Journal

Nature is a Happy Pill

01.16.2018

Let’s face it – stress and unhealthy habits are ubiquitous in modern society. Equally ubiquitous (in affluent cultures) are self-help books, diet plans, personal trainers, and by-the-hour therapists to help people achieve and maintain their best selves. But what if one of the most potent fixes for our woes is as basic as spending more time outdoors, in nature?

That is the idea that Florence Williams explores in The Nature Fix: Why Nature Makes Us Happier, Healthier, and More Creative (2017, NY: W.W. Norton). As a journalist (and contributing editor to Outside magazine), Williams delves into the topic by taking a participatory journalism approach in which her experiences are part of the story. She becomes an insider in the scientific research she seeks to summarize about nature’s effects on the human mind, body, and spirit, both by becoming a research subject herself and by probing the thinking of leading scientists in the field.

She explains the impetus for writing the book succinctly: “Scientists are quantifying nature’s effects not only on mood and well-being, but also on our ability to think, to remember things, to plan, to create, to daydream and to focus—as well as on our social skills.” This work has such important implications for all of us that Williams makes an impressive effort to summarize the many avenues of this research being done around the world.

Forest bathing in Japan (hikingresearch.wordpress.com)

Williams reports on her experiences traveling to research sites in seven countries where scientists and practitioners are doing cutting-edge work on nature’s effects on people’s well-being. She participates in “forest bathing” in Japan and Korea; attends a hiking retreat with neuroscientists in Utah; wears a portable EEG device on her head to explore the physiological effects of noise pollution in the U.S.; participates in a nature virtual reality lab experiment in Canada; walks along “health nature trails” in Finland; participates in outdoor adventure therapy and meditative walking in urban parks in Scotland; observes horticultural therapy in a garden in Sweden; becomes a research subject for a Canadian scientist studying the mental health effects of sustained (30 minutes a day for 30 days) outdoor walking; goes on a camping trip with psychology graduate students in Utah and on a rafting trip in Idaho with female veterans suffering from PTSD to explore the effects of longer-term immersion in nature within social groups; visits a summer camp in North Carolina for kids with ADD and learning disabilities; and explores green spaces in densely populated Singapore. She is ambitious and energetic, and those qualities permeate the book.

Hammock in an urban therapeutic garden in Sweden (landscapeinstitute.org)

Although the scientists Williams visits are focusing on different aspects of nature’s effects on humans, and are using a wide range of clever measurement tools to do so, an underlying theoretical tenet of all the research is evolution. Since we, Homo sapiens, evolved in nature, we still have deep, automatic, physiological reactions to environmental stimuli. The idea is to recognize, understand, and then use those reactions for beneficial outcomes in our modern lives.

Some Fascinating Research Findings

Japanese and Korean scientists have documented positive changes in physiological responses such as pulse rate, variable heart rate, and salivary cortisol after people have taken sensory walks in forested National Parks. In one study in Korea, spending two days in nature lowered the cortisol levels of 11-12 year old “technology addicts,” and those effects lasted two weeks after the kids had nature immersion experiences.

Another avenue of this “forest bathing” (i.e., walking in the woods) research found that “nice tree smells”—specifically the aromatic substances that cedar and pine trees emit—boost natural killer (NK) white blood cells that strengthen our immune systems. Even a month after people walked in piney woods a few hours a day for three days, their NK cells were 15% higher than those of people who walked the same amount of time on urban streets.

(hikingresearch.wordpress.com)

In addition to affecting us through our sense of smell, nature also triggers profound effects through our visual system. One of the reasons that spending time in peaceful natural settings can improve our ability to think effectively and creatively is that we don’t have to use up as much precious cognitive fuel (specifically oxygenated glucose) filtering out distractions. Our inherent “soft fascination” with natural scenes gives our brains a rest so we have the potential to become better at higher order thinking.

Even brief views of nature, such as seeing green trees out a window, can have positive effects on our bodies and minds. One hypothesis is that visually processing nature scenes triggers natural opiates in the brain and “happy molecules” flow. Indeed, studies have shown that nature views outside hospital windows reduce patient stress and lead to better clinical outcomes. In schools, office buildings, and housing projects touches of nature visible from windows have been shown to support increased worker productivity, less job stress, higher academic grades and test scores, and less aggressive behaviors. Scientists propose that this is due in part to congruence in how nature scenes (“natural fractal patterns”) are fluently processed by our neurons, setting off a cascade of positive physiological effects.

