The Sweet Smell of Success

QUESTION: My grandmother has what she calls a “Larkin” desk. It doesn’t look like a normal desk but more like a tall oak bookshelf with a drop-down writing surface. She remembers her parents acquiring it around 1911.  Can you tell me more about it?

ANSWER: One of the most popular items from the Larkin Company was the drop-front combination bookcase/desk, also known as the Chautauqua desk. This desk became a common piece in homes at the beginning of the 20th Century.

In 1875, John D. Larkin opened a soap factory in Buffalo, New York, where he made two products— a yellow laundry soap he marketed as Sweet Home Soap and a toilet soap he called Crème Oatmeal. He sold both products using wholesalers and retailers. Larking originally sold his Sweet Home Soap to street vendors, who in turn sold it to customers along their routes. By 1878, he had expanded his product line to nine types of soap products.

His brother-in-law, Elbert Hubbard, the eventual founder of the Roycroft Arts and Crafts Community, came up with what he called "The Larkin Idea"—door-to-door sales to private residences. To establish brand identity, Hubbard, inserted a color picture with the company's logo into every box of soap as an incentive for customers to buy more soap. Housewives accumulated and traded these picture cards, and eventually the cards became more elaborate. This concept of offering a gift directly to customers was a new approach to marketing. And by the 1890's, Larkin’s premiums had become an overwhelming success and a vital part of the company’s   marketing plan.

The premiums Larkin offered included handkerchiefs with toilet soap, towels with soap powder, or one-cent coins. Eventually, Larkin inserted certificates into the packaged products which could be redeemed by mail at the company’s Buffalo headquarters. A $10 order of soap resulted in the awarding of a premium with a retail value of the same $10. By 1891 he placed his first wholesale order of items to be given as premiums, $40,000 worth of piano lamps. The next year he acquired 80,000 Morris chairs and 100,000 oak dining chairs—all to be given away with the purchase of soap.

Larkin and Hubbard knew the key to mass merchandising was to eliminate the sales force and sell directly to the consumer via direct-mail catalog. Larkin realized he would be better off if he made not only the products he sold, but also the premiums he distributed. His pitch was that since he manufactured the products he sold, unlike Sears & Roebuck and Montgomery Ward and sold them directly to the consumer, he was eliminating the "middleman" and giving the customer better value for the money. The Larkin Company motto became "Factory to Family." By the end of the 19th century, catalogs jammed people’s mailboxes.

The plan worked. Both his product line and his premium line expanded. By 1893, the Larkin Soap Manufacturing Company was sending semiannual catalogs to 1.5 million customers.

His first venture was the furniture assembly plant in Buffalo that made furniture from parts cut and milled in Tennessee. Here for the first time was a major catalog distributor who actually made the furniture they shipped. Furniture was one of the company’s primary premiums. Since Larkin was appealing to the mass market, he made sure to offer furniture premiums that appealed to ordinary people and not the wealthy.

His most famous premium was his oak drop-front desk with open bottom storage, first appearing in the 1901 catalog, that the company gave as a premium for a $10 purchase of soap. Constructed of either cold or quarter sewn oak plank, assembled with nail and glue construction, with a golden finish, each desk featured applied ash or maple molding and trim and back panels of three-layer plywood. Better desks also had stamped-brass escutcheons and brass hinges on the drop panel. Cheaper ones had iron-butt hinges. A somewhat oval French beveled mirror finished off each piece. Variations included a glass front case with a drop-front desk attached to the side, two glass front cases with a desk in the middle, or simply a drop-front desk with a small open bookcase below the drop and candle stands above it, with a mirror in the high splashboard. This small desk reflected the taste and style of the Golden Oak period of American furniture in a form modest enough fit into any middle-class home.

This type of desk became "Everyman's" desk and was a common item in most homes of the period. It became a trendy decorating item and remained so for many years. People began to associate Larkin's name to the form, even though his wasn’t the only company to manufacture them, and so evolved what has become known as the "Larkin Desk." Today, Larkin desks sell on eBay for around $400 and sometimes higher.

John Larkin and Elbert Hubbard not only provided the means for a growing American population to stay clean at a reasonable cost, but they also helped them furnish their homes for free.

A Stitch in Time

QUESTION: My great-grandmother used this piece of furniture as a sewing cabinet.  I’m interested in its age and use. The drawers have spaces for wooden slats—one side a round hole and the other side of the drawer has a slot. The side compartments are finished inside and may have been used to store fabric. What can you tell me about this piece?

ANSWER: You, indeed, have a sewing cabinet, a Martha Washington sewing cabinet to be exact. And while it takes Martha’s name, it isn’t much like the one Martha, herself, used. Her original sewing cabinet was a small work table with an open shelf space in the middle with no drawers set between two storage compartments. A fabric skirt, draping to the floor, shielded the shelves. Your cabinet is a Depression era reproduction of a table made in 1815. However, Martha Washington died in 1802.

Today, Martha Washington sewing cabinets generally have two or more drawers in the center flanked by half round compartments on each side of the cabinet that are covered by a shaped lid attached by concealed hinges. These side compartments, called project pockets, held fabric, needlepoint or knitting projects in progress, plus they were long enough to hold knitting needles.

These handsome little cabinets came in many similar designs. Some had nicely turned legs while others had plain ones. Matching wooden or glass knobs adorned the drawers, which, themselves, often varied in size and depth. Often the top drawer contained a removable thread holder. Makers produced them from the early to the mid-19th century in walnut or mahogany. Some came with drawer inserts and other didn’t.  Made to fulfill a practical purpose, they became popular with women who liked their small size and maximum storage ability.

The versions of this cabinet that mostly appear on the market today have three drawers and two flat top lids, which incorporated the "Soss" type invisible hinge, patented in November 1911, over the material compartments. The drawers can be either three different descending sizes, the smallest on top, or three of the same size. While thread holders appear in some, they’re not in all. Generally, they measure 27 inches wide, 14 deep, and 29 inches tall. In 1915, the Cowan Manufacturing Company of Toledo, Ohio, advertised their mahogany version for $12.50.

In the mid-1920s, furniture manufactures began making small, relatively inexpensive pieces such as magazine racks, tea carts, and smoking stands that people could afford to buy during the Great Depression. Known as the "novelty" furniture movement, it helped keep production going when customers could no longer afford to purchase dining room or bedroom sets.

The quality of the 20th-century Martha Washington sewing cabinets ranges from those made of solid mahogany to cheaper models made of fruit wood (apple or pear), finished to look like mahogany. The better ones in good condition sell for around $150-$165 and finer examples can sell for as much as $500.

Raise a Jug

QUESTION: I recently found a large character jug at a local flea market. The dealer said it was old, most likely from the late 19th century. How can I tell if it is indeed old or maybe just a reproduction?

ANSWER: There’s lots of confusion about character, or as they’re more commonly known, Toby jugs, inspired by the original Toby Jug, with its brown salt glaze, developed and popularized by Staffordshire potters in the 1760s. They got the idea from similar Delft ware jugs produced in the Netherlands.

The first Toby jugs, made in the form of a jovial, stout, man wearing a long coat and tri-corn hat of the late-18th-century, puffing on a pipe, and holding a jug of ale, became common pouring vessels at local taverns. The pitcher had a rear handle and a removable lid, and the tricorn hat formed a pouring spout. Most antique historians attribute the first one to attributed to either John Astbury or Thomas Wheildon.

