The Beat(er) Goes on

July 2024

Good Eye

The Beat(er) Goes on

by Peggy Whiteneck

While they’re less often used today, most readers will be familiar with egg beaters – items with a top handle and hand crank above a pair (usually) of beaters that rotate when the hand crank is turned. The first of these appeared as early as the 1850s. The earliest examples were made in the United States and in England. An early design by Dover Stamping Co. in the US was issued in 1859.

There was no standard design for these beaters, and makers experimented with a variety of forms. Most were made as independent tools to be used with a bowl of the cook’s choice, but there were also versions that were attached to a glass or metal container to hold the contents during mixing. Some were even attached to table or counter clamps similar to those used for meat grinders (“Early Rotary Egg Beaters,” Home Things Past, homethingspast.com/2012/02/19/antique-egg-beaters). Of this latter style, one 1875 housewife commented, “Ah! and what a silly was meself…to be thinking it was a coffee-mill, when I saw you a-screwin’ it on to the table!” (https://www.victorianpassage.com/2008/11/the_dawn_of_the_egg_beater/).

My mom collected old egg beaters of various forms and delighted in finding new versions. The handheld types were made in so many different forms that she had an old wooden barrel full of them. I confess it’s surprising to me that an item so relatively simple to use was made in so many different forms, the inventors of which each insisted that theirs was best.

Whisks – simple handles with non-mechanical mixing wires attached – were also popular and were used to whip lighter items such as liquids and eggs while beaters were generally used for thicker challenges such as batters or frostings. The beaters were especially useful in whipping up egg whites to make meringue, a process that, before the advent of the egg beater, took as much as 90 minutes by hand! By the 1870s, the Dover cast-iron rotary beater reduced that time for beating egg whites to a froth to just 5 minutes. Between 1903 and 1908, Clarence Taplin made a beater that he claimed was an improvement in ease of use, strength, durability – probably in no small part because it was made of a metal that wasn’t cast iron! (Terry Kerston, “The Labor-Saving Rotary Egg Beater,” Lacrosse County Historical Society from the Lacrosse Tribune, Sept. 17, 2016).

Egg beaters were made in so many different forms by so many manufacturers that they could be purchased for as little as 10 cents apiece – albeit a dime meant a lot more in the late 19th and early 20th century than it does today. When my mom was collecting in the 1970s and ‘80s, she could pick them up in antique stores and second-hand shops for less than $5 apiece. Today, depending on age and condition, each can sell anywhere from about $20 to $50 or more; at the higher end, we’re talking hundreds of dollars. Still, there were so many beaters made in so many different forms that you shouldn’t be surprised to find some much cheaper at your local antique mall. Be aware also that egg beaters have been made right up to the present day, so not all of them are antiques.

 

Coudersport Duck on Nest

Late 19th-century cast-iron egg beater

This huge, late 19th-century cast-iron egg beater made by the Taplin Manufacturing Co. was marked “MAMMOTH DOVER EGG BEATER NO. 300″ on the turning wheel. Very early in the development of egg beaters, the name “Dover,” the manufacturer of some of the earliest models, had become generic to describe the tool itself. It sold on eBay in June for $85. Another example of an egg beater actually marked as being made by Dover Stam. & Manufacturing Co. and three patent dates for 1873, 1888, and 1889, sold that same month on eBay, also for $85. Many other old egg beaters sold for a lot less on eBay – but a few sold for a lot more. Image courtesy of the author

 

 

Egg beaters and whisks are used less often these days than in the late 19th and early 20th centuries. Modern cooks might use a simple fork to whisk eggs for scrambling and an electric mixer for cakes and other heavier batter. (Not to mention just using their hands for mixing and kneading heavy dough on pie crests or breads!) “Still,” as Terry Kerston notes in the article cited above, “in spite of the ease of an electric mixer, it’s worth noting that Taplin’s durable rotary eggbeater is more than 100 years old and works as well as ever. Can the same be said of any modern electric handmixer?”

Well, Kerston’s got me there!

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com.

Don’t get tangled in the Web

June 2024

Good Eye

Don’t get tangled in the Web

by Peggy Whiteneck

Most dealers will come across items for possible acquisition that we haven’t seen before and about which we may know little or nothing – beyond perhaps a gut intuition that it’s something special or worth gathering. For those of us who do decide to sell such items, the best strategy is to try to find out what it is before we try to sell it. Pricing it right and moving it out may well depend on what we can tell potential customers about it.