In short, Frederick Law Olmstead (the father of landscape architecture and designer of urban parks such as New York’s Central Park) seems to have had it right back in 1865 when he wrote that viewing nature “employs the mind without fatigue and yet exercises it; tranquilizes it and yet enlivens it; and thus, through the influence of the mind over the body, gives the effect of refreshing rest and reinvigoration to the whole system.”

(centralparknyc.org)

Our sense of hearing also has deep evolutionary roots, so ambient nature sounds trigger very different automatic responses in our bodies than industrial noise. Our sympathetic nervous system (the coordinator of our “fight or flight” responses) reacts dramatically to threatening sounds by elevating heart rates, blood pressure, and respiration. Those are stress responses, and when we’re constantly subjected to annoying noises, everything from airplanes and jack hammers to cell phone ringers and lawn mowers, those frequent stress responses can accumulate to the level of chronic stress within our bodies.

Given that there are fewer than a dozen sites in the continental U.S. where you can’t hear human-made noise for a span of at least 15 minutes (according to research conducted by an acoustic ecologist), this lack of respite from industrial noise can become a major health issue. For instance, every 10-decibel increase in nighttime noise is linked to a 14 % rise in hypertension. In primary schools located near major airports, every 5-decibel increase in aircraft background noise is linked to a drop in reading scores equivalent to a two-month delay in progress.

(fastcompany.com)

There are individual differences in people’s noise sensitivity, and Williams found that she is among the most sensitive. She wore EEG headgear to measure her brain wavelengths in different settings to see which places put her brainwaves in the desirable, meditative-like state of “calm alert.” In places where human-made sound is constantly in the background, our brains have to work hard to ignore the irrelevant soundscapes, stealing physiological resources and constantly creating undesirable small side effects. So it is hard for someone with noise sensitivity (like Williams) to unwind in an urban park. After numerous forays outside, Williams finally attained Zen-like brain wavelength tranquility one early morning while kayaking alone on a lake in Maine. The take-home message is that when you’re feeling stressed, go to a quiet place to reset your mind and body to a calmer mode.

(adventuremaine.us)

In addition to documenting nature’s profound influence on our physiology, Williams also reports on how it can affect our emotional well-being. A researcher in Finland recommends that to elevate mood and stave off depression, people should spend a minimum of five hours per month in nature, and that 10 hours per month yields even more positive results on emotional stability.

(visitfinland.com)
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A Wildlife Woodcut

11.17.2017

In all of the years that we’ve admired the book illustrations of outdoor and natural history artist Henry B. Kane, we had never seen a stand-alone piece of his artwork on the market until recently finding this woodcut (now sold).

mouse woodcut by Henry B. Kane

It is a portrait of a mouse (likely a white-footed mouse, Peromyscus leucopus), rendered in a small scale befitting its subject (frame size: 8.5” wide x 9” high; woodcut size: 4” square). The crisp black and white contrasts that comprise the image of the mouse nestled on a small branch of a red pine in its woodsy home habitat, are the distinctive attributes of woodcuts. The artist was able to achieve great clarity of detail by carving a block of wood so that when inked and pressed onto paper the portions of the woodblock that were raised in relief join with those that were gouged away to create a stunning black-and-white image.

mouse woodcut by Henry B. Kane

This woodcut is one of a limited edition, number 16 of 100, and is signed by the artist in pencil in the lower right.

mouse woodcut by Henry B. Kane

The artwork was matted and framed in Boston, not far Lincoln, Massachusetts where Kane lived for many years with his wife, two daughters, and a son.

mouse woodcut by Henry B. Kane
mouse woodcut by Henry B. Kane

While Kane’s personal and professional lives were rooted in the Boston area, his artistic abilities and book projects allowed him to travel in his mind’s eye, by immersing himself in the variety of habitats and settings that his collaborating authors explored. He was a rare individual who was equally drawn to and adept at science and art, as well as skilled in administration. What else do we know about this accomplished man?

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Robotiquing: The Future Could be Closer than We Think

10.23.2017

 “Name an occupation, and there’s somebody considering a robot to take it over.”

