The American Look of Danish Modern

QUESTION:  My wife’s mother bought this piece of furniture around 1976.  It seemed to be an antique back then. The label on the back says it’s from Meier & Pohlman Furniture Company.   I looked online and haven’t found anything quite like it with a curved top. I’m interested in knowing more about this piece?  Can you lead me in the right direction?

ANSWER: I can do better than lead you in the right direction. I can take you there. But first, you need to know more about what style your cabinet is. This china cabinet is a form of Danish Modern, an American version in fact, that was originally part of a suite of dining furniture. The Meier & Pohlman Furniture Company made it in the early 1950s.

Danish modern is a style of minimalist furniture and housewares from Denmarkthat originated with the Danish design movement. In the 1920s, Kaare Klint embraced the principles of Bauhaus modernism in furniture design, creating clean, pure lines based on an understanding of classical furniture craftsmanship coupled with careful research of materials, proportions and the requirements of the human body. With designers such as Arne Jacobsen and Hans Wegner and associated cabinetmakers, Danish furniture thrived from the 1940s through the 1960s. Adopting mass-production techniques and concentrating on form rather than just function, Finn Juhl contributed to the style's success.

Adopting the Functionalist trend of abandoning ornamentation in favor of form, he nonetheless maintained the warmth and beauty inherent in traditional Danish cabinet making, as well as high-quality craftsmanship and materials. His use of teak wood added warmth to his pieces.



The development of modern Danish furniture owes much to the collaboration between architects and cabinetmakers. Cabinetmaker A. J. Iversen, who had successfully exhibited furniture from designs by architect Kay Gottlob at the Paris World Exhibition in 1925, encouraged further partnerships. In 1927, with a view to encouraging innovation and stimulating public interest, the Danish Cabinetmakers Guild organized a furniture exhibition in Copenhagen which occurred annually until 1967. It fostered collaboration between cabinetmakers and designers, creating a number of lasting partnerships including those between Rudolph Rasmussen and Kaare Klint, A. J. Iversen and Ole Wanscher, and Erhard Rasmussen and Børge Mogensen.

Following World War II, Danish designers and architects believed that design could be used to improve people's lives. Particular attention was given to creating affordable furniture and household objects that were both functional and elegant. The fruitful cooperation ensued, combining Danish craftsmanship with innovative design. Initially, the furniture was handmade, but recognizing that their work would sell better if prices were reduced, the designers soon turned to factory production. Interest in Danish Modern in the United States began when Edgar Kaufmann, Jr. from the Museum of Modern Art purchased some items for the Fallingwater home designed by Frank Lloyd Wright. This ultimately led to mass-production in the United States, too.

The scarcity of materials after the Second World War encouraged the use of plywood. By the 1940s, the development of new techniques led to the mass production of bent plywood designs by Hans Wegner and Børge Mogensen. They used beechwood for their furniture frames with a teak overlay.

From the beginning of the 1950s, American manufacturers obtained licenses for the mass production of Danish designs while maintaining high standards of craftsmanship. Later, they altered their designs to suit American tastes and introduced American parts  to reduce costs. One of these furniture manufacturers was the Meier and Pohlmann Furniture Company of St. Louis, Missouri.



From 1891 until 1959, the Meier and Pohlman Company manufactured fine wooden furniture. The company's original factory stood close to the Mississippi River, on Second Street. By 1874, when John Meier and John Pohlmann founded their company, lumber yards, saw mills, and other woodworking establishments already crowded this area. Here they had easy access to the rafts of white pine logs floated down the river from Wisconsin and Minnesota. The depletion of the northern forests, however, forced St. Louis furniture makers turned to other sources of wood by the beginning of the 20th century. Meier and Pohlmann, for instance, increasingly relied on rail shipments of oak from Missouri and the Carolinas.

The firm's relocation to Fourteenth Street in St. Louis in 1891 reflected the general westward movement of people and industry in the neighborhood while its tremendous success mirrored the growth of the furniture industry in St. Louis at that time. By 1906, the city ranked first in the country in terms of the volume of furniture produced and its market extended across much of the American West. Initially, Meier and Pohlmann recruited skilled cabinetmakers from Germany to work in their factory. The sons and grandsons of these original workers comprised a large part of the labor force well into the 20th century. Contracts with Sears, Roebuck and Montgomery Ward gave the company a national market for its fine dining room furniture after 1938.

