Corona No. 3 model from 1917 ranges in price on eBay from about $50 to $190 without its case and $400 for one with its case.

Predicting the Value of Farmer’s Almanacs

QUESTION:  I happen to come into about 20 old and different Farmer’s Almanacs ranging in issue dates from 1867 to 1930.  I haven't been able to find any information on them. Is there a link you can refer me to so I can get an idea of their value?

ANSWER: Before looking at how to determine the value of your almanacs, it’s important to note that over the last two centuries there have been several almanacs with the name “Farmer’s” in them. Benjamin Franklin first published his now famous Poor Richard’s Almanac back in the 1732 and continued doing so until 1758. At its peak, Franklin printed over 10,000 copies for each edition.

By the late 18th century, many almanacs included the term “Farmer’s” in their titles because the young nation was mostly one of farmers who wanted to know what the weather would be like for the coming year, so they would know when to plant and harvest their crops. Accurate weather prediction meant the difference between survival and starvation.

Of the two publications known today as farmer’s almanacs, the Old Farmer's Almanac, originally published in 1792 and still published every September, is the most widely known. Begun by Robert Thomas, it’s first editor, the Old Farmer's Almanac grew from a circulation of 3,000 copies to over 9,000 in just three years. The cost was only nine cents. Thomas added the word "Old" to the title of his almanac in 1832, then removed it three years later.

Since Thomas’ almanac format wasn't unique, perhaps his weather predictions were more accurate. Based on his observations, Thomas devised a complex series of natural cycles to create a secret weather forecasting formula, resulting in unusually accurate forecasts.

John H. Jenks bought the publication after Thomas died, then put the word “Old” back in the title in 1848. Three years later, Jenks hired Henry Nichols to create the Almanac’s trademark four-seasons cover that has remained with the periodical ever since.

In 1861, Charles L. Flint became editor and focused the Almanac’s content on farming to provide his growing readership with information they could use. By 1900, the Old Farmer’s Almanac had yet another editor, Horace Ware, who aimed the publication beyond farmers to a more general readership by using features on nature and modern life instead of farming..

After surviving the World War I and the Depression, the Old Farmer’s Almanac entered a new era under the leadership of Roger Scaife who became editor in 1936. Its circulation had fallen from a high of 225,000 in 1863 to just 88,000. He mistakenly eliminated the weather forecasts, thinking that his readers didn’t need them, and almost killed the publication.

Robb Sagendorph, owner of Yankee Magazine, bought the Old Farmer's Almanac in 1939 and moved it to Dublin, New Hampshire. He reinstated Thomas’ original format and style the readership of the publication began to grow once again.

The other publication, known simply as the Farmers' Almanac, has been in continuous publication since 1818. David Young and Jacob Mann founded their little publication in Morristown, New Jersey two years after what has come to be known as “the year without a summer.” During that year, farmers crops suffered severely from the unusual weather, so Young and Mann decided to create a publication which would offer them accurate weather forecasts to prevent a disaster like that from happening again.

Astronomer Samuel Hart Wright succeeded Young in 1851to become the second of only seven editors of the publication. Eventually, the publication’s offices moved from Morristown to nearby Newark, New Jersey.

Ray Geiger served as the Farmers’ Almanac's longest-running editor, from 1934 until shortly before his death in 1994. In 1955, he moved production of the Farmers' Almanac from Newark to its current headquarters in Lewiston, Maine. Today, his son, Peter Geiger continues to publish the Almanac.

Published by the Almanac Publishing Company, of Lewiston, Maine, the Farmer’s Almanac has become noted for its long-range weather predictions. Its readers claim the Almanac is 80-85 percent accurate in its predictions. But studies comparing the actual weather with the Almanac’s predictions have shown that the predictions aren’t any more accurate than pure chance.

Although the editors of the Farmer’s Almanac make predictions as far as two years in advance, they’re . re highly secretive about how they go about making them, only saying that they rely on astronomical data like the positions of the planets, sunspot activity, and tidal action. To put an identity to the forecasts, the editors created a fictitious forecaster Caleb Weatherbee.

Writing to down-home farmer folk, the almanac has also included its own special blend of advice on farming, gardening, fishing, and cooking over the years, as well as human-interest articles. Its editors have continually focused on the themes of simplicity, sustainable living, and conservation.

Old copies of both the Old Farmer’s Almanac and the Farmer’s Almanac abound. Since each was the farmer’s best companion and popular with even regular people for its weather predictions, there are a lot of old copies hidden in people’s attics and basements. Unfortunately, these aren’t always in the best condition. And as with any other collectible, especially paper ones, condition is of prime importance when determining value. The earlier issues from the 19th century, printed on paper high in rag content, are usually in much better condition, but dampness can play a big role in paper deterioration. But even in the best condition, the sheer number of copies out there prevent the value from becoming too high.

The average selling price on eBay for a late 19th-century copy of the Old Farmer’s Almanac from say the 1870s is only about $12-15. Editions from the 1920s sell for only about $4. Abebooks.com, an online used bookseller, has an 1890 edition in fair condition priced at just $9.

And while these prices are a far cry from the publication’s original price, these little gems are probably more fun to read than to consider as an investment.


 

Chew, Chew...Spit

QUESTION: I found what looks like a small, shallow, porcelain vase at a fleamarket near my home. It’s almost too short to hold anything but flowers with very short stems and has a delicate floral design on the outside. Do you have any idea what this might be?