There are two theories as to origin of the jugs’ name. Some believe the jovial, intoxicated character of Sir Toby Belch in Shakespeare's play, Twelfth Night, inspired it while others believe  a notorious 18th century Yorkshire drinker, Henry Elwes, also known as "Toby Fillpot" was the inspiration. Either way, the name stuck.

Well-known potters, such as Ralph Wood I and II, Enoch Wood, Thomas Hollins and William Pratt, followed Astbury and Wheildon lead and began making Toby jugs in Staffordshire and Leeds, England.

Most collectors equate Doulton Pottery with Toby jugs since John Doulton established his riverside pottery at Lambeth, south of London, in 1815. His company manufactured miles of sewer pipe and became the leader in the sanitation revolution of the time. Today, Doulton, now known as Royal Doulton, is famous for its plates, vases, and jugs, decorated with popular imagery from English history and literature.

While Royal Doulton made Toby jugs for the remainder of the 19th century, it wasn’t until 1901 that it introduced figures, series ware, and rack or case plates. Over time, these became highly collectible. In 1934, Charles Noke of Royal Doulton introduced the first modern character jug, John Barleycorn, a symbol of the brewers, followed by Old-Charley, Night Watchman, Sairey Gamp, the midwife and sick-nurse from Dickens' Martin Chuzzlewit, Parson Brown, the sporting cleric, and Dick Turpin, the highwayman. The character jug series features lifelike caricatures of the heads of famous historical personalities and legendary characters from folklore, literature, and popular culture. The difference between a Toby jug and a character jug is that the former features a full figure while the latter just the head and shoulders of the person.

On jugs made before 1960, a dark glaze bleeds over the rim and into the white glazed interior. But the best way to tell the age of a character jug is by its mark. Many of the older jugs have a capital "A" to the left of the "Lion and Crown — Royal Doulton - Made in England" stamp printed on jugs made from the 1930s to the 1950s. After the 1950s, Royal Doulton printed the mark in darker green and without the A.

Doulton jugs made in the 1930s show the name of the character in quotation marks. On those made in the 1950s, the letter “D’ precedes the name of the character without quotes, with the  copyright date lying underneath.

Those jugs marked with an “A” are actually less valuable because Royal Doulton, over time, flooded the market with them. However, character jugs introduced in the 1950s and discontinued in the 1960s, such as Johnny Appleseed, Simple Simon, Dick Whittington, Admiral Nelson, the Hatless Drake and Uncle Tom Cobbleigh, are more valuable than those marked with an “A.” Also, the company made its character jugs in five sizes, from small to large.

The smaller ones, marked Doulton Made in England in a circle with the name of the character in the center, cost $2 new and now sell for $100 to $300 each.  A complete set can sell for $1,500 to $2,000.  The larger ones sell for $100 to $500 each. And as with any collectible, there are exceptions.

By the late 20th century, over 200 different makers, including Royal Doulton, Shorter and Son, Lancaster-Sandland, Royal Worcester, and Wedgwood & Co. were producing Toby character jugs. However, as the 21st century dawned, their popularity waned and many stopped making them. Today, only three companies still produce Toby character jugs.

I Scream, You Scream...We All Scream for Ice Cream

QUESTION: I have an old pewter or white metal cylinder form which stands about 8 inches tall and has three parts: a decorative molded top in the shape of a bunch of fruit, a long tube center that’s ribbed on the inside, and a screw-on base that supposedly belonged to my great-grandmother. Can you tell me what it is?

ANSWER: What you have is what’s known as a banquet ice cream mold, topped by a sculpted bunch of fruit with leaves. This type of mold, made of pewter, dates from the early 1900's and would have been used for parties or holiday gatherings.

Ice cream is a frozen dessert usually made from dairy products, such as milk and cream, often combined with fruits or other flavors. It’s origins can be traced back to at least the 4th century B.C.E. when people living in the Persia (in today’s Iraq and Iran) would place snow in a bowl and pour grape juice concentrate over it, inventing what has come to be known as the snow cone.

During the first century A.D. , Roman Emperor Nero had ice brought from the mountains and topped it with fruit. But it wasn’t until the reign of China's King Tang in the 7th century that the idea of icy milk concoctions became popular, a idea that would ultimately become fashionable in European royal courts.

Arabs were perhaps the first to use milk as a major ingredient in the production of ice cream. They sweetened it with sugar rather than fruit juices, and came up with ways to produce it commercially. By the 10th century, ice cream had spread to Baghdad, Cairo, and Damascus. Makers used milk or cream, plus some yogurt, and flavored it with dried fruits and nuts.

Charles I of England so loved his "frozen snow" that he offered his ice cream maker a lifetime pension in return for keeping the formula secret. But it was the Quaker colonists who first introduced ice cream to America in 1772. During colonial times, confectioners sold ice cream at their shops in New York and other cities and some of the founding fathers, including George Washington, Ben Franklin, and Thomas Jefferson regularly ate and served ice cream. First Lady Dolley Madison served it at her husband's Inaugural Ball in 1813.

In 1843, the U.S. Government granted Nancy Johnson of Philadelphia a patent for a small-scale hand-cranked ice cream freezer. Eventually, the creation of the ice cream soda by Robert Green in 1874 added ice cream's popularity.

Decorative molds, enhancing ice cream's presentation at the table, appeared at fancy parties in the late 19th century, a tradition borrowed from British molded puddings. The most notable of the American mold firms were Eppelsheimer & Co., Krauss Co. and Schall & Co. However, the first ones came from European makers. Makers used pewter, white metal or tin to create a variety of forms ranging from animal, human and bird figures to floral, architectural, and holiday-oriented themes that came in various sizes.
                               
Joseph Micelli, Sr., one of the country’s premier mold makers, sculpted them with remarkable details of animals, people, flowers, fruit and even vegetables for the Eppelsheimer & Co. of New York. Their molds have E & Co NY and the mold’s catalog number stamped on the bottom.
 
The molds produced by Krauss Company, also of New York, are distinguishable by their integrated mold hinges rather than soldered hinges. 

Ice cream molds are now highly collectible. The barrel banquet mold in question above sells for around $250, but smaller ones in the shape of individual bananas, pears, peaches, and other fruit and flowers sell for $30 to $70. From the outside, these molds often look plain, but inside they include minute details. While the barrel mold was meant to be unscrewed and lifted off, most ice cream molds, as with their chocolate counterparts, have hinges that allow them to be broken open to release the creamy confection.

Beat It!

QUESTION:  My sister-in-law purchased this item at a Goodwill Store in Maine.  It measures 14 1/2 inches from end to end, and the wire part is probably 3-4 inches across. Can you tell me what it is?

ANSWER: Though what you have looks like a rug beater, it’s size says it’s a feather pillow fluffer. These are similar to carpet beaters but smaller.

From colonial times until the latter 19th century, houses has wood-plank floors and area rugs that allowed housewives and servants to easily clean them. While the floors could be swept and washed, the rugs had to betaken outdoors and beaten, thus the invention of the carpet beater, a   tool of cleanliness and torture which played a major role in housekeeping right up to the 1980s.