Unfortunately, a dramatic increase in shipping rates and a shift in the public’s interest to the new Mediterranean style, ultimately led to the company's closure in 1959.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about vintage games in the 2019 Holiday Edition, "Games, Games, and More Games," 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 Away We Go!

QUESTION: Now that I’m in my fifties, I look back nostalgically on those cold winter days when snow piled high all around our house and school was closed. Those were the days when I got to spend the day sledding, or as my boyhood friends and I called it, “coasting.” Recently, I picked up this old sled at a flea market. It’s in pretty poor condition, but I’d like to bring it back to life. Can you tell me anything about it? Also, do you have any suggestions for its restoration?

ANSWER: What you purchased isn’t just any typical sled. It’s one made to hold an infant or a toddler or two. It’s also a non-steerable pull sled, unlike the one you probably used on those snowy days, known as a racing sled or Flexible Flyer.

But to really understand where this one came from, it’s important to go back and take a look at how sledding got to be such a popular pastime in America.


The neat thing about sleds is that everyone could enjoy them—young and old, rich and poor. They were quintessentially All-American. To a boy, a sled was his ticket to cheap and exciting wintertime fun. During the 1950s, coasting, as boys dubbed the sport, became the winter pastime of hundreds of thousands of kids living in the northern states.

Though sledding existed in the US since Colonial times, it really didn’t gain popularity until the late 19th century when downhill sledding became an organized sport and sled design a sophisticated art. Racing was what it was all about. Early sleds bore names like the Comet, Reliance, Thunder, or Flying Cloud.

With the invention of the Flexible Flyer, the first steerable sled, by Sameul L. Allen in the late 1880s, sledding drastically changed. Allen’s prominent Philadelphia Quaker parents sent him to the Westtown Boarding School in Chester County, Pennsylvania, as age 11. After graduation, he moved to the family farm in 1861 near Westfield, New Jersey, half-way between Moorestown and Riverton, where he married and became a farmer. Soon he established a company to manufacture farm implements. But since this was seasonal, Allen needed a product he could make in the summer and sell in the winter. He decided to make sleds.

Allen’s first sled, known as the "Fairy Coaster," was a double runner bobsled that held three or four adults. Light and folding easily for transport, the sled’s runners and supports were made of steel with plush seats. But at $50.00, it cost too much to sell in quantity. He began testing his sleds at Westtown School (also known for its part in the development of the game Monopoly), his alma mater.



It wasn’t until he came up with the ideas for a T-shaped runner and slatted seat, both new concepts at this time, that he made any progress. After it was proven, Allen called his sled the “Flexible Flyer,” an appropriate name because the sled was fast considering its weight and size and the only steerable sled at the time.

Allen eventually convinced two great department stores, John Wanamaker in Philadelphia and R.H. Macy in New York, to sell his Flexible Flyers. By 1915, he was selling 2,000 sleds a day.

By 1917, sled manufacturers like Casper H. Oermann of The American Toy and Novelty Works in York, Pennsylvania, built their sleds with hardwoods and nickel plated steel bumpers and grooved runners.

 B. Garton, who began making his sleds in 1879, in Sheboygan, Wisconsin, made his sled decks from a special weather resistant five-layered plywood imported from Finland. He then silk screened colorful designs, using a brilliant red paint known in the trade as "Garton Red," on each deck.

Sleds came in two basic types–clipper and cutters. Designed for boys and perfect for belly flops, the long and low slung clipper sled had its deck mounted directly onto low, "squatty" wooden or metal runners which ended in a point. The rider threw himself on the deck and sped down the hill head first. Speed was most important.

The Standard Novelty Company of Duncannon, Pa, produced The Racer and Sno-ball, both nonsteerable sleds, and the Lightning Guider. By the 1920s, it had produced more children's sleds than any other American company. Today, the factory operates as the Old Sled Works, a museum, antique, and craft center.

Bringing an old sled that has seen better days back to life isn’t difficult. But it does take time and effort. To restore any sled, first sand all the metal parts with coarse sandpaper, then medium, then fine. Give the metal parts an undercoating of RustOLeum paint, followed by a second coat of RustOLeum in whatever color you choose. For the most part, these sleds would have had bright red metal parts.

