The Art of Knokhloma

 

QUESTION: For years I’ve been collecting decorative wooden bowls and utensils that someone told me were Ukranian. They look to be some type folk art but I’m not sure how old the pieces I have actually are.  I’ve never seen or read anything about them, but their bright colors and attractive designs  really attracted me. I found most of the pieces in my collection at garage sales and fleamarkets. What can you tell me about the pieces in my collection?

ANSWER: The pieces in your collection aren’t Ukrainian but Russian—there’s a difference. In fact, they originated in the Kovernino District of the Nizhni Novgorod province north of Moscow. The painting style became to be known as Khokhloma. 

, which first appeared in the second half of the 17th century, is known for its curved and vivid mostly flower, berry and leaf patterns. The Firebird, a figure from the Russian fairytale, can also be used.

A combination of red, black, and gold are typical colors for Khokhloma. When artisans paint on wood, they use mostly red, black, green, yellow and orange  over a gold background. This makes the wooden tableware look heavier and metallic.

The production of painted dishes in Khokhloma is first mentioned in 1659 in the letter of a boyar called Morozov to his bailiff, containing an order for 100 painted dishes and 40 painted wine bowls.

The handicraft owes its origin to the Old Believers, who, fleeing from persecutions of officials, took refuge in the local woods. Even earlier, however, local craftsmen had experience in making tableware from soft woods. But it was icon-painters who taught them the special technique of painting wood in a golden color without the use of real gold.

The craftsmen carved utensils and dishes out of wood, then primed them with clay mortar, raw linseed oil, and tin powder. They then painted a floral pattern on top of this coating. After that, they coated the pieces with linseed oil and hardened them in a kiln at high temperatures. 

Artisans used two principal wood painting techniques on the Khokhloma—the  "superficial technique," red and black colors over a goldish one, and the "background technique," a goldish silhouette-like design over a colored background.

One of the villages where the art of Khokhloma painting had originally been practiced in ancient times grew to become a trading post to which the local craftsmen brought their wares for sale starting from the 18th century.

But it wasn’t until the end of the 19th century that Westerners first learned of the Khokhloma painting style through an exhibition in Paris. But by the early 20th century, the style seemed to be fading away, only to be revitalized during the Soviet times. 

The Khokhloma craftsmen united into artels in the 1920s to early 1930s. In the 1960s, the Soviets built a factory called the Khokhloma Painter near the Khokhloma village and another one in the town of Semyonov. These two factories have become the Khokhloma centers of Russia and still produce tableware, utensils,, furniture, and souvenirs.

The three colors—red, black, and gold—used in Khokhloma painting had a profound symbolism for decorating the sacred church vessels and the dishes and cups used in the monasteries and nunneries, as well as in icon ornaments. The red color represented beauty, the gold color symbolized the spiritual heavenly light, while the black color signified the cleansing of the human soul. The religious symbolism of colors has long been lost in the Khokhloma art but the precise and solemn scheme of colors inherent in the festive design of the "gilded" dishes grew to be traditionally used for decorating all wooden Khokhloma articles and made them especially favored by collectors.

There are families in the region famous for Khokhloma art who have been keeping secret formulas of painting materials and techniques, transferring them from one generation to the next for more than three centuries. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Buyer Beware

 

Chippendale style dining table and chairs 1930s

QUESTION: I’ve been looking for a new dining table and chairs. But the new ones I’ve seen don’t look very well made for their high cost. A friend suggested I look at buying an antique set. I found a beautiful Chippendale set in a local antique shop. It’s a beautiful set, but how can I be sure it’s the real thing? The shop is reputable so I don’t have any reason to suspect the sets authenticity. How can I be sure it’s authentic? 

ANSWER: You have every right to be suspicious. Even reputable dealers have been fooled by copies of 18th-century pieces coming out of Indonesia. The makers of these pieces do such an excellent job of copying every detail that it’s often hard for some dealers to be sure. 

