The Man Behind Hitchcock Chairs

Having turned 23, Cheshire, CT born Lambert Hitchcock resigned from his position at Silas E. Cheney's (1776-1821) workshop in Litchfield, CT.  Like other prosperous cabinetmakers of his day, Lambert's employer focused on high style "Federal Period" (1785-1825) furniture including dining room "sideboards" and hand-painted "fancy chairs" which he sold to wealthy clients including eminent jurist and teacher of law, Tapping Reeve (1744-1823), and esteemed bank president and former officer under George Washington, Colonel Benjamin Tallmadge (1757-1823).
Hitchcock left no diary.  His portrait has not been identified on any painting. We do know that he was courageous and forward -thinking.  Lambert traveled to Northwest CT and established a chair-making factory located at the junction of the Farmington and Still Rivers-slightly west of Lake Barkhamsted.  The remote woodland offered plentiful hardwood, an existing sawmill, and water power.  Its deficiency was its isolation. Impassable winter roads, no rail-line access, and scarce labor would fetter Hitchcock in later years.

Entering an already overcrowded field, the inventive young man decided he would produce beautiful fancy chairs like the type made at Cheney's and other chair-turners. However, his product would be unique in that it would be affordable to the average family.  First, Hitchcock invented and produced knock-down chairs: unassembled kits with interchangeable parts that could be economically transported then put together by do-it-yourself purchasers. To spare expense on costly hand-painting or carving, Lambert took advantage of the new British technique in furniture design called "stenciling."  Multi-colored metallic powders were applied to the still tacky varnish through as many as five different fruit and floral stencil designs. The concept worked. Orders for the $.49-$1.50 chairs came in from as far west as Chicago, IL and as far south as Charleston, SC.

By 1821, Lambert's town assumed his name, Hitchcocksville. (It's now called Riverton.) By 1825, Hitchcock had erected a handsome three-story brick factory complete with a dam and water-wheel- powered machinery. Thirty-eight years before Henry Ford was born, the firm pioneered mass-production techniques, turning out as many as 300 assembled "Sheraton" type fancy chairs per week. They also began producing  rockers, settees, and an occasional case piece.

Most early Hitchcock furniture found today can be identified by inspecting the back of the seat or rocker rail for a variety of stencil signatures similar to the following: "L. Hitchcock, Hitchcocks-ville, Conn. Warranted." An a  trademark will only be found on contemporary Hitchcock furniture.  The caned, rushed, or planked seats will be rectilinear in shape.  Front legs will be boldly ring-turned. The rear are often plain.  Chair backs may be found in a variety of shapes including: roll-top, eagle-back, pillow-top, and cornucopia and turtle backs with roll tops.  Stenciling is almost never found on the back-side of authentic Hitchcock furnishings.  Occasionally, curled maple pieces were sold without painted decoration.  Black is the common base paint.  Authentic green, red, yellow, and other base paints command a premium price in the market today.

In 1929, Lambert Hitchcock's brother-in-law, Aba Alford (1807-1881) joined him as partner, saving the firm from bankruptcy.  The firm made an unwise move (remaining isolated from railroad lines) to Unionville, CT in 1844.   Hitchcock died insolvent in 1852.

Antique Hitchcock seating furniture carries little weight in the marketplace today-partly because it was intended for a smaller, lighter race of citizens.  Collect it.  Purchase early marked sets of chairs, rockers, and settees in excellent condition.  Look for examples with inspired stencil decoration.  One day, the work of Lambert Hitchcock will be appreciated not only for its functional design and intrinsic beauty, but as a product from one of America's pioneer industrialists.  An uncommon man who made chairs for us common folk.     

Thinkwhile - Old Merry-Go-Rounds

As a fun way of learning about valuable antique carousel figures, let's travel to Portland Oregon (the home of Thinkwhile's sister) with noted antique dealer Elmer P. Thinkwhile and his long-time companion, P. J. Livingston.

Livingston: "Your nephew and niece seem discontented on this automobile ride, Thinkwhile. They've dropped two gobs of pink gum on my carpet."

Elmer Thinkwhile is at the wheel of his colleague's 1948 Rolls Royce and, more importantly,  paying time with the two brightest, handsomest, most promising future antique aficionados ever born.  Sissy's kids, he says to himself, will cheer up when they learn about old time amusement park rides. 

