English Folk Art at its Best

QUESTION: I’ve long admired 19th-century Staffordshire figures, but don’t know much about them. Recently, I saw one that I can afford in a local antique shop. But before I get hooked on collecting these folk art pieces, I’d like to know more about them. Can you help me?

ANSWER:  Staffordshire figures have always been very popular with collectors. You can find some pieces, such as cow creamers and pen holders modeled in the shape of a bird's nests, as well as greyhounds, foxes, and hares, selling for less than $100. Sometimes, you can find an early 19th-century figure for sale at a reasonable price. But beware of fakes.

A handful of pottery families made Staffordshire figures. With their simple modeling and vivid coloring, they depict the changing social history of the 19th century, both pre-Victorian and later. Today, portrait figures of famous historical persons grace both Queen Elizabeth’s collection at Buckingham Palace as well as the reception rooms of the Prime Minister's residence at Number 10 Downing Street.

A good example is a late-18th-century Wood type creamware figure of St. George and the dragon. The Wood family of Staffordshire potters worked between 1754 and 1846. They typically modeled and painted this figure with colored glazes of brown, ochre, and green.

Another excellent example is a Pearlware figure of St. Paul modeled seated and holding the Gospel. Pearlware is a white, harder, more durable form of pottery, believed to contain a higher proportion of pipeclay and flint. The glaze on this piece is  blue with a touch of cobalt. Potters painted it in blue overglaze enamels, with lesser areas in puce and green. Made between 1820 and 1830, it bears the impression of the word "Paul."

The popularity of Staffordshire figures received a boost in the UK after the last war. Rising prosperity meant that wealthier members of the population could afford to buy a country cottage as a weekend retreat. People were looking for suitable rustic ornaments for their newly acquired country cottages and Staffordshire pieces filled the need nicely.

Cow creamers in typical primitive Staffordshire modeling, can be expensive. A typical one on a rectangular mound base can sell for nearly $200. However, an unique item such as a Pearlware candlestick modeled as a Cupid, standing wearing loose drapes and holding a bow and quiver can sell for nearly $400.

But the cream of the crop are the identifiable historical figures such as a figure of John Liston as "Paul Pry" the comedian, modeled standing and wearing a top hat, stock, striped waistcoat, breeches, and Hessian boots which can sell for nearly $800.

With the coming of the Victorian period there was a definite change in the modeling of Staffordshire figures. Pottery manufacturers realized that what people wanted were portrait figures, as well as figures commemorating special events. They often modeled these figures standing or leaning on a marbled plinth.

Up until about 1860, deep cobalt blue was the favorite color used on figures, particularly for uniform coats. Around 1880, pottery makers began using a new liquid gilding or "bright gold" in the firing process.

They increasingly used child labor to paint the pieces in order to meet the demand and keep costs down. These later figures tend to lack to the precision of the earlier ones. Also, potteries molded the later 19th century figures with "flat backs" with the shaping concentrated at the front and sides to make them easy to place on fireplace mantels.

Popular Victorian heroes depicted in brightly colored Staffordshire pottery were so well known in their day to those who bought them that the potters didn’t always bother to add names to them. Because of this, you may find you’ll have to do a little research in order to identify some pieces.

You should be careful if you plan to begin collecting Staffordshire figures because many of the ones for sale today have been made from 19th-century molds. Many of these came from William Kent Porcelains Limited, up until 1962. These reproductions of Victorian figures, usually referred to as "Kent copies," are usually lighter in weight than the originals made from the same molds.

Art on a Plate

QUESTION: Recently, I purchased a beautiful large plate with what looks like a hand-painted picture on it. The mark on the back says “Limoges, France.” I don’t know how old the plate is or anything about this company. Can you help me?

ANSWER: What you purchased is called a charger. It’s actually the large plate used as the base plate for elegant French dining service. In this type of service, the space in front of each person is never supposed to be without a plate. In the beginning and in between courses, a servant would place a charger—a large ornately decorated plate—in front of each guest. Factories in the town of Limoges, France made chargers like the one you bought, marked as yours is, from 1891 to 1914.

Limoges is the center of hard paste porcelain. It is to France as Stoke-on-Trent is to England—the center of the ceramic industry. The town of Limoges is about 200 miles southwest of Paris and owes its prominence in the field of hard paste porcelain production to the abundance of natural resources. The soil in the area is rich in deposits of kaolin and feldspar, the essential ingredients for hard paste porcelain. The region also has forests to supply necessary fuel for the kilns and rivers to provide transportation for the finished goods.

Limoges’ golden age extended from the mid to the late 19th century. Production became industrialized, and manufacturers introduced mass-production techniques and new methods of decoration. Makers exported about 75 percent of their wares, the largest percentage to the U.S. In 1900, 10,000 barrels of decorated and blank porcelain were shipped from the Limoges factories to the U.S. The number of companies making it increased from 32 in the late 19th century to 48 in the 1920s.

