The Rare Gang

My devotion to glass is insatiable, it’s molten state has an almost hypnotic effect on me. From a solid strip of glass on a hot flame, it becomes molten in front of your eyes and can then be manipulated by the artist to produce a beautiful intriguing lampwork bead. The bead may then become an integral part of a piece of jewellery, worn proudly for many years and passed down as a heirloom for generations to come.

It has been recorded in history the earliest form of glass beads discovered were
made around 3000bc. These beads were used mainly for trade. In the late 1200’s
Venice became the major city for bead artists when the production was moved to
the island of Murano.

Lampwork beads were made directly from a furnace. A mandrel (wire) was dipped
into the crucible of molten glass and wound around the mandrel. Further progress
was made by the Venetians who used an oil lamp connected to bellows. The
pumping of the bellows added oxygen to the flame in order to increase the heat
sufficiently to melt a glass rod which would be wrapped around a mandrel to form
the bead.

Today, as a lampwork artist my method of making glass beads does not differ
greatly from the 1500’s. There is no longer the need to pump bellows to gain the
desired heat, instead a bench burner is attached to a source of both gas and
oxygen. These fuels mixed together produce a very hot flame in which the glass is
melted and wrapped around a stainless steel mandrel coated with a bead release to
prevent the bead from sticking.

The intricate designs seen on many lampwork beads are made in a variety of
methods. A great deal of decoration is created by pulling a thin thread of molten
glass called a ’stringer’. The stringer is then added to the bead whilst in the flame in
dots or lines to form many different patterns.

There are quite a few major manufacturer’s producing glass rods specifically for
lampworking. It is very important that the glass used in a bead is of the same coe -
coefficient of expansion. This means the glass must be compatible with one
another so that they expand and contract at the same rate, if not, cracking will
occur. In many cases 2 glasses from different manufacturers or even the same
manufacturer may not be compatible. My lampwork techniques are a little different
in that I prefer to use compatible sheet glass which I cut into strips. This source
allows me to work with a wider colour palette.

Some amazing effects can be experienced with the inclusion of fine silver wire.
When added between 2 layers of glass the silver will often result in a gold colour,
whilst on the surface will retain it’s silver effect. Leafs or foils of silver, gold,
palladium and copper also add to the uniqueness of a lampwork bead. A new
design can be discovered every day along with different shapes and intriguing
sculptures.

The durability of a lampwork bead is often a question asked, after all it is made
from glass. All lampwork beads with no exception should be put through an
annealing cycle immediately after it is taken out of the open flame. This is achieved
by placing the bead into a preheated kiln at approximately 530c/985f , this
temperature may alter slightly according to the type of glass used. My beads
remain in the kiln until I have completed creating for the day (approx. 7 hours), left
at that temperature for another hour, then switched off where my well insulated kiln
will slowly reduce the temperature over the next 9 - 12 hours. The annealing
process eliminates any stresses in the bead to give it a more stable condition.

Lampwork beads are miniature canvasses of art. They are a conversation piece that
will always fascinate. Lampwork beads are meant to be touched and admired as
wearable art, a focal point of an item or showcased as a collector’s specimen.

Lorraine Allan has been a lampwork artist since 1997 and has been working with
glass as her medium for over 20 years. For more information visit her website at
http://www.glassandsplinters.com.au

Relais Villaggio Le Querce is a Residence in Pitigliano, located in Via San Marco 18 - Sorano

The Village “Le Querce” consists of luxurious apartments immersed in a wonderful two hectare park, amongst striking oak groves and clean, fresh air.

Inside our Village is a 20 x 8m pool, games and a special area for children, a tavern with a beautiful view of the parkland, a typical cellar entirely carved into tuff rock and a parking lot with 80 spaces.

The Village has recently been furnished with a wellbeing centre and its proximity to the Saturnia Hot Springs and the Sorano Hot Springs makes it the ideal location for a relaxing vacation in the Tuscan Maremma.

The Village “Le Querce” puts at the disposal of its guests, 24 apartments on 2 lined up villas with an independent entrance. The apartments are two-roomed and are composed of a living room with a sofa bed, a full optional kitchenette including a dishwasher, a bathroom with a shower and a double bedroom. All the apartments have a satellite TV, phone and internet socket and two air conditioners with heat pumps. An electronic key gives access to each apartment.
The apartments were recently constructed according to the law and were elegantly refined and furnished. Those apartments on the ground floor have a private garden, while those on the first floor are equipped with a panoramic balcony.