Most carpet beaters consisted of a handle to which the makers attached a wire or wicker pleated or knot-like loop which they often coiled or intertwined. Some had wooden handles, others did not. Early beaters had clunky designs which made it awkward for the user to beat a carpet without going into contortions. Later, makers developed more ergonomically raised handles which allowed the user to stand at an angle to beat the carpet. Shapes of carpet beaters ranged from simple arcs, triangles, rectangles, and circles to more elaborate flowers and fanciful designs like rabbits, hearts, houses, geese, and teddy bears.

Nineteenth-century country stores and later mail-order catalogs displayed a variety of carpet beaters, selling for as little as 10 cents each. Typically made of wood, rattan, cane, wicker, spring steel, or three millimeter coiled wire, the Sears Roebuck catalog offered premium versions for 45 cents each as late as their 1903 catalog. Thrift-minded rural dwellers often twisted their own beaters, attaching their creations to odd pieces of wood or pieces of old broom handles. Manufacturers such as  Woods, Sherwood and Company and the Johnson Novelty Company sold millions of them from the Civil War period to well after World War II.

Most housewives and servants beat their carpets in the backyard, limiting cleaning to good weather. Where they lived in apartments or tenements, they hung their carpets out of windows or over fire escape railings to beat them. Passers-by often had to change their route to avoid walking through a cloud of dust and dirt.

Later, companies began making less expensive beaters from rattan. These conjured up exotic locales for housewives who donned their headscarves and aprons to beat their carpets into cleanliness and their children into submission.

Housewives beat everything from carpets, rugs, clothes, cushions, and bedding, as well as their children, the former to clean them, the latter to punish them. Mothers in the Netherlands and northern Belgium used carpet beaters to discipline their children by making them bend over and spanking them on their behinds, leaving a distinctive pattern on their child's bare backside. And since they beat their rugs in their  backyards, they tended to do the same when punishing their children, thus drastically increasing the embarrassment quotient for them. This disciplinary use caused the carpet beater to become not only a symbol for good housecleaning, but also for conservative family values and child rearing, as well as a symbol of the dominant position of the mother in Dutch families.

Another side effect of the carpet beater was its ability to produce intense satisfaction in the user, especially if the person suffered from repressed rage. Wielding these wand-like devices enabled housewives to vent their frustrations on their carpets and bedding rather than their families. Perhaps that’s why there’s more family violence today with the proliferation of electric vacuum cleaners.

The modern vacuum first appeared back in the 1870s, but it wasn’t until the first decade of the 20th century that several different companies claimed they had invented the modern electrical vacuum cleaner. And while the electric vacuum cleaner took a long while to catch on, the arrival of hand carpet sweepers signaled the demise of the carpet beater, and by 1908 carpet beaters had all but disappeared from the sales catalogs. But with the onslaught of the Great Depression, carpet beaters once again gained popularity.

A variation of the carpet beater was the smaller "pillow fluffer" used to fluff feather pillows.

Carpet beaters have become a popular collectible. Before eBay, carpet beaters sold for $20-40 in antique shops and in shows. But now on eBay even the rarest ones go for just a few bucks.

Lighting Up the Night

QUESTION: The other day I was going through some old things that belonged to my father and came across what looks to be an almost brand-new Coleman lantern still in its box. Since I’m not much of a camper myself, I wondered if people collect these lanterns and if they have any value.

ANSWER: According to your photo, your lantern looks to be one made in the late 1940s. Soldiers who had fought in World War II and had used special field stoves designed and made by the Coleman Company were familiar with their products. So as they settled down to have families, they saw the need for vacations. Car camping became very popular, as these new families loaded up their station wagons and headed out to explore America.

Anyone who has gone camping knows the glow emitted from campgrounds as campers sit around their tables having dinner by the light of a Coleman lantern. Promoted as the "sunshine of the night," these lanterns have long since become essential gear to car campers.

The incandescent electric light, invented in 1879, was a long way from reaching rural America in 1900, when William C. Coleman, an itinerant salesman, first sold indoor pressurized gasoline units, which he called Efficient Lamps. Coleman had poor eyesight, and the standard lamp of that time burned kerosene and produced a smoky, flickering, yellowish light. The steady white light produced by his new lamp enabled him to read even the smallest print. Two years later he bought the manufacturing rights for the lamp, and by 1905 he had begun producing them in his Wichita, Kansas, factory.

By1909, Coleman had improved his 300-candlepower, portable table so that it provided light in every direction for 100 yards and could light the far corners of a barn. Single-handedly, he changed the way farmers worked and thus increased their productivity. His lamp became a staple in rural America, eventually transforming the local company into a national one on which people depended.

Coleman’s initial lamp featured decorative brass or nickel-plated elements that arched up around the lantern´s glass shade, providing an upper loop for hanging or grasping the lantern for barn use. Later, he designed ones with bulbous bases that could sit on tables. And like other lamps at the time, some had colorful glass shades with elaborate designs around the edges.

Coleman’s first lamps for indoor use differed from oil lamps. Each had a pressure tank that acted as its base, replacing the oil lamp's fount or reservoir. In place of the oil lamp's chimney and wick, Coleman’s lamp used a generator, which vaporized air-forced white gas. The burning vapors ignited a mantle of loosely woven fabric. Both of these features helped Coleman lamps produce 20 times more light than oil wick lamps.

By 1914, the first self-contained, portable Coleman lanterns for outdoor use—the ones so familiar to campers today—appeared on the market. He enlarged the fount so that it stored two quarts of white gas, enclosed the generator and mantles in a wind- and bug-proof glass globe, and added a bail for easy carrying and hanging.

Coleman designers continued to improve their lanterns and by the 1930s, many came with housings in   different colors. The tops of some of the lamps of this period had a green finish which eventually became the signature look of Coleman products. The company also supplied lanterns to the National Forest Service, some of which bore the familiar “NFS” insignia.

From the 1940s on, Coleman lanterns featured a forest green finish combined with shiny nickel-plated brass elements. The upper and lower parts of one of the company’s most popular and long-running lanterns, the Model 200A, produced from 1952 through 1983, are bright red.

Most people use Coleman lanterns for camping. They’re as prized now as they were decades ago for chasing darkness from a campsite. When night falls, a few strokes on the pump primes it for action. And at the touch of a match the lantern throws its magic circle of light in a 360-degree arc.

Starting in 1901, Coleman has produced close to 50 million gas lanterns. The long history and the range of styles and models makes the Coleman lantern a popular collectible that’s affordable for most collectors. A Coleman lantern can sell today for $20 to $400, depending on its age, condition, and rarity.

Superman Returns Again...and Again...and Again

QUESTION: When I was a kid, I had a Superman lunchbox. Over the years, I forgot all about it, but recently, as I was going through some boxes in my attic, I discovered it again. If I remember correctly, it’s from 1954. Can you tell me anything about it and does it have any value or should I just put it out with the trash?

ANSWER: You had better take a closer look at that old lunchbox before you toss it out. This particular metal lunchbox, which includes a thermos bottle, depicts Superman doing battle with a robot and inclusive of the original thermos. One like it is presently for sale on eBay for $2,150. The lunchbox, considered rarer than most, joins other Superman collectibles, many of which have gone up in value in recent years. This is particularly the situation when it comes to rare Superman comic books. Depending on their condition and scarcity, the classic ones often fetch big bucks. The 64-page first edition from 1939, containing The Complete Story of the Daring Exploits of the One and Only Superman, including the four Superman stories from Action Comics No. 1-4, sold at auction for $26,000.01 a few years ago. And just the Action Comics #1 sold for $1 million in February 2010.

