A Gift from the Gods on a Hot Summer's Day

 

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

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

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

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

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

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

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

Decorative molds, enhancing ice cream's presentation at the table, appeared at fancy parties in the late 19th century, a tradition borrowed from British molded puddings. The most notable of the American mold firms were Eppelsheimer & Co., Krauss Co. and Schall & Co. However, the first ones came from European makers. Makers used pewter, white metal or tin to create a variety of forms ranging from animal, human and bird figures to floral, architectural, and holiday-oriented themes that came in various sizes.

Joseph Micelli, Sr., one of the country’s premier mold makers, sculpted them with remarkable details of animals, people, flowers, fruit and even vegetables for the Eppelsheimer & Co. of New York. Their molds have E & Co NY and the mold’s catalog number stamped on the bottom.  

The molds produced by Krauss Company, also of New York, are distinguishable by their integrated mold hinges rather than soldered hinges.  

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

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 railroad antiques in "All Aboard!" in the 2021 Summer 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.

Take Me Out to the Ball Game

 

QUESTION: One of the fondest memories I have from my childhood was going to an amusement park and the circus and buying a box of Cracker Jacks. Even though I loved eating the caramel corn inside, I was more excited to see what the surprise toy was hidden within. As I grew older and frequented flea markets, I noticed some of these little toys in glass cases with other small objects. I started buying them and now have quite a collection. I’d really like to know more about the origin of Cracker Jacks and when and where the idea of the toy inside originated.

ANSWER: Did you know that Cracker Jacks have had over 17 million little toys inside their boxes since 1912?

The Cracker Jack story began when a young German immigrant. Fritz W. Rueckheim, went to Chicago to help clean up debris from the Great Fire of 1871. With only $200 in his pocket, he and partner William Brinkmeyer started selling popcorn from a one popper stand. They made their popcorn by hand, using steam equipment. Sales were brisk, and in 1873 Fritz bought out Brinkmeyer and brought his brother, Louis, from Germany to join in his venture, forming the company F.W. Rueckheim & Brother to manufacture "Popcorn Specialties." 

Two years later business was better than ever, so they added marshmallows and other confections to their popcorn specialties. Between 1875 and 1884. The Rueckheim brothers moved their company five times, doubling and quadrupling their manufacturing space as demand for the confections increased.

But the Rueckheim brothers weren’t the first to make sugar-coated popcorn mixed with peanuts. The manufacture and sale of sugar-coated popcorn in America dates as far back as the early 19th century. 

The Rueckheim Brothers produced a new recipe including popcorn, peanuts, and molasses, and first presented it to the public at the World's Columbian Exposition in Chicago in 1893. And though he confection was a smashing success, garnering international acclaim from the fair goers,  the molasses of this early version was too sticky. 

In 1896, Louis discovered a method to separate the kernels of molasses-coated popcorn during the manufacturing process. As each batch mixed together in a cement-mixer-like drum, Fritz added a small quantity of oil which became a closely guarded trade secret. Before this change, the mixture had been difficult to handle, because it stuck together in chunks.

That same year, a salesman munching on the snack exclaimed, "'That's a cracker jack!” which was a popular saying of that time meaning it was really good. Fritz took those two words and coined the name Cracker Jack .He also adopted as a slogan from this comment from a satisfied customer: “The more you eat, the more you want.” He registered both the name and the slogan that same year.

In 1899, Henry Gottlieb Eckstein developed the "waxed sealed package" for freshness, known then as the "Eckstein Triple Proof Package", a dust-, germ-, and moisture-proof paper package. He joined the brothers. Later, he developed a moisture-proof package that retained the crispness. freshness. and flavor of the delectable confection. Now the treat could be sold in handy boxes. setting the stage for distribution off Cracker Jack nationally. In 1902, brothers reorganized their company as Rueckheim Bros. & Eckstein.

But what catapulted Cracker Jack to fame nationwide was the release of the song, "Take Me Out to the Ball Game", written by the lyricist Jack Norworth and composer Albert Von Tilzer in 1907. To this day, the lyric “Buy me some peanuts and Cracker Jack” still echoes throughout ballparks. 

Beginning in 1910, Cracker Jack offered consumers an additional enticement, with coupons that could be redeemed for p. A rare 116-page postcard-sized catalog of over 300 desirable articles is one of the most sought after collector’s items by Cracker Jack collectors.

But it was in 1912 that Fritz dropped the coupons and introduced a prize in every box. The Idea was an immediate success. In addition to a lot of fun for kids, Cracker Jack prizes have been a reflection of history, manufacturing processes. entertainment, and popular culture in miniature.