The Indonesian copies are only the latest in a long line of reproductions. Most people think that because a piece of furniture of a particular older style that it must be a antique. People fail to realize that certain popular styles of furniture have been reproduced over and over throughout the last several centuries.

Indonesian Chippendale dining table replica

I could tell from the photo that the dining table and chairs had been made in the Chippendale style, but I could also tell right away that it wasn’t an antique. The giveaway was the extra leaves in the table. From the looks of it, I'd say the set might be as old as the 1930s, but I'm leaning more to the 1960s. Let’s see why.

Chippendale style dining table with two leaves 1900

Small Chippendale dining table late 18th century

At the time Chippendale furniture was popular in the mid 18th century, dining tables like this one with added leaves didn't exist. Dining tables with separate leaves didn’t come into use until the 19th century. During the 1750s, "joyners"—the person’s who made furniture—made dining tables as drop-leaf tables with large leaves or wings that could be folded down and stood against a wall until ready for use. In many cases, the owners stood them in their front hallways to allow for more space. 

A wealthy 18th-century family would have only used a larger table like this when dining with guests. They often ate at a smaller table by the fire, especially in winter, or had “tea”–what we call supper–in their bedrooms by the fire. When not in use as a dining table, they may have used it for other things and stood the chairs against the wall around the room. In fact, cabinetmakers sold the tables and chairs separately, not in sets.

Georgian Chippendale dining table made from three solid mahogany boards

At the end of the 19th century, a style called Colonial Revival came into popularity because of the colonial exhibits at the Philadelphia Centennial Exposition in 1876. Furniture makers began to make what they thought looked like colonial furniture although it was often stylized and lacked the fine details of the original.

Also, cabinetmakers in the 18th century used pegs to join furniture, thus the name "joyners." After the start of the Industrial Revolution in 1830, screws came into common for joining parts of furniture. Early cabinetmakers also carved their names or initials on their pieces. By the second half of the 19th century, furniture makers began to affix labels on their products.

Queen Anne side chair of Bermuda cedar

And even antique experts can be wrong. A dealer rejected an 18th-century Chippendale drop-leaf dining table and one chair as not being authentic because the wood wasn’t mahogany, the traditional wood used on such pieces. It turned out that the table and chair were authentic after all. It seems they were made of Bermuda cedar, now long extinct. This wood is more orange in color than mahogany. Although this dealer was the expert on 18th-century furniture in the area, the owner took the table and chair to other dealers who all agreed with him. It was only after a friend saw an identical table in an historic house while on a trip to Bermuda that the owner was able to determine the true age of his table and chair. 

That said, this table and chairs seems to be well constructed of solid mahogany and, therefore might sell for somewhere between $1,500 and $3,000. But don’t mistake the identity of this dining set for the real thing which might sell for upwards of $5,000. It isn’t.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Inauguration Mementos

 

QUESTION: One of my father’s most cherished possessions is a silver presidential inaugural medal produced for the inauguration of President John F. Kennedy in 1961. I wasn’t born until 1966, so I don’t know much about the Kennedy years. What can you tell me about the inaugural medals and this one in particular?

ANSWER: Of all the presidential inaugural medals, the one produced for John F. Kennedy’s inauguration is one of the most popular, and depending on its condition, the highest priced. But the tradition of producing a commemorative medal for a presidential inaugural is a long and often complicated one. Ironically, it didn’t begin with George Washington but with Thomas Jefferson.

President Jefferson received the first unofficial inaugural medal produced by German engraver John Mathias Reich in 1802. Reich asked Jefferson to hire him to design an inauguration medal. After examination of his sample works, Reich got the job. The silver medal sold for $4.25 and a tin version for $1.25.

The presidential inaugural medals became popular souvenirs for the attendees at the inaugurations for Martin Van Buren, John Tyler, James Polk, and Zachary Taylor. Since there was no standard medal, historians have uncovered medals in various sizes, qualities, and different metals.