American writer Jerry Siegel and Canadian-born American artist Joe Shuster created Superman in 1932 while both were living in Cleveland, Ohio. Detective Comics, Inc., later D.C. Comics, bought the rights to the Superman story and debuted him in June of 1938 in Action Comics #1. At the time, America needed some type of hero, even a make-believe one. The Great Depression, a devastating Great Plains drought, and a swelling uneasiness about Nazism had wrenched people's spirits. The arrival of the "Man of Steel" offered a welcome fantasy for kids disheartened by the country’s dismal state of affairs. Over the decades, he subsequently appeared in various radio serials, television programs, films, newspaper strips, and video games.

Widely considered to be an American cultural icon, Superman helped to create the superhero genre and establish its primacy within the American comic book. The character's distinctive blue, red and yellow costume, is said to have been influenced by such comic book characters as Flash Gordon and that of circus strongmen.

Rocketed to Earth as an infant by his scientist father moments before his home planet’s destruction, he was discovered and adopted by a Kansas farmer and his wife, then raised as Clark Kent who later became Superman’s alter ego.

Siegel and Shuster envisioned their character as one who would right wrongs, fighting for social justice and against tyranny. In the original stories, Siegel and Shuster made Superman rough and aggressive. The character attacked and terrorized wife beaters, profiteers, gangsters. Later writers have softened the character and instilled a sense of idealism and moral code of conduct. Although not as cold-blooded as the early Batman, the Superman featured in the comics of the 1930s is unconcerned about the harm his strength may cause, tossing villainous characters in such a manner that fatalities would presumably occur, although these were seldom shown explicitly on the page. By late 1940, editor Whitney Ellsworth instituted a code of conduct that banned Superman from ever killing again.

Today, Superman is commonly seen as a brave and kind-hearted hero with a strong sense of justice, morality and righteousness. After all, he’s the hero of a younger age group. Young people got hooked on Superman's exploits right away. Tales of his origin, superhuman powers and good-over-evil conquest' adventures were just part of the enticement. His, alter-ego as mild-mannered reporter Clark Kent with love interest Lois Lane added human interest to the stories as well.

With the release of the next Superman film, there will be another deluge of Superman collectibles. Currently, there are nearly 131,000 Superman items up for auction, in both vintage and newer examples. There’s a huge array of Superman collectibles available to collectors, ranging from toys, games, dolls, lunchboxes; jewelry, clothing and watches to electronics, wall art, statues, records and DVDs.

The earliest paraphernalia, a button proclaiming membership in the Supermen of America club, appeared in 1939. By 1940 the amount of merchandise available increased dramatically, with jigsaw puzzles, paper dolls, bubble gum and trading cards available, as well as wooden or metal figures. By 1942, the character of Superman had been licensed to appear in other media, and the popularity of such merchandise increased. A surge of popularity seems to occur after the opening of each Superman film. The most popular Superman items on eBay seem to be from 1954, 1967, 1978, 1984, and 1998. 

Lunchboxes appeared from 1954 onward. A number of companies, including Adco, Hallmark, Thermos, King-Seeley, and Aladdin made them in either metal or plastic. While most are rectangular, there are some working-man dome-style ones.

Postcards From the Attic

QUESTION: My grandfather collected postcards for years. Now I have his collection. While it’s great to look at, I have no idea of where to start finding out about the hundreds of cards he collected. Can you please help me?

ANSWER: To begin, deltiology—postcard collecting—is one of the fastest growing hobbies in the world. Most people collect postcards for four reasons: (1) Nostagia. Many older collectors seek out pictures of “the good ole days” or "the way it used to be.” Younger ones seek out the places or characters from their childhood. (2) Cost. Many items have soared in price, but postcards can still be obtained for from 10-cents to $10 each. (3) Investment. Postcards that sold for 10 cents less than 10 years ago now bring $1 to $5 and more. (4) Art and printing. The art on a postcard often determined the printing process and vice versa, from the lithochromes of the 1890's to the photochromes (photo cards) of today.

There are still many millions of postcards packed away in attics. Many, neatly tucked away in albums for the last 90-100 years, are in pristine condition. When postcards sold for 1 cent to 10 cents each, not very many people thought it worthwhile to search a dusty attic for them. Today, that’s all changed.

You’ll find postcards for sale at garage sales, flea markets, antique shops, and stamp shows. The most popular ones are the “hometown views.” Many show main streets with gas lights, trolleys, horse-drawn vehicles, store signs, sidewalk sales, bustles, hoopskirts, knickers, hightop shoes, and Model-T Fords. Those who collect for nostalgic reasons love these.

Then there are those from family vacations and foreign tours. Those who travel frequently often bring back views of the places they’ve been on postcards to put into albums either in place of their own photographs or in addition to them. They could pick up free cards from motels, hotels, resorts, and restaurants and, of course, purchase many scenic view cards of popular vacation spots. In fact, the act of sending picture postcards to the folks back home began as an American pastime.

And you shouldn’t ignore the greeting postcards, sent by Victorians in the latter part of the 19th century to express holiday and birthday greetings.

Postcard collecting was a huge craze in the early 20th century, with peak years running from about 1907 to 1913. People used these cards to keep in touch with friends and family, much as people use Facebook today. Couples courted using postcards and strangers met other strangers in foreign countries. By the end of the peak period in 1913, people had sent over 968,000,000 postcards. If even a fraction of all those cards have made it into the hands of dealers, the supply would be overwhelming. In fact, because so many have come into the market, the price for most postcards remains relatively reasonable.

Most collectors seem to collected cards for their pictorial value and not as much for their condition. During the peak years, many seemed willing to pay a few cents for old cards, focusing on topics like bridges and courthouses which are of little interest today. And with over 120 different topics to choose from, it’s no wonder that the hobby has grown so much.

Many collectors refused to consider any card made after 1920. They especially liked photographic postcards for their historical significance. Mid-20th-century roadside and local views have now increased in popularity and price. And it’s become difficult to find city views from the 1940s and 1950s.

Dating used postcards is simple—just check the postmark on back. However, it can be harder to figure the date of unused ones. Early cards from before 1900 to 1918 have good detail and no border.

Those with a white border date from 1919 to 1932. Most of the cards were view cards which were often pale with low contrast. Paper stock at the time had a coated surface, resulting in a dull, flat  appearance. 

Linen texture-cards dominated the market from 1933 until the early 1950's. The majority of view cards from this era are boring and unattractive, especially those featuring scenery because the linen texture actually took away from the picture. Real photos of tourist areas were also fairly common. Photographic cards from this time are generally glossier and more contrasty than earlier ones and have titles in white letters close to the bottom of the picture.

As with postage stamps, the condition of a postcard falls into one of six categories—mint, near mint, excellent, very good, good, and fair. Cards in the last condition aren’t considered collectible unless they’re very rare.

To find out more about your cards and to maintain and grow your collection, you might want to join one of over 70 postcard clubs in the U.S. Most of these clubs issue bulletins that have valuable postcard information, stories, and pictures. Even if a club isn’t close enough to make it convenient for you to attend meetings, it’s worth joining, if only for the bulletins and membership rosters, so that you can begin trading with other members.