(David Pogue, cbsnews.com, August 2017)

In all of our contemplations aimed at anticipating the next waves of the antiques business, the possibility of our job sector being taken over by robots or computers programmed with artificial intelligence (AI) algorithms had never occurred to us. Yet given our technologically innovative economy, predictions are that nearly 40% of jobs currently held by real people in the U.S. could be lost to robots and artificial intelligent systems by 2030 (PwC’s Global Artificial Intelligence Study, pwc.com). So perhaps we should worry about our job security.

robot cartoon

While it is easy to envision robots zipping around an Amazon warehouse plucking merchandise from shelves to fulfill orders,

warehouse robots
(from cnet.com)

it is a stretch to imagine them galloping around the fields of an antiques market such as Brimfield in Massachusetts or Round Top in Texas to find antique treasures.

robotic horse
(from dreamstime.com)

Yet robots are not only taking over manual jobs in many sectors of the economy, they are also encroaching on jobs that rely more heavily on cognitive expertise. Collecting and analyzing data in insurance and financial industries, drawing up standard contracts in the legal field, and doing routine health assessments or disease diagnoses as general practitioners and pathologists now do in the medical field, can all potentially be accomplished better and more efficiently by intelligent non-humans.

Even those higher order job skills, however, still seem more codifiable into computer algorithms than the uncertain processes of buying and selling antiques. Experts in artificial intelligence acknowledge that computers still don’t succeed very well when trying to accomplish tasks that require flexibility and non-routine procedures. Since a course in Antiquing 101 would have as its first lesson how to be versatile, intuitive, and adaptable, our profession may still have some time remaining in the human realm before computers catch up with us.

But perhaps not much time. Researchers on the cutting edge of AI are working diligently to program computers to master abstract reasoning, learning, creativity, problem-solving, and cognitive flexibility. A major goal of this work is for AI to mimic intuitive judgment so that a computer will be able to make good decisions on the basis of uncertain and incomplete information, just as humans do every day.

One challenge of this research is to understand and then codify how irrationality enters into decision making. If researchers crack the irrational, emotion-laden dimensions of how professionals make decisions in their day-to-day work, then perhaps they are getting closer than we realize to building robots that could become antiques dealers.

(from nytimes.com)

So to determine how likely it is that we’ll have antiquing robots in the not-too-distant future, let’s get analytical by breaking down the various components of the antiques dealer’s profession, and then rate each dimension from 1 (low) to 5 (high) on an automatization likelihood scale, which is a computer takeover Threat-O-Meter of sorts.

An Antiques Dealer Has to Know Stuff

Despite a trend towards melding the antiques business with the world of design in which what matters most is an object’s visual appeal rather than its age and historical authenticity, we still believe that it is essential for antiques dealers to focus on objects that are original products of a past era. Understanding an antique’s origin requires contextual knowledge of historical periods and their artistic or stylistic movements, who was making what kinds of things during that era (whether individuals, collectives or manufacturing companies), variations of forms by geographic locations (continents, countries, regions), typical materials and assembly or creation techniques used, and so forth.

(from robohub.org)

All of this factual background information is supremely suited to becoming a massive database that could anchor object identification algorithms. So this dimension of our professional skill set merits a score of 5 on the takeover likelihood scale.

Likelihood of Robot/AI Takeover:

Low                                         High

1          2          3          4          5

An Antiques Dealer Has to Find Stuff

A huge part of an antiques dealer’s job is seeking and finding antiques that are worthy of buying and selling. Computers are much better at certain kinds of searching (i.e., querying databases) than humans. But those searches will only be productive if the raw information being searched is high quality.

Most sellers, other than high-end auction houses that employ specialists in various subfields of antiques or specialist dealers who post their goods online, write sketchy or inaccurate descriptions of antiques which could pose a challenge for search algorithms that lack the wisdom to a) filter out worthless keyword hits, b) dig for unlikely labels and associations, and c) fill in the blanks of what isn’t said about an object. Then there is the challenge of following up on potential leads; will the antiques dealing “bot” chat with the auction house bot to get its questions answered?

friendly robot
(from jonvilma.com)

Beyond these challenges to an intelligent robot scanning through antiques online, many antiques—in fact, most of what we purchase—never appear online. Robots finding antiques anywhere other than through a database search is highly unlikely (unless home monitoring security cameras that are becoming increasingly popular begin to automatically upload photos or video of the insides of homes, garages, barns, and storage units as searchable, pictorial data—yikes!). Since AI systems have high potential to search databases, but low potential to search physical nooks and crannies, this dimension of antiques dealing merits a score of 3 on the takeover likelihood scale.