Next, sand the wooden parts with medium sandpaper until smooth, then wipe down with a dampish cloth, preferably an old washcloth. Repeat the process with fine sandpaper. After wiping down the wood a second time, give it two coats of coat of glossy polyurthethane varnish. You may wish to stain the wood using an oak stain first. Of course, you could choose to paint the desk and surround, but these sleds would have had natural finishes.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about vintage games in the 2019 Holiday Edition, "Games, Games, and More Games," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Let It Snow, Let It Snow, Let It Snow

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


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

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

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

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

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

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

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

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

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

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

To learn more about snow globes read "A Look at the Wintry World Inside" in #TheAntiquesAlmanac.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about vintage games in the 2019 Holiday Edition, "Games, Games, and More Games," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

All That Glitters Isn’t Always Tiffany

QUESTION: I recently bought what I thought was a Tiffany lamp. I paid several hundred dollars for it and thought it was a steal. Now I'm not so sure. I cannot find a signature on it anywhere. Can you tell me if you think it's a Tiffany?

ANSWER: Unfortunately, as the old saying goes, "You got robbed." Well, not exactly. No, your lamp isn't a Tiffany. It's not even close. But what you paid for it probably is what it's worth. And as long as you like it, that's what counts.

The sight of what looks like a Tiffany lamp sends some people into a dream-like state, blinded by the dollar signs in their eyes. Others begin to see dollar signs at the mere mention of the name. Tiffany lamps have become the Holy Grail of antique collecting for many people. To find one—to own one—is paramount to winning the MegaMillions jackpot. And there lies the rub.

Because lamps made by Tiffany Studios command such a high price, people tend to lump all stained glass lamps into this one category. They think that any stained glass lamp is a Tiffany and that they’ll be set for life. In a million-to-one shot, they just might be, but more than likely, their lamp had been made by another company. While its not a fake, neither is it a Tiffany.

Between 1895 and 1915, small factories in New York and Chicago produced a huge variety of mosaic stained glass lamps to satisfy a growing demand for stylish lighting designs to complement the new electric lamps. While Tiffany Studios set the industry standard, other companies produced excellent designs as well.

Companies such as Duffner & Kimberly and Gorham, made lamps of a quality equal to Tiffany Studios and created styles that appealed more to the Victorian taste, although on its way out, that the American middle and upper middle class preferred. Some companies, like Wilkinson, made high quality bases, and took short cuts with their shades. Others, like Unique, focused on creating complex shades and paired them with simpler bases. Many copied Tiffany’s Art Nouveau designs—in many instances almost exactly—and many copied each other.

Tiffany lamps are about the most flamboyant art objects ever produced in America. They attract celebrities, speculators, and decorators, whose buying whims have driven the Tiffany market into a frenzy and then leave it a shambles when the next fad comes along. For the last few years, the market for these wonderful leaded-glass lamps, most produced during the first two decades of this century, has been recuperating from a decade-long manic-depressive binge.

During the 1950's, a few pioneer collectors began looking at the sensuous floral lamps made by Louis Comfort Tiffany and his Tiffany Studios. Louis was the son of the founder of the famous New York jewelry firm, but for most of his life he preferred painting, the  decorative arts, and interior design.




During the 1960s, interest in the lamps grew rapidly because their restless, fragmented, colorful designs fit nicely into eclectic, psychedelic decorating schemes of that time. Inflation in the 1970's drew investors, speculators, and celebrities into a market where prices sometimes doubled from year to year. Recession in the early 1980's drove those buyers from the market, and prices collapsed. Since then, prices for  some lamps have moved back to, or even above, their former highs; but the market is still very selective one.

The current record price for a Tiffany lamp is the $528,000 paid in December, 1984, at  Christie's in New York City for a large floor lamp with a shade in the Magnolia pattern.  The lamp was one of several being sold by record producer David Geffen, who had been a major Tiffany buyer during the era of hectic growth. Although it was set long after those halcyon days, the record was more a last gasp than a portent of things to come. Today, authentic lamps made by Tiffany Studios and signed either “Louis Comfort Tiffany” or “Tiffany Studios” on the rim of the shade go for as high as $30,000. No wonder there are so many “Tiffphonies” out there.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

An Iconic Toy That’s Lasted Over a Century

QUESTION: When I was a kid back in the 1950s, one of my favorite toys was my set of Lincoln Logs. I have a little grandson now and was doing some Christmas shopping the other day when I noticed a set of Lincoln Logs on the shelf. I didn’t know they still made them. So I bought him a set. I hope he gets as much enjoyment from them as I did. Can you tell me anything about this classic building toy? How did it get its start?


