Shave and a Haircut Two Bits

 

QUESTION: My grandfather loved to collect old shaving mugs. By the time he died, he had collected over 100 of them. One of them belonged to his father. As his grandson, I’ve now inherited his collection. As much as I admire it, I’m not sure what to do with all those mugs. What can you tell me about shaving mugs in particular? And what advice can you give me on caring for his collection?

ANSWER: Curating someone else’s collection is at best challenging and at worst a nightmare. What you have inherited is the result of years of searching for just the right mugs. Collecting is an emotional process but a collection is a just a group of objects. What you need to do is make his collection your own. And that means learning everything you can about shaving mugs to start. 

Only after you have become somewhat knowledgeable will you be able to curate his collection. Curation is the inventorying of the collection, as well as its improvement. To improve his collection, you’ll want to cull out any pieces that are chipped or damaged in any other way by selling them in order to purchase better mugs. 

There was a time when a man could stop at his neighborhood barbershop and get a shave and a haircut for two bits, 25 cents. Today, it’s nearly impossible to find a barber who still offers a shave with a haircut. That went out with the advent of the safety and electric razors.

Most homes had no hot running water, so one had to boil water in order to shave. The soap used to fit into a cup, and with the hot water and a brush, a man could get a good lather to shave with his straight razor. So men began going to barbershops to get a shave.

When a man went to the barber for a shave, the barber used soap and a brush in a mug to work up a lather which he then applied to the face. Many of the shaving mugs were personalized and kept in a rack at the barbershop for the barber to use when shaving the men who owned them. From 1870 to 1930, shaving mugs were both a necessity and a status symbol. Almost all men owned one.

Mugs that men used at home are came in various shapes and didn’t have the owner's name on them. Some were in the shape of a mug with floral designs while others were plain. Many grabbed a mug from the kitchen cupboard for their shave, but as they were able to afford to go to the barbershops for a shaves, mugs with names and other information on them became popular possessions.

Hygiene was another stimulus for the proliferation of personal shaving mugs. It was thought that a shaving rash that some customers developed came from the use of the same soap on different customers, so barbers started selling individual shaving mugs and soap to customers, keeping in a mug rack in the barbershop.

In 1890, these would have sold for 50 cents to $2.50 each. This service benefitted the barber’s business since customers would generally return to the shop where they had a mug rather than go to another where they didn’t. 

The mugs used in barbershops were of many designs, but all had one thing in common—they were hand painted and had the owner's name on the front of the mug.  Some had just the owner's name while others had floral and scenic designs on them, or symbols of fraternal affiliations and illustrations of the owner’s occupation. It seemed a natural progression from mugs that depicted a man's occupation to those advertising a service or product.

Men sitting around the barbershop could easily identify who delivered milk, repaired shoes, sold meat, or owned the livery stable. This exposure probably led to an increase in the advertised customer's business, since so many men who went to barbershops lived in the area.

Early manufacturers of barbershop products also desired to increase sales, especially shaving soap. The Knights Company gave a free glass shaving mug to anyone who bought their shaving soap, thus encouraging them to continue to buy more soap. There were a variety of glass shaving mugs that barber’s gave free to customers who purchased shaving soap. 

Wildroot had a double bowl advertising mug that it offered in the 1920's. One of the bowls held the lather while the other held hot water. Later, they offered a Fire King shaving mug with a barber pole and the words "Ask for Wildroot" on the mug face. In the 1930's, Shulton Old Spice sold sets that included a mug and soap. Several other companies followed with their own mug and soap. 

In the 1950's, the Sportsman Company went a step farther and offered hand painted occupational mugs that showed various occupations using the name of the occupation rather than the name of the owner, such as Policeman, Lawyer, Doctor, etc. 

Some collectors consider hand painted shaving mugs both advertising and occupational, a type of folk art.  Artists painted them in barber supply houses on blank mugs obtained from Europe, since the United States had a very limited ability to produce porcelain at the time. Koken Barber Supply and Kern Barber Supply in St. Louis, Volden Barber Supply in Cleveland, and Berninghouse Barber Supply in Cincinnati were some of the major producers of mugs, and generally have their marks on the bottom of the mug.

Mugs from 1870 to 1930 are highly collectible, and while occupational shaving mugs are the most sought after, mugs showing advertising are also popular with collectors. The shaving mugs collected today come primarily from that boom period, and their popularity has risen dramatically. Prices range from $20 o $10,000, so there's plenty of opportunity for beginners as well as advanced collectors. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Sparkling World of Glass" in the 2021 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

In a Cats Eye

 

QUESTION: As a kid, I played marbles with my buddies. I started playing with marbles when I was in third grade and by the fifth grade, I was our school’s marble champion. At the time, I liked the way the marbles looked but knew nothing about how they were made. I’ve seen some old marbles online and would like to start a collection. What advice can you give me?

