Little Gems Worth Their Salt

Open salts, salt cellars, salt dips – by any name, these charming little additions to formal dinner tables are highly collectible and very attractive. Remembered most commonly as being part of fine Victorian dining, they’ve actually been around for centuries. They can be made out of glass, porcelain, or silver (these had glass inserts), they can be found in just about any color or shape including round, square, triangular, footed, or in novelty shapes.

In their day, one of these diminutive pieces was placed at each person’s place with its own tiny silver spoon, while a larger version called a Master Salt remained in the center of the table. While some people took pinches of salt with their fingers and sprinkled it on their food, the more refined way was to use the accompanying silver spoon.

Originally salt was not as finely ground as it is today. Salt of bygone eras came in large crystals, and it was only toward the end of the 19th century that salt was ground into the finer version we know today, which led to the birth of the salt shaker. Although some people continued using open salts into the turn of the century, they pretty much vanished from the dining table by the Depression Era.

Most open salts being manufactured today are made of glass as collectibles, and some companies are even using the original molds. The Open Salts Info website identifies the following marks as reproductions; check out the website for images and more info:
~ Avon
~ HFM (Henry Ford Museum)
~ MMA (Metropolitan Museum of Art)
~ MET (also Metropolitan Museum of Art, but this reproduction is from the 1930s)
~ Sandwich (Sandwich Museum Gift Shop) - old salts have “Lafayet”
~ Acorn or SM (Sandwich Museum) – old salts have “B. & S. Glass Co." (Boston and Sandwich Glass Company)
~ BMR (Bennington Museum Reproduction)

On the Open Salts Info website you can also find information about the National Open Salts Convention, collectors’ clubs, subscribe to their newsletter, find open salts for sale, and much more.

From personal experience, some of the most expensive open salts I’ve seen sell at auction were beautifully hand-painted porcelains; of course, there are some rare and intricate glass examples that can cost quite a bit as well. Reproductions still make for an affordable and very pretty collection, but if you’re a purist and only want original pieces, you can still find affordable examples in cut and pressed glass as well as porcelain.

You can find salts and other wonderful period pieces at Collector's Cottage.

Small Talk on Butter Pats

What’s only 3 inches around, beautiful to behold, and highly collectible? The answer: butter pats! These small treasures make a rich and interesting collection, yet they won’t break the bank or overwhelm your breakfront.

Butter pats were always used in the formal table settings of well-to-do Victorians as well as on the tables of royalty. Several different types of butter shapes would be used in a butter dish, from a small square of butter, to a molded elegant shape like a rosette, to a pat of butter stamped with a butter stamp that showed the family crest or other significant image.

Although butter pats were first made in the mid-1800s, they reached the height of popularity in the Victorian era between 1880 and 1910. Made by some of the most elite porcelain houses in the world, butter pats came in a wide range of shapes, colors, and patterns. Some were made as part of entire dinner sets, while others were made as sets of their own that could be coordinated with existing dinnerware. In addition, “blanks” of butter pats (as well as other types of porcelains) were available for ladies to paint on their own, a lovely and cultured pastime of the era.

After the Victorian era, dinner services and flatware sets became less complex and leaned more toward simplicity, with fewer specifically-defined objects and more pieces serving multiple purposes. Butter pats gave way to bread-and-butter dishes, which are twice the size of the butter pat. While there are still some companies that make butter pats today, the demand is a fraction of what it was a hundred years ago; though they can be made for retail sale, these pieces are more likely to be found in high-end hotels and restaurants.

With so many styles, patterns, and manufacturers to choose from, you might wonder what the most sought-after butter pats are (this, as we know from all areas of collecting, can change from time to time). Mary Dessoie (butter pat collector and founder of the Butter Pat Patter Association) writes in her informative article, “All Buttered Up For Collecting!”, butter pat aficionados are paying premium prices for butter pats no longer in use by international airlines, who would use the diminutive plates in services for first- and business-class customers. Also in demand are butter pats from diners, hotels, railroads, and steamship lines.

As collectibles, butter pats can be very affordable, with many pieces costing $10 or less. But don’t get too cozy with this price – as with any collection, most people start small and then move on to more valuable pieces. Dessoie writes that in 2003, a circa 1889-1915 Wabash railroad butter pat marked “Greenwood China, Trenton, NJ” sold at auction for $1,525, even with a chip on the piece’s face. Hand-painted portrait pats with well-dressed Victorians are also highly collectible, as are salesmen’s sample pats that were used to show prospective buyers the colors and style of a manufacturer’s china patterns.