SERVICES OFFERTS
Always open
24h service of concierge
20 x 8 meter swimming pool
Parking space
Heating
Air-conditioning
Satellite TV
Telephone
Play area for children
Park and walking paths
Barbecue
External lighting
Information material
Typical products
Tavern with panoramic view functioning as a hall for formal meals, conferences and meetings
Spa

“Le Querce” Residence sets at the beginning of the village Sorano, in the province of Grosseto, situated in the High Tuscan Maremma, in the Città del Tufo’s archaeological park, just 9 km from Pitigliano. The sulphureous bath in Saturnia is about 30 minutes away from our Residence, the Bolsena Lake at about 26 away and both The Mount Amiata and the Argentario Coast are about 55 km away.

Other than Relais Villaggio Le Querce, you can browse our offers for other accommodations in Pitigliano, from cheap to luxury, togheter with Tours all over Italy; tourist information about Italy can be found on World 66

Over a good many years we have created, though I say it myself, quite an important Snuff Bottle Collection. My wife, thank goodness, shares my interest in these little bottles, but perhaps I should warn you, collecting anything is a bit like a bug, once caught, it is with you for ever and can be quite an obsession!

Have you ever searched for pebbles or shells along the sea shore, selecting them for either colour or shape and found an appeal in handling them, so much so, that you simply could not throw them away? If so, you have the makings of a dedicated collector.

Part of the pleasure of owning these bottles is the tactile appeal found in handling them.

Boundless possibilities
There is also such a vast and diverse number of collecting possibilities. A collection could be based on any of the great Chinese fine arts and in each field it would be possible to have really important fine examples in this form of miniature works of art.

There are collections based on Jade and Hardstone carvings, others prefer Glass and Overlay Glass, or Chinese porcelain, or Enamels and Cloisonne, or you might like to base a collection on Paintings.

I can imagine how you find it hard to perceive a collection of bottles based on Chinese paintings but they exist. Remarkable signed landscape scenes and even portraits with superb calligraphy (often poems) have actually been painted on the inside of glass and stone bottles.

Some collections feature uncarved bottles of rare stones, or Lacquer, or Amber and Ivory. Most collections consist of the collector’s favourite subject but include a variety of other treasured bottles. There are collections that use as a theme; animals, or a colour such as Imperial Yellow, or Blue and White, and as there are so many possibilities, no two collections ever look the same.

International connections
For anyone considering buying Snuff Bottles I should explain that it is an international pursuit. There is even an `International Chinese Snuff Bottle Society’ with a large and active membership. Having been members over a long period we have found that fellow members are such interesting and friendly people.

There is a bond between a collector that leads to friendship, until we meet in the auction rooms that is! It is well worth joining, as there is a very informative, quarterly magazine, full of good colour photographs. Information is surprisingly, freely shared amongst members and by the specialist dealers. So much can be learned this way, in fact far more than just by studying the many very fine, beautiful books on the subject.

Dangerous temptations
Most people’s first encounter with these bottles is likely to be at antique shops, auctions or antique fairs, otherwise in a museum or perhaps by meeting a collector. Once seen, certain people are tempted when next coming across a bottle to buy, but all too often these first purchases are of very poor quality. Later on, having acquired more knowledge, these first bottles so often prove to be disappointing. They often can turn out to be very costly mistakes. Unfortunately, there are far too many very poor bottles about, some are even brand new, made to cash in from the collecting craze. Even an article like this one can cause someone to go and buy without sufficient knowledge, I do hope not.

My advice is that apart from joining the society, attend some Snuff Bottles auctions and visit some of the specialist dealers.

When you go to the auction rooms be sure to go on the viewing days, usually one or two days before the sale. The first impression will probably be one of disappointment as there will be lots of poor quality bottles and to see so many all lying down, behind glass, is not the best way of presenting them.

Be sure to select a few that appeal to you and ask to inspect them. You will then be given a chance to handle some, and that is when the magic can begin. I do not know how to explain what happens, but there is something of a tactile pleasure that is only obtained from handling a good piece.