ANSWER: What you have is a ladies spit cup or spittoon. Chewing is one of the oldest ways of consuming tobacco. Native Americans chewed its leaves, often mixing it with lime. It became a popular pastime in the last decade of the 18th century and continued to be so until 1920. Today, the most visible evidence of tobacco chewing appears in baseball, but even that’s dying out as users succumb to throat cancer.

Though mostly men indulged in the habit of chewing tobacco, women, especially those in Victorian times, used it as well. In 1865, a traveler down South noted that seven-tenths of all people, both male and female,  over the age of 12 used tobacco in some form. Even children of 8 or 9 smoked. The habit increased in popularity after the Civil War as soldiers, who chewed tobacco to ease frazzled nerves on the battlefield, continued to do so after they came home.

Victorian women could chew and spit as well as men. These ladies usually abused tobacco and alcohol behind closed doors. And while they snuck outside and drank and smoked in the outhouse to avoid being caught by their husbands, they often chewed tobacco quietly around the house while doing their chores and needed something in which to deposit their spit.

After the Civil War, spittoons became a fixture in many places, including hotels, saloons, stores, and any other place where men chewing tobacco might congregate. These were large vessels made of brass or pottery with a broad rim into which the chewer tried to aim his spit, often with little success.

Woman, on the other hand, used a dainty spit cup—also called a lady’s cuspidor, toilette cup, or boudoir dish—to gracefully discard their sputum. Some looked like regular coffee or tea cups while others had fanciful shapes with fluted rims. Since ladies didn’t need to spit across the room, these cups often had decorative gold rims and base, and delicate, lady-like designs. Some came in the shape of little baskets or drawstring purses. English and French manufacturers, especially Limoges, made these lovely spit receptacles out of fine porcelain, and for plainer, everyday use, ironstone with flowered transferware patterns on both the inside and outside.

As chewing tobacco's popularity declined throughout the years, the spittoon became a relic. However, women found other uses for these cups. Pregnant women, who tended to salivate more, especially when they had nausea or heartburn, also used these cups. Even today, it’s common for Haitian women to carry around a spit cup while pregnant.

Let It Snow, Let It Snow, Let It Snow...

QUESTION: I have the opportunity to purchase a collection of about 30 snow globes. Are these collectible, and if so, is this a wise investment?

ANSWER: While many people call these little snow wonders snow globes, others call them water domes, water balls, snow shakers, snow storms, snow scenes, blizzard domes, and snow domes. They have delighted children and adults for more than a century.

In the late 1930s, Hollywood drew attention to snow globes by featuring them prominently in a number of films. In the movie “Heidi, “ starring Shirley Temple movie, the curly-haired child peers into a snow globe of a miniature cabin. And in the film classic, “Citizen Kane,” Charles Foster Kane drops a snow globe with a replica of the sled known as Rosebud onto the floor as he dies.

Collectibles experts believe French glass paperweight makers first crafted them during the early 19th century. They were basically decorated glass paperweights filled with water and white powder. But they didn’t catch on until they appeared at the Paris Universal Exposition in 1878.

Snow globes containing a miniature model of the new Eiffel Tower became a much sought after souvenir at the International Exposition in Paris in 1889, thus becoming the first souvenir snow globe. These snow-filled domes also became popular in Victorian England. By the early 1920s, they made their way across the Atlantic to the U.S. where the Atlas Crystal Works produced many of them from that time period.

The U.S. Patent Office granted  Joseph Garaja of Pittsburgh a patent for new method of manufacturing snow globes. His process required assembling the globes under water, thus eliminating trapped air. His invention allowed the snow globe industry to go into mass production, dramatically lowering the prices of snow globes. His company, Modern Novelty of Pittsburgh, supplied plastic-based snow globes in every size and shape to retailers around the world for several decades.

In the 1950's, one manufacturer decided to add antifreeze to his globes, so they wouldn't freeze during shipping. However, public outcry against this procedure forced the company to abandon it.

Today, most of the world's snow globes, made mostly of plastic, come from China. But before World War II, the Germans and Austrians made them mostly of glass. The snow found inside has been produced from many materials, including bone chips, camphor and wax, ground rice, pottery flecks and porcelain.  In time the glass became thinner, so manufacturers began to use flecks of gold foil. Currently, makers use white plastic or metallic glitter for snow. In addition, each globe contains distilled water mixed with a little glycol to slow the movement of the flakes.

Today, you’ll find snow globes combined with a wide variety of souvenir-type items, including  drinking glasses, salt and pepper shakers, sugar containers, soap dishes, ashtrays, calendars, thermometers, banks and pencil sharpeners. They can feature landmarks, World's Fairs and other  historical events, as well as famous and even infamous characters from the past.

Snow globes are usually inexpensive, however, they have sold for as high as $1,000. Vintage souvenir snow domes sell for a modest $8 to $25. And while some collectors might mix old and new snow globes, most prefer vintage ones from the late 1930s through the 1970s. Souvenir snow globes from the 1960s and 1970s hold their value best, so if the ones in this collection date from that period, you should have a good investment, provided you don’t pay too much for it.

You also need to see the potential of adding to this collection. You can get a head start with it, but only you will be able to judge what direction you want to take it. Buy only vintage ones. Make sure the water is high and clear and that any decals that may be attached to the base of the snow globe are securely attached and in one piece.

No Room at the Inn

QUESTION: My grandfather left me a beautiful creche which he said his father brought over from Germany in the late 19th century. Can you tell me anything about this and if it is, in fact, German?