The Sleeping Chayre

QUESTION: Recently I purchased an old wingback chair at a local antique shop. It seems very old to me since it has ball and claw feet, plus it’s upholstery looks good but older in style, leading me to believe it had been done long ago. But I’m puzzled about the springs supporting the upper pillow. Perhaps they were also added at a later time. Can you tell me more about this type of chair and how old this one might be?

ANSWER: Unfortunately, your wing chair isn’t as old as you think. It dates from the Great Depression of the 1930s and would be considered a Colonial Revival piece. What led you to believe the chair was older were its ball and claw feet, made popular by Thomas Chippendale in the mid-18th century in England.

The Chippendale style of furniture remained popular until the end of the 18th century when interest in it disappeared until the Centennial Exposition in Philadelphia in 1876. The fair inspired furniture makers to re-create the styles of the American Colonial Period until all such furniture became known as Colonial Revival or just “period” furniture. Chippendale created chair designs for comfort, unlike the still, but stylish designs of Federal ones. His wingback chair offered the ultimate in comfort.

But where did the idea for a chair with wings originate? As early as the 17th century, people living in cold weather areas gathered by their fireplaces on crude wooden benches to keep warm. As the century progressed cabinetmakers added high backs with small wings to these benches. While they were functional, they were far from comfortable.

Furniture historians believe they originally intended the wings to prevent drafts from reaching the upper body of those who sat in these chairs. The chairs also prevented the immense heat a roaring fireplace fire from affecting the makeup of ladies who might be sitting too close to it. Makeup then was clay-based and tended to run when heated.

Unlike other chairs, wingbacks offered a greater level of comfort and beauty. With the onset of the 18-century, chairmakers began incorporating upholstery into their wingbacks. Chippendale molded the wingback design by adding elegant frames such as oversized wings and scrolling arms to offset the upholstery. However, most of his designs did not have a pillow seat. Instead, the upholstery was stretched over the springs and small amount of padding. The “knees” of the chair were also chunkier and lower to the ground than those of Sheraton and Hepplewhite.

Also called fireside chairs, wingbacks allowed a person sitting by the fireside to catch the heat while eliminating cold drafts from creeping around their back or sides, so chairmakers developed a new kind of chair known as the “Sleeping Chayre.” Not only did this chair have wings, enabling the sitter to stay warm, it’s back could also rachet to different angles for sleeping.

This led to an unusual use in the 18th century. Respiratory diseases were rampant back then, and people commonly believed that it was better for the sick person to sit up to prevent fluid from accumulating in their lungs. So wingback chairs eventually found a home by the fireplace in American Colonial bedrooms.

It was often common to find two of these chairs—one for the master and one for the mistress of the house—facing a small round table by the fireplace in the master bedroom of the house. Colonial couples often took their supper, known back then as “high tea,” in the warmth and comfort of their bedroom rather than in the drafty dining room downstairs.

Towards the 19-century, chairmakers generously stuffed wingbacks with horsehair for an added dose of padding. Covered in velvet or needlework to imitate contemporary French styles, they sported bright patterns and ornate fabric embellishments.

On the Wings of Memories

QUESTION: My father traveled a lot by plane for his business. He got in the habit of keeping a souvenir from each flight. I now have his collection of decks of playing cards, postcards, timetables, flight wings, dishes, silverware, and flight bags. Do people collect these items?

ANSWER: When commercial airline flights became more available to the general public in the late 1940s and 1950s, it was still a big deal to fly. Passengers dressed in their Sunday best for even the shortest flights. Because it was a treat, airlines served meals on china plates, often with silver flatware in First Class, handed out playing cards to keep their passengers busy in the days before movies aloft, and gave little mementos and games to children.

This practice continued well into the 1980s when airlines began phasing out some items, started using stainless steel instead of silver for flatware and plastic instead of china for plates. But for at least four decades, and even before that, they promoted themselves by placing their logos on ashtrays, dishes, flatware, napkins, baggage tags, flight bags, blankets, eye shades, games, toys, menus, pins, and posters—to name just a few items.

There are lots of collectors of airline memorabilia. Propelled by personal memories of a first flight or perhaps a first transAtlantic flight, passengers began taking home all sorts of airline items. Add to that, the up-in-the-air status of particular airlines from time to time and the demise of so many of the original carriers has caused much speculation in the airline collectibles market.

Searching for the term "airlines" on eBay results in over 71,000 ongoing auctions. This general
also includes offerings such as current flight vouchers, tickets, and luggage.

Some of the hottest items sought by collectors are dishes and silverware featuring an airline’s name or logo. It became fashionable for airlines to have these types of items used in First Class produced  by top-name designers and manufacturers such as Lenox and Royal Doulton. That was in the day when chic stewardesses placed linen tablecloths over First Class seat-back trays and served wine in fine crystal goblets. Nothing was too good for their passengers, especially wealthy ones who were used to the best.

Also, the older the memento, the more valuable. Likewise, the more owned, or conversely, the more limited the airline's history, the more significant the interest. If an airline was short-lived, it’s items are particularly popular.

Another item that isn’t around much anymore are flight bags. In the early days of jet travel in the 1960s, every participant of a group tour that flew to their destination received a flight bag with the airline or tour operator’s logo on it. One from Pan Am from the 1960s is now up for auction on eBay for a starting bid of $69. One used by a Pan Am flight attendant is going for $80.

For many people, a flight on the Concorde was a once-in-a-lifetime opportunity. A rare lady’s compact with the Concorde logo is going for nearly $100 on eBay. And a pair of British Airways Concorde salt and pepper shakers, made by Royal Doulton, has a starting bid of $35.

First Class menus are also popular airline collectibles. A United Airlines menu from 1964-65, featuring the tag line “Official airline of the 1964-65 New York World’s Fair,” is going for $20 on ebay. And four B.O.A.C. menus from the 1960s are going for $100.

The great thing about collecting most of these items is that they’re relatively inexpensive. While rarer airline items can sell for double and triple figures, most sell for prices in the single or low double-digit range.

For more information, read Up, Up and Away at TheAntiquesAlmanac.com

Do NOT Delete

QUESTION: I was rooting around in my attic recently and came across an old Commodore 64 computer that belonged to my late husband. Does this have any value or should I just recycle it?

ANSWER: Before you give that old computer the heave-ho, you might want to read on. It’s been 30 years since the Commodore 64 first appeared on the market. In that relatively short time, personal computers—better known as “PCs”—have turned the world upside down and inside out. In fact, most people do very little without computers today, and businesses, especially, couldn’t operate without them.

As technology progresses, people, especially nerds who grew up with computers, seek out their first computers. Like most parents, they always fondly remember their first. And in the retro movement, twenty- and thirty-somethings are also trying to discover the computers from before they were born. In fact, someone out there collects just about any pre-1990 computer, but it’s the ones from the 1970s that are hot.

With 17 million units sold during its long lifetime, there are probably more Commodore 64 computers stashed away in closets and attics than any other model. Some say the Commodore 64 was the best-selling single computer model of all time. Collectors can usually find one or two available on eBay for anywhere from $10 to $300, with some in their original box.

