Author Archives: freakintiquenguys@gmail.com

New Deal Living – Greenbelt, Maryland

 

Chris & Anthony in front of the Greenbelt Community Center.

Chris & Anthony in front of the Greenbelt Community Center.

 

To kick off our 2016 summer “Freakin’, Tiquen'” vacation, Chris and I met our friend Robert who gave us a tour of Greenbelt, Maryland. Conceived in 1935 by Rexford Guy Tugwell of the United States Resettlement Administration, Greenbelt was the first of the “green” communities to be built by the New Deal. The other “green” communities are Greendale, Wisconsin (near Milwaukee) and Greenhills, Ohio (near Cincinnati).

 

 

Greenbelt from the air, circa, 1938.

Greenbelt from the air, circa, 1938.

 

The concept behind Greenbelt was for a self-sufficient cooperative community. It was planned to help relieve the housing shortage near Washington, D.C. and to provide housing for federal government workers. The town was laid out in such a way to keep cars and pedestrians separate creating a safe environment for children to walk to school and play. Douglas Ellington and Reginald Wadsworth, the principal architects, were hired in June of 1935. Construction began the following December on depleted tobacco farmland with the first section of Greenbelt available for occupancy in 1937. The original per month rents were $18.00 – $25.00 for an apartment and $28.00 – $41.00 for a semidetached house. Greenbelt was placed on the National Register of Historic Places in 1980 and designated as a National Historic Landmark in 1997.

 

Vintage photograph of the Greenbelt Elementary School. Image from the Library of Congress.

Vintage photograph of the Greenbelt Elementary School. Image from the Library of Congress.

 

The Greenbelt Community Center was, and still is, a very strikingly modern or moderne building. The only ornamentation is the bas-relief sculptures on the front of the building. Created by WPA artist Lenore Thomas that depict the preamble of the constitution. Originally opened as the elementary school in 1937 it became the community center after a new school was constructed in the early 1990’s.  The building always served the community from the beginning. Besides being the school, it was where dances were held, a library for the residents and place for meetings and religious ceremonies. Thanks to grant funding the Community Center was refurbished in 1991.

 

 

 

Across the road from the Community Center are the original Greenbelt housing units. The residential section is arranged in a crescent surrounding the town center. The architectural style of these buildings  were as modern as the concept of Greenbelt itself. The apartment buildings were designed in the International Style which came into prominence in the 1930’s. Typical International Style elements include the use of glass block, flat rectilinear surfaces and no ornamentation.

 

Crescent Square Apartments, Greenbelt, Maryland.

Crescent Square Apartments, Greenbelt, Maryland.

 

Behind the apartment buildings are the semidetached row houses with gardens. These were patterned after English housing with steel casement windows, plain flat walls and pitched slate roofs.

 

Greenbelt Cottage House and Garden, circa 1938.

Greenbelt Cottage House and Garden, circa 1938.

 

Interior of an apartment - vintage 1942 photo.

Interior of a Greenbelt apartment – vintage 1942 photo.

 

Interior of the Greenbelt Museum's 10B Crescent Road House Tour.

Interior of the Greenbelt Museum’s 10B Crescent Road House Tour.

 

We would consider these apartments and houses small by today’s standards. For example, a two bed, 1 bath townhouse is about 780 square feet. In Franklin Roosevelt’s second inaugural speech he said “I see one-third of a nation ill-housed, ill-clad, ill-nourished.” The 1939 film The City highlighted the deplorable state of urban living in the United States at the time and ended with Greenbelt as an example of what we can and need to achieve. To live in a place like Greenbelt seemed to be a utopian dream for many people still struggling with the effects of the Great Depression.

 

Town Square, 1938 postcard.

Town Center, 1938 postcard.

 

 

Streamline Moderne is the best way to describe the look of the town center. The market and theatre were the cornerstones of the center. At the end of the center stands the sculpture “Mother and Child” also  by Lenore Thomas.

 

"Mother and Child" 1939 by Lenore Thomas.

“Mother and Child” 1939 by Lenore Thomas.

 

"Mother and Child" as it looks in 2016.

“Mother and Child” as it looks in 2016.

 

The market continues to be a cooperative run by the citizens of the town. In fact the whole cooperative concept of Greenbelt was viewed by congress as communistic and several members of the community appeared before the House Un-American Activities Committee in the early 1950’s.

 

The Cooperative Market - June, 2016.

The Greenbelt Cooperative Market – June, 2016.

 

Interior of the Greenbelt Cooperative Market, 1942.