They don’t call it the Web for nothing

Our first instinct may be to look for information on the Internet, AKA “the Web.” It’s a quick information fix and may seem preferable to investing in books and other print material for research. But beware: just as a spider spins its web the better to catch its unwary prey, so, too, can the unwary searcher be trapped by the widespread misinformation on the Web. Especially when it comes to antiques and collectibles, websites often cannibalize – usually word for word – from other websites that have plagiarized it from someone else and so on, back and back to the original source which as often as not will not know what it’s talking about. It would be fairly easy for an unwary dealer or collector to get trapped in that web of misinformation – especially when it weaves a compelling fantasy about the value of the item.

You can search eBay auctions, current and completed, and sometimes find other items the same as or even identical to the item in your own possession. Remember, though, that eBay is only one source of internet information, and when I really want to find reliable information on a piece, I’ll often exclude eBay (by adding the phrase ¬–eBay¬, with the minus sign, to my search terms).

Another way of searching for like items to yours is to do an image search. Most people have access to Google, and there’s an “image” search option right there in the upper right corner of the search page. The images come with a URL where they can be found; clicking on a particular item will also give you a link to the page where you can find the item. The images that come up will be found on a variety of sites, including but not limited to eBay.

Print source alternatives

Back in the 1980s and ‘90s, collector books were being published by the dozens. There often were entire floor-to-ceiling shelves in large bookstores that were devoted to what seems to have been a peak consumer interest in antiques and collectibles. Today, one is lucky to find a couple of shelves modestly stacked with books that would be only generally relevant for our trade. Many of these will be mere “price guides” with photos and brief captions that include a suggested value (which unwary readers may take to be the value but which is often inflated). Sandra Andacht’s and Judy Schiffer’s books come to mind as sources of reliable value information on Asian porcelains. Unfortunately, some of the best books are out of print, but you can still find them on eBay and used book sites.

James Measell has several books on Fenton and other American art glass still in print, and I don’t know anyone alive who has more knowledge of collectible American glassware than he does. While I have nowhere near Measell’s expertise, I have made it a point to do research on what I collect and have written books that are still in print or in process of release on Fenton Art Glass and on Lladró porcelain. I provide in-depth information to support my estimates of value.

Whether you are a collector or a dealer, don’t rely on rumor or online auctions alone to identify your inventory. The more dealers can show they know what they’re talking about, the more customers will trust their inventory.

Coudersport Duck on Nest

Chinese Coral box

Even live auctions with knowledgeable sellers and auctioneers can misidentify items. I bought this at a Fenton collector’s club auction, where it was misidentified as Fenton Mandarin Red. I bought the item as lot #10 for $75, a bargain for Fenton Mandarin Red and very desirable to collectors of older Fenton glass. After acquisition, I discovered that this was a (still desirable and keepable!) Chinese Coral box made by Northwood in 1924 – making it a genuine antique as of this year. Fenton and Northwood both made jars in this shape, with subtle differences related to lid lip and position of the mould seam. (Image courtesy of the author)

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com.

Collecting for teetotalers

May 2024

Good Eye

Collecting for teetotalers

by Peggy Whiteneck

The history of tea and its dispersion is not entirely known nor clearly understood, but it appears the first tea appeared in China at least as early as 350 BC. Eventually, tea drinking would expand across the world, to North and South America, Europe, India, Africa, and Japan.

In its earliest imported form, tea was considered a delicacy, highly prized and extremely expensive. Early tea caddies were made of wood (e.g., mahogany, walnut, and rosewood). They were equipped with lock and key to protect the precious contents.

Tea’s worldwide range led to many antique tea-related instruments for storage, brewing, and serving. Teapots came into use in China during the Ming Dynasty in the 16th century. Prior to the advent of the teapot, tea leaves were either chewed or ground into a powder that was mixed with hot water in tea bowls. The tea bag wasn’t invented until the 20th century, according to an article from NPR.
In China, tea was a celebratory and somewhat formal drink on occasions such as weddings and other family gatherings. A full tea set would include at least the teapot, teacups, tea strainer, kettle tray, and tea leaf holder.

The East India Co. in China had a monopoly in worldwide tea distribution until the 1830s and, like most monopolies, was able to name its price. Once tea started to be imported beyond China, prices began to moderate.

Teapot History

Earliest teapots from China were made of fired clay. The first European teapots were made of silver and looked like coffee pots, coffee also having reached Great Britain in the early 17th century, according to the Victoria & Albert Museum.

Porcelain teapots came into vogue later in the 17th century in China, which exported the form to Europe. Silver and other metal mounts “were also used to mask cracks or breakages to the handles, finials and spouts, caused by the perilous sea journey,” according to the museum.

By the 16th century, Japanese potters had moved the handle from the side to the top of the teapot, and most of these top handles were made of woven plant materials such as bamboo and reed. These were inherently non-durable, so most such handles are either missing or replaced with later materials.