"Did you two know," Thinkwhile says, trying to sound like an old-time riverboat guide, "Portland is called the "City of Carousels.  That's because it's home to more operating antique merry-go-rounds than any other city in the United States!"

The owner of the classic car turns to the children in the back seat, hoping to discourage them from mischief. "There's an interesting story behind Uncle Elmer's tale ..."

Jenny, age 6, blows through a green "Blubber" straw she got at McDonalds.  Livingston coughs, slightly aware that he has just swallowed a shot wad of gooey paper.

"After the conclusion of the Civil War," Livingston says, clearing his throat. "a flood of European craftsman immigrated to America and had difficulty finding work. Some of the wheelwrights, blacksmiths, and carpenters turned to producing primitive carousels like those from their home lands.  Men like Gustav Dentzel, a premier artisan of his era, carved and painted not only magnificent horses, but goats, giant pigs, deer, buffalo, giraffes, ostriches, goats, even bears and scary lions and tigers.  Antique enthusiasts, like your uncle and myself, will gladly part can tens of thousands of dollars for a superior example."

"One that's 60+ years old, in a good original state, with exceptional artistic quality.  Isn't that a fascinating story, children?" Thinkwhile says.

"Sylvester made me spill my ice cream cone!" Jenny says.

"Tell Jenny to quit picking my nose!" Sylvester wines.

"Thinkwhile!" Livingston cries out, reaching for a roll of paper towels, "my original leather seats!"

In a short while, the Rolls arrives at Willamette Center Park.  Its carousel is one of the only 300 remaining rides with old hand-carved figures.  Once, there was over 6000 such attractions. Livingston eyes a half horse/half fish figure called a hippocampus.  It retains a beautiful aged coat of blue/green "park paint." Although it's unsigned, the dealer "attributes" the exquisite carving is to Charles Looff.  Looff is credited with installing the first carousel at Coney Island in 1876. His figures, like other respected carver/painters command high prices. Carousel art flourished until the 1930's when, television, the depression, and maintenance-free aluminum figures took their toll.  Carousel carvings are classified by dealers and collectors into three general types:

• Philadelphia Style: Realistic.  Bold, anatomically correct, rococo carvings.  Key artisans;  Gustav & William Dentzel, Daniel Muller, The Philadelphia Toboggan Company. 
• Coney Island Style: Imaginative, flashy, highly ornamented carvings. Sometimes decorated with inset jewels and carved rose figures.  Key artisans; Charles Looff, John Zalar, M.C. Illions Carrousel Works
• Country Fair Style: Functional sleeked down carousels often intended for traveling carnivals. Key artisans; Charles Dare/NY Carousal Manufacturing Co., C.W. "Colonel" Parker.

Thinkwhile points his finger at a jewel decorated horse.  The mane is golden.  The imaginative carved saddle is shaped like a leopard. "Look children, this is a Coney Island figure!  It's like sneeking a peek at animal on the endangered species list.  Isn't it lovely."

"I wanna go on the roller coaster," Sylvester says.

"I want a cotton candy," Jenny says.

Antiques Roadshow

They didn't mention Claire's last name for the obvious reason; some thug might break into her house.  Chubb's Antiques Roadshow airs weekly on PBS.  It's one of the most entertaining and enlightening programs on television and required viewing of any serious antiques dealer, collector, or treasure hunter. Seeing an ad, Claire transported her antique "card table" to a New Jersey coliseum where the Road-show offered free appraisals   She looks about 60, and sported an outfit that was more probably purchased at J.C. Penney than Saks Fifth Avenue.

Card tables became popular in America during the late stages of the 18th century when the country became affluent and could afford time for games.  Most card tables have a two-leaf fold-over top with a conforming skirt and four legs; the right rear one swinging on a pivoted bracket to support the fold over leaf when the table is opened.

Claire and her card table were greeted by two regulars on the Road-show; tall, lean, blonde, very polite identical twins known in the industry as the Keno brothers.  Only in their thirties, Leslie and Lee Keno, who have been antique dealing since they were toddlers, are regarded amongst the country's premier antique furniture scholars.

"Can you tell me a little about how you came across this table?" Leslie said.