Of all the early computers, the Apple models are the overall favorite among collectors. The most sought after one is the Apple I. Of the 200 assembled in a wooden cases in 1976, only 35 still exist. When they first appeared, they sold for $666.66 and even at that price, Apple co-founders Steve Jobs and Steve Wozniak struggled to drum up interest in their new creation. Originally, they had planned to sell the Apple 1 as a bare circuit board that electronics hobbyists could turn into a working computer by soldering in the chips themselves. But it was only a modest success. In today’s Apple IPad world, it’s become the most famous collectible computer, bringing in $15,000 and $25,000 when one goes up for sale.

With over 5-6 million sold, the Apple II isn’t that rare. Originally selling for $1,298, today about the most a collector will pay for one is $250. Some call this model one of the greatest PCs of all time. Of all the ones that appeared on the market in 1977, it was definitely the most advanced. The hottest one today is the plain-vanilla II model.

Garage sale and dumpster divers have no trouble finding discarded computers. But the more valuable ones, like the Apple Lisa, are harder to come because of their age and collectability. By 1983, Jobs and Wozniak had refined their computers with a graphical interface—that is users were able to display fonts, illustrations, and photos on the monitor. This put the Lisa way ahead of its time with a hefty price tag of $10,000 to match. It even came with a mouse, a feature that wasn’t to appear regularly until the MacIntosh. Unfortunately, this computer was also temperamental and thus failed in the market. Its historical significance makes it one of the most valuable computer collectibles, valued at $10,000,  the same amount it sold for 29 years ago. To add to its mystique, Jobs and Wozniak ordered 2,700 unsold Lisas buried in a Utah landfill in 1987.

In February 2005, Christie’s held an “Origins of Cyberspace” auction which offered old documents detailing the foundations of computing. The auction drew a lot of attention to vintage technology and placed value on items once used only by geeks. Unfortunately, that attention caused vintage computer prices to skyrocket, thus pricing a lot of collectors out of the market. 

Cover-featured in a famous issue of Popular Electronics magazine as a do-it-yourself project, the Intel 8080-based Altair wasn't the first microcomputer, but it was the first one that truly caught on, spawning an entire industry of clones, add-ons, and software suppliers. Bill Gates, through his company Micro-Soft, developed the first operating system for that computer, launching a company that operates to the present day. And because the Altair was such a big seller, it isn’t as valuable as some of the other early computers, however, models in good condition do sell today for over $2,000.

The first clone of the Altair was the IMSAI 8080 which sold for $600 in 1975 and has a value nearly that now. It’s main selling point was its compatibility with the Altair 8800. It’s probably most famous today as the computer that Matthew Broderick used in the 1983 movie “War Games.”

Two of the most popular computers to catch the eye of consumers and now collectors are Radio Shack’s Tandy TRS-80 Model 1, which hit the stores in 1977 for $599, and the TRS-80 Model 100, which appeared in 1983 for $799. The TRS-80 became the first computer sold in shopping malls while the second became the first popular notebook computer, with nearly 6 million sold, making Radio Shack the world's leading computer retailer for a while. Both sell today on eBay for $25 to $250.

Last but not least is the IBM PC, first coming on the computer scene in 1981 at a staggering price of $1,565 and now worth between $50 and $500. More formally known as the IBM 5150, it foretold the end of the early days of the Computer Age. The PC revolutionized computing for the average consumer, becoming the first to use hardware and software made by third-party companies. After it’s introduction, no computer company, except Apple, had a monopoly on their wares. And in its January 1983 issue, Time Magazine named it the “Machine of the Year.” And today, in all of its many forms, that machine still is.

Is It Real or Repro?

QUESTION: My grandmother had a pretty little light yellow and pink glass cruet which I now have. Can you tell me anything about it?

ANSWER: Your grandmother’s cruet is made of what’s called Burmese glass. Frederick Shirley of the Mount Washington Glass Company patented the mixture for this type of glass in 1885 and produced it until about the mid-1890s. Over in England, Thomas Webb also had a license to make Burmese glass and did so until about 1900.

Authentic Burmese is a heat-sensitive glass, made so by adding a small amount of gold—roughly 1/20th of an ounce—to the glass mixture. In its molten state, Burmese is a soft yellow color, made possible by the addition of uranium oxide. However, reheating the piece creates pink highlights, especially on the rims. Varying the amount of gold in relation to other ingredients affects the range of intensity of the pink highlights.

During the 1970s through the early 1990s, reproductions of Burmese glass pieces appeared in Italy.. Now, some 20 to 35 years later, many people unknowingly confuse the Italian reproductions with the 19th century originals. This is especially a problem with these items when sold in online auctions, where misrepresentation is often a problem.

One of the most widely reproduced items of Italian Burmese was a cruet, which is now commonly mistaken or deliberately misrepresented as being original Burmese. The only authentic cruet form made by Mount Washington in the late 19th century has a relatively short-ribbed body with a matching Burmese ribbed mushroom-shaped stopper. The easiest way to tell an original is by the solid, smooth-surfaced applied handle, firmly attached to the cruet’s body. Reproduction cruets have thinner handles that aren’t attached to the body very well and are narrowly ridged or reeded. Original handles are sturdy, perfectly round in cross section, and smooth with no reeding.

Another way to distinguish originals Burmese cruets from Italian reproductions is their spouts. Original Mount Washington cruet spouts feature a standard straight-ahead shape. But the majority of reproduction spouts are trefoil or three-lobed. New stoppers also vary considerably, but none feature the ribbed mushroom shape of the original. Also, the bases on original cruets have a well-defined standing rim while most reproductions have a perfectly smooth base.

To trick unknowing buyers into purchasing reproductions as originals, some dealers and online auctioneers tout them as being Webb Burmese from England, but even though Webb had a license to make Burmese, no one has ever seen a piece on display.

Remember, first and foremost, Mount Washington glassmakers blew their 19th century Burmese pieces and smoothly ground the pontils—the point where the blowing rod joins the piece. Italian reproductions often are of pressed glass, thus have no pontils. 

When held to a strong light, reproduction Burmese cruets shows colored swirls and streaks not found on originals. The Mount Washington glassmakers created original Burmese from one homogeneous mass. The color change in original Burmese comes from reheating this solid mass. But the Italian glassmakers who created reproduction pieces of Burmese did so by mixing molten yellow and pink glass together. This causes a line of what appears to be clear frosted glass along the edge of the rim of a reproduction Burmese cruet.

Originally, glassmakers gave the surface of their Burmese glass a soft look by dipping their pieces in acid. Italian reproduction makers gave theirs a soft finish by sand blasting.

Reproduction glass is the hardest to distinguish from the original. The pieces often exhibit no marks or signatures and most glass shows little signs of age. The difference is in both the original mixture and the process to make and finish the pieces.

What you have is an excellent example of an authentic Mount Washington Burmese glass cruet. Today, you’ll see these listed for anywhere from $200 to over $5,000 online, depending on the condition and pattern.

Water, Water Everywhere

QUESTION: I discovered this unique water bottle at a local antiques co-op. While most antique water decanters are solid cut or pressed glass, this one comes apart into two pieces. A metal ring, with a rubber gasket to make the seal tight, screws onto the base. The mark on the bottom edge of the top section reads: Perfection Bottle Co., Wilkes-Barre, PA Pat March 30-97. What can you tell me about this type of water bottle?