Paintings on porcelains have been popular from the middle of the 18th century to the present. Chargers present an excellent background for ceramic painters to off their skills. Porcelain is more difficult to work on than canvas with oils because ceramic paints, which are basically oxides of various metals, don’t attain their final color until they’re fired at the correct temperature. Many ceramic colors have to be fired at different temperatures and will fuse out if heated above that temperature. It’s necessary for ceramic artists to apply and then fire the high-temperature colors first and then work down in stages to the low-fire ones.

The advantages of painting on a porcelain charger is the surface is so flat and smooth that artists can achieve extremely detailed results. Once fired, the colors are permanent. A porcelain charger painted in 1854 will look exactly the same today. Oil painting tends to darken with age, and watercolors fade.

While exquisite examples of paintings on porcelain have been made by top European porcelain companies, such as Berlin, Vienna, Meissen and Sevres, and many are quite expensive, Limoges chargers are affordable and readily available.

With the tremendous amount of porcelain produced, the market couldn't absorb all the wares. World War I and the economic depressions of the 1920s and 1930s forced many older companies out of business. With revitalization after World War II, many of the factories in Limoges continued to produce decorated chargers and do so even today.

Figural themes, both portrait and allegorical, as well as scenic decor are less common subjects on Limoges porcelain and are favorites of collectors. Portrait ware was popular during the mid 19"' century. Male subjects included important historical figures, such as Napoleons and Louis KW. Most portraits featured beautiful women, however, ranging from the French Empress Josephine to unknown Victorian women. Some of the most highly prized Limoges decorated chargers` are those having Art Nouveau-style ladies with grape clusters in their flowing heir and elaborate gowns. Sometimes a sleek tiger or greyhound dog completed the portrait. Each one was truly a work of art.

A Limoges charger that carries a decorator's mark and additionally an artist's signature is the most desirable. Next in demand are those hand painted but without an artist’s signature.

NOTE: I'm taking a week off from my blog for July 4. Have a patriotic Fourth of July! My blog will be back the week after next.

Batter Up!

QUESTION: My grandfather loved baseball. Somewhere—no one seems to know where or how—my grandfather obtained a special bat on which is the image of Mickey Mantle, as well as his signature. I’m not really into baseball and have no idea if this bat is worth anything. I’m not sure the signature is real. Can you help me?

ANSWER: From the photo you sent, it looks as if you have what’s known as a decal bat. These were specially made bats onto which the manufacturer affixed a decal of a famous player. There are also lots of other varieties.

A decal bat is a bat in which a bat manufacturer has applied a decal showing the image of a famous player and perhaps his signature. They come in large and small sizes, with vibrant colors and model names appearing on both the barrels as well as in the center of the bat. Hillerich & Bradsby, (H&B) Stahl & Dean, Spalding, and A.J. Reach were some of the top makers.

H&B came out with a player series of decal bats in 1905 after signing Pirates slugger star Holm Wagner as a Louisville endorsee. The beautiful images on the barrels of these bats resemble the portraits on early baseball cards. Manufacturers offered them  on several full-size player bats as well as on smaller souvenir varieties.

The most desirable of these bats pre-date World War I. The likenesses of players such as Hank Gowdy, Ty Cobb, Joe Jackson, Rogers Hornsby, and Harry Davis adorn these bats. But finding one is another story—and finding one that’s in good condition is very hard indeed. A Joe Jackson bat from that time period is currently up for auction at $3,750.

With decal bats, as with many collectibles, condition is everything. A full-size Joe Jackson in 90 percent or better condition sold in the past for $3,500. Any Wagner, Cobb, or Lajoie in top condition should be worth about as much. Near-mint examples of the other Hall of Famers would be in the $2,000 range. Non-Hall-of-Famers, although rarer than their Hail of Fame counterparts, would sell in the $1,200-$1,800 range.

In addition to these early decal bats, H&B revived the decal player model bats in the mid-1950s with a series of bats that included Babe Ruth, Mickey Mantle, Ferris Fain, Jackie Robinson, and Joe DiMaggio. The Mantle and Fain have turned up in lengths of 34 inches while the others have all  been Little League bats 'at least to date. Each has a head portrait of the player set against a contrasting background. The Robinson, Ruth, DiMaggio, and Mantle bats are all very desirable if in like-new condition with prices in the $400 range; Others might sell in the $200 range.

Values for full-size bats are always greater than their small souvenir counterparts or bats shorter than 32 inches, the shortest offered as a full-size decal bat. Generally, the smaller souvenir bats sell for anywhere between 30 percent to 50 percent of their full-size counterparts in like condition. Decal bats picturing Hall of Fame players are worth a premium over their non-Hall of Fame competition, but not as much because the decal bats of these players are sometimes scarcer than the Hall of Famers. And while Joe Jackson is still not a member of the Hall of Fame, his bat will bring as much or more than any other.