"I bought it at garage sale, about thirty years ago," Claire said. "It was pitch black, a moldy mess.  The lady was asking $30.  I only had $25."

"You got her down to $25!" Leslie said, laughing.

Lee Keno examined the table. "For most pieces from the Federal Period (1785-1830) we make attributions on the basis of inlay, style, and hidden "secondary woods" like backboards," he said. "On your particular table you're very fortunate to have the actual label of "John Seymour and Son, Creek Square, Boston," which is where they worked.  It's extraordinary because it's so rare to find labeled pieces.  What you brought here today is a Federal, inlaid, mahogany, demilune card table made by one of the most distinguished cabinet-making shops in history."

Taking turns, the other twin added, "Everything about this table, even if it didn't have a label, says John and Thomas Seymour. The quality is incredible. The top has inlaid egg and dot decoration which was colored with hot sand to give it a three dimensional effect.  The side has figured satinwood inlay and a typical Seymour "coved" edge. Incredibly, the legs have graduated bellflower inlay tapering down to the "spade" feet.  Did you try to clean this table at any point?"

"I didn't refinish it!" Claire protested. "I just wiped it off!"

The twins assure Claire that she did the right thing.  The old dirty surface adds much value.

"When we saw you walk in with this table my heart started beating like this," Lee said, thumping his chest with his fist.  Leslie began thumping his chest too. "It's one of the most exciting moments we've ever had!" they said.

I traveled with my mom down to New York last week to see how the principals of this story made out.  Lee sold almost every piece in his booth at the prestigious East House Settlement Winter Antiques Show, including a reported 4 million dollar tea table.  Leslie, who works at Sotheby's, had a boomer auction including Claire's table that he landed on consignment.  And Claire, her $25 garage sale discovery was hammered-out for a staggering $541,000!  Way to go Claire!

Comic Books

Valuable old comic books can still occasionally be found for a fraction of their book price at tag sales, church sales, shops, and country auctions. One day you might get lucky and come across an entire stack of early comics in good condition for say, $50. If you do gamble. If it's a large promising collection of comic books, pay more. Although most people are aware that good specimens can fetch big dollars, few of us, including antique dealers, understand just how much. Editions where a famous character makes his/her first appearance command highest prices. The following estimates are for first-appearance comics in very fine to near mint condition. Please buckle safety belts before reading.

• Action Comics #1 June 1938, The first appearance of Superman: $100,000 - $200,000. (Please note* DC Comics produced an oversized exact reproduction of this comic book in 1974.)
• Detective Comics #27 May 1939, The first appearance of Batman: $100,000 - $200,000. (Please note* DC Comics produced an oversized reproduction of this book as well. The reprints have "Famous First Edition" on the cover that might be removed and sold as an original interior. A coverless reprint is a valueless comic)
• Captain Marvel Adventures March 1941: $15,000 - $20,000.
• Captain America #1 March 1941: The cover depicts Captain America whacking Adolph Hitler with hard right to the chin. $40,000 - $75,000.
• Casper the Friendly Ghost, Harvey Comics Hits #60 September 1952: $150.00 - $200.00.
• Fantastic Four, Present Marvel Comics Group, November 1961: $7,500 - $15,000.

In general, Superhero comics like Spiderman, The Fantastic Four or Green Lantern are more valuable than humorous comics like Casper or Richie Rich. Amongst the most valuable humorous books are early Walt Disney creations that have cross-over appeal with Disney collectors. Generally, old comics are more valuable than later editions. Comic Books are generally assigned by age to the following categories.

• 1897-1937 Early Period - Not really comic books, most have thick cardboard covers and are found in brittle darkened condition today. Richard Outcalt's Hogan's Alley  was introduced to two newspapers in 1895 and is generally considered the first comic strip. The term "yellow journalism" was probably coined from William Randolph Hearst's political views often reflected by the strip's lead character the Yellow Kid.
• 1938-1945 Golden Age - Led by early issues of Superman, Batman, Wonder Woman, Captain America and 700 other costumed characters, the most sought after era of comic books. All Golden Era books in good condition have antique value today. Most sold in their day for around 10 cents. In mint condition most are worth $7.00 + today.
• 1946-1949 Post Golden Age - Many romance and crime comics are introduced.
• 1950-1956 Pre Silver Age - Satires like Mad and horror comics like Haunt of Fear emerge.
• 1956-1969 Silver Age - The next great era of comic books. Beautifully drawn early examples of Green Lantern, the Hulk, Flash, Thor, the Amazing Spiderman, and other heroes are hotly sought after today. Many are worth several dollars and some are worth thousands each.
• 1970-1979 Post Silver Age - Collectors should seek out near mint editions.

