Fine Furniture; 1937-12

Notes:

Issue of a furniture trade magazine published in Grand Rapids, Mich. It began publication in 1936. and '.''- MAGAZINE • • - . " * • ED H. MERSMAN . . . Relentless in the pursuit of new ideas. (See page 24) Two dollars a year 20 cents a copy DECEMBER -1937 Grand Rapids, M i c h i g a n {Invitation . . . Tempting new merchandise - at attractive prices - is. -,>/e ctli know, what it takes for good business on ir_e retail fioor. This is just v/hat Imperial offers you in abundance during the January nr.arket showing in Grand Rapids. Mere than ever, we believe, you v/ill find that our .=--.pec:ciizatiGn, and the sure-selling designs and values this specialization makes possible, offers you much for your business. Furthermore, Imperial's ovsn advertising and merchandising program, more extensive and elective for your business than ever before, plus Imperial's participation in the new smashing double spread advertising campaign of the Grand Rapids Furniture Makers Guild, assures a stimulated demand for Imperial Tables — on the part of your customers. May I especially invite you to see the Imperial line in January at the Grand Rapids market. And plan ricv.\. -.vitn the many rev: things we offer you, for a good business this coming season with Imperial Tables. IMPERIAL FURNITURE CO. GRAND RAPIDS, MICHIGAN NOTICE All prices quoted on illustrative and adver-tising pages in Pine Furniture are "number" (double wholesale) thus making the cost to legitimate honofumishing merchants one-half the quoted prices, subject to regular terms. PLTS&SE REMOVE THIS SLIP upon opening Fine Furniture so that the magazine may be uae.d freely with the consuming trade. to pri^e increases announced by manu-facturer 53, prices quoted are subject to change without notice. FINE FURNITURE The Record of Quality is Established on ^Precedent THE reputation for manufacturing a product of quality is not established in a day, or a month, or a year, but over a long period of time. Only through close adherence to manufacturing principles into which has been inculcated a spirit of honest craftsmanship and enduring service, can furniture be truly classified as having quality. Merchandisers of good furniture recognize this all-important factor as existing in JOHN WIDDICOMB creations. They can feature it, but can find no substitute. JOHN WIDDICOMB COMPANY GRAND RAPIDS, MICHIGAN Factory Showroom, 601 Fifth St. NEW YORK SHOWROOMS No. 1 Park Avenue We appreciate your mentioning you saw this in FINE FURNITURE FINE FURNITURE MUELLER means more sales for uou THE HEW CHARLTON GROUP, created from authentic English originals obtained in London during the Coro-nation, is a smart style collection of wide appeal and salability. NATIONAL ADVERTISING PROGRAM effectively continued in House & Garden and House Beautiful featuring selected pieces from the Charlton group, should help to greatly increase retail activity for these and all Mueller masterpieces. This line is one to intrigue first interest at the Grand Rapids January Market. You arc cordially invited to our fac-tory showroom display. SHOWROOMS AT THE FACTORY MUELLER FURNITURE CO. G R A N D R A P I D S , M I C H I G A N FlNC FURNITUR€ the Homefurnishing Magazine from \ the Furniture Style Center of America : VOLUME 2 1937 NUMBER 11 GEORGE F. MACKENZIE, President PHIL S. JOHNSON. General Manager ROD G. MACKENZIE. E d i t o r DECEMBER Boiling Wake 4 and 6 Page Nine 9 Gas Buggy Bubbles, by Phil Johnson 12 More Foresight Than Five-Spots, by Rod Mackenzie 18 Solving the Labor Problem, by Frank E. Seidman 20 Color for Consumer of Americanna The Man on the Cover (Ed. H. Mersman) Merchandise Pages Rest Assured — Or Is it, by Ruth Mclnerney. . Mahogany's Paul Bunyan Retailing Tips and Features Furniture Frolics, by Ray Barnes Fabric Facts Facilitate Furniture Sales, by Phyllis Field Cooper The Sketch Book, by George P. Eddy National Ads for Guild Boston Museum of Fine Arts What Do You Know? Legally Speaking, by Charles R. Rosenberg, Jr. New Stores Classified Ads 22 24 . .25 and 33 26 . . : . . . . 