Restoring an old decal bat may add to its value, but it could also subtract from it, depending on the quality of the work done. Cleaning an old decal bat isn’t classified as restoration. If an artist restores missing portions of a decal by painting them in, that’s restoration.

Is a Man Without a Mustache Truly a Man

QUESTION: I’ve seen several mustache cups at recent antiques shows. I’d like to start collecting them, but the ones I saw were a little pricey. Before I invest in any, I’d like to know more about them. Can you help me?

ANSWER: That’s only understandable. Too many people start collections on impulse and then things get out of hand. Before they know it, they’ve spent way more money than they had expected.

Mustache cups, which featured a raised guard attached to a cup’s rim to prevent the mustache from touching the liquid, resulted from a need of mustache wearers to protect their mustaches. During Victorian times, mustaches became a form of male pride, with some men going to extreme lengths to grow a perfect one. Some curled, waxed, and touched up their mustaches with dye while others used rollers and nets to hold the curl at night. To maintain and shape these manly growths, men had to use a special wax.

The wax created a problem for men wearing mustaches because any cup of hot tea or coffee melted the wax and dripped it right into the cup and leaving the mustache a drooping mess, and the drink far from tasty. The solution was the invention of the mustache cup by Harvey Adams in 1830 at a pottery in Longton, Stoke-on-Trent, England.

Victorians began referring to mustaches as "Napoleons," named after the French soldiers who wore small beards and mustaches called "Napoleons" after the Franco-Prussian War. Among the aristocracy, each gentleman had his own china maker, whose identity was carefully shielded. The guard across the top was designed from a mold in the exact shape and size of the nobleman's mustache.

During the early years, manufacturers sold mustache cups and matching saucers as individual items, but as the 19th century progressed, makers included them in complete sets of porcelain dinnerware, such as Haviland. Those belonging to the sets were usually small and dainty while those for everyday use were large and heavy. Men used them to drink coffee, tea, and even hot chocolate.

Mustache cups became popular in the U.S. during the mid 19th century. German potters produced vast quantities of mustache cups for export to the U.S. By the 1880s and well into the 1890s, potteries all over the world had begun producing elaborately decorated sets.

Potters used their imagination to create unique and fascinating mustache cups and saucers from earthenware; porcelain, and stoneware in many shapes and sizes, ranging from tiny demitasse cups to large farmer's cups holding up to a quart of liquid. Tinsmiths and silversmiths also made them.

Early cups were bowl-shaped, cylindrical, six or eight-sided, ribbed, melon-shaped and kettle-shaped. Handles came in many different forms, ranging from snakes, insects, birds, twisted ropes, fans, and cherubs. The saucers matched or harmonized with the cups in both shape and decoration. Early saucers were deep, while later examples became shallower, like regular saucers.

German manufacturers used luster grounds, which were Victorian favorites, on their mustache cups. Pink luster was the most popular. Other ground colors frequently used included pale green, yellow, sky blue, lavender, coral, cobalt and gold. In addition, German potters encrusted their cups with ornate forms of applied decoration.

Mustache cups can be found decorated with landscapes, hunting scenes, animals and birds, flowers and interesting geometric designs. Portrait mustache cups are rare and therefore highly sought after by collectors.

During in the late 19th century, mottoes or expressions on mustache cups, written in enamel, gold, or molded in relief, became a fad. Some examples include “Remember Me,” “Love the Giver,” “Forget Me Not,” “A Present,” and “Birthday Greetings.” Others had the words “Father” or “Papa” written on them.Victorians loved to travel, so the mustache cup came a favorite  souvenir. Cups, often with a pink luster ground, could be found in shops near tourist spots. Manufacturers also made mustache cups to commemorate historical events and royal coronations.

Potteries in Staffordshire, England, decorated some of these souvenir mustache cups  with transfer printed designs, but today, these are scarce and command high prices. Matched cups and saucers made by Limoges, Rosenthal, Royal Worcester and Royal Bayreuth are also becoming hard to find. Silver-plated mustache cups and saucers in good condition are also rare. Prices for these rarer cups can reach as high as $400 to $500.

Mementos of Places Visited

QUESTION: My grandad traveled a lot for business, and from everywhere he went, he brought back a miniature replica of a famous building. By the time he died, he had amassed over 100 of these tacky souvenirs. And now I have them. To me, they’re just that, tacky souvenirs, but to him I’m sure they brought back memories of the places he had visited. What can you tell me about such replicas? How did they get started? Are they worth anything?

ANSWER: Replicas of souvenir buildings have been around since Victorian times. They fill the shelves of tourist-trap souvenir shops all over the world, lined up like soldiers waiting for a command to go to war. I’m sure you’ve asked yourself who would buy such tacky items? The answer, believe it or not, is lots of people. And their popularity seems to be on the upswing.