ANSWER: Marbles are a good item to collect because of their size. But don’t let their small size fool you. Some of the older handmade marbles can go as high as $700 for a 2½-inch end-of-day one. 

For those who have never played marbles, the goal of each shot is to hit one of the marbles in the center and knock it out of the circle. If the player knocks a marble out, then they get to keep the marble for the rest of the game, they also get to take another turn. If the first player doesn’t knock a marble out of the circle, the next player then gets a turn.

Aggies, cats eyes, popeyes, red devils, pearls, turtles, bumblebees—these were all nicknames for marbles. A cat's eye marble, for instance, had central eye-shaped colored inserts or cores injected inside the marble. A devil's eye was red with yellow eye.

Many marble players grew up to be marble collectors. Many treasure the handmade glass marbles produced in Germany between 1865 and 1910. These represented a golden age of marbles---a time when artisans made them one at a time.

Although glass marbles date from Roman times, the invention of the marble scissors in 1846 advanced the technique considerably. An unknown glass-worker in Lausche, a town in the porcelain-making province of Thruingen, Germany, forged a pair of tongs with a cup on one end and a knife blade on the other. He attached the cup with a screw which could be made larger or smaller depending an the size of the marble needed. This invention made it possible to produce round glass marbles in quantity.

For years, collectors have referred to the scar or break mark left by the marble scissors as a "pontil mark.”' However, this isn’t correct. Glassmakers used a pontil rod for making blown glass, not marbles. Depending on the production technique, all antique handmade glass marbles have either one or two pontil marks.

German glass marbles came in a dazzling array of colors, types, and sizes in two large and distinguishable categories—antique cane-cut and individually made. Despite their differences, glassmakers cut marbles in each category with marble scissors.

Antique Cane-Cut Marbles
“Glass cane” has at least two meanings. It refers both to thin, individual threads of transparent opaque or colored glass and to the glass rod produced when combining threads. The Germans performed a similar creative transformation when they produced marbles from glass cane. The result was the "German Swirl."

When the core or cooler portion of a marble was an open network of opaque or colored glass threads, collectors refer to it as a glass latticinio core The number of threads in the delicate interior lattice varied vary from 8 to 40. Cores in red, blue or green are rare today. Close to the surface of the marble and distinct from the core were additional ribbons and swirls of complementary or contrasting colored glass. More than half the German Swirls had latticinio cores.

Solid cores looked like a column of tightly packed and consecutive colored glass threads. There was no clear glass at the core. The core, itself, was a solid color or colors. Divided and ribbon core marbles were subtly different. Most antique divided core swirls resembled a DNA molecule, but with three strands instead of two. Clear glass separated or divided the strands of color. In contrast, ribbon cores had only one or two somewhat wider divisions. Ribbon cores took considerable skill to produce and were rare compared to divided cores. 

Artisans created some German Swirls around a ball of colored glass. The swirl markings had to be bright and near or on the surface in order to be seen. A variation on this theme was the use of opaque glass as the core. Confusion results when the same style name is applied to marbles in both of these categories.  For example, clambroths, gooseberries, and Indians were names given to certain types of colored and opaque glass marbles. Glassmakers usually made the clambroth and gooseberry marbles with two subdued, delicate colors—one color forming the background and the other gently curving around the surface of the marble. Indians were typically black with bright contrasting rainbow colors close to the surface.

Individually Made Marbles 
Although artisans handmade cane-cut marbles, they didn’t make them individually. The marbles cut from the same, elongated, glass cane would certainly share some of the same color, style and core features. But each was not completely one of a kind. Individually made marbles were all unique creations.

Before they left work for the day, glassmakers often fashioned marbles from scraps and chips of canes left behind at the end of production. These marbles were usually large—at least one inch in diameter—then gave them to children in the neighborhood on their way home. "End-of-day" marbles belong to one of the rarest and most sentimental marble categories with prices ranging from $125 for a 1-inch to between $500 and $700 for a 2½  inch. These marbles have a single pontil mark, rather large spots and what looks like a balloon floating just below the marble's surface.