ANSWER: You, indeed, have a German creche. From its design, I’d say it dates from the 1890s, possibly a bit before. During the 17th century, Nativity scenes, promoted by the Capuchin, Jesuit and Franciscan orders, gained in popularity as a way for common people to express their joy during the Christmas season.

The most popular form is the crèche, a word meaning "manger" or "crib" in French. Originally carved from wood, today these beautiful figures can also be made of   ceramic, glass, straw, fabric, or even plastic, then and painted. A crèche usually depicts the entire Nativity scene—the manger, star, angels, shepherds, kings and the Holy Family. Most makers construct them on a miniature scale, although some church crèches can be almost life-sized. Crèches originated in Europe with the Italian presepio which used small carved figures in the 18th century. By then, three centers of creche culture had emerged—Naples, Italy; Provence, France; and Bavaria in southern Germany.

Historians generally credit St. Francis of Assisi with popularizing the Nativity scene.
Supposedly, a rich man, Giovanni Vellita, approached St. Francis in December, 1223, asking how he could serve God. St. Francis told him to build a simple, little stable just outside Assisi in the cave at Greccio. During the 13th century, people celebrated Christmas as a purely religious holiday, so many of the activities associated with it occurred in churches. Since common workers weren’t given much of a place in these celebrations, St. Francis came up with the idea to give them a chance to celebrate.

As the story goes, as midnight approached that Christmas Eve, a great procession wound its way out of Assisi and up the hill to Greccio. Everyone came carrying candles to this new manger they had built for the Holy Child. They celebrated mass that night, surrounded by an ox and a donkey and by the people of Assisi, all playing the parts of the shepherds and folk of Bethlehem. From Italy, the idea spread north across the Alps, and finally came to the U.S. with German settlers.

Today’s creche makers model their pieces after the elaborate Italian and German ones of the 17th  century. Creches or Nativity sets can be made from a variety of materials. The characters can be carved from wood, formed from wax, papier-mache, or clay, or hand painted on cardboard. They stand in or in front of buildings, ranging from Alpine stables and guest houses to romantic Roman ruins. Others have oriental style structures with minarets and domes.

But the best—elaborate and intricately carved figures of wood—came from Bavaria.
Their creators stained them with paint to make them lifelike. German creches , often called krippen, can also be made of cast metal, cast painted plaster, cardboard with painted or printed artwork, turned wood or clay. Each Christmas, in scenes made up of rocks, branches, evergreens and moss collected in the woods by the family’s children just before the holiday, the krippe is reborn. Christmas morning finds these scenes around the base of the family’s Christmas tree in what’s called a putz or tree yard.

Among collectible creches, those hardest to find today are those predating World War II.  Adolf Hitler had many of the German molds for creche figures destroyed. At the time, Germany was the premiere maker of creches. So what you have is a real treasure, not only for its value—a similar one sold for close to $1,000 at previous auction and just one animal is going for $95 currently on eBay—but also for its place in history.

Antiques or Not–An Age-old Question

QUESTION: How do I find out if items I have are really antiques?  Do dealers need pictures to come look at my pieces? How do I find honest reliable ones?

ANSWER: Many people ask themselves these same questions. Unless you’re an antique lover and collector, it’s often hard to figure out what’s an antique and what isn’t. First, let’s tackle what is an antique.

To anyone who browses antique shops these days the question "What is an antique?" seems to have many answers. Side by side with ancient-looking furniture and old- fashioned china, you may find souvenir spoons and colorful carnival glass. The problem bewilders not only buyers but dealers, too.

In 1930 the U.S. Government ruled that objects had to be at least a 100 old to be classified as antiques, so they could be admitted duty free into the U.S. But that was a legislative  tax decision. Since then antiques have often been defined as objects made before 1830.

Here in the U.S., dealers and collectors count among their antiques both items made by machine as well as those made by hand. Most of these are later than 1830. That date does, however, serve as a dividing line between the age of craftsmanship and the machine age. As the 21st century moves on, objects from the early 20th century are now reaching the 100-year mark, thus technically making them antiques. But if you talk to a high-end antique dealer, he or she will probably consider them just used goods.

A fine antique comes with a provenance or written pedigree. This isn’t just what your Aunt Milly says is an antique. It's proven to be one through a detailed history of its creation and ownership.

But while the personal associations of heirlooms add to their interest, they can’t be relied upon to place their date and source. Not every old piece has a pedigree or a maker’s mark or label, but every one has characteristics that identify it which make it valuable to someone else. The secret of where and when and by whom it was made is in its material, its design, and its workmanship. So an antique is what the collector knows or perceives it to be. Nothing more.

Collectibles are items that usually have a less-than-100-year history, although not always. You could collect Limoge porcelain boxes from the 18th century and consider them collectibles. But for the most part, collectibles are objects from popular culture—old detergent boxes with the soap powder still in them, old bottles, old souvenirs.

So begin by determining, if you can, what it is that you have that’s an antique or just a collectible. Do Image searches on Google for your items and see if any photos come up that are like what you have or similar, then click on the photos to go to the Web sites where the photos have been posted to learn more about the item. Go to your public library and check out an antique encyclopedia or other books that have pictures of antiques. See if you can find objects like yours.