Like the lost city of Atlantis rising slowly from beneath the sea, long-forgotten souvenir buildings are now emerging from cellars, closets and attics. Souvenir buildings have attracted a diverse following among designers, architects, history buffs, lawyers, and ordinary collectors. These little structures, singly or in groups, provide a rich treasure-trove of memories. And this, after all, is one of the basic functions of a souvenir.

A souvenir serves as a reminder of an experience, place, or culture. In French, the word means “to remember.” Whatever the object—whether a building, a plate with a picture on it, an ashtray, or a fan—it evokes a memory that’s often supplemented by a personal story or recollection.

Building replicas are just one of thousands of souvenir items which travelers have brought back home over the years. They rage in size from one to ten inches high and  include famous structures such as the Colosseum in Rome and obscure ones like the Buffalo Savings and Loan in upstate New York. Although metal is the preferred medium for most collectors, souvenir buildings have been produced in almost every conceivable material, including cast iron, pot metal, sterling silver, silver gilt, pottery, pewter, brass, plastic, and cast resin. The last is sometimes painted and sometimes “metalized” in brass, silver, or copper.

The tradition of collecting miniature buildings goes back to Victorian times when travelers on the European Grand Tour would purchase models as mementos of their journeys. These were usually recognizable landmarks such as the Eiffel Tower in Paris or the Leaning Tower in Pisa. Such a replica made a nice ornament or present and served as a reminder that the traveler had "been abroad.”

Ever since, travelers to Europe have been returning with small churches, castles, Roman gates, triumphal arches, commemorative columns, basilicas, bullfight arenas, and so on. Because of Europe's bloody history, war monuments to the fallen or to the victorious make up an entire subcategory of historic interest.

In fact, it’s possible to collect souvenir buildings and monuments that trace Napoleon’s march across Europe, beginning with a replica of Napoleon’s Column in the Place Vendome in Paris, which commemorates his victory over the Austrians and Russians at the Battle of Austerlitz in 1805.

But most people are more familiar with the little replicas of the Empire State Building and the Statue of Liberty that marked many a family’s first trip to New York City. Other grander structures include cathedrals and basilicas all across Europe. Pilgrims to these religious centers have purchased tiny replicas ever since they first became available.

Another category would include buildings from World's Fairs and Expositions: the Christopher Columbus monument from the International Exposition of 1888 in Barcelona, the Atomium from the Brussel’s World’s Fair in 1958, and the Eiffel Tower from the Paris World's Fair of 1889—perhaps the third most popular replica after the Empire State Building and the Statue of Liberty.

Collectors have created many categories to help them sort through the thousands of souvenir buildings and monuments on the market. Most acquire a jumble of all sorts of buildings, monuments, and "does-this-really-count-as-architecture" replicas, such as a metal miniature of Mt. Rushmore.

The beginning of souvenir building popularity began in the U.S. at the Philadelphia Centennial in 1876. Three versions of Independence Hall, each one a different size, were available at the fair. Today, these command prices of several thousand dollars each. Independence Hall has also been reproduced in red and white plastic, in an aluminum-like alloy, and, most recently, in pewter.

The next big date was 1888 and the unveiling of the Statue of Liberty in New York Harbor. Replicas of the statue were made and sold to help-raise money for the funding of the base. The elegant bronze castings known as The "Bertholdi model," named after Miss Liberty's sculptor„ became available at that time and have since become both scarce and pricey. For the rest of us, millions of Statues of Liberty have been churned out since then, making Miss Liberty one of the most popular miniature monuments ever produced.

Because there are so many souvenir buildings on the market, both old and new, collectors don’t usually have to pay too much for them. This makes these tacky souvenirs an ideal collectible for anyone who’s on a budget. But even if a person overpays for a replica of the Parthenon, it will still cost less than round-trip airfare to Athens.

What the Devil is That?

QUESTION: My mother left me her collection of deviled egg plates. While I’ve eaten deviled eggs at parties and picnics, most of time they’re served on a regular dinner plate or in a plastic Tupper Ware-like container. How did these plates originate? And are they still collectible today?

ANSWER: Deviled egg plates are a throwback to the 1940s and 1950s when hostesses entertained in a more formal manner. It was also not long ago when eggs were a desirable food, especially when they were served deviled on ornate plates made especially for that purpose. Happy housewives back then didn’t have a guilt trip about whether her gourmet delights would clog the arteries of her dinner guests.

What the devil are deviled eggs? Various dictionaries and food encyclopedias trace the history of the devil egg to 18th century England. People began using the term “deviled”  to describe kidneys and other meats served hotly spiced. Most sources accepted the comparison to heat and the fires of Hell, resulting in the adjective deviled.