Dessoie’s article also states that a single butter pat in the Royal Copenhagen Flora Danica pattern, considered the world’s most prestigious pattern and one of the last luxury 18th century services still being produced today, can sell for $550 with a wait time of up to one year. Another article by Dessoie, entitled “Advertising Miniatures”, gives more examples of higher prices fetched by some types of butter pats. In this article, she also informs new collectors of how to spot fakes so your collection will be authentic.

But don’t let those higher priced pats discourage you – price is not the issue with personal collections. Beautiful butter pats by Staffordshire, Spode, Limoges, Royal Doulton and many other manufacturers are easily found, as are specific patterns like Blue Willow and Geisha Girl and more general styles such as flow blue, chintz and majolica. The most interesting collections have examples of many different types of pats. The old adage holds true in all areas of collecting: Buy what you love, and you’ll never be disappointed.

Toothpick Holders – Diminutive Beauties

Toothpick holders are proof that just because an object is designed for utilitarian purposes doesn’t mean it can’t be beautiful as well.

Some of the most beautiful toothpick holders are made of porcelain or glass and can have very unique shapes and patterns, though there are some highly desirable sterling and silver plate examples as well. As with other types of antiques and collectibles, values range from extremely affordable to very pricey, depending on scarcity, craftsmanship, and desirability. Because the variety is so great, I’ll just cover a few basics here to get you started and include links to organizations with a lot of expertise.

Glass
In its day, Pressed glass, sometimes called Pattern glass, was less expensive and more durable than crystal, but it was still made to be attractive. (There seems to be some debate as to whether Sandwich glass is the same as Pressed glass; in talking to antique dealers, many said that it’s the same thing, while others said there was a difference in manufacturing. I still don’t have the definitive answer!)

According to the Early American Pattern Glass Society, manufacturers began making pressed glass around 1850, with the majority being produced during the Victorian era in the 1880s. It remained popular until about 1910, when people became more interested in buying crystal. But when the Depression hit and money was tight, pressed glass became the affordable choice. Renamed Depression glass, new patterns and colors were created and its popularity surged again.

Pressed glass, cut glass, and satin finish toothpick holders are all undeniably very attractive and can be found in a rainbow of colors including amberina, ruby, canary, cobalt, amethyst glass, and milk glass; these are but a few examples. While some people collect according to material, theme, or style, others collect toothpick holders according to manufacturer such as Fenton, Fostoria, Westmoreland, or Mt. Washington.

Porcelain
Fine porcelain manufacturers like Nippon and RS Prussia have turned out what I personally consider some of the most beautiful toothpick holders. These miniature works of art can be adorned with detailed hand-painted or transfer patterns and can have embossing, handles, and pedestals. According to an article by Sandy Raymond of the National Toothpick Holders Collectors Society (an excellent organization with a wealth of information for anyone interested in collecting these little gems!), toothpick holders made by RS Prussia come in several finishes, including lustre, matte, pearl, glossy, iridescent, pearlized, and satin. Two of the most sought after designs are scenes and portraits.

No matter what the material, toothpick holders can claim any number of shapes including miniature vases, pitchers, urns or even loving cups; some may have a character or animal attached to the holder itself, or take the form of an open-topped Toby. Regardless of the style, in the end, toothpick holders are as charming as they are appealing.

Check out Collector's Cottage for many examples of fine glass and porcelain pieces.

The Beauty of Nippon

If you’re at all familiar with antique and collectible porcelain, the name Nippon immediately evokes images of beautifully painted porcelain pieces of all types. Richly colored, highly decorated and frequently boasting intricate gilt-work, authentic Nippon pieces are highly collectible and can command prices as impressive as the workmanship.

As seasoned collectors know, the word Nippon is another word for Japan. Back in the mid-1800s, the once secluded Japan, which had closed itself off from the world and hadn’t allowed European visitors since 1683, finally opened its doors to world trade and tourism, which brought a torrent of westerners to this mysterious land. Immediately, highly-skilled Japanese artists began learning and implementing new artistic techniques and forms used in other areas of the world. From this point on, there are many examples of this, some of the most common being Japanese porcelains with English themes. Other countries also benefited from this exchange of ideas, so it's also not uncommon to find Japanese-themed English wares.

You can date some Nippon pieces by the backstamp: those with the backstamp that actually contains the word “Nippon” were manufactured between 1891 and 1921; after this date, the US government ruled that the word “Japan” be used instead. This decision stemmed from the 1890 McKinley Tariff Act, which in part stated that all imported items had to be plainly marked in “legible English words”. The US had decided that “Nippon” was a Japanese word, and therefore had to be replaced for imports.

According to the International Nippon Collectors Club, there are currently a total of 249 known backstamps for Nippon ware. These include the well-known rising sun and M-inside-wreath, as well as a star, maple leaf, globe, flower, pagoda, and geometric shapes, plus lots more.