Likelihood of Robot/AI Takeover:

Low                                         High

1          2          3         4          5

An Antiques Dealer Has to Evaluate Stuff

Evaluating the merits of an object is where the first two dimensions of an antiques dealer’s repertoire—knowing stuff and finding stuff—interact. It is not enough just to know facts or to find an object; it is essential to be able to retrieve and apply knowledge in reference to a particular object that is in front of you. Is it real or fake? Is it old or new? Is it intact or broken? Is it solid or wobbly? Is it in original or modified condition? Is it rare or common? Is it aesthetically pleasing or unappealing? Is it a desirable or undesirable form in the eyes of potential buyers? Is it appropriate for our specialty niche within the vast universe of antiques? More often than not a dealer has to do all of this evaluation under time pressure to make a decision to buy or not to buy something before another interested party comes along.

thinking
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Pyrography Center Table

09.26.2017

pyrography center table

This graceful center table (30″ wide, 21.75″ deep, 30″ high) is a stellar example of a decorative technique called pyrography, literally meaning fire writing, but better known as wood burning (a.k.a. “burnt wood etching” and “pokerwork”). The table dates from circa 1910, so was created during the late 19th-early 20th century time period when pyrography reached peak popularity with artists and crafters.

pyrography on birch bark

Before describing this table in more detail, it is worth recounting a bit of the fascinating background of pyrography which includes pieces of history from the domains of art, science, society, and commerce.

A Brief History of Pyrography

Burning designs into wood, leather, and bone for artistic expression dates back to at least the 1st century AD. In early times designs were etched with hot implements that needed to be constantly reheated as the artwork progressed.

That inconvenient and tiresome technique changed radically in 1889 when an artist named François Manuel-Perier introduced a “pyrography machine” at the International Exposition in Paris. He had adapted a medical instrument that a French physician had invented in 1875 for cauterizing wounds. The tool had an insulated handle with a sharp tip made of platinum, a metal which was uniquely able to absorb a certain gaseous mixture that could keep the tip hot. 

Within a year, a compact version of Manuel-Perier’s thermo-pyrography tool, made by Abbott Brothers Manufacturing, was being sold in England within a kit called “The Vulcan Wood Etching Machine.”

The basic necessities included in the kit were pencils with varying size platinum tips, an alcohol spirit lamp, a jar of liquid benzene, and two lengths of rubber tubing – one connected to a bellows and the other connected to the hollow platinum pencil tip.

The artist would initially heat the sharp platinum tip of the pencil in the flame of the spirit lamp, then extinguish the lamp. While using the pencil tip to burn a design into wood with one hand, the artist would then constantly pump the bellows with their other hand which transmitted benzene vapor through the tube to the platinum point which then absorbed the gas to keep the tip glowing hot.

Conveniently, in 1891, a year after Abbott Brothers introduced its pyrography kits, a book titled A Handbook on Pyrography written by a Mrs. Maud Maude was published in England, declaring that “the art has lately attracted considerable attention and is now a most fashionable art with enthusiastic feminine amateurs.”

The book, along with a series of articles Mrs. Maude penned for the U.S. magazine The Delineator in 1892, gave explicit instructions for producing pyrographic art using the Vulcan kit, thereby helping the art form became a fad as a home craft, particularly among women. It turns out that Mrs. Maud Maude was a pseudonym for Ann Maud Abbott Freeman, a sister of the Abbott Brothers who manufactured the Vulcan pyrography kit. Savvy marketing, indeed.

Additional publications encouraging the craft of pyrography as a “delightful and profitable pastime” for women followed, including the 1894  Fancy Work for Pleasure and Profit by Addie E. Heron which detailed how women could make decorative objects for their own homes or to sell, and the 1903 book 300 Things a Bright Girl Can Do by Lilla Elizabeth Kelley which had a chapter devoted to pyrography filled with detailed instructions as well as encouragements such as, “If the point does not work well at once do not feel vexed.” Thus began the popular trend of adorning household objects such as small boxes, mirrors, frames, and wall plaques with pyrographic art.

Riding the wave of pyrography as a popular home craft, the Flemish Art Company was established in Brooklyn, NY around 1900 to began producing pyrographic objects commercially.

Flemish Art Company
(from pyromuse.org)

The company manufactured its own wooden objects – wastebaskets, hand mirrors, tabourettes, handkerchief boxes, wall plaques and the like – largely from basswood that they sourced “in the cold climates of  Michigan, Minnesota, and Canada” which the company believed produced superior, whiter wood. Their artistic employees, many of whom were women, then hand-decorated the objects with pyrographic designs. The company’s artists also engraved metal plates that were heated and pressed onto wood to decorate some of their commercial products.

Flemish Art Company
A Flemish Art Company production room (from pyromuse.org)
A Flemish Art Company artist at work (from pyromuse.org)

This frame (which we owned and sold several years ago), depicting a sporting woman with a tennis racket and bag of golf clubs, was likely handmade by a Flemish Art Company artist.

pyrography frame
(cherrygallery.com archives)

The Flemish Art Company also sold pyrography kits that included paints, stains, waxes and varnishes, instruction booklets, and other handy tools for do-it-yourself pyrographers.