ANSWER: You, indeed, have found a unique water bottle. Though a revolutionary idea, this type of water bottle appeared in stores for only a few years.

From the mid-19th century to the early 20th century, water bottles were standard items in many American Victorian households. They appeared on dinner tables either alone or with matching glasses and in bedrooms often with a glass that set upside down over the top of the bottle. They also could be found on the nightstands in hotel rooms and steamship cabins, and on tables in railroad lounge cars.

At first, manufacturers made them of elegant cut glass, but that was too expensive for the average person. Some turned to using pressed glass in a variety of patterns which lowered their cost.

However, cleaning these crystal beauties posed a serious problem with hygiene. The bottle’s narrow neck made it hard to get a brush down into it, making it almost impossible to clean the inside surface of the bottle’s bulbous interior. But that changed in 1896 when William B. Fenn came up with the idea of a separating water bottle—one with pieces that could unscrew for easy cleaning. On March 30 of the following year, he applied for and received a patent for it.

Fenn’s separating water bottle had an ingenious design. He made the neck and base two separate pieces, with the bottom edge of the neck fitting inside the top rim of the base. A rubber gasket formed a waterproof seal between the two parts and a metal ring screwed over the joint to lock the pieces in place.

Even though Fenn used glass for his original design, he stipulated in his patent that any material, including ceramics and porcelain, could be used for the bottle, itself, and any metal could be used for the joining ring as long it wouldn’t corrode.

It took nearly three years for Fenn's" bottle to be available to the public.,Priced at $4.50 each when they first came on the market in 1900, they were well beyond the means of the average person. Realizing he had to do something to increase sales, Fenn redesigned the pattern on the bottle so that it could be pressed instead of cut. Suddenly, the price per bottle dropped to 50 cents per bottle, or 34 cents each for a dozen, making the Fenn water bottle affordable for everyone.

Fenn’s invention was so successful that he decided to expand production. By October,1902, consumers could purchase a decanter and stopper in four sizes—half pint, and one, two and three-pint versions. And during 1903; He expanded the line further to include other glass containers, such as   syrup pitchers and cruets, as well as bitters, cologne, and barber bottles, each with a different pattern.

The separating water bottle came in three models—the Royal, with a delicate design imitating cut crystal, the Imperial, also sold in two and three-pint capacities but without a pattern, the Optic, with a succession of single, convex protruding, vertical panels with rounded tops and bottoms, and the Colonial, featuring nine rounded panels with flat bottoms around the base. Each came in two and three-pint sizes, except the Colonial which also came in a half-gallon size.

In 1903, the Perfection Water Bottle Co. and the Sterling Glass Co. combined to create the Perfection Glass.Co. of Washington, Pennsylvania, with William Fenn as one of the initial investors. But the new company was only to last until 1907 when it closed its doors for lack of sales.

Portable Portraits

QUESTION: I’ve noticed photographic portrait cards of Civil War soldiers at flea markets and antique shows. Are these good to collect or do people buy them just to add ambiance to their antique decorating?

ANSWER: The portrait cards you’ve been seeing at flea markets and antique shows, known as  carte de visites, are, indeed, highly collectible, especially if they’re photographs of someone special or famous.

Parisian photographer, André Adolphe Eugène Disderi, patented the first carte de visites, literally meaning “visiting cards,” in 1854. Each card, onto which the photographer pasted a small albumen print,  measured 2-1/2 x 4 inches. They became all the rage for several decades during and after the Civil War, both here and abroad. However,  Disderi's format didn’t become widely used until nearly five years after he patented it.

But once his format caught on, it became an international standard. For the first time, people could exchange portraits, which they could then place into matching slots in specially made carte de visite photo albums. It didn’t matter where the recipient lived since they could purchase these albums everywhere. Another advantage to carte de visites was that people could mail them to each other. Usually each print came with a special mailing envelope, making it easy for the sender to just address it and pop it into the mail. Earlier daguerreotype and ambrotype photographs, both done on glass plates, required the sender to package them in bulky boxes with sufficient packing to prevent breakage during shipment. And because of their small size, carte de visites were also somewhat inexpensive. 

Before the advent of carte de visites, people exchanged elaborate calling cards with their names engraved in decorative fonts. During the decade before the Civil War, it was the custom for a person to present his or her calling card whenever they visited someone. Life was very formal at the time, and no one received anyone they didn’t know without a calling card. Most people had a small basket or box in their parlor in which visitors could place their cards. A few photographers created and sold special photographic calling cards, but these weren’t standardized.

Using Disderi's method, a photographer could take eight negatives on a single 8 x 10-inch glass plate using a sliding plate holder and a camera with four lenses. That allowed him to make eight copies of the person’s portrait each time he printed the negative. This reduced production costs and allowed photographers to sell carte de visites at a reasonable price.

People were slow to purchase these new photo cards. However, legend says that after Disdéri published Emperor Napoleon III's photos in this format, the cartes gained widespread popularity.

Historians believe C. D. Fredericks introduced the carte de visite to the U.S. in New York late in the summer of 1859.  After carte de visites of Abraham Lincoln went on sale, they caught on like wildfire as soldiers and their families posed for them before war or death separated them. Carte de visites of famous people, like Ulysses S. Grant, became an instant hit, as people began collecting celebrity portraits of the time.

Civil War photographs are extremely collectible and have crossover appeal to collectors of both military and early photographs. From 1861 to 1865, the most method of portraiture was the tin-type and the carte de visite.

John L. Gihon of Chestnut St. in Philadelphia, was a portrait photographer who captured images of soldiers and prisoners at Fort Delaware off the shore of Delaware City, Delaware. His carte de visites eventually led to the production of early baseball cards for the Philadelphia Athletics in the 1870s. He died of an illness at only 39. Gihon charged his customers $2.50 for a sitting and six cards.

These little portraits were very important to Civil War soldiers. Since those, especially the Confederate prisoners, at Fort Delaware had to make do with what they had, they, usually officers, often borrowed pieces of uniforms, especially hats, and props, including swords, belts, sashes, from others confined with them so that they would appear as finely dressed as possible.

Prices of collectible carte de visites vary on condition, pose and subject. A carte de visite of surgeon Robert Hubbard, 17th Connecticut Infantry Volunteers, sold at auction for $374. Hubbard enlisted as surgeon of the regiment in August 1862 and became the acting medical director during the Battle of Gettysburg. He resigned in Dec. 1863.

A carte-de-visite of Dr. Mary Walker, taken by noted London photographer Elliott & Fry sold at auction for $1,380. She graduated from Syracuse Medical College in 1855 and was an author and early feminist who gained distinction during the Civil War as a humanitarian, surgeon, and spy. Congress awarded her  the Congressional Medal of Honor in January 1866 on the personal recommendation of General Sherman. She refused to part with it when Congress revoked it for “unusual circumstance” in 1917. Dr. Walker died in 1919, but it wasn’t until 1977 when President Carter officially reinstated the award.

Collectors can find a variety of carte de visites both at flea markets and antique shows and in some antique shops and online. Prices vary from a few dollars to several thousand. They’re great items to collect, especially if a collector can find the special albums to hold them, often sold with their carte de visites removed.

What's Cookin'?

QUESTION: My great-grandmother died recently and my husband and I now have the task of disposing of her monstrous, cast-iron kitchen stove, which we understand belonged to her mother. Is it worth moving the stove to our place or should we just call a junk dealer to remove it?