From the 1940s to the 1970s, hostesses served deviled eggs at all sorts of occasions, from finger food at outdoor barbecues and picnics to appetizers at fancy sit-down dinners. Down South, no proper home was without an deviled egg plate. A North Carolina businessman, who grew up in the 1950s, remembers his mother always putting out two platters of deviled eggs when receiving guests. And deviled eggs became a standard dish at church suppers.

Though egg plates came in a wide variety of shapes and designs, all shared a common feature—a series of half-egg shaped depressions in which deviled eggs could be nested. But despite a centuries-old history of the deviled egg, most museums don’t have any pre-19th century egg plates in their collections. The decorative egg plate seems to have peaked in the 1950s and 1960s.

Deviled eggs reached new heights with proliferation of cocktail parties from the 1940s to 1960s producing an explosion of decorative egg plates during that period. The 1970s, however, marked the end of egg plate’s hey day. 

One of the most popular motifs for egg plates were hens, roosters and chicks. There were trays decorated with hens, shaped like hens or with figural hens, salt and pepper shakers. Small oval plates with matching hen shakers can easily be found in the ochre and avocado colors of the 1970s. Manufacturers also produced plates of other designs with matching salt and pepper shakers. A plate with deviled egg depressions plus two small, flat rimmed depressions is likely one that’s missing its shaker mates.

Multipurpose plates often have space for dips, relishes or other finger food in addition to the deviled eggs. Creative hostesses often place a salad, salad dressing, or relishes in the center of these plates, decorated with a hand-painted hen and rooster decorated egg plate.

Collectors often follow a decorating theme, gathering only those plates embellished with hens or flowers or plates with matching` shakers, etc. Others are more eclectic, preferring highly decorative or unusually shaped egg plates. Flowers, such as roses and violets, matching the china patterns and tastes of the times were quite popular, as were those with fruit or vegetable themes to correspond with kitchen and dining decor. The most commonly found glass egg plates are the ones of blue and green Carnival glass, made by the Indiana Glass Company.

People often confuse egg plates with oyster plates. Deviled egg plates have perfectly oval depressions with smooth edges while oyster plates have jagged edges and slightly kidney shaped depressions. The majority of egg plates are made of heavier china or stoneware, while oyster plates are more commonly found in fine porcelain and majolica. Generally, oyster plates are older, frequently dating from the mid- to late 19th century.

Prices for egg plates vary widely. Fine china and elegant glass egg plates seem to command the highest prices, the market apparently being driven more by the porcelain or glass pattern collectors than egg plate devotees. Many egg plates can be found for under $30, but values for ornate examples or those made by elegant glass or well-known pottery manufacturers can be much higher.

A One-Armed Chair

QUESTION: We bought an old farmhouse three years ago and this chair has been in our barn. What can you tell me about it?

ANSWER: What you have is a one-arm ladies chair made in the Eastlake style from 1870-1885. And, yes, it was part of a parlor set, which usually included a love seat, a two-armed gentleman's chair, and a one-armed ladies' chair. Furniture manufacturers made these chairs with one arm and low to the ground because the ladies of the time wore dresses with lots of fabric in their skirts, covering over one or more petticoats. Eastlake suggested that chairs be made low to the floor so that ladies could remove their shoes without having to bend over in an un-lady-like manner. The new middle class housewives loved it.

The Eastlake style grew out of the beginning of the Aesthetic Movement which later evolved into the Arts and Crafts Movement. Charles Lock Eastlake, himself, wasn't a furniture maker but wrote a book, Hints on Household Taste, published in England in 1868 and the United States in 1872, which called for the manufacture of simple sturdy furniture and gave suggestions on how to decorate a home in a simple, refined manner. He was a noted, trend-setting British architect, author, and lecturer, and by the time his book hit booksellers in America, it was an instant hit with middle-class housewives who wanted to keep up with the trends in home decoration.

Although Eastlake furniture is technically considered Victorian, it breaks away from the excessive high relief carving, classical elements, and numerous curves of other styles produced during this time. Eastlake’s reformed style offered the first glimpses of modernism and was on exhibit at the Philadelphia Centennial Exhibition.

In contrast with other Victorian styles of furniture produced in America featuring classical motifs, Eastlake furniture was more geometric and incorporates softer curves. Though some pieces may have incorporated Renaissance Revival and medieval influences, they don’t overwhelm the pices.

A number of manufacturers made this furniture and most didn’t mark their pieces. Using oak, cherry, rosewood, and walnut, they often emphasized wood grains. Sometimes, it’s difficult to tell what type of wood manufacturers used because of the dark varnishes they used to coat the surface.

In contrast to Arts and Crafts furniture, Eastlake pieces weren’t completely lacking in ornamentation and decorative elements. But the ornamental carving on these pieces was lightly incised rather than deeply carved. Generally, new Eastlake furniture came in a broad range of quality and price levels.