27 28 31 30 .34 and 35 36 . .36 and 37 38 40 44 43 Published monthly by the Furniture Capital Publishing Co., 1SS Ottawa Ave., N. W., Grand Rapids, Mich. Acceptance under the Act of June 5, 1934, authorized April 30, 1936. FINE FURNI-TURE copyright, 1936. Eastern office: R.K.O. Bid, 1270 Sixth Ave., Room 906, New York City, phone CIRcle 7-4339, S. M. Goldberg, representative. Chicago office: 307 N. Michigan Ave., phone CENtral 0937-8, Bassler & Weed Co., representatives. Subscription rates: $2 per year in the United States and American Colonies; $5 in Canada and foreign countries; single copies, 20 cents. Doe. FINE FURNITURE THE BOILING WAKE With Pleasure In looking over your September issue I came across an article on page 19 written by Ruth Mclnerney, and was very much impressed with the good sound sales talk written in there. As we have a number of men on the road selling furniture and helping our dealers in merchandising, I am writing to ask if it would be possible for us to secure 25 copies of this page of your magazine which I would like to send out to our men. Trusting that you will advise me as to whether or not this is possible, and again complimenting you for the fine work you are doing with your magazine. I remain C. L. W., Duluth, Minn. FRANK E. SEIDMAN • Whose fearless, comprehensive analyses are a measur-ing stick for the furniture industry. In-cluded in Frank's analytical arsenal, in addition to graphs and columns of fig-ures, is an astute understanding of the industry's problems, an ability to trans-mit constructive counsel and a mess of figures in a manner far from boring. (See page 20.) Encore The manner in which the Venetian blind story in your October issue was handled is pleasing. Will you please supply us with 500 reprints of this article. These can be run off in a four-page form. A. W. E., Sturgis, Mich. Still Good —« Your FINE FURNITURE edition of July, 1936, had an article therein by Mr. Murray C. French, headed, "Arithmetic of Instal-ment Selling." We would appreciate it if you would send us a copy of this article. R. M. B., Atlanta, Ga. Is This Your Customer? Salesman's Viewpoint Wood-cut-up Mackenzie can decorate this page as he sees fit. Furniture fascinates me, the same as diamonds fascinate me. When I sell a piece of beautiful furniture, I have sold happiness. I am not a super-salesman, but I have sold furniture to some pretty tough prospects, and if I have any abilities, they are tact and patience. After a ship has passed, there is left immediately behind a wake of rough water—bubbling, seething and "boiling" •particularly if the ship is driven by a propeller. The more active the •propeller, the more "boil-ing" the "wake." When each month's publication of FINE FURNITURE goes through the mails to the stores, there takes place a seething, bubbling, "boiling wake" of favorable and mi-favorable comment and. opinion, and — oh, hell, it means READERS' OPINIONS to vou! — The Editor. Here comes the bride and her blushing husband and they have brought mamma with them — for mamma is wise beyond her years and has such vast experience, also a gleam in her eye that says sell us anything if you dare — she knows her stuff and the minute she spots you, you are sure she hates you. Well, her darling daughter asks to see a bedroom suite and you ask her if she has a particular design or finish in mind. She may know just what she wants, but turns helplessly to mamma and mamma's bosom starts to heave, and you are sure something is going to break inside as she sniffs at a beautiful blond creation and says, '"Well, if he tried to sell that to me I'd walk right out" and you tell her you wouldn't have it either and pass on to something else, and wish you had your pistol handy. How do you like this walnut set, it is the finest one we have on the floor, but mamma says "Good gracious no, my sister had one just like it and it fell to pieces in no time." Well, what to do? Happy thought — try to wear her down, and start marching her around — get her on her own ten-yard line and maybe she will start heaving forward passes, and maybe you can catch one. Now, Mrs. Jones, I see that you know good furniture and have fine judgment — your daughter is lucky to have you with her. The palpitating bosom be-comes almost normal, as she points majes-tically at a suite you have been trying to sell for two years, and your own bosom slips two notches to starboard. "Is that a Louis 14th?" she bellows. Far be it from me to argue dates with her. and poor little Mary gets the suite. I hope she's happy. Willie and the girl friend are waiting — they have been standing behind a china closet for some unknown reason, and Willie has a little hp stick on one of his cheeks and an eyebrow under his nose, which he strokes with great affection. "Kindly quote us your best discounts" — and he fixes you with his cold, pale blue eyes—• "we have been getting prices from your competitors and they are pretty low', but we thought we would give you a chance too," and Molly gives him that what-a-won-derful- man-look. and you try them out on a few living room suites. Willie takes out his notebook and says your prices are way out of line, but you are not dismayed. "Are you sure these are the same numbers and the same grade of covers?" "Well, they look the same," but Willie is a little vague and you see you have got to do your talking with Molly. "Try this chair. Miss, and see how comfortable it makes you feel; and the cover is moth-proofed for five years and