Once you have a good idea of whether an object is an antique or collectible, take some good digital photos of it. And, yes, dealers really appreciate seeing a photo or two of an item before they’ll make the trek to your place to see it. This applies even more to dealers you may find online. Take an overall shot, perhaps several from different angles, as well as a couple shots of details—carvings, signatures, hardware, etc. If you’re going to make the rounds of local dealers, you’ll want to get your photos printed. Small 4x6-inch photos will do nicely.

Asking where you can find honest reliable dealers indicates that you assume all antique dealers are scoundrels. They’re not. In fact, most are honest, hard-working business people. They’re in business to make money, so don’t expect that any of them will pay top dollar for your pieces. The most you can expect to get is half the value, on a good day.

One way to tell a dealer who may be less than honest is to see if the pieces in his or her shop are priced. An antique store is a retail business and all retailers price their items for sale. A dealer who doesn’t price their items may be planning on taking advantage of you—deciding what to charge for an item on how you’re dressed or how much you seem to know about antiques. Avoid shops that are piled high with goods in which the shopkeeper says, “Have a look around and let me know what you like, and I’ll give you my best price.”

The Ultimate All-in-One

QUESTION: My grandmother had a cabinet in her kitchen which she called a “Hoosier.” She told me her mother left it to her and now I have it in my kitchen. What can you tell me about it?

ANSWER: The modern kitchen with its microwave, glass-topped stove, side-by-side refrigerator, and granite countertops is a far cry from your great-grandma’s kitchen. The most modern thing in her kitchen was her Hoosier, an all-in-one preparation and storage unit that brought her convenience and practicality.

Named after the Hoosier Manufacturing Co. of New Castle, Indiana, the Hoosier cabinet was to become one of the most popular pieces of furniture to hit the American market. Though there were other companies in Indiana that made them, Hoosier Manufacturing built over four million of these special cabinets between 1900 and 1940. Until 1920, the company made and finished their new all-in-one cabinet in natural oak, but as the third decade of the 20th century progressed, they began to offer Hooisers with white enamel-lined drawers. Because of the bright white of the enamel, people called them “White Beauties.”

When the Hoosier first appeared, American homes didn’t have built-in storage cabinets. Soon housewives demanded something in which they could store their baking supplies and equipment, as well as give them an additional work surface. The company quickly adapted the 19th-century baker’s cabinet, a piece of furniture they were already making, to fit the needs of the modern housewife. These existing cabinets featured a work surface to roll out and knead dough, a few cabinets above, and  “possum belly” drawers below to hold flour and sugar. Manufacturers of these baker’s cabinets made the drawers from tin to protect their contents from rodents. At first, they made the work surface of wood, then later employed zinc, aluminum, and porcelain enamel. They attached casters to the legs, both for ease of moving and to keep ants out of the cabinet.

By rearranging the parts of the baker’s cabinet, Hoosier Manufacturing came up with a well-organized, compact unit which answered the housewife’s needs for storage and working space. The company added to these cabinets many improvements, including flour sifters, bread drawers lined with enamel, cutting boards, and an assortment of storage containers, to help the homemaker.

The typical Hoosier cabinet had three sections—a bottom section, featuring one large compartment with a slide-out shelf and several drawers to one side, a top portion only half as deep with several smaller compartments with doors, with or without windows, and a large lower compartment with a roll-top door that could be closed to hide various tools and equipment. Hoosier joined the top and bottom of the cabinet using a pair of metal channels which served as the guide for a sliding work surface, which usually had a pair of shallow drawers attached to its underside. The cabinet, with its work surface retracted, was normally about two feet deep— double that when pulled out—while the cabinet stood nearly six feet high.

A distinctive feature of the Hoosier cabinet was its accessories. Most came equipped with a variety of racks and other hardware to hold and organize spices and various staples. Some came with a hand coffee grinder and a combination flour-bin/sifter, a tin hopper that a housewife could use without having to remove it from the cabinet. Some contained a similar bin for sugar.

To hold a variety of spices and other staples, Hoosiers came equipped with special glass jars, manufactured by the Sneath Glass Company, to fit the cabinet and its racks. Original sets of Hoosier glassware consisted of coffee and tea canisters, a salt box, and four to eight spice jars. Some manufacturers also included a cracker or cookie jar. Some Hoosiers had elastic straps attached on the inside of their doors behind which housewives could place cards with such information as measurement conversions, sample menus, and household tips.

Manufacturers marked their cabinets with an identifying label which was often engraved or stamped onto metal, then screwed onto the front of the cabinet. Some glued paper labels on the back of the cabinet. Both types often disappeared as a result of refinishing.

Though Hoosier cabinets remained popular into the 1930s, they began to fall into disuse as soon as home builders equipped new kitchens with built-in cabinets and other appliances. Today, Hoosiers, dating from 1900-1910, sell on eBay for $500-$2,300. Later models sell for as little as $200.

Hess Toy Trucks Roll On

QUESTION: What is the best way to sell a 1966 Hess Voyager Tank Ship? And how do I figure the asking price?  The tanker is in the box which is slightly faded and has some damage to two of its corners, plus one of the stickers on the side of the tanker is torn.

ANSWER:  It’s Thanksgiving time once again and along with Black Friday comes an equally long-standing tradition—the sale of Hess toy trucks. But the poor economy has most everyone watching their pocketbooks, so even Hess Toy Truck sales, both of previous models and the newest one are suffering. T.V. ads touting the features of Hess’s new truck toy prompt many owners to perhaps dust off older models in preparation for selling them.