The golden age of German handmade glass marbles began to close as Germany entered World War I. Men and machinery used to produce toys were pressed into service for the war effort. Following the war and up until 1926, American toy catalogs continued to carry "imported glass" German marbles-Production most likely didn’t continue after 1910 primarily because of the perfect symmetry, availability, brilliance and competition of machine made marbles.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Sparkling World of Glass" in the 2021 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

A Memento of Antarctic Exploration

 

QUESTION: I’m a watch repair person. Recently, a rather unique 24-hour watch came across my counter for a new band. I’ve never seen one like it before and wandered if you could tell me more about it. The dial has what looks like a map of Antarctica on it and all the lettering seems to be in the Russian Cyrillic alphabet. Also, the dial has some writing in red on it.

ANSWER: What you have is what’s known as Russian Raketa Polar Watch.  They’re often described as Raketa watches.

The Petrodvorets Watch Factory, the one that produces Raketa watches, is the oldest in Russia, founded by Peter the Great in 1721. The Nazis destroyed it during the Siege of Leningrad, but the Soviets rebuilt it in 1944. Since 1961, the factory has been producing watches under the brand “Raketa,” meaning “rocket,” in honor of Yuri Gagarin, Russia’s first astronaut and the first person in Space. 

Today, the Petrodvorets Watch Factory, still located in its historic building, is one of the rare watch factories in the world that makes its own movements, including the hair spring, balance wheel, and escapement. In 2009, the company modernized its production with equipment purchased from the Swatch Group in Switzerland.

Often these watches don’t look like Petrodvorets produced them. However, they were often assembled from Raketa parts—probably everything except the dial. Most of the online auction listings say they were "handmade" in Russia. And, for the most part, that’s true. But being part of "Old stock" refers more to the parts than to the complete watch. 

In the 1950s and 1960s, it was common for smaller workshops to produce these watches using Raketa parts. Different Polar, Arctic, and Antarctic models originated from this time. These “fakes” were essentially assembled from whatever parts the makers could find. Supposedly Petrodvorets’ workers during the Soviet Era would produce Raketa watches with modified dials on their own after hours. This continued until 2009, when new owners took over the company.

The majority of Raketa watches were actually produced in the original Petrodvorets factory by original Raketa masters using original Raketa parts. What they modified, if needed, was the dial. These Raketa masters had the tools and knowledge to produce special dial watches.

This watch is one of those special dial watches. It commemorates the first Soviet research  expedition to Antarctica in 1956. But must have been produced after the fact since Yuri Gagarin didn’t go into space until April 12, 1961, if in fact it is a Raketa watch. 

Russian explorers Fabian Gottlieb von Bellingshausen and Mikhail Lazarev, sailing on the ships Vostok and Mirny, first sighted a continental ice shelf in Antarctica in 1820. The continent, however, remained largely neglected for the rest of the 19th century because of its hostile environment, lack of resources, and isolation.

The first Soviet contact with Antarctica came in January 1947 when the Slava whaling flotilla began whaling in Antarctic waters. But it wasn’t until The Soviet Antarctic Expedition, or Sovyetskaya Antarkticheskaya Ekspeditziya, part of the Arctic and Antarctic Research Institute of the Soviet Committee on Antarctic Research of the Academy of Sciences of the USSR, that the Russians explored the interior of the continent to the South Pole. 

The Soviets established their first Antarctic research station, Mirny, near the coast on February 13, 1956. In December 1957, they built another station, Vostok, inland near the south geomagnetic pole. The Fourth Soviet Antarctic Expedition used three large tractors and four sledges on the journey from Vostok to the South Pole, and it’s this expedition that this watch commemorates. The words in red on the dial state “The Soviet Antarctic Expedition,” or “Sovyetskaya Antarkticheskaya Ekspeditziya” in Russian.

In 1959, twelve countries signed the Antarctic Treaty, prohibiting military activities and mineral mining, prohibits nuclear explosions and nuclear waste disposal, supports scientific research, and protects the continent's ecozone. As of today, forty-nine nations have signed the treaty. More than 4,000 scientists from many nations now conduct ongoing experiments in Antarctic life and climate change.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about "The Sparkling World of Glass" in the 2021 Winter Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Happy Birthday, President Lincoln

 

QUESTION: I’ve been collecting postcards for years. Recently, while searching eBay for cards to add to my collection, I came across a unique card depicting Abraham Lincoln’s Emancipation Proclamation. I’ve never really pursued cards from particular presidents and would love to know more about this card and perhaps others. What can you tell me about it?