don't you like those little strips of moulding — it sets the whole design off so nicely." Molly looks wistfully at Willie — I hope they will be happy with the suite, for it is a fine one. Romance in selling — from the salesman's viewpoint — here it is — nectar from the gods is no sweeter. The retired rural mail carrier and his wife, tired out and timid. "Ma and me want a new living room set —ma, you pick it out, anything you want. Don't get anything too cheap, ma, you know we'll never get another one." Ma gets her choice and a fine floor lamp thrown in. Yes, there's romance in selling furniture. M. K., Duluth, Minn. RUTH McINERNEY • Through whose green eyes and poignant pen are we permitted to see ourselves as the cus-tomer sees us. In stirring the "Wake's" caldron, Ruthie rates near the top, her "Customer's Viewpoint" hurling a con-stant challenge to better merchandising and the educated customer. ( S e e page 26.) Distressed Gent Your latest number just arrived here after my name had been summarily re-moved from your mailing list following the early-summer Shafer-Johnson Impasse — and I'll be damned if I can see why you have resumed this service. Because your book, with the one exception of Mr. Barne's magnificent page, certainly appears thin and lousy. I went through it carefully to detect the cause of this appearance—and I can attrib-ute the condition to the absence of some woodcutting by Mackenzie and some words by Shafer. And this leaves me sad—be-cause now I'm compelled to sell these words to the Curtis Publishing Co. of Philadelphia —for "Country Gent"—(See Nov. issue) — and this lowering of standards is distressing. C. S., Three Rivers, Mich. Fine Objection I missed the announcement, but you do follow the footsteps of Fortune, and give #10.00 for any misinformation, or error in (Please turn to Page 6) f o r DECEMBER, 1937 * ' Full Steam Ahead For a Record Breaking with TABLES By MERSMAN * SPACE 924 CHICAGO * SPACE 1110-1116 NEW YORK A Host of Distinctive New Designs in Modern, 18th Century, French and Commercial . . . . See them at the Markets! City or Country Winter or Summer There's Always... A BIG MARKET FOR MERSMAN TABLES You can't afford to miss the Mersman Line — for here is a Complete Line, designed and priced to meet popular demand the whole year through. Distinctive tables that are built as finely as the finest — yet, through large-scale production, priced surprisingly low — here is the Line of Table Values that will pay big dividends all through 1938. We cordially invite your inspection at the January Markets. We look forward to showing you the patterns that are going to mean more profit for '38. Everywhere, smart merchants are stocking Mersman Tables. And we join with them in saying: Clear the tracks! Full steam ahead — for a record breaking year with Mersman! MERSMAN BROS. CORPORATION, CELINA, OHIO M ERSMAN Builders of Fine Tables For 37 Years We appreciate your mentioning you saw this in FINE FURNITURE FINE FURNITURE B O I L I N G WAKE ( C o n t i n u e d ) fact, found in your publication, don't you? Then send my ten dollars to the above address. "What do you know," page 22, question 1. Who is financing the Williamsburg Res-toration? Answer, "Rockefeller Foundation." We have a letter on file from Mr. Darling, in charge of the restoration, in which he says the Rockefeller Foundation has nothing to do with the restoration at all. J. W. M., New Orleans, La. / . W. M.'s objection covers a very fine •point, has title to do with the general con-tent of the question, inasmuch as Rocke-feller money, whether it is supplied by the Foundation, a -personal trust fund, a sep-arate corporation, is supporting the Restora-tion. Admittedly the question skoidd have been phrased, "Rockefeller Interests."— Editor. Still Rockefeller Thanks for your interesting letter of the 9th, relative to the Williamsburg set-up. No, I do not remember your having offered ten dollars for errors, but I think you should. And if you will pardon me, even in light of your letter, and quotations from the Virginia Gazette, I still win the cut glass pajamas, or whatever it is you are going to give instead of that coveted ten spot. Mr. John D. Rockefeller, Jr., is not the "Rockefeller Foundation" which is not men-tioned in the articles quoted. As 1 under-stand it, and I think I am correct, J. D., Jr., personally financed this restoration, but both J. D., Jr., and the Foundation are rather sensitive about it. I suspect the Foundation is not permitted to spend money for that purpose, while J. D., Jr., is entitled to such credit as is coming. J. W. M., New Orleans, La. See Last Month — and This Your newly organized department — "What Do You Know?" is excellent and cleverly puts over educational information in an entertaining way. I