But selling Hess toy trucks isn’t easy. The group of true collectors of these toys is a small, very selective one. These are people who are searching for the premier pieces to fill out their collections. One of these prime models is the “B Model Mack Tanker,” which first appeared in 1964. At first the company produced these toys in limited quantities and limited each customer to two trucks. Back then the B Model Mack cost $1.29, but today it can sell for as much as $2,000, down $500 from two years ago.

Leon Hess knew a good thing when he saw it, and soon the company produced more trucks to meet the demand, including a series of minitrucks. For many years, people lined up at Hess Stations on Black Friday morning to get their hands on the coveted toy “truck” of that year, then last year, the company started selling their trucks a week ahead. This year, sales began on November 11, two full weeks ahead. But popularity killed their potential and resale prices fell.

Because Hess toy trucks didn’t gain mass popularity until the 1980s, those few collectors savvy enough to pack one away in its box without touching it are the only ones who can cash in on the higher values of Hess toy trucks from 1964, when they first came out, through the 1970s.

More than half the value of each truck depends on the condition of its box. If the truck, itself, is also in perfect condition, then it’s considered to be “MIB” or Mint-in-Box. Those who saw the collecting potential of these toy s bought two, giving one as a gift to their child and keeping the other in pristine condition for their collection.

Probably the best place to try to sell the tanker in question is on eBay. This saves a lot of searching for markets—let the collectors search for the models they want. However, most Hess trucks sell on eBay for about $20, around the price of a new truck since 2000 or so.
In one case, four of them, listed for a starting bid of $9.99 on one auction with $21 shipping—twice the cost of the trucks themselves—didn’t even sell. Unless a Hess truck is an early model and new in a pristine box, it has little value.

Hess trucks were one of the first toy trucks to have working lights and sound operated by batteries. The first one came in three different versions. The rarest of these was a Bills 18-wheel tanker with a white top and the Hess logo with a yellow border placed over the Bills logo. The side decals on this model display only the word "Gasoline", its battery card has printing on both sides, and the bottom of its box is black. The most common version features a green cab with yellow fenders. A similar version of this tanker truck appeared in the late 1960's, 1970's and 1980's, but the tank is green, with a white strip, displaying the Hess name, down the center. The tanker then returned in 1990 with a white tank, with the Green "HESS" name on the side. Hess introduced another version of this white tanker truck in 1998 as the first in the Hess mini series.

Leon Hess, founder of Amerada-Hess Oil, originally had these toy trucks made as thank-you gifts to his customers. Some, produced as gifts for stockholders and staff, never went on sale. These are the most highly prized by collectors since only a few of these special trucks were made.

Throughout the years, Hess has offered non-truck vehicles as part of its toy truck collection, including a tanker ship, based on the Hess Voyager, in 1966, a patrol car in 1993, a helicopter in 2001, an SUV in 2004, and a race car in 1988, 1997, 2009, and this year, 2011. In recent years, boxes have contained one larger vehicle transporting smaller friction-motor vehicles, such as motorcycles, race cars, or cruisers.

For the first time in the collection's 47-year history, the two vehicles in the current set offer sounds and 34 lights in both on and flashing modes, activated by a button on the truck cab, a chassis switch, and the ramp. The newest truck also features four-wheel spring suspension and a pullout ramp that automatically activates a hydraulic sound. The truck's flatbed trailer carries a race car modeled after an American stock car that sports a pull-back racing motor and Hess Express logo. A push of the race car's gas cap activates flashing lights and the sound of the car's engine. The lucky kid who gets this as a gift on Christmas morning will also be able to play with it immediately since the package contains two Energizer 'C' batteries. But the hottest feature of this year’s truck is an app with which a child can virtually race the car online.

The Hess Toy Truck is one of the longest-running toy brands on the market. As in past years, the truck will be sold exclusively at Hess retail stores in 16 East Coast states from Massachusetts to Florida, while supplies last. However, the price has gone up considerably from that first truck selling for $1.29 in 1964 to $26.99 for this year’s truck and race car.

Onions Grow More Than in Patches

QUESTION: I have several plates by Meissen with what I believe is called the Blue Onion pattern. Can you tell me more about it?

ANSWER: The Blue Onion pattern is the Meissen company’s most popular and has been for over 250 years.  Because Meissen never copyrighted it, more companies have copied it than any other ceramic pattern. But the pieces made by Meissen, itself, stand above the others because of the way its workers meticulously hand painted the design on each piece.

After Marco Polo introduced Chinese blue and white porcelains to Europe, the demand rose until by the beginning of the 18th century, Europeans clammered for more and more of the finely painted pieces. To satisfy this demand, the East India Company established trade with China and brought to Europe as much of the blue and white porcelain as it could.

But try as it might, the East India Company couldn’t keep up with the demand, so in 1710 Augustus the Strong formed a new porcelain company to produce blue underglaze decorations like those of the Chinese. Johann Gregor Höroldt, a talented porcelain painter who had worked for the Du Paquier Porcelain Company, a competitor of Meissen’s, perfected the blue underglaze paint, which the Meissen Company used to decorate its wares with the Blue Onion pattern, in 1739.

The model for this unique pattern most likely came from a flax bowl from the Chinese K'ang Hsi period, dating from 1662-1722. Originally, Meissen called it the “bulb” pattern. However, since Europeans were unfamiliar with the fruits and flowers shown on the original Chinese pieces, the Meissen artists created hybrids that were more familiar to the company’s customers. The so-called "onions" really aren’t onions at all, but stylized peaches and pomegranates modeled after the original Chinese pattern. They made the flower in the design a cross between a chrysanthemum and a peony and wove the stems of both the fruits and the flower around a stalk of bamboo.