(from pyromuse.org)

One particularly interesting accessory was the “Flemish Art non-explosive absorbent – a cotton-like substance called asbestos” which crafters were encouraged to “place in the benzene bottle to absorb the volatile fluid make it safe and non-explosive should the bottle break.”  

Although pyrography instruction books included some ominous warnings such as: “You should always have a fire extinguisher at the ready and preferably another person nearby who could help in case of an accident,” and “If a red flame issues from your vent hole, your benzene is too strong,” no one at the time understood the carcinogenic hazards of working with these materials.

Pyrography and the Rustic Aesthetic

The era of mass popularity of pyrography as a crafting activity, roughly 1890 through the 1920s, coincided with the rusticator era when city folk sought not only experiences in the wilderness, but also decorative reminders of nature and adventures in the outdoors. Not surprisingly, then, pyrographic designs have appeared on antique rustic accessories that we’ve handled over the years.

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Glamping: 21st Century Rusticating

08.21.2017

As summer nears its Labor Day finale, I am already wistful for opportunities to spend warm days and starry nights in peaceful, outdoor surroundings. Recently watching a movie filmed on the steppes of Mongolia (The Eagle Huntress – the best, albeit the only, G-rated movie I’ve seen in a long time) got me thinking about one way to live with just a fabric’s (or sheep’s hide) width of separation from nature: in a semi-permanent shelter such as a traditional Mongolian ger (more familiarly known as a yurt).

(from jcreore.wordpress.com)

Having stayed as a guest in several back-to-the-lander friends’ yurts over the years, as well as having spent part of a college semester living in an oceanside tipi (free housing!), I can attest to how sleeping in a white-walled, round shelter somehow feels spiritually uplifting. Or perhaps it is the lack of clutter, the simplicity of lifestyle, the gorgeous setting, or the combination of all these things that feeds the soul more robustly than dwelling within the squared walls of a solid house.

Reinvigorating the spirit with a return to simplicity was the same motivation that impelled 19th and early 20th century rusticators to flock away from cities into the wilds.

(from newyorkhistoryblog.com)
(Camping on Lake George, NY in 1919 – from newyorkupstate.com)

Yet the rusticators of yore also wanted their creature comforts at the end of a day exploring the wilderness, which gave rise to the elegant Great Camp style that we still appreciate in lodges, inns, and private homes today.

Dining room in an Adirondack Great Camp on Upper Saranac Lake, circa 1903 (archives of The Adirondack Museum)

The recent rise in popularity of “glamping” (glamorous camping), in which resort-style amenities are paired with overnights in simple structures such as yurts and tents, reveals that not much has changed in the desires of the rusticator demographic. Glamping proprietors proudly advertise tents provisioned with queen beds, sheets, blankets, pillows, towels, mini-fridges, coolers, fans, heaters, electric lights, bath amenities, and lounge chairs. Flush toilets, hot showers, and sometimes gourmet meals are available just a short walk beyond the tent flaps.

(from sandypinescamping.com)
(from lakedale.com)

At a certain point one has to wonder, why not just stay at a luxury inn that is situated in a gorgeous, isolated setting?

(fogoislandinn.ca)

I suppose novelty is one motivation for choosing glamping over a traditional luxury inn – experiencing how it feels to sleep in a traditional Adirondack guide tent, for instance.

(from poshprimitive.com)
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Rare Rustic Hickory Armoire

06.23.2017

Rustic Hickory Furniture Company armoire wardrobe cabinet

Discovering new forms within a familiar genre of antiques is always a thrill for dealers on the hunt for quality pieces. This rustic armoire qualifies as one of those rare finds that expands the horizons of known hickory furniture types, so the discovery is satisfying from both scholarly and aesthetic perspectives.

Antique hickory case pieces appear on the market less frequently than hickory tables and seating because far fewer of them were produced by the six or so original Indiana hickory furniture companies during their manufacturing heyday from the early to mid-1900s.

Rustic Hickory Furniture Company armoire wardrobe cabinet

We know that this armoire was made by Rustic Hickory Furniture Company of LaPorte, Indiana because it retains that company’s attractive magenta and green paper label intact on the back.

Rustic Hickory Furniture Company paper label

Rustic Hickory produced furniture from 1902-1934. The armoire does not appear in their catalogs and we have never seen one on the market, so we suspect it was available only as a special order or perhaps was made in a limited production run. The 1920s Rustic Hickory catalogs did feature bedroom suites (beds, dressers, and costumers) described as “Up-to-date bedroom equipment for the summer home, in typical Rustic Hickory Construction.” Although complementary in style, the armoire was not part of the company’s catalog line of bedroom furniture.