Cracker Jack originally included a small "mystery" novelty item referred to as a "Toy Surprise" in each box. Early "Toy Surprises" included rings, plastic figurines, booklets, stickers, temporary tattoos, and decoder rings. Books have been written cataloging the prizes, and a substantial collector's market exists.

In 1914, Cracker Jack included the first of two baseball card issues, which featured players from both major leagues as well as players from the short-lived Federal League.

Until 1937, Cracker Jack toy prizes were made in Japan. From 1938, Carey Cloud designed them. Tootsie Toy, which made Monopoly game markers, also produced many metal toys for Cracker Jack, During World War II, the prizes were made of paper.

Cracker Jack's mascots Sailor Jack and his dog Bingo were introduced as early as 1916. and registered as a trademark in 1919. Fritz modeled Jack after Robert Rueckheim, grandson of Frederick. Robert, the son of the eldest of the Rueckheim brothers, Edward, died of pneumonia shortly after his image appeared at the age of 8. The sailor boy image acquired such meaning for the founder of Cracker Jack that he had it carved on his tombstone, which can still be seen in St. Henry's Cemetery in Chicago. He based Sailor Jack's dog Bingo on a real-life dog named Russell, a stray adopted in 1917 by Henry Eckstein, who demanded that the dog be used on the packaging. Russell died of old age in 1930. Sailor Jack and Bingo have appeared on Cracker Jack boxes with only slight modification since 1918.

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 Ancients" in the 2021 Spring 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.

Going to the Dogs

 

QUESTION: I bought these little white match holders from an antiques dealer in northern France, just across from Dover, England, so it’s quite possible they’re English. I’d like to find out their origin and date if possible. I have a collection of match holders but have never seen any like these before.

ANSWER: These match holders are quite unique and seem to be made of Parian, a type of biscuit porcelain imitating marble that was made in England and the United States in the 19th century. Designed to imitate carved marble, it had the advantage that it could be prepared in a liquid form and cast in a mold, enabling mass production.

Parian became popular with middle and upper middle class Victorian women who desired to own the marble statuary and china of the upper classes but couldn’t afford them. Parian filled this need at an affordable price. And while people normally associate Parian with grander sculptural forms and statues and items like water pitchers here in the U.S., it seems that as it’s popularity began to wane that some companies began making smaller less expensive items such as match holders. 

Because Parian had a higher proportion of feldspar than porcelain, makers fired it at a lower temperature. The increased amount of feldspar caused the finished body to be more highly vitrified, thus possessing an ivory color and having a marble-like texture that’s smoother than that of biscuit, or unglazed, porcelain. In its Victorian heyday, potteries produced hundreds of thousands of pieces of Parian ware annually. 

Though the Great London Exhibition of 1851 gave Thomas Battam credit for inventing Parian, indicating that he succeeded in producing a very perfect imitation of marble, there seemed to be controversy about who actually invented it.  While Battam may have invented it, several English factories claimed credit for its development. But the Staffordshire firm operated by William Taylor Copeland and Thomas Garrett was the first to produce and sell it in 1842, and went on to become one of its major manufacturers.

Several potteries marketed it under different names. The Copeland firm called it "statuary porcelain" because of its resemblance to the fine white marble of neoclassical sculpture. Wedgwood named it "Carrara," after the Italian quarry patronized by Michelangelo. But it was Minton which coined the word "Parian" to suggest Paros, the Greek isle that furnished much of the stone used in the classical period. Thus, it quickly became the medium's generic name.

Ultimately, potteries produced two varieties of Parian ware—Statuary Parian, used in the making of figures and reproductions of sculpture, and Standard Parian, from which they made hollowware. 

Standard Parian, with a greater proportion of feldspar in the composition but no frit, was hard porcelain. The presence of iron in the feldspar without iron silicate caused early Parian statuary to appear ivory tinted. Both English and American potters either obtained details of the original formula or worked out their own, resulting in enormous production of Parian wares on both sides of the Atlantic. Plus the invention in 1844 of a patented machine that allowed scaled reproductions of larger bronze or marble originals made replicas of figures and busts by noted sculptors widely available.

Though Minton produced several small Parian statues of dogs, it seems far more likely that Copeland-Spode produced these dog match holders since they produced a wider array of Parian ware, including match holders. They probably date from the 1890s. As time went on, Parian ware went from a less expensive substitute for marble in statuary to the material for inexpensive knickknacks.

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 Ancients" in the 2021 Spring 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.

So You Think You Need an Appraisal

 

QUESTION:  I have inherited a bronze statue called “The Bronco Buster” by Frederic Remington, along with several other bronzes from my uncle. I know nothing about them but admired them on visits to his house. I’d like to find out what they’re worth and the best way seems to be getting them appraised but I have no idea where to start. Can you help me?