As production continued, Meissen changed the pattern slightly. Originally, the fruits on the border pointed inward with the stem on the edge. But they altered this design by pointing the fruits alternatively inward and outward.

Not only did the Blue Onion pattern become Meissen’s most popular, but it also was its least expensive to produce. The company made money by using lower-paid “blue painters” as well as apprentices to do the decorating. In addition, the pieces decorated with the pattern didn’t need a third firing which was necessary to fix the enamel decoration on Meissen’s other wares, plus the company chose not to add gilding to the standard pattern.

The Blue Onion pattern achieved popularity again during Victorian times when home furnishings became darker and heavier. It complemented the more elaborate Victorian furniture styles preferred by the new wealthier middle class. Immediately after the Civil War, the pattern took off. Everything from napkins to tablecloths, utensil handles to enameled cooking pots featured it. By the 1870s, the Meissen Company had adapted it to fit nearly every shape of porcelain ware it produced. To distinguish its Blue Onion pattern from those of its competitors, the company put its now famous emblem of Blue Crossed Swords at the foot of the design’s bamboo trunk in 1888.

Ring, Ring—Bell Telephone Calling

QUESTION: I have one of those large black rotary telephones. Are those collectible now that we have such advanced technology?

ANSWER: You might want to consider holding on to your black phone for a while as they and many 20th-century models are coming into their own as collectibles.

When Alexander Graham Bell spoke those now famous words to his colleague during the first telephone call on March 10, 1876, he had no idea where that would lead us. Today, many people have smart phones that do just about everything except make a cup of fresh coffee, although I suspect they’ll soon offer an “app” for that.

But what about all the phones that came before the smart ones. The long-time standard Western Electric 302 black rotary phone, introduced in 1937, is probably the most well known. Some people have game rooms in their homes in which they install a working pay phone. These workhorses, once owned by AT&T, were meant to last a long time.

When people think of old telephones, however, they usually imagine the Western Electric 102 candlestick-type phone, which went into use in 1927. Today, you can purchase an original for a modest $469 at the TelephonyMusuem online.

In the 1930s, Western Electric produced 202 model with an oval base, and later a sleeker handset, now selling for $289. Both the 102 and 202 models required a ringer, which customers had to buy separately. The large rotary 302 phone was the first to house the ringer in the phone. It was made from metal until World War II and sells for $199, then from plastic, selling for $169, until the late 1950s. Western Electric stamped the date of production on the base of its phones, so it’s easy to tell the age of the unit.

One of the big problems in collecting old phones is that many of the more unique ones have been reproduced, in working order, of course. While the originals sell for as much as $500, the repros sell for half that. Vintage phones from the 1920s can sell for as much as $2,000. So it’s important to watch for reproductions being sold as originals, especially on auction sites like eBay.

And don’t forget the sleek and colorful Princess phone, introduced in 1959, and the Trimline phone with dial in the handset, dating from 1965. Both replaced the stodgy desk phones of the past. Rotary dials continued to be offered even after touch-tone came out because phone companies charged an extra fee for touch-tone service and many customers didn't want to pay for it. The hotter the color of a Princess phone, the higher its price. The more common colors—pink, red, peach, and black—in touch or rotary sell for about $200 each while green, beige, white, aqua and yellow command prices of $150 and up.. The most common Princess phone in ivory sells for no more than $119. Most of the Princess phones require a $30 transformer to light the dial.

Collecting old phones isn’t difficult, but like clocks, you can have just so many in your house.

The Difference Between Real Collectibles and Created Ones

QUESTION: I have a 1939 New York World's fair desk calendar that has little knobs that change the date, month and a 1934 Chicago world's fair dish which could be silver plate with the federal building, electrical group, hall of science and travel and transport buildings embossed on the bottom.  Do these items have any value other than as keepsakes?

ANSWER: What you have are real collectibles. And while they may not be worth a fortune, they still have value in the collectible market. Unlike created collectibles, like decorated plates and such, objects like these, as well as those from 19th to mid-20th-century advertising, etc, can grow in value as the supply of them dwindles through breakage and deterioration. This is the cause of your uncertainty.

Collecting is one of the oldest hobbies. King Tut of Egypt collected walking sticks. Heiress Marjorie Merriweather Post collected Faberge originals. Franklin D. Roosevelt and King George VI of England collected stamps. There are also coin, doll, cup, and spoon collectors. All of them had one thing in common—the love of collecting unique and beautiful objects.

Why do so many people collect these objects? There’s a basic human need to possess items that have stood the test of time—items that have become a part of history.

Many people have the desire to own beautiful things but for mostly economic reasons, this isn’t possible. Up to the latter part of the 20th century, collecting valuable items has mostly been the hobby of the wealthy. To make it possible for the growing post-war  middle class to feel the same thrill of collecting as the rich, gift collectible manufacturers began to create items with implied value which the average person could afford and which, in time, were supposed to increase in value.

Collectibles manufacturers like the Franklin Mint began by minting special coins and producing figurines and plates. Eventually, people collecting these items grew into the largest group of collectibles collectors.

Part of the incentive of collecting is the inherent value of the object. While speculation was the motivation for collectible purchases in the late 1970's, most collectors today buy for the appeal of the item.