Our collection
I should point out that my first bottle did not immediately grab my attention. Surrounded by many beautiful and more colourful bottles of all shapes and sizes in a dealers display cabinet, this brown and beige coloured bottle looked rather drab. Eventually, I came round to inspect it and before too long I knew that I had to buy it.

Only another collector can fully appreciate that overpowering urge that comes over one as it is the closest feeling to that of love at first sight. I have been told that ones pupils tend to enlarge, and this is one of the signs that dealers watch out for, and as collectors, of course, we always try desperately to camouflage our interest. This bottle was purchased, which is still a favourite, and it has formed the basis of our collection.

Our collection included many types of bottles but features mostly hardstones, known as Picture Agates, each one of these being a unique piece, as there can never be two alike. To fully appreciate these bottles I need to tell you more about how a stone bottle was made. All good early Snuff Bottles were made to be used and they needed to be small yet capable of holding plenty of snuff, not too heavy as they were carried on their person, often in the sleeve. All these bottles were designed to feel comfortable in the hand and were sealed with a cork, to keep the snuff at its best.

In Europe hinged boxes were used but perhaps the humidity in China caused them to prefer bottles with corks. All Snuff Bottles have a stopper on to which a cork is fixed, and at the other end of the cork is an ivory spoon. These stoppers rarely matched the bottles other than in size and shape. It was a matter of personal choice as to what type and colour was considered best to go with the bottle.

Well hollowed bottles
Stone bottles were carved in a large variety of shapes but always with a fairly small opening in the neck normally about 5mm in diameter. Just imagine a lump of Quartz rock that is quite impossible to scratch even with your stainless steel penknife, yet in the 18th century this was carved into a bulbous shaped bottle.

Next it was drilled through the neck and hollowed out through this small hole, so that even difficult areas such as the shoulders of the bottle are really thin. Fine bottles are so well hollowed that they look more like blown glass, and are aptly described as `Eggshell Thin’. Should you place them in a bowl of water they will trap enough air to float.

Although I have mentioned that drilling was used, the information available about the manufacturing methods is incredible, as the drill and cutting discs were foot operated `Heath Robinson’ affairs. However I do believe after many years’ experience, they acquired more control and feel than is possible with modern electronic equipment (Essential in working on Jade as certain parts of the stone can easily fracture whilst other areas are very hard).

Most of the carving was achieved by grinding with Jade, Gem stone, sand and other abrasive particles. First by drilling and then hollowing out by carefully grinding away with special file-like tools. These tools were made by hammering metal shapes over the abrasive particles that once embedded, were easily bent to reach the most awkward parts.

The Chinese appreciated these wonderful stone bottles and they were fashioned from many types of stone, the purity of the material, particularly the Jade ones being highly prized. The Chalcedony Quartz bottles once `Eggshell Thin’ show up remarkable markings formed from the formation of the crystals.

From flaws to pictures
Everyone I am sure can appreciate such bottles, as the lovely shapes and purity of the stone just cannot fail to impress. What I find even more fascinating is the amazing way they deliberately, brilliantly take advantage of flaws and inclusions often present in the stones.

Most Quartz and Jade stones have an outer layer of a different colour, particularly the pebbles from the riverbeds. They also have faults and flaws plus other coloured material, often deep in the stone. Sometimes these can be very thin skin-like inclusions, in others large blobs are found.

The problem is no one knows just what is in the rock until, as the cuts are made, the secrets of the stone are revealed. It is with this type of material that `Picture Agates’ are made. The best of these incredible bottles look as if the inclusion, that forms the image, has appeared in just the right place as if to order!

There are different types of work within this group of bottles and the first ones are what we call `Cameo’ carvings. These take advantage of an outer skin or a blob type of inclusion; they can be quite thick and are carved in relief. Another type is called `Shadow Agates’ and these take advantage of markings in the bottle where, with the help of a little carving, an image is created. Lastly, the most fascinating ones are called `Silhouette Agates’ but in this group no apparent carving is required. The image is achieved mainly by the angle and choice of shape, as well as the size and position of the bottle to be formed out of the rock. These bottles have to be seen to be believed.