Tea Strainers

Utensils called “mote spoons” came into vogue in the 17th and 18th centuries. Steeped tea could be poured through the perforated spoon, which would strain out the tea leaves. These spoons, which had long handles, weren’t entirely successful at keeping out the leaves from the cup. Thus, they gave way fairly soon to other forms of tea strainer that kept the leaves enclosed and away from the tea water.

Tea strainers as we would eventually come to recognize them were a 17th-century invention. They eventually came in a variety of shapes, but the earliest ones were ball-shaped. Tea strainers consist of screening to enclose the leaves, keeping them away from the hot water in which they are steeping.

Coudersport Duck on Nest

Asian Teapot

This teapot with a dragon motif contains an etched mark of Asian characters in an oval outline; I find Asian pottery marks are rarely easy to decipher, so the only other thing I can say on my own is that the teapot has a distinctly Asian decorative motif! I can’t even estimate its age except to say that the absence of a country of origin in the mark probably means it was not made for export and that it probably wasn’t born yesterday. If anyone can venture a guess on this little teapot’s age and origin, I’d love to hear from you! (Image courtesy of the author)

Metal Tea Pots and Kettles

Beginning in the 18th century, teapots were often made in Sterling and Silverplate sets that included creamer and sugar and, usually, a tray. By the 19th and 20th centuries, these were often quite elaborate in design and were made for wealthy patrons to impress their guests.

The earliest example of a water heating vessel was a bronze kettle found in Mesopotamia around 3000 BC! Around the 18th century, the first cast iron tea kettles originated in Japan. These were larger than the teapots in table settings and were used primarily for heating water.

The copper tea kettle is probably the large kettle most familiar to readers. Most found in the U.S. today date from the 19th century and were handcrafted. The handle on these was often made of wood at the top to make it easier to lift the kettle when hot.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com.

Tips for selling antiques for greater success

April 2024

Good Eye

Tips for selling antiques for greater success

by Peggy Whiteneck

Antique buyers have more types of buying options today than they did 15 or 20 years ago. The Internet and online auctions have revolutionized the antiques trade. However, that also means problems, such as age or identity misrepresentation and damaged merchandise from sellers who don’t know how to pack and ship safely.

Today, there are fewer live-market options to buy and sell as the antiques trade has consolidated and retracted over the past 20 years. Still, live sales in antique shops, live auctions, or antique shows are an actual advantage for dealers and buyers alike because buyers value the chance to see and handle the merchandise before committing to buy it.

It takes conscientious work to be successful in live sales of antiques and collectibles, though. Here’s some advice I’ve found helpful in my own sales as I’ve grown into the trade.

Do your homework.

If you don’t know what it is, don’t sell it ‘til you do (Ah, what self-discipline that takes!). Once you do know, clue the customer in: What is it? Who made it and when? Why might a buyer want to have it? Don’t insult the reader’s intelligence with tagging like this: “Glass dish, $20.” The customer can see it’s a glass dish without your belaboring the obvious. Your tag should give the browser a reason(s) to buy – and a reason to trust you as a preferred dealer.

Deal in decent merchandise.

There is still so much damaged, defective, and just plain inferior merchandise in the trade that any dealer with quality inventory will stand out. Savvy buyers may still want to buy items with some wear that are extremely difficult to find in undamaged condition. That shouldn’t be an excuse to use your trade displays as a means of divesting of readily available and marginal “stuff” of a type that your customers already have enough problems of their own knowing what to do with.

Keep it clean.

There’s a difference between “patina” and “grunge.” If an item is dirty and can be readily cleaned with a bit of soap and water or other non-abrasive cleaner without damage to the item itself, clean it before displaying it. Also, if you’re renting space in a multi-dealer shop, the staff is probably not going to dust your display. It doesn’t help your sales if the shelf itself is dusty or dirty.

Rotate your merchandise often.

If it’s been there for longer than three or four months, it’s already stale in the eyes of frequent shoppers. Move it out and replace it with something else. You can “recycle” it months later to attract a second look. At least move things around in your display. It’s remarkable how something overlooked in one position can suddenly acquire a new sales life when moved somewhere else in the display.

Display it like you care about it.

What doesn’t help sales is a place that looks like individual items have been tossed in there or stacked higgledy-piggledy rather than thoughtfully situated to their best advantage. Many displays are arranged so thickly and haphazardly that it’s hard even to see what’s there. If you don’t respect it, why should a buyer?

 

Coudersport Duck on Nest

Antique LaRose hat box

Antique LaRose hat box dating to the 1920s with the original retail sticker for the Leavitt Co. on the lid. It has some wear on the edge of the lid but is otherwise in surprising shape considering its age – and that it’s made of cardboard. I found another box online with the same graphic on the body and with a sale price of $245. That photo seems to show better condition – except that the fine print says the bottom is falling out. A much lower price would move it much more quickly. (Image courtesy of the author)

Price it right.