Keep in mind that you don't have to come across a superhero first-appearance issue to stumble into a significant find. Look for issues that have appeal. Are the heroes well known?  Does the comic introduce a new villain to the scene?  The introduction of any significant new character (good or evil) adds value. Is there a sentimental or cross-over market?  Buy from a qualified dealer if you want to be a collector. Take a shot at a legitimate tag sale if you want to leap tall buildings in a single bound.

Until then, join us next week for another amazing Antique Talk adventure!

Chintzware

I wish I had written this column about antique "chintzware" two years ago, when there were no books and few articles on the subject.  Today, there are several references dedicated to the relatively modern line of "transferware" (print decorated pottery) and articles sprout from magazines like wildflowers.  In the spring of 1995, Antique Talk might well have suggested that you scour the countryside looking for the colorful "chintz" decorated earthenware, snapping up pairs of candlesticks for twenty bucks, and tea and coffee pots which could be found in shops for less than fifty dollars, and various dishes and plates tagged at chintzy prices.  With almost twenty companies having manufactured hundreds of shapes in a gross of colorful patterns you could have purchased thousands of pieces and would no doubt be a millionaire today.  But, alas, this column is tardy and instead of being your champion, I am your archenemy. 

Let's make up. First, know that it's not too late to unearth great buys in chintz.  Despite a 400% rise in value over the past few years, the majority of antique prospectors and dealers are still incognizant in the subject.

Chintzware is pottery decorated in a colorful pattern resembling chintz fabric.  From the Hindu "chhintna" meaning "to sprinkle with," the hand-colored cotton cloth was introduced to the West in the late 17th century by East India Tea Company ships.  Inexpensive and colorful, chintz became so popular it was outlawed by British Parliament in 1722 to protect the English textile industry.  Instantly, the law was circumvented by "Calico Printers" who print-decorated plain white fabric, creating an even more appealing and affordable product.

Executed by hand-painting in the 1700's, chintz vessels were later decorated mostly by transfer printing as technology evolved in the early 19th century.  While these wares are both attractive and precious, they are not what the 1,000+ members of the international "Chintz Collectors Club" seek today.

The first "modern" chintz pattern was introduced in 1928 by England's "Royal Winton" potter, "Grimwades Ltd."  Known as the "Marguerite" pattern, its inspiration is said to have come from a design worked on cushion by the wife of company founder Leonard Grimwade. In 1932 Grimwades introduced its "Summertime" chintz pattern, a bouquet of roses, daisies, violets, harebells, and other summer flowers.  Summertime was a huge success, especially in North American, and the company soon began producing a great variety of wares decorated in colorful chintz patterns.  Other potters like Brexton, Elijah Cotton Ltd. (Lord Nelson), James Kent, A. G. Richardson (Crown Ducal), and Wedgewood & Co., followed Grimwades lead producing glazed earthenware in a variety of colorful chintz patterns.

Appeal and rarity and outbalance age in determining the value of chintzware.  Collectors world-wide now hold tea parties where they can show off their new finds.  Pretty patterns, sought-after marks, like "Grimwades Royal Winton Ivory England," and excellent condition are determinants of value.  Mostly, collectors seek large and rare forms.  Pitchers, coffeepots, lamp bases, clocks, lighters, sugar shakers, wall pockets, bells, and complete tea sets can fetch hundreds, and once in a great while, even thousands of dollars.

Chintz is still being produced today and determining old from new is difficult.  If you want to speculate I advise you to qualify your seller. A family heirloom tag sale might be a good place to purchase for example.  Be cheap.  Investors should acquaint themselves with qualified dealers, buy the best, and build a good library.

Two years from now, I'll be wondering what we should have been talking about today.  That's half the fun of this ever-changing business.