To keep the collecting public buying, manufacturers produced objects in series. This gave some people the incentive to purchase every piece in the series. The sad thing is that while the manufacturer guaranteed the value of the object with a certificate of authenticity, and that the value would definitely increase, they really had no control over the market they had created for their wares.

Another ploy of these manufacturers was the term “limited edition.” What this meant was that they'd produce only a certain number of each item, thus creating a built-in appreciation value. However, the number was often vague. For example, they guaranteed to produce ceramic items for a certain number of firing days, but no one knows just how many pieces they produced each day. Some of the more sought after items, such as Hummel figurines, had editions of 2,000 to 10,000.

In order to make their “collectibles” attractive to this new group of collectors, manufacturers made sure each piece evoked a nostalgic response in both men and women. The former liked the manly aura of collectible coins, military figurines, and model cars—the sportier and more luxurious the better. The latter like the beautiful images that adorned porcelain plates and delicate figurines, reminiscent of Meissen ware.

One of the most popular of the collectible figurine series was "Stormy Weather," picturing a little boy and girl huddled under an umbrella. The Goebel company introduced at least five new pieces a year, which kept collectors satisfied and the company in the black.

Collectible plates, which took up where magazine illustration left off, became the second most popular collectible. Some depicted characters from fantasy and fiction as well as adventurers, T.V. and film stars, and scenes of the past. Many were reminiscent of the old Saturday Evening Post covers. To create a cache for their collectibles, companies took on names such as the Bradford Exchange, giving collectors the impression that what they bought was an investment.

The plates created by Royal Copenhagen became some of the most popular. These familiar blue and white plates featured scenes from Danish life. Along with Hallmark and others, the company also produced collectible Christmas ornaments.

Ironically, these collectibles weren’t cheap. For all money they spent on them, collectors could have been buying real collectibles. These are objects tied to a certain event or period in history, such as 1939-1940 New York World’s Fair collectibles. Hundreds of companies produced over 25,000 different souvenirs in larger and smaller quantities for the Fair. Even early Coca-Cola advertisements and paraphernalia have value. Later manufactured Coca-Cola items, on the other hand, do not.

For more information on the created collectibles market, be sure to read this article, "9 Completely Worthless Collectibles."

The Truth About Sadirons

QUESTION: Recently, I purchased an old iron at a local flea market. On the top of the heavy iron base is molded the word “sadiron.” Was this the brand name or a name people called this type of iron?

ANSWER: A flatiron pointed at both ends and having a removable handle is commonly referred to as a sad iron. First used in 1738, it became a regular household item by the mid-18th century and continued in use until the last decade of the 19th.

From research, historians know that the Chinese started pressing cloth using hot metal before anyone else. At the same time, Viking women used simple round linen smoothers made of dark glass along with smoothing boards to iron cloth. Others used hand-size stones which they rubbed over woven cloth to smooth it, polish it, or press it into pleats. And while some may have dampened linen first, it’s unlikely that these women heated their “smoothers.” Later glass smoothers, called slickers, slickstones, or slickenstones, had handles. It wasn’t until the late Middle Ages that blacksmiths began forging smoothing irons, heated by a fire or on a stove, for home use.

People began to call these flat smoothing irons “sad” irons, based on the Old English word “sad” meaning heavy, dense, or solid. Although most of these irons were small, they were very heavy, thus women looked forward to ironing day with some distain, knowing the drudgery it entailed.

On Mondays, women washed both clothes and bedding. They reserved Tuesdays for ironing, a chore that took all day and tired them as much as washing.

At home, ironing traditional fabrics without the benefit of electricity was a hot, arduous job. Women had to keep their sadirons immaculately clean, sand-papered, and polished. They also had to keep them away from fireplaces to avoid getting soot on them and had to regularly grease them lightly to avoid having them rust. Beeswax, applied to the underside of an iron, prevented it from sticking to starched cloth.

Women needed to own at least two irons—one for ironing and one for re-heating—to make the sadiron system work well. Large Victorian households with servants often had a special ironing-stove on which to heat the irons, fitted with slots for several irons and a place to set a water jug on top.

With no way to control temperature, women had to constantly test to see if their iron was hot enough by spitting on its heated underside. They learned the right temperature by experience—hot enough to smooth the cloth but not so hot as to scorch it. So they wouldn’t burn their hands, they had to grip the handles of their irons with a thick rag.

On April 4,1871, an enterprising women named Mary Potts of Ottumwa, Iowa (Yes, that’s right, the place where the fictional character, Radar O-Rielly, hailed from on the hit T.V. series, “M.A.S.H.”), received a U.S. patent for a lighter sadiron with a detachable wooden handle, which remained cool while ironing. Women could purchase several iron bases which could all be heating on the stove while she ironed. Women loved the idea.

She received another patent for an iron with a hollow body which could be filled with a material that didn’t conduct heat, such as plaster of Paris, clay or cement. In her patent, Mrs. Potts claimed that these materials held the heat longer so that women could iron more garments without reheating their as often.

Mrs. Potts exhibited her new sadiron in the 1876 Centennial Exhibition in Philadelphia. She prominently featured her picture in advertising for her new iron.

Joined Together Forever

QUESTION: How can I tell the difference between handcart dovetailing and machine cut dovetail? What other distinguishing characteristics can you tell me about that will help identify the age and authenticity of a piece of furniture?

ANSWER: Dovetailing is an excellent way to estimate the age of a piece of antique furniture.
The name “dovetail” comes from the appearance of the joints, used to assemble drawers and structural pieces on case or storage furniture, such as chests and bureaus, which look like the triangle shape of a dove’s tail. The earliest examples appeared on furniture placed with mummies in Egyptian tombs thousands of years ago. Similar ones appeared on pieces in the burial tombs of   ancient Chinese emperors.