Rustic Hickory Furniture Company catalog
Two pages of bedroom furniture from the 1926 Rustic Hickory Furniture Company catalog.

We are able to date the armoire to circa 1925 because it came directly from an Arts-and-Crafts bungalow-style lakeside summer home that was built in the southern sector of the Adirondack Park around that date. Upon completion of the home, the owners furnished it throughout with quality Rustic Hickory and Old Hickory furniture. The armoire had been in the house since it was built.

Although the house was relatively large with spacious bedrooms on a full-story second floor, closet space was limited. Armoires have provided a storage solution in rooms without closets since medieval times when they held everything from armor (hence the derivation of the French word armoire) to tapestries, rugs, linens, and clothing. Up until the early 1900s, most homes were built with few or no closets, so movable, free-standing wardrobe cabinets were common.

Armoire styles have changed throughout the centuries as storage needs and decorative trends evolved. This unique, rustic-style armoire has four doors, and hickory pole trim along the abutting edges of each door, between the sets of doors, and around the front, sides, and top edges of the whole case.

Rustic Hickory Furniture Company armoire
Rustic Hickory Furniture Company armoire wardrobe cabinet
Rustic Hickory Furniture Company armoire wardrobe cabinet


There are different storage features inside the left and right pairs of doors.

Rustic Hickory Furniture Company armoire wardrobe cabinet


The doors on the left open to an empty space for hanging clothes from a hickory pole closet rod.

Rustic Hickory Furniture Company armoire wardrobe cabinet

The doors on the right open to two shelves and four drawers for folded garments. The shelves and drawer fronts are made of pine.

Rustic Hickory Furniture Company armoire wardrobe cabinet

The interior dimensions of each half of the armoire are 23” wide x 21” deep x 52” wide (the overall exterior dimensions are 51.5” wide x 24.75” deep x 61” high), so it is roomy enough to hold an array of clothing.

Rustic Hickory Furniture Company armoire wardrobe cabinet


Beyond its functionality, this armoire’s grand scale, warm finish, and bark-on hickory poles make it a handsome anchor piece for a rustic room’s decor. It also evokes nostalgia for the simple lifestyle that early 20th-century rusticators enjoyed at their vacation home retreats.

A Captured Moment of Tennis History

04.20.2017

This month our musings on antique sporting goods continue, but as the season gradually progresses towards summer our focus shifts from ice skates (our February posting) to tennis antiques.

full plate tennis tintype

We recently acquired and sold this rare tennis tintype. Tintypes were a photography innovation introduced in 1856 and used into the 1880s, in which images were printed on thin metal plates. The size of tintypes range from large full plates (6.5” x 8.5”), which are the most desirable to collectors, to small 1/16th plates (1.375” x 1.625”). This tennis photograph is a full plate tintype.

tennis tintype

Tennis antiques do not fit exactly within the genre of rustic antiques so it may seem surprising to see this tintype featured here, yet there are some interesting areas of overlap. One connection between tennis and rustic antiques is that tennis was a popular sport enjoyed by genteel rusticators in places such as summer colonies near the turn of the 20th century.

squirrel island tennis match
A circa 1905 women’s tennis match on Squirrel Island, a summer colony off the coast of Boothbay Harbor, Maine, where tennis was a popular island activity. (from the Stanley Museum)

Another connection is that early sporting accoutrements make intriguing accessories within present-day rustic décor, especially in vacation homes where enjoying leisure sporting activities has been a long tradition.

rusticators with tennis rackets Lake George
Rusticators with rackets on the porch of a Lake George, NY home, circa 1890 (from Tennis Antiques & Collectibles)

So the occurrence of an antique tennis tintype in our recent inventory is not completely anomalous. Also, like most antiques dealers we occasionally step outside of our main specialty area to buy and sell other types of antiques. Jeff has learned about tennis antiques over the years thanks in large part to the expertise and enthusiasm of his mother Jeanne Cherry, author of the 1995 book Tennis Antiques & Collectibles (the source for much of the historical information included here).

