An early 20th century painted sheet iron frame made from remnants of the battleship Maine with photographConstruction of the U.S.S. Maine was authorized in August of 1886, and she was launched in 1889 and commissioned in 1895.  After several years spent patrolling the East Coast and Caribbean, orders sent the Maine and her crew to Cuba in response to continued civil unrest on the island.

Three weeks later, on the morning of February 15, 1898, the battleship Maine lay in Havana harbor. Just after the playing of Taps, Captain Charles Sigsbee recalls, “I laid down my pen and listened to the notes of the bugle, which were singularly beautiful in the oppressive stillness of the night. . . . I was enclosing my letter in its envelope when the explosion came. It was a bursting, rending, and crashing roar of immense volume, largely metallic in character. It was followed by heavy, ominous metallic sounds. There was a trembling and lurching motion of the vessel, a list to port. The electric lights went out. Then there was intense blackness and smoke.”

Later investigations determined that the ship’s powder stores detonated, ripping off the forward third of the ship.  Such a significant breach caused the ship to sink rapidly, but tragedy occurred almost instantly for the many enlisted men sleeping in the forward section of the Maine.  Most of the Maine‘s crew died instantly, with 266 men killed in the explosion and another 8 men dying later from injuries.  Officers, who were quartered in the rear of the ship, fared better, with 18 officers among the Maine‘s 89 survivors. Most of the dead were recovered from Havana’s harbor and were buried in Havana, but almost two years later, in December of 1899, the bodies were disinterred and reburied in Arlington National Cemetery.

The explosion brought about the “Remember the Maine!” battle cry and helped precipitate the start of the Spanish-American War in April of 1898, but numerous investigations, both in the period and years later, have attributed the cause to one of two accidental causes.  One theory is that a external mine in the harbor detonated, most likely accidentally, while the other generally accepted theory attributes the explosion to spontaneous combustion of the Maine‘s own coal supplies.  In either case, the explosion was likely unintentionally and triggered a second, larger explosion by detonating the ship’s powder stores.

Maine-related memorabilia is rare, but appreciated by collectors of historic material when it finds its way to auction. In the aftermath, several companies attempted to capitalize by the patriotic surge the event created, so Maine-related advertising has collectors, but the real money is typically reserved for items related to the Maine in the months before the explosion or pieces created by survivors.

A Fenton glass cruet and stopper, French Opalescent, Hobnail pattern. Hobnail glass is glass with a knobby surface, with an organized pattern of evenly spaced raised bumps. It takes its name from hobnail boots, work boots that were made more durable by the addition of hobnails in a regular pattern on the soles. (As mass production became more involved in the production of footware, the quality deteriorated and a rough sole of hobnails gave shoes a much-needed boost in terms of durability.)

Production of hobnail glass involves either pressing or blowing glass into a mold and while others produced hobnail glass during the late Victorian era, it was the West Virginia-based Fenton Art Glass Company that would ultimately become synonymous with hobnail.

Fenton, founded in 1905, got a solid start with their innovative production of carnival glass, but by the 1930s, the Depression was threatening to “shatter” the glass industry. Glass had long offered smaller profit margins and the Depression-necessitated production of “Depression glass,” thin, inferior glass in washed out colors, left most glass companies struggling. Fenton had begun manufacturing some hobnail glass in 1935 and the company offered a hobnail design to the Wrisley Perfume Company in 1937. Wrisley, also desperately in need of a boost, felt the unique appearance of hobnail glass would boost sales, and when production started in 1938, no one was disappointed. The bottles manufactured for Wrisley sold with such success that Fenton opened up other lines of hobnail products, ultimately offering not just perfume bottles but ashtrays, candlesticks, lamps, vases, pitchers, jars and much more, all of which they would eventually offer in their iconic hobnail milk glass line, introduced in 1950.

In general, the ubiquity of hobnail glass keeps prices for pieces fairly affordable. Hobnail glass, Fenton’s pieces included, crowds the shelves at antique malls across the country. There are however some rarities, most notably Victorian-era pieces from the early years of production, typically hanging lamps, which can fetch several thousand dollars at auction. Rarer colors also confer the value of their association on hobnail designs, so colors like plum, which are seen less frequently than milk glass or cranberry, appeal to collectors and their pocketbooks.

A scrimshaw whalebone crimper [pie crimper or jagging wheel] with whale ivory double wheelsA jagging wheel, also sometimes known as a pie crimp or a pie crimper, is a fluted or crenellated wheel used to trim and/or to seal the edges of pastry crusts. They were also some of the most common items produced from ivory by whalers who practiced the arts of ivory carving and scrimshaw in their spare time on long sea voyages. (Iron and wooden jagging wheels also occasionally appear on the market, but the vast majority of them are ivory or bone.) More elaborate examples have pierced carvings throughout the handle and the wheel and it is not at all uncommon for the design to incorporate a fork either on the handle or diverging from the handle above the wheel for pricking vents in pastry.

 

Scrimshaw refers to decA scrimshaw whale's tooth depicting <i>A Cruizer</i> and <i>A Hard Gale</i>, attributed to Edward Burdett (1805 to 1833)orative engraving done on pieces of bone or ivory. The term is occasionally expanded to include some sculptures or figurines made from the same materials, although this is more accurately ivory or bone carving. One who practices the art of scrimshaw is known as a scrimshander. An ancient art, scrimshaw grew considerably in popularity during the mid-18th century, the boom years of the whaling industry, as it was chiefly a hobby during long voyages for sailors on whaling ships who had ready access to the bones and teeth of sperm whales as byproducts of whaling. (Scrimshaw work is also often seen on baleen, a keratin substance, that forms the plates in the mouths of a suborder of whales that includes humpback, grey, right and blue whales, as well as on the tusks of walruses.) Teeth were often engraved “as is” with everything from romantic sentiments to whaling scenes to political statements, while baleen was almost plastic-like in its versatile nature and was occasionally used for engraved busks (stay-like supports in women’s corsets). Walrus tusks were engraved with the same scenes, but were also occasionally drilled with holes to serve as highly decorated cribbage boards. The most desirable pieces have, of course, the most intricate carvings, but examples are also highly prized for unusual subject matter or identifying inscriptions (ship or ship’s officer names, dates, intended recipient, etc.).

While scrimshaw is still practiced today, laws like the Endangered Species Act and other international laws that protect whales (and elephants, whose tusks were also often carved and are still sought by poachers today for their value) have changed the availability of ivory. Depending on the age of the piece, these same laws may make certain requirements or restrictions when it comes to buying and selling ivory as well.

A highly important Berks County, Pennsylvania, painted schrank dated 1775, inscribed "17 Philip Detuk 75".Schrank is a German word that is actually a diminutive form or abbreviation of Kleiderschrank. (Kleider means “clothes” and schrank means “cabinet,” so literally a clothes cabinet.) These massive pieces of furniture (schrunken is the plural), like the one pictured here, are essentially wardrobes that were made in America in Germanic settlements in Pennsylvania and then later in the Midwest and Plains states. It is speculated that they were often “coming of age” pieces or wedding gifts to couples setting up housekeeping together, because they frequently appear with names or initials and are often dated. Pennsylvania Germans typically made them in cherry and walnut often with very “architectural,” dramatic panels and/or decorated them with light wood and sulphur inlay. When “plainer” woods such as pine and poplar were used, they were often painted with vibrant colors. The example here has all the classic elements of a schrank: heavily paneled; elaborate cornice; paint decoration in red, yellow and green (a popular color scheme in Germanic communities); and a name and date.

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