What is really mind blowing to me is the fact that there are some of these bottles with pictures on both sides!

Sadly, few of them were signed. We only know that there was a certain school of carvers known as the `Suzhou School’. Their works are easily recognised by the style and quality of the carving, plus the fact that they make use of every mark in the stone to form the picture. They are amazing bottles when good, but there are later works that tend to look too stiff and the carving lacks the more fluid artistic touch of the master carvers. Unfortunately, hardly any of these bottles are really well hollowed.

Our first bottle
So to describe my first purchase, this was a `Shadow Agate picture bottle’ involving a little carving, and very well hollowed. It is a most appropriate subject and colour for a Snuff Bottle because the russet inclusions have been used to show `Putai Ho-Shang’. He is always depicted as a very corpulent man with a bare chest and abdomen and he is the patron saint of tobacconists. In this bottle he appears surprised by a bat whilst sitting below some tobacco leaves. The bat to the Chinese is a good luck symbol. You can see how easily he appears, nicely placed within the bottle yet only his head and a suggestion of his hand have been carved. (See the photograph by using the link at the bottom of this article).

We now own a number of Picture Agates and to illustrate the different types described, the photograph of the Duck with Lingzhi fungus in its beak is a good `Silhouette’ example. Incidentally, the fungus is a symbol for wishing long life. This bottle is very unusual as there is a recess carved originally to create the image that serves as a built in dish. (See the photograph by using the link at the bottom of this article).

Lastly, a superb bottle of fishes with pictures on both sides: the pair of fishes are cameo carved and to the Chinese represent fidelity and happy conjugal rights in marriage. On the other side a fish and aquatic plants make use of every mark in the stone, all this on a well shaped bottle that is very well hollowed. All these bottles illustrated were made between 1750 and 1860. (See the photograph by using the link at the bottom of this article).

Assessment
To effectively judge Hardstone carvings, the first consideration should be concerned with the overall artistic impression. You need to be satisfied that the work looks well composed and well positioned and that the images formed are flowing rather than stiff and awkward. The next stage is to have a closer look at the technical skills. When I look at a cameo type of carving I study the shape and finish of the background, close to the edge of the carving. On poorer bottles this can be indented, uneven and not so well polished as the rest. Really fine examples look as if the raised cameo part has simply been glued onto a beautifully formed bottle. Engraved work at its best is very precise and provides the detail. When closely looking at a poor bottle the engraved parts can look very crude.

Beware, amazing glass imitation stone bottles exist. To check for these use a magnifying glass and look for tiny bubbles or pin size holes on the surface. As a last resort if still in doubt, a penknife will easily scratch the base if it is glass, whereas a stone will not be marked.

In evaluating the value of all artwork a careful check for any damage is essential. With stone bottles the following points should help. Firstly, assess how well the bottle has been hollowed by holding it up to the light. Inspect the stone from all angles in the light and with light from behind. If the stone is cracked it will be visible often as a star shape from the point of impact. Some stones have natural flaws that are not cracks. I then have a good look at the foot rim and the neck of the bottle, as these areas are the most susceptible to damage. If none is apparent I consider the proportions to make sure neither has been ground down to remove a chip.

When inspecting the neck as viewed looking down into the bottle the top surface should be concave, not flat. Bottles that have had the neck repaired to remove any damage are always flat, and you can be sure no longer original.

Snuff bottles were used
There is one other criterion that I personally believe is important. Most of the best stone bottles were made between 1750 and 1860, although many poor bottles have been made since then, right up to the present day. These late bottles were not really made for use, and some are referred to as `Cabinet Pieces’ and can fairly easily be identified. They are poorly hollowed, if at all. Some just have a drilled hole in them and so they feel far too heavy. They also tend to be very showy in choice of materials, with impractical rather high and sharp carving that feels most uncomfortable in the hand. There are others so delicately carved that one instinctively knows that they could not survive actual use. It is only possible to make these judgements by comparison. Experience is needed and takes time to acquire.

Small is beautiful
There are advantages in collecting very small items as they are not too obtrusive and can easily be locked away. This is very important if your partner does not share your interest! They can also make a beautiful display without completely disrupting your home.

