68 
HO USE & GARDEN 
the Garden the Essential Touch 
i T xe Sun-dial, that old Friend of the Past.will find 
congenial Refuge inyour Garden Some favorite Spot 
dii lie enlivened by the twittering of Birds splashing in the 
Bird-Fon.1 Flower Pots andBoxes.Vases.Benches,Cai- 
bie Globes. Hermes and other interesting Pieces will re* 
.11 the Charm of the Old World Cardens 
Our Catalogue of Garden Pottery, which will 
he sent upon request,offers many Su£&§$flions 
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The All Steel 
Kitchen Cabinet 
The “Royal Ossco Kitchen Cabinet, of electric-weld¬ 
ed steel with heavy coat of white enamel baked on, com¬ 
bines the highest development of the attractive, the 
sanitary, and the practical i 
modern kitchen. 
Its graceful proportions and 
splendid finish give it a most 
pleasing appearance. 
Its glistening, non-absorbent 
surfaces are thoroughly proof 
against all stains and odors, and 
immediately betray the least trace 
of dust or dirt. 
this essential luxury of the 
It is free from all cracks or 
crevices that harbor insects, and 
can be cleaned just as easily and 
just as thoroughly as china. 
Its doors and drawers never 
stick in any weather. 
It provides a place for every¬ 
thing wanted at the work-table 
within easy arm’s reach. 
The “Royal Ossco’’ is equipped with glass knobs, padded 
noiseless doors, friction door catches, softly sliding drawers, 
and a disappearing table top of highly polished nickelene or 
opalite (opal glass). As shown it is also furnished with ample 
flour bin, assorted cannisters, rolling pin and board, and other 
convenient accessories. 
In economy of space, durability, sanitation, and service, the 
“Royal Ossco” Kitchen Cabinet is just as much superior to the 
old style racks and “built-ins” as the modern skyscraper is to 
the bulging frame factory buildings rapidly becoming obsolete 
Four styles, at $42, $44, $45 and $48. Booklet on request. 
It pays to buy the best. 
^ Home Furnishings 
TctinC f^nur.pp 45th Street and Sixth Avenue 
jtWlo &v s JJNuti\ New York City 
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 
Hand-Woven Coverlets 
(Continued from page 66) 
wives of New England, and then 
Southward. There came to be modi¬ 
fications in the old weaving patterns 
as the ingenuity of those skilled in 
this handicraft developed. Indeed an 
enormous variety of patterns were 
evolved. Proportionately few of the 
very old hand-woven coverlets have 
survived—precious they are to the col¬ 
lector of household antiques !—-but 
even these show remarkable pattern 
variations. Of course, the time came 
when machine-weaving supplanted 
handwork and before long coverlets 
hand-woven were of the discarded 
arts, so far as the New England states 
were concerned. A few years ago, 
however, the industry of the hand- 
woven coverlet was revived for the 
art had, in a measure, continued in 
the Southern mountains of the coun¬ 
try. Many of the old-time coverlets 
were carefully copied and hundreds 
of new patterns also were devised. 
These later hand-woven coverlets are, 
many of them, of great beauty and 
intrinsically worth having even when 
one can also acquire the earlier speci¬ 
mens, for the modern hand-woven 
coverlet is, more often than not, indic¬ 
ative of the same artistic spirit with 
which the Colonial housewife en¬ 
dowed her work. 
Blue and white is the usual combi¬ 
nation in the old coverlets, though 
many of them introduced other colors, 
brown being the most commonly used 
after blue. This blue was home-dyed, 
—indigo, and time has lent to many 
of the old coverlets a coloring com¬ 
parable with that of the blues of 
Chinese porcelains. 
With the aptitude for the determin¬ 
ing details of fabrics of which every 
woman seems intuitively to be pos¬ 
sessed, the woman collector will, in all 
probability, be able to distinguish a 
truly old coverlet from one of modern 
fabrication. In a few instances some 
unscrupulous antique dealer may 
claim antiqueness for an obviously 
modern coverlet, but the discriminat¬ 
ing collector will be comparatively 
safe. 