Dickens' A Christmas Carol

John Dickens, a Naval Pay office clerk, saw to it that his eight children received schooling. He aided their education by returning home from work with cheap reprints of 18th century novels like Robinson Crusoe, Tom Jones, and Peregrine Pickle, that delighted his family. His London colleagues described him as "a well-dressed fellow of infinite humor; very courteous, imposingly so; the jolliest of men." John's flaw was a poor head for finance. The eternal optimist described himself as "a cork which, when submerged, bobs up to the surface again, none the worse for the dip."

Read more ...

Early Toys Trains

About 100 years before Neil Armstrong took "one giant leap for mankind" another historic milestone was attained when rival railroads Union Pacific and Central Pacific met at Promontory Point, Utah. When the last two spikes were produced, one of gold and one of silver, Western Union telegraph wires relayed the message instantaneously to the nation. From Philadelphia to San Francisco bells clanged and people cheered. Many hardships and difficulties were encountered in the wild five year race that laid down 1,776 miles of track. The result was that mankind could now ride her great "iron horse" from the Atlantic to the Pacific. The west was open and a new modern era had begun.

Grasping even the basic fundamentals in a subject as colossal as antique toy trains is a huge chore left best in the hands of specialists. However, for enthusiasts and treasure hunters the topic is too important to dismiss. This column's perennial message is that you already understand more about antiques than you know. To imagine the experience of a locomotive crossing paths with a wagon train is to comprehend our forefather's shared joy when the costly toy model was unwrapped around this time of the year. That enthusiasm is carried on by collector's today.

The earliest toy trains were hand-fashioned out of lead and tin from the cottage industries of Germany and France. Models made for the American market will often include American names on the cars and the locomotives will be front-fitted with the western "cow-catcher."  In England, instrument makers fabricated sophisticated models out of iron and brass for rich children and their parents.

Early American toy industries mass-produced their products due to shortages of labor, focusing on locomotives. The first American self-propelled "clockwork" tinplate trains were produced in 1856 by George W. Brown & Company. Not surprisingly, Brown was located in the center of America's clock making industry; Forestville, CT.  Pioneer toy manufacturers like Ives of Bridgeport, CT, Wikins of Keene, NH, Carpenter of Port Chester, NY, and Milton Bradley, of Springfield, MA, followed suit producing wide varieties of trains from tin, cast iron, and lithographed wood block. Pristine examples of these early vintage toys can fetch hundreds and even thousands of dollars today.

The great German toy company Marklin(whose ingenious antique toys are amongst the most sought after today) revolutionized the train industry by introducing tinplate track in standardized sections in 1891, and electric train sets in 1898. The train was no longer just a toy to be scooted about on the floor like a wooden boat; it was now part of an operable railway system.

Late 19th and 20th century model trains are distinguished by the width of their track, called "gauge."  Dominant 19th C. German firms like Marklin, Karl Bub, Plank, and Bing were gradually surmounted in the early 20th century by American electric train manufacturers Ives, American Flyer, and Lionel. Joshua Lionel Cowen, founder of Lionel Corporation understood that the new generation of children would tire of toys that just go round in circles. He introduced interactive automated systems to his train sets that raised bridges, pumped oil, and herded cattle so that the "little nippers wouldn't set fire to the curtains."

Following the path of its archetype, the glory days of the toy train and the model railroad would end shortly after the conclusion of W.W.II. The great era of the iron horse will always be remembered by collectors of history.

Currier & Ives - America's Printmakers - Part II

Nathaniel Currier was tall, thin, and fair.  James M. Ives was short, plump, and dark.   Standing side by side, the congenial partners probably looked like the number a discerning scoring judge would attach to their business-a perfect 10.  In the second half of the 19th century the Currier and Ives Company produced and sold over 10 million "Colored Engravings for the People" on nearly 10,000 subjects.  They published over 700 different prints on horse racing alone.
Lithographs were priced according to size.  A richly detailed "large folio," a print exceeding 14" by 20," retailed in 1870 from $3 to $5.  "Small and medium folio" prints, app. 9" by 14" to 14" by 20," were priced from $1 to $3. "Very small folio" prints, up to 7" by 9," usually sold for about 20 cents.  I mention these size designations because are still employed by collectors today. Other things being equal, the bigger price for bigger print principle still holds true as well.