A Bedroom Necessity

QUESTION: I found and fell in love with and bought this nightstand from a thrift store for $60.00. What can you tell me about it?

ANSWER: What you have is a nightstand which probably dates to the 1930s or 1940s. Nightstands are a new type of furniture. Back when people used didn’t have indoor toilets, they sometimes kept a porcelain potty in a cabinet in the lower part of a similar piece of furniture. This came to be known in America as a commode. It allowed a person who had to go to the bathroom in the middle of the night to use it in the privacy of their bedroom and not have to go out to the outhouse. When indoor plumbing became more common, furniture manufacturers kept the piece of furniture but replaced the cabinet in the lower portion with drawers.

But to fully understand how the nightstand evolved, we have to go back to the Middle Ages. During that time, people used a simple setup consisting of a tripod stand or stool that could hold a washbasin. They would have placed a chamber pot either under the tripod stand or inside the stool for easy access.

By the 18th century, the washstand, also called a basin stand or washhand stand, had become more a necessity in the bedroom, not just for washing up, but for storage of a chamber pot to be used in the middle of the night when necessity called.

Cabinetmakers made some to fit in a corner, with a bowed door in front and flaps extending upwards from the sides to protect the wall from water splashes. These were simple pieces. By the 19th century, they had increased in size, becoming heavier and more substantial that often came with a marble top and drawers in front and a cupboard below in which to store a chamber pot.

More high quality washstands appeared in the second half of the 19th century. These were usually a part of a bedchamber suite, consisting of a bedstead, dresser, wardrobe of some sort, and bedside commode.

Wealthier people with servants could also use their bedroom for bathing. First, there was the convenience of a commode near the bed, a washstand with warm water supplied by the maid or even a nice hip bath set near to all the bedroom furniture and accessories that a person would have used for grooming and dressing. By heating the bedroom and perhaps an adjoining dressing room, a person could take care of all of his or her bathing needs at once in one warm area. This was especially true in big houses in cold weather.

The washstand, itself, became an essential piece of bedroom furniture. It came in varying designs which could easily accommodate a large basin, a pitcher, a toothbrush jar, and various other toilet accessories, frequently including a chamber pots housed in a cupboard at its base. Furniture makers usually used white marble for the top and the “splash back” set into a wooden frame. Sometimes, they cut a hole in the top so a basin could be suspended in it. They often used a special type of French marble known as “St. Anne’s,” as it resisted the action of the alkali in soap.

Basic washstand accessories included a seven-piece washstand set, consisting of a ceramic bowl and pitcher, chamber pot, toothbrush holder, shaving mug, soap dish, and comb and brush tray. People would often hang a mirror on the wall behind the washstand. Another common accessory was a wooden towel rail known as a “towel horse.”

Commode washstands served the same purpose as a simpler table washstand, made like a chest with a bottom cupboard to hold the chamber pot and a jar for dirty wash water.  Furniture makers added drawers in some models to store a razor, soap dish and towels. The top of some washstands could be lifted to reveal a well in which the wash basin and pitcher could be stored when not in use.

So how did washstand evolve into the nightstand? These convenient pieces of furniture are part of every modern bedroom set. Before indoor flushing toilets became commonplace, the main function of a nightstand was to store a chamber pot. As a result, early nightstands often had small cabinets below with a drawer above them. The enclosed storage space below may also have been covered by one or more doors. Americans eventually started called this bedside cabinet a commode, which after the installation of indoor bathrooms, they also called them.

What a Sweet Idea

QUESTION: My mother collected honey pots almost all of her adult life. When she died, she had over 200 of them. Now I have her collection. And while many of them are fun to look at, I know very little about them. What can you tell me about my honey pots? How did they get started and what can I do to maintain and continue my mother’s collection.

ANSWER: First, it’s great to hear that you want to continue collecting honey pots. Too many people inherit collections from their parents, only to sell them off or leave them to collect dust in their attic. Continuing a collection is a great idea, but you need to know something about the items you’re collecting.

People use honey pots to hold the sweet viscid material produced from the nectar of flowers in the honey sac of bees. Bees, beekeepers and honey have been documented since ancient times. One of the more interesting discoveries made by archeologists in the tombs of Egyptian kings was containers of honey. Considered the golden liquor of the ancient gods, two honey pots pulled from New Kingdom tombs, dating from 1400 BC, still had their contents intact. And the Egyptian Pharaoh Ramses III made sure he was in good with the Nile gods by offering them 15 tons of honey.

Honey is one of nature's great miracles. In fact, honey discovered in ancient Egyptian tombs is still edible today. Since bees depend on honey for substance during the winter, they need to create something that will last a long time.