But before you pay premium price for that piece of Nippon, be aware that there are plenty of fakes on the market. Some faked backstamps are poorly done and rather obvious, but others that were done in more recent years are extremely close to the originals and have fooled even long-time collectors. Other tell-tale signs of a fake are gold decorations that look burnished instead of bright, slightly different mold styles, different interior lid shapes, etc. However, because some of these newer pieces are being made from the original mold patterns, they are being considered reproductions instead of “fakes”. Still, they do not hold the same value as authentic Nippon.

The best way to know what to look for right down to the last detail is to educate yourself. There are several excellent identification and value guide books about Nippon; my favorite is Van Patten’s ABC’s of Collecting Nippon Porcelain. Whenever I go out in search of Nippon, this is the “Nippon Bible” that goes with me. Author Joan Van Patten shares a world of information in this book, which is also filled with spectacular color pictures of hundreds of pieces. One very interesting section has images of old Nippon ads from the early 1900s – you could buy two 3-piece hand-painted Nippon dresser sets with tray, hair receiver and covered puff jar for 45 cents! Another catalogue ad offered a 14-piece chocolate set free with a $3.80 purchase or $3.80 in coupons. Imagine the value of those sets today….

Check out Collector's Cottage for a wide selection of beautiful porcelains!

Detecting Repairs

If you’re going to spend your hard-earned money adding pieces to your collection, you want to be sure the pieces you choose are in the best condition possible. The better the condition, the higher the value. This is true across the board for both antiques and collectibles – condition is everything. To get the best for your money, you need to become a Repair Detective.

China, Porcelain, Pottery - You can find most unrepaired damage on china and pottery easily through touch and close visual inspection. But good repairs may be more difficult to spot. Look for variations in the color of the glaze, paint or pattern, which can indicate that someone tried to conceal a repair. Yellowing of old glue is another dead giveaway. You can also feel a difference between the original surface and the repaired area, even if it’s been painted or glazed over.

A black light is another method used to detect repairs. Holding the light up to the piece in a dark room should reveal the presence of adhesives through a different kind of “glow”; this is especially true with art repairs – Steve Wynn’s expensive mishap with his $139 million Picasso (now devalued by $54 million after he accidentally poked a hole in it with his elbow) has been professionally repaired and is said to only be detectable with a black light.

Some people also use the scratch test, where a pin is used to gently scratch the surface of the suspected repair. The original glaze will not have any “give”, but the repair will. Of course, this must be done with the permission of the dealer, as it will damage the repair.

Glass, Crystal – It can be more difficult to spot a small chip or crack on a heavily cut piece of glass or crystal. Carefully running your fingers over the surface will help you find inconsistencies in the pattern, which could indicate a chip. A good test for cracks is to carefully flick the edge of the piece with your fingernail – cracked pieces will sound more like a “thunk” than a “ring”.

On expensive pieces of any kind, it’s best to get a detailed receipt from the dealer, which includes not only the age of the piece, but also its condition and a money-back guarantee if the piece turns out not to be as it was represented. This way, if you get home and your black light test picks up an extremely fine hairline crack or the piece is appraised as a reproduction, you can return it (as long as it wasn’t sold “as is”). Professionals can tell the difference between old and new damage.

Always check online sellers' item descriptions for mention of damage. If none is mentioned, you can email a direct question to confirm the item's condition; this way you have it in writing. Honest sellers have no qualms about sharing this information.

You'll find complete descriptions of item conditions at Collector's Cottage; click on China & Porcelain and/or Glass links for examples.

Lusterware's Luminous Past

You can't miss it...you know what it is immediately. That beautifully lustrous - sometimes even iridescent - metallic sheen on porcelain pieces of varying colors can be nothing but lustreware. That tell-tale finish is created by the addition of a thin film of metallic oxides (sometimes copper and silver) over a glaze, which is then fired. Probably the best known and maybe the most commonly seen today are those made in Japan, and they include everything from salt and pepper sets to tea sets to jugs and bowls. But did you know that lustreware may have originated as early as the 9th century?

Pottery experts say that the most beautiful and colorful lustreware was found in Samarra, made in the 9th century by Islamic potters. In later centuries it was made in Iran, Egypt, Spain, Italy, England, and Japan.

Lustreware is a pretty popular collectible and can range quite a bit in price, even though back around the 1920s-1940s, those that were imported from Japan were considered inexpensive dime-store stuff (not anymore!). The most common lustreware colors we find today are orange and blue, but there's also mother-of-pearl, pink, yellow and copper. English lustre is generally more expensive than Japanese. Most English lustreware was made during the first half of the 19th century and is highly collectible; today, you'll usually only see a good quantity of it come onto the market when a collection is being dismantled and sold.

You can find a nice selection of lustreware at Collector's Cottage - just click on the link in the right sidebar for China and Porcelain.