ANSWER: Depending on the ultimate condition of your great-grandmother’s stove, you may find that it’s worth far more than you imagine. You have two options: Clean it up, restore it, and use it in some way in your house or sell it. Either way, there are a few things you need to know about old kitchen stoves before you decide.

Colonial life centered around giant smoking, inefficient fireplaces. The walk-in Colonial hearth dominated the most important room in the house—the kitchen. Housewives or their servants continually added fuel to the cooking fires throughout the day. After supper, cooks kept the fading embers alive until the following morning, when they began the daily routine of stoking, feeding, and cooking once again.

During the 1790s, a Massachusetts-born physicist named Benjamin Thompson (aka Count Rumford) discovered how inefficient these fireplaces were and set out to invent a better solution. The Rumford stove had shallower fireplaces and a more streamlined chimney that forced out smoke but not heat. It featured one fire source that could heat several cooking pots and enabled the cook to regulate the heat individually for each pot. It was more of a fireplace insert than a stove and required modification of the huge hearths. These became  status symbol among the wealthy. Even Thomas Jefferson had several installed at Monticello.The downside about the Rumford stove was that it was meant for large kitchens.

Foundries began producing small wood-burning kitchen stoves, complete with ovens, in the early 19th century. Forty years later, makers produced full-sized kitchen stoves by the thousands. The size of kitchen stoves increased the manufacturers offered such options as warming ovens, extra surface burners, shelves, water reservoirs, and decorative panels of enamel or porcelain.

Historians refer to this style of six-and ten-plate wood-burning, box stove as a laundry stove because housewives or servants could place wash kettles on the flat, top surface. Some laundry stoves, such as the one invented by J.T. Davy, featured hooks for six flat irons around the belly of the stove. These, plus a putting one on the loading plate, enabled the laundress to heat seven irons at once.

British inventor, James Sharp patented the first successful gas stove in 1826. During the 1910s, gas stoves appeared with enamel coatings that made the stoves easier to clean. Most households had gas stoves with enclosed ovens by the 1920s. However, the slow installation of gas lines to most households delayed the progress of gas stoves. By World War I, the new gas stoves permanently replaced fireplaces for cooking.

If you’re planning on selling your great-grandmother’s stove, check the porcelain areas carefully. While you can easily clean it with a strong kitchen degreaser, you cannot replace any part that is badly cracked or missing. The only thing you can do in that case is to paint the damaged area with white or colored porcelain repair paint. But this only works on small areas.

Monumental monstrosities like your great-grandmother’s kitchen stove, are some of the most sought-after antiques. They helped raise and bake bread and simmered soup for hours on cold winter days. Today, the old time kitchen stove has come to symbolize the concept of "home."   

Still Crazy After All These Years

QUESTION: I recently purchased a crazy quilt at a country antique show. I love the intricate designs, but, otherwise, don’t know much about it. Can you tell me more and perhaps tell me how I can take care of it? It’s in pretty good condition, but I can see that it’s somewhat delicate.

ANSWER: Your crazy quilt is the result a fad that began here in the United States over 100 years ago, roughly from 1875 to 1900. As with many country quilts, it became a way for women to use up their extra scraps of cloth or fabric from worn-out clothes, but crazy quilts also were a form of self expression, much like samplers were a 100 years before that.

Victorian women created crazy quilts like giant jigsaw puzzles, made of irregular pieces of silk, satin, velvet, or plush fabric sewn onto a solid backing of a lighter material, then decorated with embroidery stitches. Many became sentimental diaries stitched with names and legends while others took on the look of nostalgic stitched scrapbooks filled with memorabilia commemorating events, story book characters, garden flowers, even family pets. Women often made them as gifts to a bride or to someone recovering from a severe illness. Others made them in memory of a loved one who had recently passed.

Scraps for these elaborate quilts often came from ball gowns, opera capes, or the parlor curtains. But women could also buy packages of scraps from the Montgomery Ward or Sears Roebuck catalogs. The Singer Sewing Machine Company used crazy quilts as a symbol on their trade cards. Women's magazines of the day offered directions for making crazy quilts as table covers along with patterns for decorating them. Silk manufacturers promoted the use of their scrap waste in making crazy quilts. Magazine publishers also offered booklets on making crazy quilts as premiums in exchange for  subscriptions to their periodicals.

The word crazy in this case actually means irregular, odd, bizarre, strange, or unusual, and perfectly describes these quilts. Some look like a haphazard collection of odd bits of cloth and memorabilia while others are more like abstract works of silk art in shimmering colors reflecting light.

Since crazy quilts are more often tufted rather than quilted, they should be called "throws." Victorian housewives often threw them over parlor tables and pianos, as well as sofas or beds. They were the perfect complement to the ornately carved overstuffed furniture and bric-a-brac of every sort adorning  table tops, etageres, and mantels in the Victorian parlor.

Some historians believe the Victorian crazy quilt may have originated as a result of the popularity of Japanese prints or screens after the Philadelphia Exposition of 1876. Others wonder if their fractured designs may have been taken from the pattern of an uneven pavement or cracked ice, a popular decorative border used from the late 1870s through the 1880s.

Likewise, women often copied the patterns painted and embroidered on crazy quilts from Japanese ones. Many crazy quilts display a cranes standing in pools of water, owls and peacocks perched on gnarled tree branches, kimono clad figures, butterflies and cherry blossoms, hanging lanterns and spider webs.

And since not every woman was artistically talented, makers of crazy quilts could purchase pre-stamped patches or would trace designs from magazines. The Ladies Home Journal offered as a premium to readers bringing in 16 new subscribers a “Crazy Patchwork Outfit,” consisting of 12 pre-stamped pieces of silk, one box of stamping powder, twelve skeins of embroidery silk, and a glittering array of two dozen spangles and two yards of tinsel cord.

Women's magazines also offered how-to instructions for the three basic embroidery stitches---the outline, Kensington, and plush. The outline stitch, also known as the stem stitch, formed a thread line as in a drawing. The Kensington stitch enabled crazy quilt makers to fill in their outlines using various colors. And the plush stitch produced areas of cut silk thread like a pile carpet.

Quilt makers used embroidery stitches not only along the edges of patches to decorate them and at the same time hold the edges under and in place but also to make designs. Those who lacked embroidery skills could purchase pre-embroidered appliques. Some crazy quilt makers further embellished their creations with painted designs on the fabric after they assembled their quilts. Sequins, beads, spangles, metallic braid, and ribbon were also popular forms of embellishment.

Crazy quilts are as durable as regular quilts. They won’t survive daily folding and shouldn’t be used as throws where they’ll be handled a lot. But they can be mounted on a frame or encased in plexiglass and hung on a wall. Both dry cleaning and wet cleaning damages them, so the only safe way of cleaning them is to use a low power vacuum held well away from the fabric which has been covered with some sort of mesh screening—an old window screen will do—to prevent the fabric from being sucked up and damaged.

Unlike regular quilts, women who made crazy quilts usually signed them. Many have been passed down through generations in a family.

Prices for crazy quilts range from $50 for an average small one to as much as $1000 for a large exceptionally stitched one. Because their prices are relatively low in comparison with fine 19th-century quilts, many most likely remain hidden away in attic trunks waiting to be discovered.