ANSWER: Lincoln Logs have long been a favorite toy of little boys. And they didn’t just appear in the 1950s. In fact, they appeared in stores sometime between 1916 and 1918 when John Lloyd Wright was working with his famous architect father, Frank Lloyd Wright. He based the model for the toy on the foundation structure of the Imperial Hotel in Tokyo, designed by his father, consisted of interlocking wooden beams.

When he returned to the U.S., John Wright organized The Red Square Toy Company, named after his father's famous symbol, and began marketing the toy in 1918. He obtained a U.S. patent for it on August 31, 1920, for a "Toy-Cabin Construction". Soon after, he changed the name of his company to J. L. Wright Manufacturing. The original Lincoln Log set came with instructions on how to build Uncle Tom's Cabin as well as Abraham Lincoln's cabin. Subsequent sets were larger and more elaborate. The toy was a hit, following as it did Tinker Toys and Erector Sets introduced a few years before.



This all-American building set consisted of square-notched miniature logs used to build small forts and buildings. The logs measure three quarters of an inch in diameter. Analogous to real logs used in a log cabin, Lincoln Logs come notched so that they may be laid at right angles to each other to form rectangles resembling buildings. Additional parts of the toy set included roofs, chimneys, windows and doors, which bring a realistic appearance to the final creation. Later sets, packaged to build specific theme buildings in which the number of pieces ranged from 120 to 240 pieces, included animals and human figures the same scale as the buildings.

And though the early sets contained pieces made entirely of wood, the company unsuccessfully introduced sets made entirely of plastic in the 1970s, but soon went back to using real wood.

The original Lincoln Log toy set included a set of instructions on how to build the cabin from the book Uncle Tom’s Cabin, as well as instructions for building Abraham Lincoln’s boyhood cabin. The Lincoln Logs became popular quickly, and the basic initial set was soon expanded to include more logs of a greater variety of sizes. With the increased number and sizes of logs, children were able to build much more types of buildings and could exercise their creativity to a much greater extent when playing with the logs.

There’s a disagreement over the origin of the name “Lincoln Logs.” The current distributor of Lincoln Logs, Basic Fun, Inc., claims they were named after former U.S. president Abraham Lincoln because he was born in an old-fashioned log cabin, plus the name invoked patriotism during World War I when Wright invented it. But those friendly with John Lloyd Wright or those who knew people who knew John said the name came from Frank Lloyd Wright’s original name of Frank Lincoln Wright, or even that the name was a play on the term “linking logs,” which is what the logs did.

The toy’s packaging featured a simple drawing of a log cabin, a small portrait of Lincoln and the slogan “Interesting playthings typifying the spirit of America.” Capitalizing on both a nostalgia for the frontier at a time when the United States was becoming increasingly urbanized and a wave of patriotism in the wake of World War I, Lincoln Logs became an instant success.

Originally carved from redwood, the notched building logs are now manufactured from stained pine. Lincoln Logs peaked in popularity during the 1950s when it was among the first toys mass-marketed on television. The toy’s rustic brand tied in perfectly with popular children’s shows such as “Davy Crockett, King of the Wild Frontier” that were watched by tens of thousands of young “baby boomers” on their black-and-white televisions.

John Lloyd Wright sold his company to Playskool in 1943 for only $800. The copyright for Lincoln Logs eventually passed to toy companies Milton Bradley and Hasbro. Since 1991, the rights to produce Lincoln Logs have been licensed by K’NEX, which announced in 2014 that the stackable wooden construction sets would again be manufactured in the United States after years of being produced in China. In late 2017, Basic Fun, Inc., of Florida, bought out K'NEX, when it filed for bankruptcy. Pride Manufacturing, of Burnham, Maine, manufactures Lincoln Logs for Basic Fun. Over 100 million sets have been sold worldwide since the first ones appeared in 1918.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Onions Galore

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


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


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

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

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

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

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

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

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Setting the Thanksgiving Table

QUESTION: As the holidays approach, I get out my Oneida silver flatware and polish it up for another joyous season. Beginning with Thanksgiving dinner, I use a setting for 12 that’s been in our family for four generations. Except for the classic beauty of this tableware, I know very little about it. Can you please tell me more about Oneida?

ANSWER: The holidays, especially Thanksgiving, are all about traditions in many families. Your use of your Oneida family heirloom is no exception. But Oneida didn’t always make silver flatware. In fact, at one point early in the company’s existence, it made grizzly bear traps.