Interior of the Cooperative Market, 1942.

 

 

 

Opening night of the Greenbelt Theatre, 1938.

Opening night of the Greenbelt Theatre, 1938.

 

Nine months after the first residents moved in, the Greenbelt Theatre opened on September 21, 1938. The first film shown was Little Miss Broadway starring Shirley Temple. The theatre was designed by Reginald S. Wadsworth and Douglas O. Ellington in streamlined modern and originally had a seating capacity of 590 seats. It operated as a movie theatre until 1976 and reopened as the community arts center in 1980. Closed again in 1987, it was purchased by P & G Theatres and reopened again in 1990. Today it is run by The Friends of Greenbelt Theatre. The remodeled theatre has a reduced seating capacity of 380 and both digital and 35mm projection. It is one of the best theatres around the D.C. area.

 

 

 

 

If you happen to be in the D.C. area and want to see an actual living remnant of Franklin Roosevelt’s New Deal do not miss a trip to Historic Greenbelt, Maryland.

 

Town Center - June, 2016.

Town Center – June, 2016.

 

For information about tours click here.

 

Anthony & Chris (The Freakin’, Tiquen’ Guys).

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Patterns in our lives

 

So, inspired by our blog you’ve redecorated your bedroom with colorful walls, chrome accents, period art work – a true deco boudoir. Then using the reference library you’ve overhauled your living room into a masterpiece of streamlined furnishings with warm accents and one-of-a-kind vintage art. Impassioned, you worked your way room by room until your home is a showplace to the art deco period.

 

Your inspired creation

 

Still, something is missing. No, something is wrong! What could it be? Then it happens. You glance into the cobalt trimmed mirror, framed by exquisite French glass sconces hanging over your rosewood side table and you see yourself. Tee-shirt and jeans, or worse, flannel pajama bottoms and a hoodie! After all the work you’ve put into making a stylish home and here you are looking like a shlump.

 

This will never do; but what to do?

 

Our male identifying readers have it a bit easy. With a bit of research and effort, you can approximate the style and panache of “then” with available contemporary clothing or thrift store finds.  Generally speaking lapel and tie widths, fit of the armhole (which have become so impossibly low that you can no longer comfortably raise you arms), and a proper hat (not the thin brimmed, poor excuse for fedora currently so popular) represent the majority of fashion changes to men’s apparel. The exceptions, perhaps, being the nerue jacket (which I think are sort of cool) and leisure suits (what’s not to like about double knit polyester with contrast stitching – definitely NOT cool) of the late 60’s / early 70’s.

 

 

For female identifying readers, as usual, things will be a bit more difficulty for you. By-and-large and depending on the era you are trying to emulate, there are essentially few options available to you: thrift stores (not likely), vintage clothing shops (limited choices/sizes at premium prices) or the most readily available to you – make it yourself.

 

 

Being the frail, sheltered, noble-minded and thrifty people you are, you’ll use the skills passed down from mother to daughter for generations. You will experience the joys of taking a flat sheet of material, hand sewing the seams and creating that one-of-a-kind creation, trimmed at the throat and cuffs with the lace you tatted – surely the envy of your friends!

 

 

 

All kidding aside, I will not be instructing you on how to sew a dress. (Yes, I heard that collective sigh of relief!)  What I will be writing about is an easy, fairly inexpensive, decorative and, for some, a useful collectible – vintage magazines and commercial (clothing) patterns.

 

First a brief history:

 

Ellen Curtis Demorest is credited with marketing the first commercial paper patterns in 1860.  Patterns were available by mail-order via her magazine, Mme. Demorest’s Mirror of Fashion.  Prior to this, most women would take apart worn-out garments and use them as a pattern to recreate the garment. Only women of means could afford to wear the newest styles coming out of Paris and New York made for them skilled designers and tailors.  Mme Demorest’s goal was to bring the latest European styles to the home sewer.  Successful in this, she sold her business in 1887.

 

 

 

Three years after Mme Demorest started her company, Ebeneezer Butterick, introduced graded (different sized) patterns marked with sewing reference points and printed on tissue paper – for boys and men! He did not produce patterns for ladies until 1866. His biggest contribution to the pattern industry was the deltor (sewing instruction) that came with each pattern.  Prior to this it was assumed women had enough experience to construct the garment without assistance. By 1867, Butterick was also selling patterns via mail-order through the Ladies Quarterly of Broadway Fashions and in 1868 via the monthly Metropolitan.  Butterick launched his own magazine in 1873 called The Delineator as a vehicle to sell his patterns. It quickly became one of the most popular women’s magazines in the country and is collectible in its own right.  Expect to pay from $5-$20 depending on condition.