ANSWER: The New York City postcard publishing firm of E. Nash published a series of cards issued for Lincoln's Centennial celebration in 1909, of which this one was a part. The six-postcard “Lincoln Birthday Series” was specifically intended as a “Lincoln Centennial Souvenir.” A pattern of stars and stripes form the background of each card, the American flag and eagle figure prominently, and each includes a portrait of President Lincoln and a quotation from or text about him. Four of the postcards depict Lincoln the rail splitter, Lincoln the Great Emancipator, Lincoln at Gettysburg, and Lincoln delivering his Second Inaugural Address. The final two postcards in the series focus on Lincoln’s character.  He was “a man of sorrow and acquainted with grief,” as illustrated by his letter to Mrs. Bixby. And he was a man whose “zeal and personal worth” allowed him to rise from his “humble origins” to the “highest pinnacle of fame…as the Champion of Liberty.”

E. Nash Postcard Set (above and below)

Avid postcard collectors seek anything concerning Lincoln and bearing his name, even local view cards. Topics range from Lincoln Park in Chicago to a view of Lincoln Drive in Philadelphia's Fairmount Park, and even include hotels bearing the famous Lincoln name.

Lincoln Portrait

Less than two generations after his death, Abraham Lincoln emerged as one of America's most heroic legends. As the turn of the 20th century dawned, Americans were caught up in the fad of picture postcard ex-changing and saving. So, it is not surprising to discover how fond the public was of cards honoring the 16th president. Indeed, Lincoln's Birthday became a national holiday, and sending patriotic greeting postcards on the day was an enduring custom for many years.

Along with Uncle Sam, Santa Claus and George Washington, Abraham Lincoln's image and life soon dominated American postcard publishing. Old cards of Lincoln help us to understand just a little bit about the optimism and joy people felt back then. It was a time when Americans, under President Teddy Roosevelt and William H. Taft, felt a surging patriotism and veneration for our country and its past. There was a feeling of security in the present and an anticipation of the future.

Typical Lincoln Birthday Card

People avidly saved and exchanged Lincoln postcards. Parents and teachers also used them  as educational tools to inspire and motivate young people. To meet this demand dozens of publishers produced numerous designs of Lincoln's Birthday greetings and memorial souvenirs. During the first two decades of the 20th century many embossed and imaginatively conceived postcards were published. Most were artist illustrations, but a few displayed old photographs of Lincoln. Lincoln's Birthday cards offered a perfect blend of patriotism with the historical and holiday greeting style.

The best effort may well be International Art Company's series number 51651 of six cards, which was illustrated by artist C. Chapman. Considered by many collectors as among the finest Lincoln cards, these went through several distinguishable printings.

The London-based company of Raphael Tuck Si Sons printed and exported into this country, a six card set. While attractive, it does not fully measure up to Tuck's usual standard. The series showed vignettes from Lincoln's life, as well as his birthplace and statue. For the serious collector one version of this set came glazed. 

MW Taggart of New York City sold a 11-card set featuring scenes not commonly available elsewhere. These included The Lincoln Family Group," "Lincoln and Douglas Debate in 1858," and "Abraham Lincoln Entering Richmond:" A unique touch was added by the inclusion of the assassination scene at Ford's Theater.

Lincoln Postcard Set by Paul Finkenrath

Other publishers of cards for Lincoln's birthday were Paul Finkenrath of Berlin, easily identified by their "PFB" logo found on the address side; M.T. Sheahan, which printed 20 different designs on thick stock; P. Sanders, whose two sets, number 415 and number 416, are excellent and engrossing; and Julius Bien, producer of three singles.

Lincoln Postcard for Minnesota Prairie

In 1909, the centennial year of Lincoln's birth, proved beneficial to postcard publishers, who cashed in on the public's devotion to the slain president. It was also celebrated by a pair of special postcards sets, both of which undoubtedly were sold as packaged, complete sets throughout America in the hundreds of postcard shops that dotted the landscape.

E. Nash Company published one of the centennial sets, as stated above. The other set, by Fred C. Lounsbury, had four cards, all of which featured an imitation silver and bronze medallion of Lincoln. Scenes pictured included Lincoln's Kentucky birthplace, young Lincoln splitting rails, and the president delivering the Gettysburg Address. Lounsbury also issued these as plain-back souvenirs.

Lincoln Postcard Set by Fred Lounsbury

However, many companies produced Lincoln patriotic postcards. Among them were Majestic, Oldroyd and Century. Those by Century are particularly interesting because they used some of Matthew Brady's photos.

Postcard Showing Lincoln's Funeral Train

In 1909 a photograph of Lincoln's funeral train, long lost and forgotten in the home of the Lamson family of Toledo, Ohio, was discovered and used for a postcard design. As a promotional for the Lamson Brothers Department Store, it was handed out to Union veterans attending the 42nd National Encampment of the G.A.R. in Toledo that year.

