Wee Little Shoes: A Collection

On a recent trip home, I discovered a marvelous and meaningful collection my mother had put together in her living room. In a small drawer in the coffee table, she had arranged a collection of my grandfather's (her father's) childhood shoes. Many of the examples are over 85 years old and were worn by my grandfather when he was a toddler. It is very special that they are so well-preserved. I admire the notion of keeping them close at hand in the living room for family and guests to appreciate, rather than sealing them off in some dark corner of the closet where they will never be seen. To keep their shape, my mother stuffed them with acid-free tissue paper. The cool, dark and dry drawer also helps preserve them. The shoes share the drawer with two old keys from the farm where my grandfather grew up in Ontario.
To give a sense of scale, I photographed this little shoe of my grandfather's in my mother's hand. All of the shoes shown below are of similar size. This pair was considered a dressy pair of shoes. They were handmade in white leather by a cobbler in Ashton, Ontario in the 1920s.These were the more sporty counterpart to the formal shoes above, also made of white leather.These shoes were my grandfather's 'school shoes' when he was seven years old. He walked 30 minutes to school every day on a dirt road and the wear is obvious.Another pair of leather shoes, these ones too were worn as an infant. My grandfather is shown wearing them, below, in a photograph taken with his mother (my great-grandmother) in 1921. In those days, infants of both genders wore 'baby gowns' (very Edwardian) and the sweater was knitted for him by his grandmother.

Majolica

Perhaps it is strange for a 33 year-old male to be interested in exuberantly-decorated Victorian ceramics, but I've never been typical. Majolica is a secret obsession of mine and I can't believe it's taken me so long to blog about it. I'm far too poor to collect it (pieces can go as high as $70,000 and many of the most prized are locked in museums) but I am wise enough to admire it. What makes it so prized is that many of the pieces were original and handmade, involving hours of design. Majolica pieces are viewed today more like artistic creations than everyday pottery.

Majolica mania began in 1851 in London when Herbert Minton delighted the public with a stunning display of new, jewel-toned earthenware, inspired to a large extent by the French and Italian maiolica of the Renaissance and later. Majolica, named after the Spanish island of Majorca, where the first examples of this pottery were said to have been created in the fifteenth century, is defined by the process of its formation as much as by its fantastical designs.
It is heavy, richly-coloured clay pottery that is coated with enamel, ornamented with paints and finally glazed.

Its primary allure, however, lies in its peculiar and endearing designs. It is fearlessly inspired by nature, often boldly decorated with three-dimensional animals, flowers and vegetables in unusual shapes and dimensions.

The Victorian English, with their love of all things natural and unusual, quickly filled their dining rooms, parlours, conservatories and gardens with majolica ewers, candelabras, urns, pitchers, fountains and garden seats all glistening in cobalt, turquoise, lavender, gold and every shade of green known to Mother Nature.

Other potters in England, such as Wedgwood, George Jones and Holdcroft, followed Minton's example and offered their own highly-prized majolica collections. Americans, too, caught on and manufactured majolica beginning in the 1890s. Below is some imagery from an article on Majolica that ran in the March, 2005, issue of Martha Stewart Living and from the book Majolica: A Complete History and Illustrated Survey. It may not be love at first sight but I hope you eventually become smitten with these charming creations.

All the components of an English tea service are arranged on these shelves: creamers, pitchers, teapots, jars and serving plates. Teapots, especially those decorated with monkeys and serpents, are highly prized by collectors. The one formed by a monkey hugging a coconut (top shelf) is by Minton. On the center shelves are rare tea cups, once part of a larger service. Majolica teacups usually had vibrant hot-pink or turquoise interiors. The cabbage teapot with the snaky handle and spout (bottom shelf) is Portugese. The bamboo plate next to it is especially rare.

Majolica wares filled every requirement of the Victorian table. The scaloped, speckled tiers and the ferny cup at the apex of this ice stand held shaved ice and sweet sauces.

A wonderful survival, this huge Minton majolica jardiniere was undoubtedly made for a Victorian conservatory. With a base plate that's sixteen inches across, and its cheerful decoration, it easily accommodated potted palms or tall bamboo plants.

Many Majolica plates depict the food that is meant to be served upon them. (Be careful not to serve food on vintage Majolica platters, since the glazes likely contain lead.) Left row, from top down: a leaf-shaped plate, a lotus blossom plate - for ambrosia, perhaps - and corn-shaped pitchers, possibly American. Center row from top down: A corn platter, pear clusters adorning a brown dessert platter, a bread plate is marked by a starburst of wheat, a plate decorated with grapes. Right row from top down: A banana-leaf fruit plate, a berry plate, a strawberry plate adorned with leaves and flowers.