If you don’t care how long it sits there as long as you get your optimal asking price, well, good for you. But if you really want to sell it, price items affordably – which doesn’t mean you have to sell on the cheap, just that you don’t have to aim for a triple-digit profit percentage on every item you sell.

Mind your reputation.

The best dealers are ethical in their relations with customers and other dealers. Don’t try to hide that chip in the pottery with shoe polish or magic marker. Don’t make offers on merchandise already reasonably priced so that you can brag about how you screwed the dealer by shaving off his meager profit. What goes around comes around.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com.

Collecting Japanese Kutani and Satsuma Wares

March 2024

Good Eye

Collecting Japanese Kutani and Satsuma Wares

by Peggy Whiteneck

I generally prefer collecting Japanese to Chinese antique pottery and porcelain. This is because, in China, the practice of honorifics, in which late items are marked as being from earlier dynasties, is common. At least in their pre-Internet forms, these later honorifics were not intended to deceive; they were made as a kind of homage to the artists and eras that inspired them. Consequently, my efforts to date a piece of Chinese porcelain are fraught with problems that are beyond the expertise of an amateur collector like me (It’s also true that most of the worthwhile antique Chinese porcelain is in collections already, not seeking buyers on eBay). I found that Japanese porcelain was at least somewhat easier to date and authenticate as to age.

Japanese pottery and porcelain types most commonly seen on the secondary market include Kutani and Satsuma. They generally date from the Meiji (1868-1912) to the Showa (1926-1989) periods. The two types are usually clearly distinguished from each other. Most Kutani porcelain has painted surfaces (landscapes, flowers, and/or people) surrounded by scrolled red diapers (a red framing called Akae). Satsuma is a pottery often found with raised enameled paint on a crackled, cream-colored background although there are many other decorative variations as well.

More About Kutani Porcelain

Kutani is most often found marked with Japanese characters spelling that name. Sometimes, a piece will be marked with a painter’s signature (in Japanese characters), but dating can be complicated since both names and careers were often passed from father to son.
Experts generally divide the types of Kutani into “Old Kutani” (17th century ff) and the more frequently seen and newer (19th century ff). Old Kutani was made in a wide variety of styles, often with strong geometrical decoration (Nancy Schiffer, “Japanese Porcelain, 1800-1950,” Schiffer Publishing Ltd, 1999, p. 194).

Later Kutani items are plentiful on the secondary market here in the States. Kutani varies widely in the quality of its decoration, from very fine to slap-dash. For my own collection, I’m very picky about quality of the decoration and prefer painted motifs that are unusual rather than the small groups of Japanese women commonly seen on this ware.

Asian views of symmetry differ from those in the West in that the former are less hung up on a completely symmetrical match in tableware. Thus, an inexact match in cup and saucer, for instance, would not have troubled them. As a related point, a full “set” of tableware in the West is even-numbered, while, in Japan, a full set consisted of five place settings.

Satsuma Pottery

Satsuma was made in a variety of shapes and forms, e.g., tea sets, vases, boxes, and figurines. Like Kutani, Japanese Satsuma pottery was a multi-generational enterprise, and this can complicate efforts to date individual items. In Satsuma, there were 17 generations of potters in the Kozan family and seven in the Kobayashi (Kinkozan)!

Decoration in Satsuma may be of either a moriage (raised) type or simply painted on the flat surface. In some examples of the latter, the decoration covers nearly the entire surface. Gilt dotting in the background of painted scenes is a common feature in Satsuma. Even when just the slightest bit of pottery itself is visible amid the paint, the characteristic Satsuma crackles are evident.

 

Coudersport Duck on Nest

A Satsuma covered jar

A Satsuma covered jar in the style typical of the late 19th to early 20th centuries. Items in this style were seen often on the secondary market just a few years ago, less commonly now. The enamel painting is raised, and the crackle in the glaze on the body is very fine. The top for the jar is also painted with budding pink branches and a butterfly. Unlike much of the Satsuma in this style, this one is signed by the artist under the butterfly at the bottom of the jar. (Image courtesy of the author)

Relief decoration, in which the moriage stands out from the surrounding pottery, was difficult to make. In some moriage, the decoration is separately applied by hand. In other examples, it is molded in relief on the surface of the object. Moriage of whatever application was difficult to make because failure to fire at the correct temperature for the correct time length could lead to unsightly boiling of the enamel (Sandra Andacht, “Treasury of Satsuma,” Wallace-Homestead Book Co., 1981, p. 50). The presence of Gosu Blue and turquoise is characteristic of earlier Satsuma, while pink comes into the coloration later.

Peggy Whiteneck is a writer, collector, and dealer living in East Randolph, VT. If you would like to suggest a subject that she can address in her column, email her at  allwritealready2000@gmail.com.