There are so many Lincoln postcards on the market—over 7,000 have been identified from 1,000 publishers— that its impossible to collect them all.  Currently, prices range from a couple of dollars each to about $10, making the postcards one of the best Lincoln memorabilia bargains around.

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

From Old Trunk to Prized Possession

 

QUESTION: About five years ago, I bought an old trunk at a yard sale. It’s been sitting in my den all this time waiting for me to do something with it. I’d like to restore it but I’m not sure where to start. Can you give me some advice?

ANSWER: I’ll go one step better and take you through the process with an old trunk I purchased at a porch sale in Binghamton, New York. It’s probably similar to the one you have.

Although trunks date back to medieval times, it’s only the ones made in the 19th and early 20th centuries that people buy to restore and reuse. Trunks gained popularity with the coming of the railroads. And while people used them when traveling by stagecoach, they were more likely to use a “carpet” bag, one made of durable carpet material that could be carried by the owner. 

People along the coasts of the United States traveled from one point on the coast to another by coastal steamer or, within the interior of the country, by steamboat. Larger trunks could be taken along because these vessels had porters to carry the heavy trunks onboard and off, thus the name “steamer” trunk.

From the later half of the 19th century to the first couple of decades of the 20th, most  trunks had flat tops. These usually had a smooth metal or canvas covering, and later an embossed metal cover. They also had wooden slats or metal banding to strengthen them, as well as to add a decorative touch. More elaborate trunks, especially those made by Frenchman Louis Vuitton, had rounded tops. 

A typical 100 to 130-year-old antique trunk has a stale and musty odor from more than a century of collecting dust, mold, and mildew. Along with the deterioration of the outside canvas, leather and the inside paper lining, the glue, itself, will have decomposed over time. The original tray insert, made from a thin wood fiber or a compressed sawdust type of material, may have a deteriorated paper covering. Dry rot and mold can also be present. The purpose of the restoration process is to stop further deterioration and to remove the collection of dust, mildew, and mold which is causing the musty odor.

A basic restoration consists of first removing all canvas and paper coverings and leather straps and handles. Next the exposed wood must be washed in a special non-toxic solution to kill and remove dust, mold and mildew, then lightly sanded. Any broken hardware must be removed and replaced, as well as all of the leather. It’s important to make all repairs using the same types of tools, nails, tacks, and craftsmanship used when the trunk was first made. The next step is to restore and seal the wood using special non-toxic restorative oils and varnishes in a slow, repetitive manner to bring out the patina that only 100-year-old wood can achieve. The last step is to bring the hardware, fixtures, and any sheathing back to its original color. This includes removing any paint that may have been applied. The hardware, itself, can be painted a flat black if the original finish cannot be restored. 

It’s important to use plastic gloves, eye protection, and a construction-grade face mask when removing the dust and old finishes. While there are lots of good non-toxic cleaners on the market today, some toxic ones may have to be used if the finish on the trunk is in bad condition.

After preparing the exterior of the trunk, it’s time to focus on the interior. Never use an old trunk without properly cleaning it both inside and outside. It’s especially important to scrub the inside and remove and old paper lining that can’t be saved. In fact, unless the paper lining in historically important to the trunk, it should be removed entirely, as should the glue holding it in place. Back in the 19th century, trunk makers used horse glue to attach the paper to the inside and canvas to the outside.. 

Once the interior has been stripped and cleaned thoroughly, let the trunk air out for several days. The trunk can then be lined with fabric or wallpaper. The interior can be either luxurious or plain. Fabric, especially velvets, will give a more luxurious feel to the interior. But a chintz can also work for a more country look. Wallpaper is easier to apply than fabric, but it’s important to use wallpaper paste to apply it, even if it is pre-pasted. For a washable interior, then vinyl wallpaper is the best solution. 

If the trunk straps and hardware are in poor shape, there are sites on the Internet that sell replacements at reasonable prices. 

Believe it or not, restoring a trunk actually improves its value because it’s a usable antique. Many people use restored trunks for extra storage and not just for show.  

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

The Art of Knokhloma

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Buyer Beware

 

Chippendale style dining table and chairs 1930s

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

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

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

Indonesian Chippendale dining table replica

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

Chippendale style dining table with two leaves 1900

Small Chippendale dining table late 18th century

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

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

Georgian Chippendale dining table made from three solid mahogany boards

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

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

Queen Anne side chair of Bermuda cedar

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

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

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