 

 

By 1903, Butterick was one of the largest manufacturers in the world.  Many pattern companies followed throughout the years with varying success. Vogue (1905 by mail order), McCall’s (1920’s), and Simplicity (1930’s) were the most successful. A late comer to the business was Burda. Made in Germany, they were first available in the U.S. in 1970 and known for their “hard to sew” reputation. These companies are still producing patterns to this day.  (As a sewer, I find McCall’s and Butterick patterns give the most satisfactory result.  Simplicity runs a bit big; Vogue runs a bit small and Burda, true to its reputation, is “hard to sew”.)

 

 

 

Condition, completeness, rarity and the designer are important factors if you are collecting for investment. The envelopes should be free of tears and creases.  All pattern pieces and the deltor should be in their original, unused condition.  Day-wear tends to have a lower value due to the sheer volume available; unusual special-occasion wear or limited pattern runs designed by big name designers command premium prices.  Generally speaking, patterns are fairly easy to find and range in price from $1.00 to $10.00.  Rarer patterns can go for hundreds of dollars!

 

 

Should you decide to collect a few (they look great framed), you may note that the sizes are somewhat at odds with preset-day patterns.  They can be sized by age (because every female is the same size at the same age) or by “then” sizes.  For example, size 14 then would be a 32″ bust with 35″ hips while today size 14 is 36″  bust and 38″ hips.  It may not seem a lot but any woman knows what a difference of a few inches can make in fit and comfort. (Get your minds out of the gutter.)

 

 

 

Sizing was fairly standardized between various companies in the early 20th century but it wasn’t until 1968 that patterns were sized up to their current proportions. The big four (McCalls, Butterick, Vogue, and Simplicity) currently offer some reissues of their vintage line in contemporary sizes.

 

 

Realizing that millions of women were looking to their favorite stars for inspiration, patterns featuring stars and starlets studios produced Hollywood Patterns.  Those featuring Lucille Ball are extremely desirable.

 

 

 

For more information on the history of commercial patterns: http://vintagefashionguild.org/fashion-history/vintage-patterns   http://www.collectorsweekly.com/sewing/patterns

 Chris – Half of the “Freakin’ ‘Tiquen Guys”

 

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Fiestaware 101: Part Two 1937 – 1938.

Fiestaware Dancing Lady Logo

 

From 1937 – 1938 Fiestaware introduced new pieces, redesigned others, eliminated some and added a new color.

 

March 1937 Eliminations

 

12 inch Compartment Plate

12 inch Compartment Plate. Production Dates: January, 1936 – March, 1937

 

As mentioned in the first Fiestaware post, designer Frederick Rhead and Homer Laughlin executives listened carefully to suggestions from store owners. One being that the 12 inch compartment plate was too large and heavy for easy use. It was eliminated after being in stores for only 14 months. Even though it had a short production life and is a bit hard to find today, the 12 inch compartment plate only has a book value of $52.00 to $78.00 and can usually be found for less.

 

Mixing Bowl Lids.

Mixing Bowl Lids. Production Dates: August, 1936 – March, 1937

 

Removed from the Fiestaware line at the same time were the mixing bowl lids. These never sold well, probably because they cost almost as much as the bowls they were made for. Having been produced for only seven months the lids are among the rarest pieces of Fiestaware and have a corresponding high value. Mixing bowl lids sell between $900.00 for the smallest for the No. 1 bowl and $1,200.00 for the No. 4 bowl lid (the largest size in production). Lids for the three largest bowls were modeled and tested but never put into regular production.

 

March, 1937 Additions

 

Another rare piece of “Fiestaware” is the cake plate. I’ve used quotes around Fiestaware because there is speculation if it was produced for the line or for the Royal Metal Manufacturing company, to be sold with a chrome metal base. Lending credence to this confusion is the fact the cake plate was never listed on any Fiestaware price list.

 

 

The cake plate looks very much like the 10 inch dinner plate, except that it is completely flat and the underside has many more rings. In fact this piece has more rings than any other piece of Fiestaware. Introduced in March of 1937 and discontinued in less than a year, the cake plate is only found in the original five colors of Red, Blue, Green, Yellow and Old Ivory. I’ve only seen this piece for sale a couple of times since I started collecting vintage Fiesta and each time the it was over $1000.00.