Oneida, Ltd. actually began as a utopian religious commune in 1848. At that time, there were several such communities that existed in the northeastern United States. Oneida was one of them.



John Humphrey Noyes and his followers founded the Oneida Community in Oneida, New York. Members of this Protestant, religious sect referred to themselves as Perfectionists because they believed that spiritual perfection could be achieved by them in this world. This was a common concept among 19th-century utopian communities. Much like the Shakers, members contributed all their worldly goods to the community when they joined it. The community held all possessions in common, and it provided for everyone's needs. They called this practice "Bible communism.''

But the Oneida Community is best known for its unconventional family arrangements. Members practiced what Noyes called complex marriage—every man was married to every woman, just as every woman was married to every man. Although neighbors surrounding the community saw this as "free love,” the Perfectionists defended complex marriage as noble and unselfish, since all were expected to be loving to each other. It discouraged individual relationships. During its early years, the community also discouraged child bearing, but by 1869 when the community had become more prosperous, its elders selected couples with desirable qualities and encouraged them to bear children. John Humphrey Noyes himself fathered several, including sons who were later very active in the affairs of the future company. Oneida, Ltd.

At first the Perfectionists tried to support themselves by farming and by preserving and selling fruits and vegetables. But this didn’t provide sufficient income, so they branched out into several industrial activities. An 1890s ad offered a booklet which told how the community came to make such interesting and incongruous things as delicious preserved fruits and traps for catching grizzly bears, fine sewing and embroidery silk, d steel chains, and beautiful flatware. Let’s face it, not many silver companies started out making traps for grizzly bears.

By 1877, when the Wallingford, Connecticut, branch of the community started making tin-plated spoons, the original Oneida Community was beginning to break up. In 1879, Noyes moved to Canada and members abandoned the concept of complex marriage. In 1880, the assets of the community were distributed to its members in the form of stock in the newly formed corporation, Oneida Community, Limited, making it one of the earliest joint-stock companies in the United States.

The new company, under the leadership of P.B. Noyes, one of the sons of the founder, first moved its silverplate production to Niagara Falls, New York, and later to Sherill, New York, within walking distance of the original Oneida Community property. It began production of silver-plated flatware and hollow-ware in 1899 using the "Community Plate" mark.

When the community became a corporation, some members found it difficult to adjust to the new business practices and divided into factions, each competing to control the board of directors. But the younger Noyes remained in control and moved the company into manufacturing higher quality wares in sterling silver, including a flatware line called Avalon in 1901. In 1929, it purchased the William A. Rogers Company began producing a lower-quality line of products using that company’s mark. In 1935, the firm changed its name to Oneida, Ltd.

By 1961, Oneida, Ltd. began producing stainless steel flatware. And by the 1980s, Oneida made at least half of all flatware purchased in the United States. At the end of the 20th century, Oneida fell upon tough economic times, becoming the last remaining U.S.-based manufacturer of flatware, knives, forks, and spoons. The resulting economic troubles resulting from 9/11 forced it to close or sell off most of its factories.
It filled for bankruptcy in 2006, and after finally stabilizing, Monomoy Capital Partners, an equity fund based in New York City, acquired it. Today, it services much of the food service industry with both china and flatware.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Fall is Cranberry Season

QUESTION: Every year at Thanksgiving, I bring out a set of eight sparkling pink glasses that used to be belong to my great-grandmother. They seem so festive and add a holiday note to our dining table. Can you tell me anything about these glasses?

ANSWER: Your glasses are made of cranberry glass, a very special type of glass favored by Victorian hostesses, especially around the holidays. Not only is this glass appropriate for the Thanksgiving and Christmas holidays, but it’s also a popular collectible. In fact, some pieces are worth too much to be used for fear of breakage.

Although glassblowers had been making colored glass since ancient Egypt, it was Johann Kunckel, a 17th-century German chemist from Potsdam, who came up with the red color by adding gold chloride to the clear crystal. During the 19th century, English and American glassblowers experimented with adding less gold choride, resulting in a pink glass which the Americans called “cranberry.”

And thanks to the virtuosity of these glassblowers there seems to be an endless variety of shapes and patterns of this glass on the market. In addition to tumblers and water pitchers, there are salt cellars, sugar shakers, cruets, jars, jugs, decanters, celery vases and finger bowls. Among the widely used patterns are "Swirl," "Coin Dot," and "Daisy & Fern." Some of the most rare and expensive items found from this time period are beautiful lamps and other lighting fixtures.
         