When the government decided it could no longer afford the inaugural celebrations at the turn of the 20th century, Washington D.C. residents took it upon themselves to raise all the funding for inaugural festivities. One way to raise funds was through the sale of official presidential inaugural medals. Instead of various presidential medals being produced for tourist consumption, they decided to have the official Inauguration Committee produce and sell an official inaugural medal to the public.

In 1901, William McKinley received the first official presidential inaugural medal—it had his portrait stamped on one side and the Capitol building on the other. Surrounding the Capitol building are the words, "William McKinley President of the United States/Theodore Roosevelt Vice-President." Instead of being produced by the United States Mint as were previous the medals, the McKinley medal was produced by the Joseph K. Davison Company of Philadelphia, which produced three gold medals for the President, Vice President, and President of the Official Inauguration Committee for Medals and Badges. Committee members received silver medals while the bronze medals were sold to the public, originating a tradition that’s still followed today.

But President Theodore Roosevelt decided that the previous medal produced for McKinley wasn’t sufficient for him. He wanted his medal to go beyond a simple portrait. Roosevelt turned to renowned sculptor, Augustus Saint-Gaudens to design a superior inauguration medal for his election. One side displayed a distinguished portrait of Roosevelt and the other side held a high-relief eagle---the same eagle that later adorned the $10 coins produced by the U.S. Treasury.

Roosevelt's artistic design continues to influence presidential inaugural medals today. Following Roosevelt's presidency, the Chairmen for the Committee on Medals and Badges purposely chose an artist to design the inaugural medal. But time constraints and the limitations of producing the medals always affected the final results. Consequently, various degrees of artistic medals have been produced, from the less ornate Woodrow Wilson medals with his portrait on one side and his name and Vice President's Riley Marshall's name on the other, to the more elaborate John F. Kennedy medal that has his portrait on one side and a high relief of the Presidential Seal on the reverse.

Compared to previous inaugural medals, the number of medals produced and sold for Harry Truman’s inaugural totaled 7,500. This allowed the Inaugural Committee to not only raise enough funds to pay for the inaugural ball, gala, and parade, but to amass a sizable profit. By President Eisenhower’s inauguration in 1952, the number of inaugural medals produced had climbed to over 26,000.

The inauguration of John F. Kennedy in 1961 was met with great enthusiasm. Mrs. Kennedy suggested Paul Manship be contracted to design the medal. Again, the Medallic Art Company was contracted to strike the medals that would be produced in gold, silver and bronze. As part of the promotional campaign, the firm also designed six-piece sets to show the process in which the medals were made. It produced 7,500 silver medals, all of which sold.

The number of medals produced by the Franklin Mint for the second inauguration of President Richard Nixon reached 106,000 in bronze and 20,000 in silver. And by the time of President Bill Clinton’s inauguration in 1997, the Inaugural Committee had chosen the T.V. sales program “QVC” to sell them.

The production of inaugural medals now follows a set procedure. The sculptor first has the President-elect sit for a clay sketch. Then the artist turns the sketch into a mask to which he adds facial features. He then transforms the mask into a plaster model, followed by an epoxy cast which can be used to create the die cuts used for striking the medals. After the medals had been created, they’re immersed in chemicals to darken them, creating a two-toned effect. The medals finally receive a coating of  lacquer to preserve them.

Traditionally, the Inaugural Committee presents the gold medals as gifts to the newly sworn in President and Vice-President at the luncheon following the inauguration ceremony at the Capitol.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Links from the Past to the Present

 

QUESTION: My dad was a snappy dresser. When I was a kid, I remember him buttoning up his shirt sleeves with fancy little things which I later learned were called “cuff Links.” He was a manager in a big company, so he always had to dress well for work. He had quite a few sets of cuff links which I now have. And although I don’t wear shirts that require cuff links, I like the varied designs and styles that he left me. I was wondering if cuff links are collectible. And if so, are just the old ones collectible or the newer ones, also?