While the flourishing of tennis in the United States coincides with the height of the rusticator era, from the mid-1870s through the first decades of the 1900s, it is a game with a much longer history—the precursors of the modern game of tennis date back to the 12th century. By 1750 a game called court tennis had evolved in Europe, and although players (members of royalty and other elite classes) used a racket similar to the shape of the rackets used today, they played in a walled court using rules that were very different from those of modern tennis.

early tennis
Major Walter Clopton Wingfield of Wales who, beginning in 1873, was among the first to play and popularize lawn tennis as a social activity among Great Britain’s Victorian gentry (from Tennis Antiques & Collectibles)

It was not until the 1800’s that tennis started to be played outdoors on lawns, giving rise to the game of lawn tennis which is the game we refer to simply as “tennis” today, whether it is played on grass, clay, or hard courts. The year 1877 marked the start of tournament tennis at the All England Lawn Tennis and Croquet Club in Wimbledon, and by the 1880s lawn tennis had “supplanted croquet as a social garden party activity in which men and women could participate together” (Cherry, 1995).

tennis tintype

Indeed, the seven women and four men shown in this tintype were most likely participating in just such a garden party. Based on some limited information we received with the tintype, we think the photograph was taken in the outskirts of New York City, which is plausible because one of the earliest lawn tennis courts in the U.S. was established in Staten Island, NY, thereby introducing people in that region to the game. In 1874 a young socialite named Mary Ewing Outerbridge had just returned from Bermuda where she had played tennis and acquired a boxed set of tennis equipment. When she returned home she convinced her local club, the Staten Island Cricket and Baseball Club, to mark lines and set up nets to create lawn tennis courts so that she could introduce tennis to her friends.

webstatenislandclub
An 1885 photo of tennis courts and players at the Staten Island Cricket and Tennis Club (aliceausten.org). By 1895 there were over 100 tennis clubs in in the United States.

The men and women in our tintype are holding lopsided tennis rackets, which is the earliest form of lawn tennis rackets.

lopsided tennis racket
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Birding with Bookends

03.20.2017

Bradley & Hubbard bird bookends

Like many people, we adore wild birds. Jeff in particular is an avid bird watcher and observer of the ecology and natural history of bird life. So it is fun to occasionally mesh this leisure interest with a business pursuit, as in the case of offering these antique bird bookends for sale. The two pursuits are not so dissimilar as they might seem, as both require a keen eye for detail and the ability to pick out beauty and salient features from a crowded field.

This pair of handsome, circa 1920 cast iron bookends features accurate portrayals of two eastern songbirds: a Blue Jay and an Eastern Towhee. Each bird is accurately rendered and painted to represent how the birds appear in their full-feathered glory.

bradley and Hubbard bird bookends
Blue Jay
(from larkwire.com)
Bradley and Hubbard bird bookend
Eastern Towhee
(from surfbirds.com)

Each bookend is 5″ wide x 3″ deep x 5.75″ high, and has a brass nameplate stating the bird’s name.

Bradley and Hubbard bird bookends
Bradley and Hubbard bird bookends

Note that the Eastern Towhee bookend is labeled with the name “Chewink.” This is the former common name for this species, representing the onomatopoeic version of its call. This bird has gone through several name changes in the past decades, from Chewink, to Rufus-sided Towhee, to its current common name, Eastern Towhee.

The plants pictured along with the birds on the bookends are also northeastern species, accurately rendered and appropriate for the habitats of these two birds. The Blue Jay is shown on a branch of flowering dogwood.

Bradley and Hubbard bird bookends

The Eastern Towhee is on an American hazelnut branch.

 and the EasternTowhee is on a

The quality of the bookends is evident not only in the fine casting and detailed paint decoration, but also in the iron’s solidity and heft. Yet at the same time the shape of the bookends is delicate and balanced, having a simple scalloped edge along the top that is echoed on the base.

It will come as no surprise to those familiar with antique metalwork that these bookends were made by Bradley & Hubbard (B & H) Manufacturing Company. B & H cast iron accessories, from bookends to call bells to doorstops to doorknockers, are desirable to collectors of cast iron because of their quality and aesthetic appeal.

These bookends are each stamped with the logo that B & H used on the smaller accessories it produced:

Bradley and Hubbard bird bookends
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Nostalgia for the Quiet Season

02.24.2017

Antique sporting goods – snowshoes, skis, skates, sleds, canoe paddles, tennis rackets, lacrosse sticks and the like – are reliably attractive accessories for rustic rooms. Within each category, examples range from “cheap and cheerful” to museum quality. For those who pursue sporting collectibles beyond their decorative value, there is always a lot to learn.

antique figure skates

I recently came across this photo of a pair of antique ice skates that I deaccessioned from my collection several years ago (well, okay, that’s a pretty fancy word for selling a relatively inexpensive object from a relatively modest collection, but there you have it). These circa 1900 skates are missing the leather straps that would have secured the blades to sturdy boots, becoming the precursors of modern boot skates.

antique ice skates
(from classicauctions.net)

I am drawn to antique skates because of their pleasing sculptural forms, such as the swan-head, short-curl and high-curl skates pictured below.

swan headed skates
(from iceskatesmuseum.com)
(from etsy.com)
(from etsy.com)
(from maineantiquedigest.com)
(from maineantiquedigest.com)

I also love the contextual images they evoke of people skating in the 19th and early 20th centuries, including the physical settings, social groupings, and what people wore and carried, such as muffs and lanterns.