As with any collectible, cranberry glass can also be an investment. Pieces that sold for less than ten dollars a generation ago are now worth hundreds of dollars. Because of the natural fragility of glass, antique cranberry glass has become relatively scarce, though it does turn up in thrift and antique shops,  flea markets, and auctions.         

Although cranberry glass had peaked in popularity by the end of the 19th century, manufacturers produced it in quantity through the 1930s. The last two companies to make this unique glass—The Pilgrim Glass Corporation and Fenton Art Glass —went out of business early this century. Pilgrim Glass Company produced beautiful blown cranberry glass ranging from various vases and baskets to candle holders and sold them in department stores and gift shops around the country until 2001. At the time if the company's closing, cranberry was its most popular type of glass. Fenton Art Glass marketed new cranberry glass, featuring opalescent decoration with coin dots, daisy patterns and numerous other styles, through retailers around the country until it closed in 2011.

Cranberry glass has always been made in craft production rather than in large quantities, due to the high cost of the gold and the delicate mixing process required. Glassmakers dissolve the gold chloride in a solution of nitric acid and hydrochloric acid, known as “aqua regia.” Gold in the batch reacts with intense heat to create the beautiful cranberry color. A glassworker called a “caser” attaches a “bud” of this glass mixture to a blowpipe. Then the glassblower stands on a platform with the mold below his feet and blows the molten glass into the mold to create the desired shape. Afterwards, another glassworker places the piece in a “lehr” or annealing oven where it slowly cools to room temperature. Most cranberry pieces are hand blown or molded and often contain small bubbles and striations.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Locating Parts for Antique Furniture

QUESTION: I have a Chippendale mahogany bookcase/secretary that is missing a finial. Do you have any idea where I can locate one?

ANSWER: Finding parts for pieces of antique furniture can be a quest in itself. But before you decide to restore a piece, you first have to know how old it is. A piece of furniture dating before 1830 is considered a fine antique. As such, it has special rules for restoration. First, you cannot replace more than 60 percent of it without it being declassified as an antique. Replacing anything on it will definitely lower the value. In fact, doing any sort of restoration usually hurts the value, unless it’s to restore the integrity of the piece.

Restoring furniture made after 1830 is another matter. A piece must be at least 60 percent original to have any value. If more has been done to it, then it's just another piece of used furniture.

As time goes on, even pieces dating from the mid-19th century will be scrutinized closer when it comes to restoration. However, generally the fine antique crowd tends to avoid anything Victorian, looking upon it as used furniture. Replacing parts and restoring a piece of Victorian furniture can actually enhance its value. But the replacement has to be of the finest quality and the restoration done right.

The date when this bookcase/secretary was made wasn’t specified. If it were an authentic 18th-century Chippendale piece, replacing that finial would have to be done by a professional cabinetmaker and restorer. This could cost several thousand dollars, but when the piece may be worth half a million in the first place, that’s a drop in the antique bucket. The cabinetmaker or joiner would have to hand-carve the missing finial to create an exact match to the original.

If—and that’s a BIG if—a replacement could be found from an identical bookcase/secretary, that would also work. But since 18th-century cabinetmakers all customized details like finials on their pieces, the chance of finding one is a million to one. The only way to make sure is to find a bookcase/secretary from the same cabinetmaker that’s beyond restoration and use it for parts.

On the other hand, if the piece were from a later period, which is probably is, it may be possible to find a finial floating around in a antique or junk shop. But you can’t just go to a home center and pick one off the shelf.

The first place to start looking is in antique shops that specialize in selling furniture. This could take years of browsing. But parts have been known to service in the least possible places.

You can also turn to a cabinetmaker who specializes in making replacement parts for furniture. This, again, could cost a bit since each part has to be handcrafted and that takes time.

Finally, there area a number of places on the Internet to find replacement parts. A lot of them sell mostly replacement hardware, but some, like antique furniture repair and refinishing companies, do make parts to order. McLean’s Refinishing, of Watkinsville, Georgia, stocks old furniture parts and has access to reproduction and replacement parts.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Preservation vs. Conservation

QUESTION: I have several pieces of antique furniture that need some tender loving care, but I’m not sure how to go about it. Can you explain the difference between preservation and conservation? And can you give me some tips on how I can take care of my pieces?