Try to be certain that you really are enthusiastic about collecting before you buy one. Once you place one in your home and it looks so small and appealing, it is only a matter of time before you will come to the conclusion that a little group of bottles will look so much better. This tends to play on ones mind and that is how we all get hooked!

The author has been a very keen collector for many years in helping to create ‘The Cohen collection’. See the photographs relating to this article by using the following link: -
http://www.jncohen.net/antiques/articles.htm

http://www.jncohen.net/Chinese_Snuff_bottles/index.htm

There are so many fun types of stickers. When buying stickers, the best policy is just to look around and find the stickers that appeal to you. Once you have a collection of stickers that match your style, you will find lots of opportunities to use them in your scrapbooks, cards, and other projects.

3D Stickers are any stickers that are not flat. There are tons of different styles. Here are a few.

Handmade Stickers are 3D stickers that have been pieced together. Sometimes they are made with fabric and have beads or ribbons attached.

Quilted Stickers have a hand-sewn look to them.

Vellum Stickers are translucent, meaning light can pass through, but they are not competely see through.

Rubber Stickers, true to their name, are made of rubber.

Epoxy Stickers have a lot of depth because they have a clear, raised layer over them. They are great for accenting.

Crystal Stickers are similar to epoxy stickers. They also have a clear, raised cover over them.

Wooden Stickers are made of thin wood. They can be painted or colored with markers before using them on your projects.

When using stickers make sure they add to use page without overwhelming and taking the focus away from your pictures. If you feel like your stickers might be a little overwhelming but still want to use them, try enlarging your pictures so they stand out more.

Here are some great ways to use stickers.

1. Use word stickers to your journaling.

2. Choose stickers that match the theme of you page to use in your title. For example, use a soccer ball for an “O” in the title of your soccer page.

3. Use letter stickers as letters in your title.

4. Add stickers to embellish the title of your page.

5. Use small stickers as bullet points.

6. Use stickers to embellish any page.

7. Create your page with a sticker layout. Use only paper and stickers for a fun look.

Lisa Robbins is a businesswoman and an enthusiast for sports, family, and crafts. She is the creator and maintainer of ScrapsAndCrafts.com, a scrapbooking tutorial and wholesale scrapbooking supply website. She is also a contributor to ScrapbookFinds.com, a search tool for scrapbooking products.

In addition to these roles, Lisa is also one of the owners of RobbinsSports.com, a team sports and fitness products store.

Creating wooden keepsake boxes, children’s jewelry boxes, inlaid music boxes, and other types of musical movements can be a joy, especially when one is doing it himself or herself. However, there is an important step to consider when putting the music box together; it is choosing the movement accessories. These accessories include shafts/extenders, animation, turntables, winding keys, accessory shaft washers, cranks, rocking action, and musical mobile holder cases.

Shaft and Extenders

Left-handed shafts typically are placed into a special accessory hole on the side of an 18-note key-wind musical movement. When used, it becomes permanent. The key extenders extend the length of the winding key.

Animation

The 18-note key-wind musical movement can be fitted with several animation accessories. For example, the waggie shaft, covered with an accordion sleeve, allows it to rotate inside the sleeve instead of inside the figure, while the circular motion rod can be easily bent to create a neat orbital flying motion. There is a flat pad on the rod’s tip where figurines can be glued.

Turntables

Turntables typically come in clear plastic, opaque plastic, and metal. The left-handed turntable can be used to fit the left-handed shaft or shaft extender. Turntable can be used as winding keys as well when figurines are glued to them.

Winding Keys

All music boxes that are created must have a winding key unless a turntable is used in its place. Winding keys typically are in brass or nickel plated finish and come in different sizes. Typical winding keys include the T-bar, Triangle, and Miniature. There even is a childproof safety winding key that when installed becomes a permanent part of the music box. If one has a child who will have access to the music box, this would be a good fixture to have.

Accessory Shaft Washers

These washers are placed on the outside of the music movement housing. This would be a good thing to utilize if one uses plush toys or dolls as part of the music box. It helps prevent fibers from being caught in the accessory hole and getting wrapped around the shaft.

Cranks

A crank is a music accessory that produces motions such as swinging, pumping, sawing, rocking, and up and down motions.

Rocking Action

If one were looking into making music boxes with figurines such as rocking horses and chairs, this would be the perfect music movement accessory.