"Winter - A Skating Scene" by Winslow Homer, 1868
“Winter – A Skating Scene” by Winslow Homer, 1868

The history and forms of antique ice skates, as well as their value as collectibles, are well documented in books (Antique Ice Skates for the Collector by Russell Herner, 2001), articles (“Antique Ice Skates in America” by Ann Bates, Maine Antique Digest, Feb. 1, 2010), and websites (e.g., antiqueiceskateclub.com).

skatesbook

Beyond their styles or values, the deepest appeal of antique ice skates for me is the emotion they evoke. Skating as a child in northern Maine was all about getting outside and having fun during an inhospitable season. Anyone who has ever skated on a lake or river knows the sense of freedom and even escapism it allows – there are probably few among us who have not related at times to Joni Mitchell’s lyric “Oh I wish I had a river I could skate away on…”

An 1895 photo of skating on a river that flows through my hometown (from mainememory.net)
An 1895 photo of people skating on a river that flows through my hometown (from mainememory.net)
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Blowing Rock Rustic Accessories

01.20.2017

blowing rock rustic wares charles dobbins north carolina

Although we just acquired these two rustic accessories, a mantle clock and a magazine holder, their styles are familiar to us. In the past dozen years, we have owned four lamps and a hat rack by the same hand.

All were made near the mountain resort town of Blowing Rock, North Carolina in the 1920s-1930s by a man whom collectors and museum curators for years referred to simply as “the Blowing Rock artist,” based on the location name he inscribed on some of his pieces. Both the range of unique rustic wares he produced and the story of how his identity was ultimately uncovered are intriguing enough to delve into before describing these two most recent additions to our inventory.

Works from the Blowing Rock Artist’s Oeuvre

Blowing Rock, NC artist Charles Dobbins rustic crafts

This tall rustic sculpture was the first Blowing Rock piece we owned. It is a tree-like sculpture that incorporates a lamp, a clock, a magazine holder and a pencil holder (visible in the photo approximately mid-way up the base trunk). The sinuous, vine-like accents are the roots of rhododendron and laurel shrubs which grow abundantly in North Carolina’s Blue Ridge mountains near Blowing Rock. “Blowing Rock NC” was punched into the top of the pencil holder.

Blowing Rock, NC artist Charles Dobbins rustic crafts

A year later we acquired this very similar sculpture that was not marked, but is clearly by the same maker. In addition to a clock, lamp, magazine holder and pencil holder, this piece also includes a cylindrical vase forming the right arm.

Blowing Rock, NC artist Charles Dobbins rustic crafts

This artist seems to have been quite fond of pencil holders, which were also incorporated into this pair of table lamps.

Blowing Rock, NC artist Charles Dobbins rustic crafts

The top of the pencil holder on one of the lamps shown in this close-up was stamped “Blowing Rock NC.”

Blowing Rock, NC artist Charles Dobbins rustic crafts

Finally, this hat rack not only includes a plate punched with the Blowing Rock place name,

Blowing Rock, NC artist Charles Dobbins rustic crafts

it has a second plate that says “ALT 4300 FT.”

Blowing Rock, NC artist Charles Dobbins rustic crafts

Presumably the altitude refers to the elevation of the town of Blowing Rock, or to its renowned Blowing Rock cliff, although today the town’s elevation is listed at 3,600′ above sea level and the cliff at 4,000′.

Blowing Rock, NC artist Charles Dobbins rustic crafts
The Blowing Rock cliff (photo: tripadvisor.com)

The cliff is famous for affecting the strong wind currents that come from the gorge below it so that snow blows vertically upward rather than falling downward. It is also famous as an overlook onto stunning Appalachian Mountain views.

The cool mountain air and magnificent mountain vistas in the Blowing Rock region began attracting well-to-do tourists during the “rusticator era” of the 1880s. The upscale tourist economy became Blowing Rock’s main source of revenue and employment in the late 19th century, as it still is today. Thus the Blowing Rock artist was well situated to make a living selling his rustic creations to tourists during the first decades of the 1900s.

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