ANSWER:  Cufflinks are one of the few accepted and collectible items in a limited line of men’s jewelry. A search through virtually any antiquing site attests to the seemingly endless styles, shapes and designs produced in the last two centuries. 

Ever since they first appeared, cufflinks have mirrored the fashions, the economy, the manufacturing, and the art of their era, usually larger and more colorful in good times and smaller and more conservative in bad times.

They originated long ago as removable buttons for shirts and jackets. When buttons became mass-produced and cheap enough to sew onto the material itself, men used these little studs only at the cuffs. The variety of cufflinks increased dramatically with mass production techniques. Every member of the peerage, as well as every business man who wanted to socialize in high society, had to wear "tails" at every dinner party and evening activity. And tails required a shirt with French cuffs—double folded-over ones with slits on each side, linked or held together by “cuff links,” thus the name.

The earliest cuff links date from the same period as the cuff-fastening slit. Handmade of various metals, usually gold and silver, and set with gemstones, they became a luxury for the wealthy.

Hand-casting and other manual jewelry-making techniques continued until 1840 to 1870 when three mechanical developments—the tour a’guilloche machine, the steam driven stamping machine, and electro metallurgy—opened up men’s jewelry to a much wider clientele. The French or double-cuff shirt sleeve also became a popular fashion accessory in the 1840s.

After 1840, cufflinks became more affordable. Victorian lucky charms, hearts, flowers, love birds, ivy, love knots, angels, snakes, even babies found their way to cufflinks of the era. As did the horseshoe. Horse racing was a passion of Edward, Prince of Wales and many commoners apparently liked the idea of linking themselves and their shirt sleeves to royalty through this symbol.  Cufflink makers employed free-flowing whiplash lines, organic motifs and stunning, romantic feminine figures and faces during the Art Nouveau period.

The publication of Alexander Dumas’ novel The Three Musketeers in 1844 stimulated this new elegant touch in fashion, as detailed descriptions of the turned-back sleeves of the men guarding King Louis XIII inspired European designers to modify the single cuffed, link-holed shirtsleeve that had been the mainstay of English fashion since 1824.

The English middle class adopted cuff links during the reign of George IV, toward the end of the Industrial Revolution. Unable to afford gemstones, they turned to replicas of the real thing. Designers used “rhinestones” and pastes to represent diamonds, pinchbeck, a copper and zinc alloy, as a substitute for gold, and cut steel and marcasite as a substitute for silver.

Late Georgian and Victorian jewelers favored a rose or flat cut for real or fake gemstones. They typically used foil or paste, a type of leaded glass, for backings. 

Reverse intaglio was also a popular way of embellishing 19th century cuff links. After carving a figure or scene in great detail into the back of a cabochon crystal, an artisan would carefully fill in the work with paint and apply a mother of pearl backing. Manufacturers used this elegant process almost exclusively for jewelry worn by men.

Cuff link makers used this same process to carve designs, often of classical gods, into carnelian. a brownish-red mineral, which gets its deep rust color from impurities of iron oxide in the silica mineral chalcedony, commonly found in Brazil, India, Siberia, and Germany. Used as a semi-precious gemstone, its color can vary greatly, ranging from pale orange to an intense dark rust. 

Although men favored enameled cuff links during the late Georgian period of the 18th century, it wasn’t until the Art Deco period of the 20th century that enamels reached their peak of popularity. Metal decorated with baked enamel— colored lumps of glass ground into a powder with a mortar and pestle—has been an art form since the 13th century.

Manufacturers of the 1950s arid 60's frequently marketed cuff links in a series, for example pairs featuring cars, sports themes, and so on. Various caricature cuff links, images of sports, political and theatrical celebrities were also popular during that time. One interesting category of cuff link is the "do-ers" category. As. the name implies, cuff links in this category do something in addition to fastening. Nail clippers, thermometers, music boxes, and watches have all been built into the links.