ANSWER: Preservation involves keeping an object from destruction and seeing to it that it’s not irreversibly altered or changed. In conservation, on the other had, the goal is to preserve the maximum amount of the original material, in as unaltered a condition as possible.

Furniture conservation and restoration can be divided into two general areas—structure and finish. Structure generally relates to wood---solid, joined, and veneered. The finish of furniture can be painted or varnished.



Antiques restoration can be an arduous process if the goal is complete authenticity. This is particularly true for museum conservators. For them, authentic material is the actual original material of the object. For example, a chair with its original upholstery, even if it is faded and shredded, is authentic for the conservator and possesses historic value even though it may not be exhibitable. The same chair can be "restored" and looking as it did when new, with replacement fabric copied from the original weave and colors, and upholstered according to the known design of that particular piece of furniture.

Some pieces of furniture, especially those constructed of harder woods, such as walnut, mahogany, maple, oak, or cherry, may only need to have their surface finish preserved. In the case of furniture made of these woods, there may be enough of the original finish left to restore the piece rather than refinish it.

Before doing anything, study your piece. Is the finish pretty much intact? Does the piece have a nice patina? Is the piece more than 100 years old? If you answered yes to even one of these questions, then you should do your best to preserve the original finish of your piece.

The first step in preservation is cleaning. Furniture gets dirty, even grimy over time. Before you can apply a new finish, you need to get rid of all the accumulated dirt and grease that often make it difficult to tell what kind of wood the piece of furniture is made of. Grime can also hide the fine lines of inlay and marquetry. Believe it or not, using lemon oil, a popular furniture polish, can do more harm than good. Since its made of a light petroleum oil and some paraffin wax, the wood doesn’t absorb it. Instead, it acts as a surface dust catcher.

One of the best products for cleaning wood, especially furniture, is Murphy’s Oil Soap. Today, it’s also in a spray bottle, but in case you can’t find it that way, you can make your own cleaning solution by mixing a capful of Murphy’s in a spray bottle of water. For this, you can use any empty spray cleaner bottle, as long as you wash it out thoroughly first. Since water will loosen any glued joint, and also tends to raise the grain of the wood, you don’t’ want to use very much. An old washcloth will do quite well for cleaning.

Spray the Murphy’s on a damp washcloth and then rub it on the surface of the furniture. Rinse the cloth when it gets to dirty. Have a second wet, but wrung out, washcloth ready to wipe off the Murphy’s Oil solution, wringing the cloth nearly dry after every few wipes. You can also use a green scruby cloth, sold in Dollar Stores, if there’s hard to remove grime. A stiff-bristle brush will allow you to get the dirt out of carved and turned areas. The secret is to clean only a small area at a time–one leg of a chair, one part of a chest, and so on. After you clean an area, wipe it dry with an old face towel. Be sure to wash out all your cloths or use others as you progress, especially on a large piece of furniture. After you have finished cleaning your piece of furniture, give it a final wipe with a clean cotton rag and set it aside to dry for 24 hours.

All this cleaning may cause joints to loosen, so be sure to check the structural integrity of your piece before applying a new finish. If joints need to be tightened or reglued, do so before applying a new finish.

Now you’re ready to apply a new finish. You can either use plain tung oil or a product like Minwax® Water-Based WoodSheen® which is a water-soluble mixture of furniture finish and stain that comes in six colors. For a piece that’s got lots of scratches or marks, it’s best to choose a stain color that complements the wood’s original finish.

The final step is polishing the entire piece using a prepared wax like Minwax, which comes in light and dark varieties. Obviously, use the light for woods like oak or cherry and the dark for woods like walnut or mahogany. Apply the wax with a piece of soft cotton cloth like an old athletic sock and after 30 minutes, polish the surface with an old face towel. One coat should do it, but for tabletops, apply two coats of wax.

Rub off the first coat with 0000 steel wool, then apply the second and polish with the towel. The more coats of wax you apply, the more water resistant the top will become. A light polishing once or twice a year will keep your piece in great condition.

There are no short cuts or time savers to this entire process. The work can be slow and at times tedious, but the results are worth it.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.

Little Portraits

QUESTION: I’ve noticed photographic portrait cards of Civil War soldiers  and other people, some of them famous, 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.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 24,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about antique clocks in the Fall 2019 Edition, "It's That Time Again," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques & More Collection on Facebook.