Currier & Ives's collecting is a worthwhile as a hobby and investment because the prints are historical, attractive , available, and somewhat affordable-on a scale.  I suggest working your way up the ladder.  A 19th century framed small folio print of a toddler can still be found for under $50.  A cat print will be a little more.  A large "still-life" of fruit generally is priced around $150. After you've bagged a few common Currier and Ives you might set your sites on bigger game.  Impressive large folio Clipper Ship engravings normally exceed $1,000.  Rare whaling and train prints can exceed $5,000.  One of the most coveted examples over the last 50 years (now commanding $20,000+) is the large folio Life of a Hunter-A Tight Fix.  This winter scene print depicts a snarling grizzly bearing down on an unfortunate woodsman.  In 1991, with big-spending baseball collectors entering into the competition, a whopping $44,000 was fetched at auction for the full folio The American National Game of Base Ball. 

Currier & Ives prints have been faked in great number.  One such example is a small folio version of the famous baseball print.  This rascal has battered many a dealer and collector over the years.  The best way to insure you don't get "stuck" is to purchase Currier and Ives's from a respected specialist in the field.  If you stumble upon one at a tag sale, shop, or country auction and feel like gambling, here's a few tips.

1. In gauging the intrinsic value of a print (this rule-of-thumb holds true with most antiques) try to discern affluence of the room where it will eventually moor.  Is the print well suited for an attorney's office or her daughter's room?  Ship, trotting horse, city view, sporting, and bold Americana scenes fetch high prices compared to religious, political, and sentimental views because they are impressive and add weight as to the purse of their possessor.

2. Inspect the print with a jeweler's loop or powerful magnifying glass.  If you see a series of tiny geometrically spaced dots, like putting your eyeball up to a TV screen, the print is a "photolithographic" reproduction.  Currier and Ives produced all their prints in black and white and employed artisans to hand-color them before merchandising.  Please note that some Currier and Ives reproductions are tricky-with no "dots" to alert you of their spurious nature.

3. Inspect for condition. Prints with brownish watermarks, foxing or sun-bleaching should be avoided by novices unless they are purchased for a fraction of their "book price."  Craig McClain wrote the best such guide called An Illustrated Value Guide, Currier & Ives.   Prints with tears, rips, and clipped boarders should be likewise be avoided as they have little investment value in today's market.

Currier & Ives - America's Printmakers - Part I

January 13, 1840 the luxury steamboat "Lexington" burned and sank in Long Island Sound, killing 123 people.  When the news reached editor Ben Day's office at the popular daily newspaper, "New York Sun" an inspiration came to him that would revolutionize the newspaper industry and launch a young "lithographer" (print-maker) into one of the most influential careers in American history. "Why should newspapers consist of only words?" Ben said to himself.  "Would not a picture of the disaster sell papers?"
Mr. Day recalled that five years earlier, 23 year old Nathaniel Currier made a reputation for himself by issuing the highly successful graphic print "The Ruins of the Merchants' Exchange N.Y." four days following the destructive Wall Street fire of  December 16 & 17, 1835.   Currier was commissioned for the job.

In what was amazing speed at the time, three days, Nathaniel Currier produced for the Sun a violently realistic small print called "Awful Conflagration of the Steam Boat LEXINGTON In Long Island Sound on Monday Eve.g Jan 13th 1840 by which melancholy occurrence 123 Persons Perished."  (Currier was fond of long titles in his early years.)  The venture was so successful presses run night and day to accommodate public demand.  Day's seven column publication of "The Extra Sun," complete with picture would sell out five times and be distributed nationally receiving glowing reviews.  Other newspapers would follow Day's lead. The era of picture papers had begun. 

Currier was not a man to ignore endeavors that proved successful.  For years to come, not a blaze, ship-wreck, or cataclysm would occur without finding its way to one of his lithograph printing stones.  Great artists like George H. Durrie, Arthur Fitzwilliam Tait, James Buttersworth, Thomas Nast, and Louis Maurer were employed; each executing prints in their artistic element.  For instance, Durrie scribed out New England Farm scenes while Buttersworth focused on clipper ship prints.  In 1852, Currier hired James Merrit Ives to keep his books.  Ives proved so talented as an artist and businessman he was made partner in the firm within five years. The firm would produce over 6000 prints in the next 70 years - most selling well.  Russel Crouse describes the partners in his 1930 book entitled "Mr. Currier and Mr. Ives," as "sharing a keen and seldom-failing nose for news.  They were the tabloid publishers of their day, seeking to catch the eye of the passing crowd with something strikingly graphic."