But the front design on cuff links is only have of the story. Fasteners on the backs have their own intriguing history. Late Georgian fastening devices featured wire loops, curb chains and string. Makers introduced the dumbbell form earlier in the mid-Georgian period in the late 18th century. Small and in one solid piece, craftsmen carved the dumbbell from ivory in the early part of the 19th century and by mid-century, from pearl. Carved dumbbells had a slightly curved shank. They looked like exercise weights whose ends were too heavy for the bar. Dumbbells of glass, coral, gold, gold plate and various hard stones became fashionable by the 1890s.

A metal button fastener, circa 1880, looked like an oversized shirt stud. Another, the "one-piece link" from the 1890s, continues to be produced today. It has a metal face, slightly curved fastening device and a metal oval to hold it fast to the inside of the cuff. 

The patent, dated 1884 on the back of these cuff links, most likely refers to the closing mechanism. By that time celluloid collars and cuffs were popular. And since they were stiff, cufflinks with that mechanism would have been very compatible. 

Generally, cuff links backs can be classified into the following groups—flipbacks on English and Scandinavian ones from the turn-of-the-20th-century, chain-backs dating from the 18th until the 1920s, and spring-backs dating from the 1930s, 1940s, and later.

Many collectors tend to specialize in cuff links from a particular era such as Art Deco, Victorian, or contemporary. Some prefer to concentrate on a theme like animals, sports or automobiles, while others look for novelty pairs incorporating watches, music boxes or other devices. With so many styles to choose from, most collectors concentrate on one particular type. Some look for a particular material, like silver, Bakelite, wood or brass, while others look for military issue, fraternal emblems or a particular era. Still others search for unique fastening devices like snaps or springs.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Mysterious Glow of Vaseline Glass

 

QUESTION: My aunt recently died and left me several things, including two beautiful twin yellow-green glass vases. I don’t know much about them but someone said they’re made of Vaseline glass. Does that mean they use Vaseline to make them? Can you tell me more about this beautiful glass?

ANSWER: No, your vases aren’t made of Vaseline. The most common color of this type of glass is pale yellowish-green, which in the 1930s led to the nickname "Vaseline glass" based on its resemblance to the appearance of Vaseline brand petroleum jelly as was formulated and commercially sold at that time. 

The addition of uranium dates back to Roman times. Professor R. T. Gunther of the University of Oxford discovered a piece of glass containing one percent uranium dating to 79 C.E. in an excavation of an imperial Roman villa on Cape Posillipo in the Bay of Naples, Italy in 1912.

Starting in the late Middle Ages, workers extracted pitchblende from the Habsburg silver mines in Joachimsthal, Bohemia. This was then used as a coloring agent in local glassmaking. Austrian druggist Franz Xaver Riedel experimented with pitchblende and obtained a yellow substance later identified as uranium dioxide. He added it to glass and became the first major producer of items made of yellow-green uranium glass, which he named "annagrün" (annagreen), in honor of his daughter Anna Maria. By the middle of the 19th century, this new coloring agent became popular in both Europe and America.

Vaseline glass is also called "uranium glass." This mineral added to glass is what makes it glow bright green under blacklight. The normal color of uranium glass ranges from yellow to green depending on the oxidation state and concentration of the metal ions, although this may be altered by the addition of other elements as glass colorants. That bit of uranium in the glass also makes it slightly radioactive.

With improvements in mass-produced, affordable glass, the popularity of vaseline glass rose. During the second half of the 19th century, interest in the glowing glass peaked. The fashionable glass was appealing both in sunlight and in the evenings. Victorian homes were lit by gaslight, kerosene or candles, which produced soft light-The human eye sees yellow-green most easily since it is in the center of the spectrum of colors, so under flickering light con. lit ions, the Vaseline glass seems to glow.

Large glass companies like Fenton Glass and Mosser Glass made vases, tableware, tooth-pick holders, clocks, whimsies, shoes, hats, parasols, inkwells,. compotes, and more in Vaseline glass..But between 1890 and 1910, the middle class became more interested in pottery and porcelain. With the development of Incandescent lighting, the steady light frequency made Vaseline glass appear plain.

