American Bungalow Magazine - The Magazine published in the interest of preserving and restoring the modest American 20th Century Home, the Bungalow, and the rich lifestyle that it affords.

Q: Could you give us any information on this lamp frommy father-in-law’s estate? There appears to be a name scratched on the shade, but we can’t make it out. Also, how would one care for this piece?
Rosann Balcom
Williamsville, N.Y.

While I recognized your lamp immediately as a product of the Heintz Art Metal Shop and have handled a

number of these lamps over the years, I thought I would contact a long-time friend and expert in Heintz art metal, David Surgan (heintzcollector.com). Here is David’s reply:

“Your lamp is a product of the Heintz Art Metal Shop, Buffalo, N.Y., 1906–30. It is the largest of a class of Heintz lamps with solid, rather than cutout, shades popularly referred to as ‘helmet lamps.’ This form is commonly called a ‘bell helmet.’ The shade and the base are bronze; the decorative floral overlay is sterling silver.

“The finish, or patina, on the bronze was referred to in period literature as ‘Royal’ and described as ‘a deep rich red with a suggestion of iridescence.’ ‘Patina,’ which is used to characterize age and handling on wood, refers to finishes produced with chemicals and heat on metal.

“The scratched signature you refer to is not a signature at all, merely a scratch. Heintz lamps were commonly marked with a paper label on the felted underside. Most such labels are long gone today.

“As for care, I quote from a little booklet that was included with every new piece: ‘Each piece of Heintz ware is lacquered with the highest grade lacquer obtainable and will not tarnish. To keep this ware clean, merely wipe with a dry, soft cloth.’

“A word of caution: If the electrical wiring is suspect, rewiring will not compromise the value of your lamp.”

Q: My husband and I recently purchased ten pieces of miniaturized furniture described as “salesman samples.” Apparently, they come from a family in the province of Ontario here in Canada; someone in the family worked at the furniture factory. All the visible wood is quartersawn oak, and the pieces are all in excellent condition. As you can see, they are quite large for doll furniture. We are hoping you could shed some light on the subject of salesman samples. They are not easy to transport. Did salesmen take these to prospective buyers’ homes? Did buyers go to the factory and look at the samples? I have included the measurements of each piece.
Jeanine Anstee
Vancouver, B.C.

It was not uncommon for a turn-of-the-20th-century salesman to load up a large chest of scale model furniture and hit the road. Nearly all categories of household furnishings, from furniture to farm implements and kitchen tools to architectural ornaments, were made in a miniature form that would be easier to carry to retailers around the country. These reduced-scale pieces were also used on the road and in stores to demonstrate the functions and qualities of these products.

We asked Henry Jones, a Canadian personal property appraiser at Roadshow’s 400 Antiques Mall in Toronto (roadshowantiquesmall.com), the largest antiques mall in Canada, to weigh in:

“These are wonderful pieces … the style, the quality of the finish. If these aren’t Stickley, they’re certainly copies of that style. There are hundreds of furniture companies in Canada that made Arts and Crafts–style furniture, but I don’t know of many that would go to the trouble of making such fine samples. Possibly Owens Sound Furniture or Gibbard Furniture, both of Ontario, or Krug Brothers of Southwestern Ontario. But Grand Rapids, Michigan, the home to J.G. and Albert Stickley’s company, isn’t far over the border. I would rule out Stickley first, then look to Canadian manufacturers. Take the pieces to a certified appraiser—examining the pieces firsthand will give them an advantage, and hopefully give you more information. ”

Q: Would you be able to identify this sideboard inherited from my grandmother? The label was underneath a drawer. It is most likely mahogany and in good condition, other than a poorly glued chip on one door. The finish appears to be original. I am curious about its origin and current value.
Sincerely,
Sarah Gibbs
Los Altos, Calif.

I was able to locate an image of this sideboard in The Gustav Stickley Photo Archives, courtesy of the Winterthur Museum in Delaware. (The archive has also been published by Schiffer Publishing in a convenient book.)

The sideboard is dated 1915. It was produced in response to the downturn of popularity of the earlier Craftsman furniture as public tastes began to favor Colonial Revival styles. It was available in oak or mahogany, with or without glass, and with the customer’s choice of hardware.

While these pieces are getting more attention lately, their value is still just a fraction of Gustav Stickley’s earlier Craftsman furniture. But tastes change with the times. Though Mission-style furniture is highly sought after today, the Stickley company made not one piece of it from 1923 to 1989. If you ever get a chance to visit the Stickley Museum in Fayetteville, N.Y. (stickleymuseum.org), you’ll find virtually the only existing museum display of Stickley’s Colonial Revival furniture.

David Rudd is president of the Arts and Crafts Society of Central New York and owner of Dalton’s American Decorative Arts in Syracuse; visit his shop at daltons.com. The opinions expressed in this column are his.