A dome of hay adorned by blackberry branches rests atop a woody-looking base. Lifting the dome in Victorian times would likely have revealed a glorious piece of stilton.

Minton designed this incredible game-pie dish. It is from 1877. Whimsical but classic at the same time, its rich hues, animalistic designs and bold proportions are characteristic of traditional majolica.

These pieces by George Jones & Sons were part of an extensive Calla Lily pattern, circa 1873. I love the lounging cow on top of the cheese bell.

This casserole dish, also by George Jones & Sons from 1880 features an elaborate but placid forest scene, complete with rabbits and a nesting dove, which doubles as the lid's handle.

I love this pair of vases, which look glamorous even without any cut flowers to fill them. They are by Massier at Golfe Juan and date to 1890.

This Minton ice stand from 1865 is more than 16 inches in diameter and over a foot tall.

A beautiful pair of urns by George Jones & Sons, circa 1875.

This book by Marilyn Karmason, published in 1989, remains the 'bible' on collecting majolica. It is out of print, sadly, but is still widely available in used condition. I treasure my copy! It is filled with in-depth history about each of the world's majolica makers and traces the rich history of this incredible form of pottery with plenty of visual reference.

At Home with Wedgwood

I have never met a person who has not been smitten by Wedgwood. Whether or not one collects the prized dinnerware, glassware, serving dishes and pottery is of little importance. It is the allure of the quality of the pieces that strikes the nerve of desire and admiration whenever one is presented with an example. With refined lines and majestic patterns, Wedgwood pieces are timeless, elevating the style of even the everyday dinner table to admirable heights.

The story of Wedgwood is a long one - too long for me to really get into here. It is easily researched, however. Some of the basic points of interest include its British lineage; Founded in London in 1774 by Josiah Wedgwood, a young potter who had been working in the Soho district of the capital city since the 1750s, the brand was an almost immediate success with England's upper classes. English royalty coveted the handmade and hand-painted pieces just as much as royalty from across the European continent, including the royals of Russia and France. That the name has survived over two centuries speaks to the enduring quality and beauty of the craftsmanship.

Below are some beautiful examples of Wedgwood from one of my favourite books called "At Home With Wedgwood." (Even our Martha has a line of Wedgwood dinnerware and glassware, available at Macy's, which is discussed below.) Enjoy these handpicked examples of some of my favourites.

My favourite type of Wedgwood is black Jasperware. I have a very small collection of very small pieces, including a few I bought at an antique warehouse in Scotland several years ago. They are not particularly expensive, but I adore them. Jasperware's hard, unglazed appearance took its name from its resemblance to the semi-precious stone, jasper, both in texture and color. This was obtained by adding carbonate and sulphate of barium to a semi-porcelain clay and then using a metal oxide for the desired color. Blue is the most familiar, but there are six others that are prized by collectors: pale green, grey, pink, lilac, yellow, and black. Against this colored background, a raised white decoration produced a cameo effect, as seen in the tea-cup and saucer example above.

This grey Jasperware is equally lovely. I adore the shape of the fruit bowl.
An array of Creamware plates and small tureens shows the versatility of this popular creamy colour, one of Wedgwood's most successful. With the invention of transfer printing (using an engraved plate to create a design) in the mid-eighteenth century, pieces could be decorated with some degree of standardization and speed. Extremely delicate borders with elaborate designs still had to be hand-painted.

Stephen Drucker, who was the editor of Martha Stewart Living between May 1997 and April 2001, is a collector of Wedgwood's black basalt portrait busts. Shown above is a basalt wine ewer, an exquisite example of Wedgwood's excellent craftsmanship, illustrating the neoclassical ideal of refined ornament. On Stephen's wall (shown behind the bust) is a collection of 500 reproduction plaster casts that he amassed online. Perfect framing against black linen cloth makes them come alive. Wedgwood collector James Huniford mixes pieces to achieve a modern table setting. A handmade Swedish bowl (not Wedgwood) sits atop two examples from his collection; on the bottom is vintage drabware from the 1950s in its characteristic khaki tone; sitting atop that one is a more modern example in a charming cauliflower pattern.A weekend breakfast for houseguests is an occasion to break out this set of Summery Sky Wedgwood. Its unadorned frames were made in post-war England, when the nation was just emerging from self-imposed rationing and economic restraints. The clarity of the shiny blue glaze reflects the new optimism of the period. This Craneware example is from Christine Maly's personal collection. The formula for making such a dish involves a bisque made from coloured marl (clay) and is one of the most difficult to create. Josiah Wedgwood and his son (Josiah II) experimented for nearly twenty years to perfect it at the end of the Eighteenth Century. These plates, shown above, embossed with leaves in the characteristic straw colour, are late Victorian. Many drabware motifs, such as bamboo or woven reeds, are derived from nature. Martha Stewart first began designing for Wedgwood in the late 1990s. Martha Stewart Wedgwood was sold via her catalog and e-commerce website, Martha by Mail. Examples of Drabware, Whiteware and Creamware were among her most popular offerings. In 2005, Martha and Wedgwood greatly expanded their relationship to include a growing array of designs and styles (including glassware) with distribution through Macy's Department Stores. The example above is a white cereal bowl with silver ribbon trim. Martha's most popular Wedgwood collection is called Flourish. It is bone china with a charming but not overly-precious filigree design in platinum. Against the robin-egg blue, the pattern creates a whimsical elegance.