The government confiscated all supplies of uranium during WWII for the Manhattan Project and halted all production of vaseline glass for from approximately 1942 until the ban was lifted in November 1958. From 1959 onward, glass companies began making vaseline glass again. However, because of the expense to obtain uranium dioxide, production was and is still very limited.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Greetings to the New Year

 

QUESTION: I collect greeting cards. And recently while searching for some old Christmas cards I could purchase for my collection, I discovered some New Year’s greeting cards. I never knew that people sent cards at New Years. What can you tell me about this tradition?

ANSWER: People in the 19th and early 20th centuries sent greeting cards for a number of holidays, including Thanksgiving, Easter, Christmas, and yes, New Years. That was before modern communications made it easier to pick up the phone—or today a cell phone—and speak directly with the another person. Also, mailing greeting cards was inexpensive since the U.S. Post Office hadn’t begun its wild ride of price increases. And today, it’s also possible to send a digital greeting card through the Internet. But let’s take a look back at how the practice of celebrating the New Year began.

New Year's Day, also simply called New Year's, is observed on January 1, the first day of the year on the modern Gregorian calendar as well as the Julian calendar. But it wasn’t always on that day.

In pre-Christian Rome under the Julian calendar, the day was dedicated to Janus, god of gateways and beginnings, for whom January is also named. As a date in the Gregorian calendar of Christendom, New Year's Day liturgically marked the Feast of the Naming and Circumcision of Jesus, which is still observed as such in the Anglican Church and Lutheran Church. The Roman Catholic Church celebrates on this day the Solemnity of Mary, Mother of God.

The practice of celebrating the New Year whenever that occurred dates back to 2,000 B.C.E. in Mesopotamia, when people celebrated it in mid-March around the time of the vernal equinox.

The early Roman calendar designated March 1 as the first day of the year. The calendar had just 10 months, beginning with March. That the new year once began with the month of March is still reflected in some of the names of the months. September through to December, the ninth through to the twelfth months of the Gregorian calendar, were originally positioned as the seventh through to the tenth months. Septem is Latin for "seven"; octo, "eight"; novem, "nine"; and decem, "ten.” Roman legend usually credited the second king Numa with the establishment of the two new months of Januarius and Februarius. These were first placed at the end of the year, but at some point came to be considered the first two months instead.

But in 567 C.E., the Council of Tours formally abolished January 1 as the beginning of the year. At various times and in various places throughout medieval Christian Europe, the new year was celebrated on December 25 in honor of the birth of Jesus, March 1 in the old Roman style, March25 in honor of Lady Day and the Feast of the Annunciation, and on the movable feast of Easter. No wonder the world seemed confused.

It was the custom among 7th-century pagans of Flanders and the Netherlands to exchange gifts on the first day of the new year. But as it turned out, European Christians also celebrated the new years on that date because  New Year's Day fell within the 12 days of the Christmas season in the Western Christian liturgical calendar.

However, it was the Japanese who originated the custom of sending written New Year’s greetings during the Heian Era, lasting from 794 to 1185 C.E. During that time, the nobility started to write such letters to people who lived too far away for the usual face-to-face New Year greetings.

Though the use of the Gregorian Calendar dates from 1582, when Pope Gregory XIII declared it to be used, it wasn’t until 1752 that Britain adopted it. 

The practice of sending New Year’s greeting cards probably didn’t begin in the United States until the 1870s. It took several decades before the practice of sending Christmas cards had caught on, and soon sending greetings for other holidays followed. 

The first cards were simple postcards, with a greeting printed on one side and a place for the receiver’s address on the other. But it wasn’t until 1915 that folded greeting cards, first created by Hallmark, began to appear.  