Musical Mobile Holder Cases

The musical mobile holder cases would be just right for a musical mobile for a baby’s crib. These movements and holder cases usually are not sold together, but separately. This holder case would work well using an 18-note key-wind musical movement.

Creating music boxes takes special care and also are fun to do. Whether it is a wooden keepsake box, children’s jewelry box, or any other type of whimsical box, why not create your first one today?

Copyright 2006 Monique Hawkins

Established in May of 2005, http://www.My-Music-Box.com is a music box gift store specializing in products such as inlaid ballerina music boxes for ballerina rooms décor, whimsical carousel music boxes, and musical jewelry boxes. The company provides interesting information for music lovers of all ages. Owner Monique Hawkins is also the author of the blog “What You Never Knew About Music” http://whatyouneverknewaboutmusic.blogspot.com , and owner of the eBay store “Monique’s Music Box” at: http://stores.ebay.com/Moniques-Music-Box Monique can be contacted at (540) 858-2885.

In the Middle Ages, the term Needlepoint encompassed a wide range of needlework. It is not unlike the work done today, but had a broader spectrum of techniques. Today, needlepoint is exclusively recognized as the tent stitch. In the Middle Ages, it was referred to as canvas work in technique - it incorporated the tent, brick, flat, cross, and braid stitches.

Early examples of canvas work are found on ecclesiastical items such as copes, altar cloths, chasubles, and mitres. In later centuries, it is found more often on items such as clothing, bags, cushions, table carpets, and floor carpets.

During the sixteenth century when inventorying the possessions of the Castle, the Earl of Shrewbury’s wife, Elizabeth (Bess) of Harwick (152?-1608) mentions “a long quition of pete point”. In 1650, Lady Morton lists her inventory of the Castle in Orkneys “I gryt Sweet Bagg soad with pitty point”.

Over the years, canvas work has been used with all types of needlework. Somewhere at the turn of the nineteenth century, canvas work was split into separate “forms”. Needlepoint became the tent stitch with varying sizes - “Demi”, being the medium size tent stitch and “Gros”, being the large size. While the term “Petit point” denotes the small size, it is still the tent stitch. During this period, Bargello needlepoint encompassed the brick and flat stitches (satin stitch), as well as other embroidery stitches and were now adapted to canvas. Cross stitch was also utilized extensively.

In the Middle Ages, canvas work was worked on a ground fabric that had a fairly even weave such as linen or hemp. The flax plant produces the material required to make linen. The cannabis plant produces the material used to make oils, rope, and cloth. Because of its strength and durability, sailcloth and tents were often made from hempen cloth. It is believed that hempen cloth is where “canvas” got its name and the tent stitch derived its name from the products.

Although hempen cloth was strong and very durable, it was not necessarily a rough cloth. Herodotus wrote, “Hemp grows in the country of Scythians which except in thickness and height of stalk very much resembles Flax in qualities mentioned, however Hemp is much superior. The Thracians make clothing of it very like linen, nor could any person without being very will acquainted with the substance, say whether this clothing was made of Hemp or Flax.”

It is interesting that “Poldavie” canvas from Brittany, was widely used as sailcloth and fabric for tents and beds but was also among the fabrics available for embroidery in Edinburgh during 1562. It might have appeared to be evenly woven linen but could have been made from hempen. It wasn’t until the late Middle Ages that wools became popular in canvas work, especially when imitating tapestries or carpet.

Today, a wide variety of materials are available, however, hempen cloth is obviously no longer one of them. Silk, wool, cotton, and metallics are the primary materials used today. Canvas is available in many sizes and even-weave cloths are easy to find. The popularity of canvas work has increased throughout the ages regardless of the change in terminology or the materials used. Though known by many names, a rose by any other name is still a rose. Enjoy!

Jo Kefford has been creating needlework for many years, and loves to encourage others to renew their creative flair. For more top tapestry and canvas work tips, visit http://www.toptapestry.com . All the sources of inspiration you need to complete your very own masterpiece.

In this second part of our series on the early history of postcards we continue with the Undivided Back Era which lasted from 1901 to1907.