ANSWER: Bronzes are interesting pieces of sculptural art. Unlike paintings and other forms of sculpture, bronzes have been cast from a clay original. Does that make them less valuable? Certainly not. In fact, depending on the number cast from the original mold, they can be quite valuable. When it comes to art, most antique dealers don’t know where to start to valuate a bronze sculpture. For this, you’ll need an expert’s opinion. 

Contrary to popular opinion, not just anyone can valuate an antique or collectible. Asking someone how much an object is worth is like asking if it will rain tomorrow. The only way to know what an antique, especially a potentially valuable one such as this clock, is worth is by having it “appraised” by a professional appraiser. And only a professional appraisal is legally binding when it comes to insurance claims or inheritances.

Exactly what is an appraisal? An appraisal is the paid opinion of an expert on the value of an object based on known facts. In the case of antiques and collectibles, known facts include records from more than one sale at more than one auction, the latest published price guides, and personal experience gained from buying and selling similar items many years.

While a verbal appraisal may offer an indication of how much an item is worth, a professional written one is the only one legally recognized by insurance companies and the courts. It must be based on fact and able to stand challenges in court. However, written appraisals, even for one item, can take hours to prepare and are expensive, but are absolutely necessary to prove an item’s worth.

A written appraisal is the result of hours of research by the appraiser. First, he or she must determine the age of the object based on its appearance, materials, and craftsmanship. Decorative techniques and motifs may also play a part. Then the appraiser needs to search for a provenance if the object doesn’t yet have a written one.

A provenance is a history of ownership dating from when the object was first made and by whom and continuing through various owners to the present day. This may not be easy. Often the appraiser has to contact experts in the particular category of antiques to fins out more about the object. Lastly, the appraiser searches auction databases, not available to the public and only to subscribers for hefty fees, to find out the sales history for objects like the one being appraised. While the last sale price usually determines the market value of the object, an appraiser will often average out the most recent sale prices to determine the object’s value. All this information, written up in legal form, plus photographs of the object, constitutes the appraisal of the object. Most appraisers usually assemble the contents of the appraisal in a folder or bound form before presenting it to the current owner of the object.

Take General Sherman’s hat, for example. Did this hat actually belong to General Sherman? How many other owners did it have after him? And how did the hat get passed down to it’s present owner? While there may have been other hats like it, most likely it was one of a kind, made especially for Sherman. This is where an appraisal is best.

Formal appraisals fall into two categories—replacement and fair market value. Insurance companies require the former, while estate valuations require the latter.

Replacement value is generally defined as the price at which an object would be available on the retail market. In other words, what an antique dealer would charge for a particular item.

When you try to insure a collection, the insurance company wants to know how much it will cost to replace it. The same applies for a single piece of furniture. The insurance company won’t accept a verbal appraisal as the basis of settling a claim. Instead, they require a written appraisal with proof of replacement cost.

Fair market value, on the other hand, is best described as "the price that property would sell for on the open market between a willing buyer and willing seller, with neither being required to act, and both parties having reasonable knowledge of the reasonable knowledge of the relevant facts.

But whatever the appraised value, an object will bring only a percentage of its replacement value when offered for sale—generally between 40 and 60 percent below replacement cost. Items that sell extremely slow will sell for only about 30 percent of replacement value, while those that sell fast may bring 80 to 90 percent of replacement value. 

With so many auction sites online these days, it’s easy to pull one up and do a search for a particular antique or collectible to see what it may be selling for. Most people use eBay. Unfortunately, the amounts listed on eBay may not reflect an object’s true value. If the object is listed on an auction site, then, as with live auctions, the price could go way above the object’s current value due to competition between bidders. If someone really wants an antique or collectible, they may stop at no amount of money to obtain it.

Objects of antiquity are another matter altogether. Copies abound. This little ancient Egyptian sculpture of a boat and its occupants is a good example. To the untrained eye, it may look authentic, but only an expert can tell for sure. In fact, many copies of small tomb sculptures have been made and sold as souvenirs to tourists.  

Too many homeowners use this as an easy way to price items in a yard or garage sale. Flea marketers do the same. This is why so many items that are actually worth much less are selling for higher prices today at these venues. 

Prices of objects at antique shows usually sell for the amount of their value or a little less. However, some sell for what the dealer perceives to be the value of the object. High-end dealers selling objects for four to six figures do their research and know their market. Those selling at middle-market shows, sometimes do research about an item, but, more often than not, just guess at an item’s value and price it for what they think the market will bear.

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 Ancients" in the 2021 Spring 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.