 

 

The 101/2 compartment plate. Production Dates: March, 1937 - June, 1959

The 10 1/2 compartment plate in Blue (Cobalt). Production Dates: March, 1937 – June, 1959

To replace the 12 inch compartment plate, Homer Laughlin scaled it down to 10 1/2 inches and it proved to be a success. This version stayed in the Fiestaware line for 22 years. The book value for these plates which can be found in the original five colors, turquoise and the 1950’s colors, is between $40.00 and $95.00. With some hunting and luck most of these plates can be purchased for about $25.00.

 

 

Medium Teapot in Green. Production Dates: March, 1937 - July, 1969.

Medium Teapot in Green.
Production Dates: March, 1937 – July, 1969.

 

The medium sized teapot (6 cups) is another item that was introduced  thanks to suggestions from retailers and complaints that the 8 cup teapot was too big and hard to handle. It is called medium, because a smaller two cup teapot was modeled but never went into production. Characteristics of the medium teapot to differentiate it from the large teapot is the “C” handle, a more pronounced spout and a slip cast lid and finial (the same style finial found on the mustard jar). The medium teapot is found in all 11 vintage Fiestaware colors. Values for this piece $200.00 for the original five colors, $165.00 for the turquoise, $300.00 for the colors of the 1950’s and $1,600.00 for medium green (a color introduced in 1959 and is the rarest of all Fiesta colors).

 

 

fiesta_vintage_water_tumbler_radioactive_red_fiestaware_original

Water Tumblers. Production Dates March, 1937 – November, 1946.

Water tumblers were only in production for 9 years which is the reason that they are somewhat hard to find. The book value for water tumblers range from $60.00 – $75.00. When they are found, the prices are not too much lower than the book values.

 

Yellow, Green and Blue Tumblers. Molded in Fiesta mark on the bottom.

Yellow, Green and Blue Tumblers. Molded in Fiesta mark on the bottom.

 

Striped Fiestaware

 

Fiestaware is famous for its solid, bright colors, but in 1937 Homer Laughlin brought out a line with stripes. Using pieces only in the ivory color, they were decorated with either red or blue stripes. Since the stripes were applied before the final glaze, when found today they show very little signs of wear. This line of Fiesta apparently was not popular and discontinued within a year. These pieces are very rare and have a correspondingly high price when or if found in antique stores or at auctions. For example, ivory tripod candle holders have a book value of $650.00, but the pair with red stripes, pictured below, recently sold at auction for just over $13,000.00.

Red stripe tripod candle holders.

Red stripe tripod candle holders.

Personally I have never run across any, but I would love at add a few of these striped pieces to my collection.

 

 

 

January, 1938 Additions

 

Turquoise becomes the sixth Fiestaware color. Back in 1935, Turquoise was in the running but  from the line up. In the fall of 1937 it was decided to add it and by January of 1938 it was in the stores. Turquoise had the second longest run of any Fiestaware color, 32 years. It was only surpassed by yellow, but just by one year. As a result Fiesta items in these two colors are the most easily found.

 

Medium Teapot, Bud Vase and Marmalade in Turquoise.

Medium Teapot, Bud Vase and Marmalade in Turquoise.

 

 

Another retailer suggestion was a smaller sized fruit bowl and  the 4 3/4 inch bowl was the answer. Stylistically is matches its larger counterpart the 5 1/2 fruit bowl and the 8 and 9 inch nappy bowls. The small fruit bowl remained in the Fiestaware line for almost 22 years, being discontinued in November, 1959. These bowls can be found for around $20.00 – $25.00 (and sometimes for even less) in the 1930’s – 1950’s colors. The 4 3/4 inch fruit bowl was only in production for five months after the medium green color was introduced in June of 1959 and the value jumps significantly to about $600.00.

 

4 3/4 inch Fruit Bowls. Production Dates: January, 1938 - November, 1959.

4 3/4 inch Fruit Bowls. Production Dates: January, 1938 – November, 1959.

 

The 11 3/4 inch fruit bowl was originally planned for Homer Laughlin’s Kitchen Kraft line as a salad bowl. The switch to the Fiesta line required a slight change of design and instead of being plain on the inside, the familiar concentric rings were added to the bowl and the Fiesta molded in mark was placed on the bottom.

 

 

Even though this piece was in production for nearly 9 years, it is not easy to find today. And as such has a correspondingly high book value, $305.00 for a yellow one on the low-end up to $360.00 on the high-end for a red or cobalt.