It wasn’t until the year 1901 that the United States Government allowed the use of the words “Post Card” to be printed on the undivided back of cards that were privately printed. This allowed publishers to drop the authorization inscription that was previously required. Writing, however, was still limited to the front of the card. Because of this United States action other countries began the same practice. This allowed the front of the card to be used solely for design purposes and left the back divided so that the left side of the card was used for writing messages and the right side of the card was used for placing the address of where the card was to go. This lead to what was known as the divided back card. England allowed this to be done in 1902, France then followed in 1904 and Germany in 1905. The United States finally allowed the divided back card in 1907. These changes began what is known as the “Golden Age” of postcards. Between 1907 and 1915 divided backs were being done almost over the whole world. However because of the threat of war, which ultimately came, the Golden Age of postcards, where many cards were imported from all over the world, soon came to an end.

In 1916 began what was known as the modern era, which lasted until 1930. During this era the United States began producing what were considered “quality” cards. However they still continued to also produce inferior quality cards to compete with foreign markets. The cards of this era were usually printed with white borders around the photos. Because of this they were known as “white border cards.”

In 1930 began what was known as the linen card era, which lasted until 1945. Because of the advances in technology, postcard manufacturers were now able to print cards on linen type paper stock which gave them the ability to use very bright colors. View and comic cards were the ones that were most commonly published on this paper. The most popular cards of this era were the political humor cards of World War II.

Finally we come to what is known as the Photochrome era which began in 1939 and continues up until the present time. What was known as the Union Oil Series launched the new era of photochrome cards. These cards are now called Modern Chromes and are still the most popular cards today. Since the earliest days of postcard printing these are absolutely the most beautiful and high quality cards that were ever made. These cards are very much sought after by collectors. And in spite of the increase in postal rates from one cent to the current rate of twenty-three cents, these cards continue to be very popular.

Yes, postcards are still a hot item. And when the day comes when it costs $1.00 to mail a letter postcards will still be the best value around.

——————————————————-
Michael Russell
Your Independent guide to Postcards
——————————————————-

Reports of Osama Bin Laden’s whereabouts took a new turn this week when a Pakistani woman reported sighting a tall man in a white robe with matching turban hit his head on a low doorway.

The woman’s suspicions about the identity of the man were further aroused when she noticed the entrance led to a recording studio.

So as not to create suspicion, she approached him without revealing who she thought he might be.

“Are you all right?” she asked, with demur innocence.

“No,” he said. “How can I be all right? Besides just cracking my head on this low doorway, I’m Osama Bin Laden.”

“Really?” she replied, thinking of the $25-million reward for turning him in, as well as her opportunity to contribute to the triumph of justice.

“Yes” he went on. “I haven’t been all right since I fled Tora Bora, because it’s even hard for me to get out long enough to make my audiotapes.”

“My, oh, my,” the woman commiserated, “Everybody thinks you’re in the remote regions near the Afghan border.”

“You’d think they’d know better,” he confided. “How could a spoiled rich boy like me live this long without some of the comforts only a city can provide, like a dialysis machine to keep me alive, and takeout food.”

“That makes sense,” she agreed.

“Yes, it does, but there’s no danger the authorities will figure out where I am, because every time I record a tape, we filter out the sounds of the city, like horns and sirens.”

“That’s very clever,” she said. “You’d think that when they see the tapes are filtered they might guess you’re in a place where there are background sounds.”

“Let’s just hope they don’t catch on. I don’t want them to take away from my next surprise move.”

“Oh, a surprise move,” she exclaimed. “Want to tell me about it?”

“No,” he told her, “because then it won’t be a surprise anymore. But just watch. I’m not going to slink around Karachi forever. I long for metropolitan delights in the more developed capitals of the world. Now, if you’ll excuse me, my recording session is due to start.”

Then he waved goodbye and reentered the doorway, this time remembering to duck.

The woman, excited to shortness of breath, went straight to the nearest police station and reported her astonishing interaction.

Police immediately launched a Karachi-wide search for Bin Laden, vowing to pursue him as part of their apparently somewhat porous terrorist dragnet.

They were, however, shocked when the very next day, Bin Laden called police headquarters and offered to turn himself in.