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

And the Stockings Were Hung by the Chimney with Care

 

QUESTION: When I was a kid, I used to get so excited hanging a stocking with my name on it on our stair railing on Christmas Eve. We didn’t have a fireplace, so no mantel. When I became an adult, I used to see handmade Christmas stockings at church bizares and at yard sales and began to buy the ones I liked the most. Now I have quite a collection. During the holidays, I hang some of them on the railing of the stairway and other locations in my house. But how did this custom get started? Andare Christmas stockings good collectibles?

ANSWER: Before getting into the history of the Christmas stocking tradition, it’s important to put the collecting of these stockings in perspective. While people actively followed this tradition throughout the 19th century, children back then used their own stockings for the most part. At the height of the Victorian Era, specially made Christmas stockings began to appear, often made in crazy quilt designs using scraps of cloth leftover from making clothes.

But ordinary children’s stockings couldn’t hold much in the way of treats—perhaps some fruit and candies. It wasn’t until the mid-20th century that larger commercially made Christmas stockings began to appear in stores. However, those with a craftier bent still made their own stockings from felt or velvet, decorated with appliques. 

Though historical origins of the Christmas stocking exist, many historians believe its beginnings date back to a legend involving St. Nicholas. As he was passing through a village, he heard about a nobleman whose wife had recently died of an illness, leaving him and his three beautiful daughters in despair. Devastated by his wife's death, he squandered all his wealth and property, forcing him and his daughters to move into a lowly peasant’s cottage. His daughters, each ready to marry, couldn’t do so because he had no money to give them dowries.

St. Nicholas knew that the father would be too proud to accept money from him, so he came up with a plan to help him secretly. One night after the daughters had washed out their clothing, they hung their stockings over the fireplace to dry. That night St. Nicholas stopped by the cottage after the family had gone to bed. He peeked in the window and saw the daughters' stockings hanging by the fire. St. Nicholas reached into his pouch and felt three small sacks of gold. He threw one of them through the window, providing a dowry for the eldest girl, then provided dowries for the other two daughters in the same manner on subsequent evenings. 

On the third evening, the father caught Nicholas throwing the third sack of gold, and thanked him for his generosity. In some versions of this story, Nicholas throws the sacks of gold down the chimney, and they fall into each of the daughter's stockings, hanging to dry by the fire. This is a bit implausible since the stockings would have been hanging above the fire and not anywhere near the chimney opening in the fireplace.

Another interpretation of the stocking custom says that it began in Germany where children would place their boots, filled with carrots, straw, or sugar cubes, near the chimney for the flying horse of a legendary figure named Odin, who would reward the children for their kindness by replacing his horse Sleipnir's food with gifts or candy. 

After the adoption of Christianity in medieval times, Europeans began honoring St. Nicholas on December 6. In the Netherlands, Belgium, and Germany, folk traditions developed around the idea of St. Nicholas bringing treats to children on St. Nicholas's Eve. Parents told their children to leave their shoes by the fire on that evening so that the Nicholas could climb down the chimney and fill them up with fruit, nuts, and cookies. Some parents substituted stockings for shoes.

Eventually, people moved the tradition of giving gifts to children from St. Nicholas Day to Christmas. In Germany children began to hang stockings at end of their beds on Christmas Eve so that Christkindel or the Christ Child could fill them with treats as he voyaged from house to house. As Germans emigrated to America in the 19th century, they brought the stocking custom with them.

Part of the fun of collecting old and vintage Christmas stockings is in displaying them during the holidays. While most commercial stockings aren’t worth very much, collecting them is akin to collecting old Christmas balls. So as you hang your stocking on the fireplace mantel or the stairway, think of St. Nicholas. 

MERRY CHRISTMAS!

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "Celebrating an Olde Fashioned Holiday" in the 2020 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Lifelike Detail of Hutschenreuther Figurines

 

Two Boys and a Bird

QUESTION: I love to browse online antique auctions. Recently I came across an incredibly detailed figurine, the description said it was made by Hutschenreuther. I collect porcelain figurines but have never heard of this manufacturer. Can you tell me more about this company?