 

 

 

The sauce-boat is one of the few serving pieces that once it made it into production was always part of the line. After Fiestaware became Fiesta Ironstone in 1970 the sauce-boat was still being produced, but in only three colors and minus the molded in mark on the bottom. It has also been part of the post ’86 Fiestaware line. Since 1997 an “H” was added to the mark on the bottom of pieces to help them from being confused for vintage Fiestaware. But knowing your colors will be your best defense from buying a new piece at vintage prices. Most sauce-boats are found in the $40.00 – $75.00 dollar range with the elusive medium green one selling for over $200.00.

 

January, 1938 Elimination

 

The one piece eliminated from the Fiestaware line at the beginning of 1938 was the covered onion soup bowl. This bowl must have been just too formal for the casual dining atmosphere that Fiestaware and the other solid color dinnerware lines were striving to create. The combination of not selling well to begin with and a short production life has made the covered onion soup a very hard to find and very expensive piece to add to a collection. The value of this piece in the original five colors usually ranges between $400.00 – $700.00. Because of being discontinued around the same time that turquoise glaze was introduced, very few onion soups are found in this color. The book value for turquoise onion soup is $6,000.00 – $7,000.00 and some have sold for over $10,000.00.

 

The very rare turquoise covered onion soup.

The very rare turquoise covered onion soup.

 

 

July, 1938 Elimination

 

The stick handle creamer was the only item eliminated from the line in July 1938 being replaced by the ring handle style creamer. One reason that was given for the change was that the stick handle creamer was somewhat difficult for left-handed people to use. The book value ranges from $43.00 (yellow) – $65.00 (red, cobalt & ivory). Because turquoise stick handle creamers were only in production for 7 months it has a higher value at $79.00.

 

 

July, 1938 Additions

 

Fiestaware Green Ring Handle Creamer. Production Dates: July, 1938 - July, 1969.

Fiestaware Green Ring Handle Creamer. Production Dates: July, 1938 – July, 1969.

 

 

The stick handle creamer was restyled using the same body but having the iconic ring handle applied.  This piece is available in all 11 vintage Fiestaware colors and is easy to find between $25.00 – $40.00. The exception is medium green; expect to pay around $100.00 for that one.

 

 

Ring Handle Creamer in Red.

Ring Handle Creamer in Red.

 

 

12 inch oval platter, yellow. Production Dates: July, 1938 - July, 1969.

12 inch oval platter, yellow. Production Dates: July, 1938 – July, 1969.

 

In production for 31 years the oval platter is easy to find in all colors. As with all medium green pieces, expect to pay a premium price of around $165.00. The other colors are in the $35.00 – $60.00 price range.

 

Green 12 inch platter.

Green 12 inch platter.

 

 

 

Perhaps the most iconic piece of Fiestaware, the “disc water pitcher” was not originally part of the line. Added to the line in July of 1938, it is still in production today and is available in all Fiesta colors, vintage and post ’86. Aside from color one way the easiest way to distinguish a vintage disc pitcher from a modern one is to look inside where the handle joins the upper rim, vintage ones are smooth whereas the newer pitchers have a distinct dimple. Although a relatively common piece values range from $110.00 – $165.00 for the original six color. The fifties colors range $230.00 – $255.00 and the medium green top them all at $1,550.00.

 

 

The Iconic Fiestaware Disc Pitcher.

The Iconic Fiestaware Disc Pitcher.

 

 

Only 31 years to go (you lucky people). Part three of Fiestaware 101 will look at the 1939 – 1943 promotional campaign.

 

Anthony & Chris (The Freakin’, Tiquen’ Guys)

 

For Part One click here.

Photos: Personal collection, Vintage American Pottery, Strawser Auction, Replacements and Pinterest.

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Reference Library Update

"Wisdom"

“Wisdom”

 

 

 

In honor of the 80th anniversary of the Queen Mary’s maiden voyage, this update is an article from the June, 1936 Fortune about the Cunard-White Star Line’s new ship. The article has nice color photographs of some of the interiors.

 

 

The Queen Mary arrives in New York at the end of her maiden voyage, June 1, 1936.

The Queen Mary arrives in New York at the end of her maiden voyage, June 1, 1936.

 

 

Queen Mary_Fortune_June, 1936

Click on the magazine cover to read the 10 page article and 8 advertisements.

 

The RMS Queen Mary, unlike all the other great liners of the 1920’s and 1930’s is still with us. After a 31 year career on the Atlantic she was retired to Long Beach, California as hotel. For information about tours click here.

 

Chris & Anthony (The Freakin’, Tiquen’ Guys)

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