Each joint has two parts—the pin and the tail. The pins protrude from the fronts of drawers while the tails are negative holes in the sides of drawers into which they fit. Early cabinetmakers cut these joints by hand, using small, precision saws and wood chisels,  producing different sized pins and tails, with the tails being larger than the pins. These early joints often had only three or four dovetails per joint. First, they made tiny angled saw cuts, then carefully cut out the pins on both sides to avoid splintering using a sharpened chisel. They cut the pins from one board and, the tails from another so they matched perfectly, thus giving them both strength and durability.

Not only did cabinetmakers use hand cut dovetails to hold the sides of drawers together, they also used them to join the structural members of case or storage pieces, such as dressers and bureaus. Back then, handmade screws and nails cost a lot and could rust and expand, sometimes cracking the wood they secured. Glues of the time weren’t much better and often dried out and weakened.
Simpler country furniture often had larger dovetails, or even a single pin and tail.

Towards the latter part of the 19th century, cabinetmakers began to use machines to construct dovetail joints, resulting in equally sized pins and tails running from the top to bottom of the joint. Today, cabinetmakers add a touch of glue to the joint to assure it will last for a long time.

Hand made dovetails remained the standard of good furniture craftsmanship until 1867, when Charles Butler Knapp invented a machine to cut  “scallop and dowel,”  or round-style dovetails, often used on late Victorian and Eastlake furniture. While Knapp’s machine revolutionized dovetail joint making, routers, producing the familiar keystone shaped pin and tail dovetail, came into widespread use and became the standard of better American furniture manufacturers today.

Since the dovetail joint has evolved over the last 144 years, the type of dovetailed joint, especially in drawers, can be used to date antique furniture. To approximate the date of a piece of antique furniture, remove a drawer and look closely at the dovetail joints. If it’s been cut by hand, the drawer will only have a few dovetails which will not be even. If the joints are closely spaced and precisely cut, then they’re machine-cut. Handmade dovetails almost always indicate that a cabinetmaker produced a piece before 1860.

Taking the Mystery Out of Identifying Antiques

QUESTION: I have what I believe to be an English ceramic plate with a mark that looks like a diamond with a bunch of letters and numbers in it. Can you tell me what that means?

ANSWER: The stamp on the back of your plate is known as a mark. Manufacturers of English pottery used this particular design between 1842 and 1883. The letters and numbers indicate the dates of the plate’s design registration with the British patent office. You can easily decipher this alpha-numeric code by checking the chart found on the Phoenix Masonry Web site or in Kovels' New Dictionary of Marks--Pottery & Porcelain: 1850 to the Present by Ralph and Terry Kovel (Crown Publishers, New York).

Pottery makers replaced this diamond-shaped registry mark with a sequential numbering system prefaced by the abbreviation Rd. No.  in 1884. Over the years, they modified the arrangement of the numbers several times, so it can be confusing. If you need specific information, you can contact the British Designs Registry Patent Office for dates registered in and after 1909 and the British Public Record Office for dates registered prior to 1909.

Sometimes, pottery and porcelain makers used word indications that spelled out the date. If the mark shows the country of origin, this means the piece dates after 1891, according to the U.S.  McKinley Tariff Law.

Often manufacturers worldwide employed words to describe their wares. These usually had start and end dates, making it easy to figure out the approximate date of a piece. For instance, the term "Nippon,” the Japanese name for Japan, indicates that piece of Japanese porcelain dates from 1891 to 1921while "Made in Occupied Japan" shows that the piece dates from  1945 to 1952. "Semi-vitreous" means the piece appeared on the market after 1901 while "bone china" indicates that the piece dates generally from the 20th century.  The phrase "oven-proof' appeared on pottery and china after 1933, but "dishwasher proof ” didn’t appear until after 1955. Sometimes a location, such as "East Germany" can indicate a time period, which in this case extends from 1949 to1990.

If a piece of pottery or porcelain has a mark showing a design and/or maker’s name, this information may also help to date it. You’ll find loads of resources, both in print and online, to help you identify early English, European, and Asian pottery and porcelain marks.

In the United States, makers stamped patent numbers on the backs and bottoms of their pottery pieces. A patent number represents the very earliest an article could have been produced. For example, a patent number of 16,388 indicates the piece appeared after Jan. 1, 1857 but prior to Jan. 1, 1858. Therefore, it dates from 1857, the year of its patent registration. Should you discover several sequential patent number sets on one piece, you should look up the final set on a patent date chart to date the piece.

Marks on furniture, glass, and silver are another story. When a maker uses his name or logo, you may have enough information to track the date of manufacture. Often during the course of the run of a piece, the maker will use different names. This is true of Tiffany glass. On some pieces, Tiffany signed, that is incised, his name “Louis C. Tiffany.” On later pieces, “Tiffany Studios” appears on the piece, and yet others show no mark at all.

Early furniture makers often scratched their name on the bottom of a piece, such as under the seat of a chair. But by the early 20th century, almost all manufacturers used labels affixed to the backs or bottoms of their pieces. If a piece of furniture has a label, it surely indicates that the piece is modern. Gustav Stickley employed a red decal featuring his logo, a joiner's compass, from 1902 to 1903 as compared to the revised decals Stickley used between 1903 and 1912.