The collector will find old coverlets 
interesting as hangings, lounge-covers 
and for portieres as well as when put 
to their original uses. Fortunate in¬ 
deed is one who chances to acquire 
a signed and dated example. Such a 
discovery leads the happy collector to 
haunt genealogical libraries until he 
has unearthed the mystery of its 
owner’s place in history (for in the 
good old days the weaver was prob¬ 
ably the owner as well). 
Answers to Questions on Antiques and Curios 
Readers of House & Garden who are interested in antiques 
and curios are invited to address any inquiries on these sub¬ 
jects to the Collectors’ Department, House & Garden, 440 
Fourth Avenue, New York, N. Y. Inquiries should be ac¬ 
companied by stamps for return postage. Foreign corre¬ 
spondents may enclose postage stamps of their respective 
countries. 
I. W. P.—Figures as well as flow¬ 
ers and insects were introduced as 
decorations of Chelsea, those mod¬ 
eled in relief being acquired and 
painted before the first firing, then 
enameled and fired again. 
Owing to the fact that your tea 
service, however, does not bear the 
anchor, the Chelsea mark, or marks 
of any kind, it could hardly be iden¬ 
tified as Chelsea, although the pieces 
really would have to be seen to de¬ 
termine their origin, as their decora¬ 
tion, coloring glaze and weight 
largely determine this. 
There is no china that we know 
of that can be termed “penciled 
china.” From your description, we 
assume that your saucer is a piece 
of transfer printed ware, namely, 
decorated by transferring a printed 
paper design on the saucer after it 
was glazed, this design for decora¬ 
tion being taken from a copper plate. 
The piece was then glazed or 
enameled in the kiln the second time. 
This decoration resembles an engrav¬ 
ing or, as you say, as though it had 
been drawn by a pencil in black out¬ 
line. Liverpool ware was decorated 
in this manner. 
L. M. S.—There was no one pot¬ 
tery that made the well-known Willow 
ware, although the Staffordshire 
potter, Riley, excelled in artistic 
excellence in the reproduction of this 
pattern. The Coughley pottery was 
the first English pottery to make 
this ware about 1780. It then be¬ 
came so popular that all other works 
throughout Staffordshire used it in¬ 
discriminately as a decoration for 
stoneware, pottery and porcelain. It 
was adopted from a well-known 
Chinese motif of decoration. 
E. I. M.—The value of an old brass 
warming pan in perfect condition 
would be from $10 to $15, depend¬ 
ing upon its size and decoration. 
Spinning wheels and flax wheels at 
present have only a sentimental 
value, as they seem to be in a very 
slight demand. 
The swifts and hetchel would like¬ 
wise only be regarded as relics of a 
former time, and would, therefore, 
really have no commercial value to¬ 
day. 
Your description of the large chests 
with drawers stained red, suggests 
that they might be Hadley chests, 
an early American chest used by 
brides for their trousseau and linen, 
but these usually were carved with 
the initials of the bride, or even the 
name of the owner and date. 
L. M. S.—The platter you speak 
of, is of modern make, that is, since 
1891, as the word “England” was 
applied as a mark to the English 
china and pottery after the passage 
of the McKinley bill which regulated 
importation of this character and de¬ 
manded that this imprint should ap¬ 
pear with the other marks. 
W. G. T. — The old flax-wheel 
which you say is not in perfect con¬ 
dition, and the old spinning wheel 
have but little value today, as there 
is very little demand for wheels of 
this kind, even for decorative uses. 
Some ten years ago they could be 
sold for from $10 to $25 each in good 
condition, but as their popularity has 
somewhat waned as decorative ac¬ 
cessories, it would be difficult to say 
just what they would bring now, 
possibly only $5 to $10 each. 
J. T. E.—From the description of 
your old china, we would say that 
the Ridgeway pitchers (early 19th 
Century) about 1814-1830, would be 
(Gontinued on page 70) 