While the most popular form of honey pot is the skep-shaped pottery, honey pots can be found in numerous shapes and sizes. The pots can be found in rectangular, round and box shape. Most collections include a myriad of designs, colors and patterns from many different countries. The United States, France, Germany, England, The Netherlands, Spain, Scotland, Norway, Japan and Ireland are some of the countries represented in many collections.

Although rare pots sell for as high as $1,000, many vintage ones can be found at flea markets or antique malls. The most expensive pots have back stamps by potteries such as Irish Belleek, Limoges, English Moorcroft, Spode, Wegdwood, Royal Winton, and Noritake. Several leading companies represent the United States, including Lenox, Cambridge, Fostoria, Westmoreland, and Imperial Glass. The Indiana Glass Worlds produced a red honey dish in the late 19th century designed to hold one piece of honeycomb. The dish design contains four beehives and 40 bees. The Indiana Glass Works later produced a replica of the same piece.

In countries around the Mediterranean, potterers inscribed the word “Miel” or “Mel” or “Miele” on their pots. England and Germany have a rich tradition of beautifully decorated honey pots. However, in Holland, people didn’t make very much of setting an elaborate table with a separate piece of matching china for each category of food. So, honey was kept in very simple pots covered with cork or parchment paper. In the 1950's the Dutch honey firm Mellon a issued some very nice white pots with a brown lid, a honey pot made of glass and a honey pot in the shape of a bee.

Pots can also tell a lot about other cultures. Scandinavian pots are very modem, English pots are richly decorated, American ones have bears on them, as do Russian pots. Southern European honey pots are mostly made in the form of a Grecian amphora.

The stinger in collecting honey pots is trying to find all the pieces intact—the pot, lid, spoon, and under plate. The weakest part of any honey pot is the bee’s wings. Before you buy a honey pot for your collection, be sure to check for chips, restorations, an in particular, re-glued wings. Only be tempted to buy such pots if they’re inexpensive or exceptional.

Ping the base of a pot with your fingers. You should hear a ringing sound. A thud, or muffled sound should immediately arouse suspicion, as there may well be invisible cracks.

Check that the pot has the correct lid. Flea market dealers, in particular, often match lids with the wrong base, whether on purpose or not. Slight variations in glaze color between the lid and the base can be normal.

If any of the pots you purchase contain honey, empty them as soon as possible. Honey can sometimes stain them or leak from under the lid.

A Penny Saved is a Penny Earned

QUESTION: I’ve always liked cast-iron banks. I see them displayed on the counter at my bank—I’m sure these are reproductions. So when I discovered one that wasn’t too pricey in a local antique shop, I scooped it right up. The bank has its name, “Jonah and the Whale,” displayed in a panel underneath the figures of Jonah and the whale. How can I tell if the bank is authentic? And what can you tell me about this bank?

ANSWER: Cast-iron mechanical banks have always been a favorite of American collectors. Perhaps it’s because they recall our country’s heritage, but more likely because they’re cute in a clunky sort of way.

Collectors have sought after old mechanical banks for over 50 years because of their  nostalgic look at America’s past.
 
Mechanical banks began to appear shortly after the end of the American Civil War and the American public was eager to purchase them. At the time, a severe coin shortage occurred because people saved them. In fact, the situation got so bad that shopkeepers had to resort to using postage stamps to make change. Both the Union and Confederate governments began issuing paper notes to supplement their coinage and help relieve this problem. But people didn’t like paper money because it could become worthless quickly. Coins, on the other hand, would always retain the value of their metallic content.

So mechanical banks became a product of the times and their popularity remained strong well into the 20th century. Not only were they fun toys, but parents could effectively use them to teach their children the practical aspects of being thrifty.

The Shepard Hardware Company of Buffalo, New York, was probably the premier maker of cast-iron mechanical banks. Walter J. and Charles G. Shepard founded their company to produce various pieces of hardware, but in 1882, they began a sideline business making cast-iron mechanical banks. Charles was an inventor.

Shepard entered into the mechanical bank field in about 1882 and available information indicates they sold out their line of toy banks in 1892. The impact Shepard had on the mechanical bank market was astounding when you consider the fact they were able to design, patent, produce, and effectively distribute 15 high quality banks within a time span of only about 10 years.

Their banks sold for $1 each, but dealers could purchase them wholesale for $8.50 a dozen, or about 70 cents each.

All Shepard banks had these common features. First, their artistic paint jobs were unsurpassed for attention to minute detail. Unfortunately, the company didn’t use any primer coating to prepare the metal for painting, so the paint eventually flaked off their banks.

Second, each Shepard bank has its name embossed on one of the casting pieces. The name is generally in large bold letters located on the front panel of the bank. Other cast-iron bank manufacturers didn’t put the names of their banks on them. This resulted in many banks becoming known by names other than the ones originally given to them by their makers.