Martha's second most popular pattern is called Garland in Moss. Also bone china, this collection features a classical and formal design with trim in gold.

There are two volumes that any collector of Wedgwood must have. The first is called "Wedgwood - The New Illustrated Dictionary." A large, hardcover book, it is the 'bible' for all Wedgwood collectors, filled with information and pictoral examples. Its last printing was in 2007 and it is sadly out of print, but it can be found at online auction sites, such as eBay. The second, called "At Home With Wedgwood," is a smaller volume but includes the more modern designers of Wedgwood patterns, including Vera Wang, Martha Stewart and Barbara Barry, as well as the more historical and collectible collections of the past. It is still currently available.

Martha by Mail Cookie Cutters

By virtue of the brand's unavailability on the marketplace today, anything one collects from the defunct Martha by Mail catalog service, which Omnimedia shut down in 2004, is rare. Even the catalogs themselves often fetch between $15 and $25 an issue. Of particular interest to many collectors of Catalog For Living merchandise are the cookie cutter sets.

Made of copper of a sturdy weight, the cookie cutters were designed in unbelievably unique shapes and sizes. One of the most beautiful examples in my recollection was the large Noah's Ark set, which had giraffe, elephant, monkey and lion shapes (and so many more!) all packaged in a large, boat-shaped cardboard box. Also available were bug and teddy-bear sets, and several 'giant' cookie cutter varieties for the extra-large cookie lover. There were hearts and snowflake sets. There were leaves and acorns. And there were dogs, too!

The dog cookie cutters featured the cut-outs of 14 of the most popular breeds, divided into two sets. The original retail price for each set was below $100 but they are selling today on eBay for over $200, because of their rarity and collectibility. Below are examples of the two sets. So much fun and so unique!

I'd have a hard time biting into Lassie.These decorated cookies look almost too good to eat!An adorable (and tasty?) bulldog.Each of the sets came with a special 'magazine' with recipes as well as baking and decorating instructions. Above are the snowflake and heart-shaped cookie cutter sets from Martha by Mail. Some of the old templates are now available from the Martha Stewart Collection at Macy's, including the snowflake designs.

Every so often, something comes up for Martha Stewart collectors that really gives them cause to consider splurging. The items below are being sold on eBay by a former Connecticut resident who collaborated on a story about holiday desserts in the first issue of Martha Stewart Living magazine. Not only is the first issue part of the sale, but so too is the correspondence between Jerome (the seller) and Martha Stewart Living, which includes a hand-written note from Martha's sister Laura on Martha Stewart stationery, a typed letter signed by Martha as well as the antique cake molds and cake tins that were photographed in the story.

Perhaps the piece-de-resistance is a pint of plum chutney that was made by Martha's mother, Martha Kostyra, and given to Jerome by Laura when the cake molds were exchanged at Turkey Hill.

"On September 5, 1990, at Laura's request, I delivered my Christmas related cake pans and bake ware to her home in Westport," Jerome writes. "This was late afternoon and Laura and her mother, Martha Kostyra, had just finished making Plum Chutney and they gave me a pint. Yes, of course the house, grounds, and especially the kitchen were beautiful and I've seen them featured in the magazine and on TV."

The bidding starts at $900. It's a rather expensive 'martha moment' to be sure, but it's a very unique one! Below are the photos and descriptions of the items.

The first issue of Martha Stewart Living (December, 1990) and a look at the introductory page to the "Holiday Desserts" story that features Jerome's antique bakeware in the photographs.

Ruldolph the Red Nosed Reindeer and Santa Claus 9 inch diameter tin cake pans. The pans date to the late 1930's. The Santa Claus cake pan is believed to be German.