Currier and Ives recognized men's attraction toward danger and sport.  They depicted scenes of whaling, bear hunts, baseball games, ship battles, and pioneers conquering the West.  Horses in their numerous trotting prints would become models for almost all horse weathervanes.  The partners also recognized 19th American women's fondness for sentiment.

Their bustling company stamped out "God Bless Our Home" prints, and scenes depicting flowers, courtship, children, pets, buggy rides, and maple sugaring.  For years, it was uncommon to enter an American home without at least one Currier and Ives hanging prominently.  Together, these prints constitute the most significant and influential pictorial record of 19th century America.  Naturally, they are highly sought after as antiques today.  Next week I'll provide you with some tips on collecting Currier & Ives prints.

Lovejoy on Tea Tables

You can get a laugh and an exaggerated glimpse inside the antique business by visiting your local library. There you'll find a series of fictional books about a prankish British antique dealer named Lovejoy and his fond-of-drink elderly friend, Tinker. This week, as a fun way of learning about American "tea tables" let's tag along with Jonathan Gash's characters as they spot a valuable Chippendale (1750-1775) mahogany "dish-top" tea table as its being unloaded into the parking lot of lackluster Maine shop.

Tinker:  "Look what that overall-clad trinket dealer just pulled out of his truck, Lovejoy. It's like swan landing in a mud puddle!"

Tinker points to a valuable "tripod" (three legged) table with a 36" round top. The beautifully grained one board mahogany top had been worked down by an old day cabinetmaker with chisels and sandpaper while hand-turning on a lathe leaving a thin raised "dishtop" rim around the edge. This feature makes the table more valuable than if it just had a "plain" flat top. The fanciest 18th century tea table tops were "scallop" carved around the rim with a repeating set of curves and undulations. The best of these highly developed rococo styled tables with "pie-crust" tops can sell for enormous sums at auction.

Lovejoy:  "I see it, Tink. It's only a dishtop tea table and I think the top's replaced. The ball & claw foot carved base is too fancy for it. Keep your eyes in their sockets. Maybe we can buy it cheap.

Old tea table tops are normally supported on their "column" by a "bird-cage" unit. The bird-cage supports the top while freeing it to swivel and flip-up perpendicular to the ground. Thus, when not in use, the owner could store her table handsomely in the corner of a room. Old tea table tops were designed to they could be easily removed for transport.

Lovejoy approaches the truck. The dealer sets his table down on the pavement, next to an assemblage of oak furnishings. Then, to Lovejoy and Tinkers amazement, a second tea table is produced. This one has a pie-crust top!   The restrained base doesn't seem to fit, however. Lovejoy and Tinker recognize instantly, at some point in their life, two great tables have had their tops switched. They are mismatched frogs awaiting restoration to their Princely beginnings.

"These two tables have replacement tops," Lovejoy says, not letting on what he knows. He winks at his now bubbling assistant. "I'll take 'em off your hands anyway," Lovejoy says. "How much is this one?"

"The dish top is twenty-thousand," the man replies in a Maine droll.

"That's too much for a replacement top!" Tinker barks, throwing a nasty glance at the dealer.

"How much is the pie-crust?"  Lovejoy asks.

"That's twenty-thousand too," the man replies.

"I'll take both," Lovejoy says, reaching for his checkbook.

"Different price for BOTH," the man says.

Lovejoy frowns, knowing that the doltish appearing Yankee knows more about his tables than he lets on. He's been teasing them.

Pulling a pencil of his ear, the man eyes Lovejoy and Tinker like a poker opponent holding five aces. "If you want to buy BOTH tables the price is  ..."  He writes a six digit number down on a piece of paper. It is more money than Lovejoy and Tinker can fathom. Their chance at obtaining two legitimate American tea tables has been snuffed out.

"Rude folk like yourselves should know something about tables in Maine," the man says,  "they can turn easy."