ANSWER: Although the Hutschenreuther name has been around for over 150 years, it’s’ less well known than say Meissen. Movement, grace and lifelike detail are what  make these porcelain figurines unique.

Carl Magnus Hutschenreuther’s father owned a porcelain painting studio, and his mother's family owned a porcelain factory, both located in Wallenorf, Germany. By the time he was 18 years old in 1812, Hutschenreuther was already dealing in porcelain he had decorated.

During a business trip to Hohenberg in northeastern Bavaria, Hutschenreuther discovered a clay that was excellent for making porcelain. He became so inspired that he decided to return to Hohenberg and apply for permission to build a porcelain factory.

But Hutschenreuther encountered nothing but red tape. The local government turned him down in 1816 because of the protests of neighboring hammer mills fearing an expected wood shortage. The following year he tried again to get permission to build a kiln, and the ministry turned his request down with no explanation. Finally, after nearly six years of constant efforts and continuous protests from neighboring communities,  Hutschenreuther, the town council granted a license to build a porcelain factory in Hohenberg in 1822.

Figure frog

 made china available to the general public for the first time. The firm began making pipe bowls, dolls heads, bathing dolls, and dinnerware with as few as 10 workers. By 1841 the company employed 55 workers, including Hitschenreuther's young sons Lorenz and Christian. 

After Carl Hutschenreuther's death in 1845, his wife, Johanna, took over the management of the factory. His talented Lorenz decided to go out on his own and open his own factory in the town of Selb. He put the new factory into operation with 511 emplyees in 1859.

The Lorenz and Carl Magnus Hutschenreuther porcelain factories' coexisted as two independent businesses. When Lorenz died in 1886, his sons Viktor and Hugen took over his company, enlarging the firm through the creation of new factories and the acquisition of others during the first part of the 19th century.

Woman Dancing

Lorenz’s sons created a special art division in the Seib factory in 1917. The driving force behind this expansion was Emil Mundel, director of the firm. In 1922, he brought the famous sculptor Carl Werner in as technical and artistic director of the art division. Later that year, sculptor Karl Totter began working there.  

Both Hutschenreuther factories became known for their high quality dinnerware and figurines. The Selb factory produced the highly prized Art Deco figurines at this time. Local artist Hans Achtziger’s designs shaped the look of the firm. In 1956 the young sculptor Gunther R. Granget joined the team. Trained by Tutter and Werner, he dedicated himself to the creation of animals and birds, and today his limited edition figurines bring prices in the thousands.

Art Deco Nude

The Hutschenreuther figures designed by Tutter and Werner exhibited some of the best features associated with the Art Deco movement—restrained elegance, suggestions of speed and movement and the spirit of freedom and optimism in the future. As nude and semi-nude figures of women were favorite artistic subjects of the time, the Hutschenreuther artists created a number of lovely female figurines. Their poses varied from languid, reclining positions to ones movement. Grace and speed were exhibited by I figures in various dance positions. 

Many figures can be found kneeling or standing with arms stretched forward to symbolize movement into the future. Some of the best known Hutschenreuther sculptures have the figure holding or standing on a ball. This globe or sphere indicated an .awareness and interest in the world at large. The ball was painted gold and made a striking contrast to the stark white or flesh tones of the figure.

Bremen Town Musicians

Animal sculptures were inspired from the world of nature and carefully re-searched. Birds, such as the American Eagle designed by Tutter, had such realistic detail one can almost believe the feathers are real. To create the magnificent swan group, Hans Achtziger spent intensive study of the characteristics and movement of live models. Members of the cat family, deer, gazelles and dogs projected the Art Deco image of speed, grace and sleekness. 

Cupids and children were popular subjects with Hutsehenreuther artists, the ' glowing white porcelain showing off the qualities of innocence and purity. The molds were meticulously formed to show the curls in a child's hair or the dimples in a chubby knee.

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