Third, each Shepard cast-iron bank is very heavy for its size. It’s almost as if cast iron was free and had no bearing on the production cost of the items.

In all, Shepard produced 15 different banks. They have become known for two in particular—the Uncle Sam bank (discussed in my blog from July 8, 2015) and the Jonah and the Whale bank. Charles Shepard received a patent for the latter bank on July 15, 1890.  The overall length of the bank was 10-1/4 inches.

Shepard decorators painted the side and end plates of the base with yellow corners, and the letters of the name in gold. They striped the edges of the bottom plate and top part of the bank in yellow and black and painted the water and waves realistically in light bluish-green with white highlighting. The whale is a dark green-black color with a red mouth and white teeth. The boat is an off shade of yellow with stripes of gold, white, blue and red. The robes on the two figures are red and blue, and they have white beards, flesh color faces and hands.

To operate the bank, a person would place a coin on the back of the figure of Jonah. Then the user would press a lever, recessed in the end plate under the rear of the boat. As the whale opened his mouth wide, the figure holding Jonah moved forward in the boat towards the whale. The figure of Jonah tilted downward as though entering the whale's mouth, but instead the coin flew off his back into the whale. Releasing the lever returned the figures in the boat to their original position. The whale’s mouth closed and re-opened as though swallowing the coin. The whale’s lower jaw continued to move up and down for several seconds after the action takes place. To remove the coins, the user would use a key to unlock a trap in the underside of the base.

In 1892, Charles and Walter Shepard sold their cast-iron savings bank business to J. & E. Stevens of Cromwell of Connecticut.

Today, original Jonah and the Whale banks bring very high prices—if they’re in mint condition. Unfortunately, most are not.

Mother Nature’s Gift to Glass

QUESTION: My mother loved decorative glassware. She died recently and left me her collection. While some pieces are older, most date from the 1950s and 1960s. I particularly like several vases that look like flowers. Do you know what they are called and tell me a little about their history?

ANSWER: Back in the 1950s and 1960s, many women collected decorative glassware. Most of the pieces came from Fenton Glassware, but several other manufacturers also made a wide assortment of vases, candy and butter dishes, ashtrays, and the like. Many of these feature hobnail decoration. The vases you’re asking about are known as Jack-in-the-Pulpit vases.

To glass lovers the name "Jack-in-the-Pulpit" has become synonymous with glass vases styled to imitate a wild flower. This flower is native to some parts of the United States, but this style of glassware originated in England, where no jack-in-the-pulpit flowers don’t grow. Most likely, this design came from the adaptation of a similar wildflower found in England known as Lords and Ladies.

Like the flower, a glass Jack-in-the-Pulpit vase consists of three parts, a base, a stem and the trumpet. The trumpet is the large flared top which gives the piece its style, much like the trumpet forms the flower on the plant. The stem connects that trumpet to the base, much like the stem connects the flower to its root. Trumpets vary in style, from flared, rounded trumpets, to those with pinched and twisted points in the front and the back. Some trumpets, particularly those by Fenton, have a raised back and dip downward in the front.

Some collectors believe Louis C. Tiffany created the first Jack-in-the-Pulpit vase around 1900. But that isn’t the case. The first known Jack-in-the-Pulpit vase appeared in 1854, a good 40 years before Tiffany’s vases. The style of the early English Jack-in-the-Pulpit vase even more closely resembles the flower. However, English glassmakers at the turn of the century didn’t name their pieces, unlike their American counterparts. Instead, they just gave them a pattern number.

English Jack-in-the-Pulpit vases came from a number of makers, including Thomas Webb & Sons, Richardson's, Webb-Corbett and Stuart, plus many small companies. Some smaller firms subcontracted work out to finishers, so it's possible that one firm decorated the blanks of another. British glassmakers did, however, blow most of their Jack-in-the-Pulpits.

Prices for British Jack-in the-Pulpit vases range from $75 for a piece which can’t be attributed to any particular manufacturer to several thousand dollars for a rare Webb or Stevens & Williams piece. Rare pieces can command $2,000 to $3,000. On average, British pieces go for about $175.

While decoration doesn't seem to have a effect on the price of unattributed British pieces, it does effect the prices of the higher-end ones. Size and the decorations, such as applied glass chainwork, vary. Companies produced vases in opalescent patterns such as spiral optic and   cranberry, and some come in the various colors like Beaded Melon.

Fenton’s Burmese vases are particularly popular with collectors. The company also made decorated Jack-in-the-Pulpits in other types of glass. Fenton decorated white and off-white, called cameo satin, blanks with scenes sell for around $75.

Other noteworthy American producers include Northwood/Dugan, Imperial, Westmoreland, Mount Washington and L.G. Wright. Northwood made jacks in various colors in Carnival glass, a short marigold version being the most common. But Northwood and Dugan also made them in opalescent glass. These generally sell for under $100 apiece.