An original Griswold Manufacturing Company cast iron (weighs about 7 pounds) Santa two piece cake mold. What looks like rust in the tree cake pan is actually the grease and flour left in the mold from its use in baking the cake. The cake mold is 12 inches tall and dates from the late 1940's into the early 1950's.

A typed letter dated September 19, 1990 saying "We are very grateful for the help you gave us in putting together our Holiday issue. We will, of course, send you a copy of the magazine when it appears, in early November." It is signed by Martha Stewart and is in the original envelope. It also comes with a Martha Stewart Everyday button.

The handwritten note from Laura Herbert, Martha's sister, regarding the use of Jerome's bakeware for Martha's 'new' magazine. It is written on Martha Stewart "Entertaining" stationery.

The one-pint jar of plum chutney with a label that notes that it was made by "Martha K." - Martha's mother, Mrs. Kostyra, now deceased. It is dated September 5, 1990.

Sometimes I can't help but indulge my gaiety. A recent inheritance of dainty little teacups had me reaching for my camera to document their lovely beauty. Each day, I have at least two cups of tea. Maybe it's my British heritage or the fact that I grew up drinking tea, but I just gotta have it. A day without tea is a day without bliss. I have tea in the morning with breakfast and tea after dinner - sometimes afternoon tea at work. While I experiment with all kinds of teas (green, camomile, chai, mint) I always come back to my beloved orange pekoe. It's dark spiciness and full-bodied taste is unparalleled. With fall and winter coming, I'll likely only drink more.

I have never had tea out of these dainty dishes below, but I have had tea from fancy teacups at the homes of elderly relatives and I have to admit, it tastes better out of fine china. Now, I doubt that I'll use these often or with guests. I'm not the pinky-in-the-air type and there is something resolutely grounding about a good, sturdy mug. However, I will cherish them. To offset their grandmotherly effect, I'm storing them in a slate-gray display case with clean, modern lines. The neutral modernity accentuates their colours and sheen and they look quite striking. (The dark cabinet doesn't photograph well, folks, so sorry for not including it with my photos.)

This one is my prize. It belonged to my Aunt Ann and was her favourite teacup. It was made in Tuscany of fine bone china.

The Golden Girls - examples of Aynsley and Tuscan bone china from my "new old" collection.

Royal Albert bone china teacup made in England on the left in red and gold. A Poley bone china teacup made in England on the right in yellow and gold.

I love the detail on this Royal Albert example. The gold, white and red make it seem very Asian-inspired.

Aynsley fine bone china, made in England. This black teacup is quite minimalist, adorned only with a gold rim and a tiny floral design on the inside of the cup.

Aynsley fine bone china, made in England. This one really shimmers and reveals a hand-painted floral design at the bottom of the cup.

Early-Twentieth-Century writer George Orwell loved a good cup of tea. Here are some of his tips for the perfect cup.

If Orwell's tea practices are a little too idiomatic for you, here are some more practical tips for brewing the perfect cup:

Start with cold water, which retains more oxygen for fuller flavor. If your tap water is hard, use filtered or bottled water.

Preheat your teapot: While the water is heating, fill your teapot with hot tap water, let it warm, then drain it completely.

Measure into the teapot 1 tsp. of loose tea for every cup you plan to pour. Some tea drinkers, especially those who take milk with their tea, add an extra spoon for the pot. If you're using a mesh tea ball, don't fill it more than halfway, to allow for complete expansion of the tea leaves.

For black teas, bring the water to a full boil. Remove the teakettle from the heat as soon as the water begins to boil. Boiling all the oxygen out of the water will flatten the tea's flavor.

For more delicate green teas, remove the teakettle from the heat before the water begins boiling, at 165-170 degrees F (74-77 degrees C). Or you can add 1 part cold water to 4 parts boiling water to cool it to the ideal temperature range.

Before steeping, pour a small amount of the hot water over the tea leaves, to allow them to bloom, or open up, and release some of their bitter tannins. Drain immediately.

Fill the pot with the boiling water. Keep the spout of the kettle close to the teapot, so the water does not cool as you pour it in. Cover the teapot and leave the tea to brew. In general, black teas are best brewed for 4 to 5 minutes; green teas should brew for no more than 3 minutes.

When the tea is ready, pour and serve all the tea. Avoid keeping leaves in contact with the hot water: Overbrewed tea tends to taste bitter.

To keep the tea warm through several cups, transfer the tea to an insulated pot or cover your regular teapot with a tea cozy. Don't apply additional heat to keep the tea warm, as this will quickly degrade its flavor.

A good-quality tea can be infused three to five times. Just add more boiling water. Let it steep for less time with each brew.