When asked why he had made the decision, when the police, many of whom are devout Muslims, were doing their utmost to help him evade capture, he replied, “I can’t stand it any longer. Hiding out every day, afraid to go outside for fear of getting into a conversation with a stranger who might report me, and having to spend all my time with my four wives, when I could be sitting in a topless club in America, like the martyrs I sent to fly planes into American buildings were doing shortly before their great sacrifice. Worse yet, one of my wives told me I may have misinterpreted The Koran, because, she reminded me, ‘Islam’ means peace. Praise be to God I didn’t, or I’ll have to turn myself in. “

“Well, if you insist,” the police told him.

“I’ll let you know for sure in a day or two,” Osama replied, “I don’t want to do it and then regret it later, especially at the moment I’m being hanged.”

“That’s very understandable, revered sheik,” the Pakistani police officer replied. Then he added a reassurance that would undoubtedly have infuriated Pakistani President Musharaff, his much wiser leader and devoted American ally in the war on terror. “We must scour the city for you. Before you hang up, tell us your address, so we make sure to avoid it.”

Tom Attea, humorist and creator of NewsLaugh.com, has had six shows produced Off-Broadway and has written comedy for TV. Critics have called his writing “”delightfully funny” and “witty” with “good, genuine laughs.”

There are too many lawyers in America and they are everywhere. 500,000 more graduating from Law School this year; in fact there are more lawyers graduating from Law School on their way to sue good honest Americans on their way to their first million than the total number of homeless folks in the United States. Shouldn’t it be the other way around? Shouldn’t we help the homeless and give them a skill and education and send the Lawyers begging on the street?

Now we see our own government taken over by lawyers, look how many lawyers there are in the Senate and halls of Congress? I think there ought to be one law on the books. That is if Congress makes a law they have to remove ten others. You see we have 45 stories of OSHA law if you stack those pages on top of one another. Then people wonder why American Companies are off shoring Jobs? Dah. Then the trial lawyers, yes like John Edwards go around stealing from the efficiencies of America.

My hero is Vice President Cheney for his excellent shooting abilities. I rejoiced that day. “Good Shot Sir!”

Now let’s march the bureaucrats and lawyers up to the 45 story and push them off their own rhetoric and stifling of America. Indeed, it maybe a bloody mess, but when else would a lawyer sacrificed himself for our nation like our noble ancestry? They have scraped the cream long enough, they need to do what is right and sacrifice themselves for our Nation. It is the right thing to do, we must ask them to honor us all and to do the right thing. It is only just. Consider this rant in 2006.

“Lance Winslow” - Online Think Tank forum board. If you have innovative thoughts and unique perspectives, come think with Lance; http://www.WorldThinkTank.net/wttbbs/

Today’s Pet Peeves:

1. People who slop up the microwave and don’t clean it. Granny will probably do it when she can’t stand it anymore.

2. People who make no left turn signal, turn in front of you, illegally, than wave their middle finger at you as you are frantically hitting the brakes to miss them.

3. A close second to leaving the toilet seat up? Leaving the shower button on so the next person turning on water to fill the tub gets their head soaked.

4. People who come up with all these great ideas for projects then leave doing the actual work to others.

5. People who use the drive up window at the bank then do so many transactions that you just sit there and breathe their fumes for ten minutes until you finally drive around and go inside. Then you find out there’s only one teller and she’s still taking care of drive up window.

6. The dentist who told me, without batting an eye, that I needed two root canals at fifteen hundred dollars each. No wonder he wears a mask!
Well, I sure wasted money today. Bought a box of twenty Christmas cards and since I only have two friends, these cards will last me ten years. Maybe I could find another friend and use them up sooner. Fat chance of finding another friend.

Another peeve: Shirts and blouses used to have one tag at the neck. Now they are up to three annoying tags or labels that poke and irritate neck and side. I just read an ad that said, “No annoying tags or labels.” They couldn’t see that coming? Now they have imprint with name and washing instructions that shows through shirt. And those plastic things that hold the labels and instructions that you have to cut off and one piece goes flying to who knows where.

Grandma Marge Holley has been writing all her life and just published two humor books. She turned 62 years old this year, is a library director in a small town in the Northwest, writes a local column titled, Granny’s Journal” has five children and fourteen grandchildren. E mail her at asccm@hotmail.com.