miss, however, ;'The Boiling Wake," and hope that it will again make its appearance. P. F. C, Winnipeg, Canada. Best Yet I think the October-November issue of FINE FURNITURE is the best yet. Glad to see you have banished the Three Rivers riffraff. B. K. The biography of John R. Vander Veen is beautifully handled. I like the editorial page and the way you handled the strike situation. E. A. S., Grand Rapids, Mich. o Easy On page 30 of the Grand Rapids Market Ambassador — semi-annual showing, July 29th to July 10th, 1936, you have a full page advertisement of your magazine. The ad being a picture of the magazine, the cover, with the picture of a table and four chairs. We have a customer who wants this exact set. Will you please give us information as to the name of the company who makes this set and where they can be reached? A. E. W., Aurora, 111. Complimenting Colleague Your current issue has just come to my attention. I have enjoyed it very much, and hope you will accept congratulations from our organization. We were particularly pleased with the way in which you presented the Model Home Budget story. It is a most attrac-tive presentation. It will be our pleasure to work with you in the future. As a former editor myself, we have employed here a group of writers who have had such experience and we try in all our releases to approach the subject entirely from the standpoint of the discriminating editor. Q R R N y c Do You Want It? On page 22 of FINE FURNITURE, October and November, 1937, issue on questions asked and answers given on page 43 of this issue, this is very interesting as well as extremely educational. As a suggestion why not get these questions and answers all together in a little booklet form and sell them to the dealers at a given price. In my opinion every dealer who is inter-ested in increasing his knowledge of the furniture business as well as educating his salesmen will be more than glad to have one or a number of copies of this particular b O 0 k l e t ' J. F. G. C, Jackson, Mich. Coincidental About a month ago when we completed our annual arrangements for the Purchasing Agents Exhibition at the Sherman Hotel, f authorized the setting up of an Early California bedroom set, with vivid red and crackled parchment colors, on which we put an Englander mattress and box spring in red Skinner Satin. On the night prior to the show, which was November 16th, our decorator and myself left the hotel at 10:00 p. in. after setting it up, and at 3:00 o'clock the next morning I was reading FINE FURNITURE MAGAZINE, and lo and behold on page 12, what did I see, but the identical bedroom set, and the identical living room chair which we also used in our set-up, and on page 13 1 noticed it was from our source of supply. Now, Mr. Mac, I have had lots of pe-culiar coincidences happen in my 38 years, but never one to match this. You may be interested to know that the enclosed photo-graph of our space (see below) shows a deep red and tan striped carpet, the walls in delft blue, the bottom of the occasional chair in the same color, one chair in parch-ment and orange, all beautifully decorated and really offset very handsomely by the accessories you see in the photograph. I presume you would be interested to know how I got this merchandise. For the past eight years I have visited my mother in Los Angeles at different times, and when there last January, I felt it was about time someone took the artistic version of this Aztec Indian Conquistador Spanish type of furniture and brought it to the Middle West for country homes, summer homes, guest and rumpus rooms. I pur-chased a quantity of this and also accessory items. I sold most of it myself, as it seems it was not appreciated as a whole by many people, and really it took some enthusiasm on my part to put it over. As one furniture man to another who is interested in all angles of our beautiful business, I presume you may find this letter interesting. In any event, I am sure no harm is done. At this time I feel it proper to mention the tremendous joy and information I se-cure from your excellent magazine, and my only complaint is that up to this issue I made grades of 80% on your tests, but this one gave me only 56%%, and I flunked on such questions as number ten, which you must admit are "tough." Confidentially, I want to go on record as saying that as far as I am concerned they could take all the furniture markets outside of Grand Rapids and throw them in the alley. After all, life is too short and too sweet to sell just for the sake of selling. I defy any man to prove that he is happier dealing in fine furniture than B. K., Chicago, 111. of Chicago's coincidental Conquistador Setting. WINTER MAR JANUARY 3-15 i H i t i i ^ ; » » i t II * • .; The National Center SS?.t... or9 I- I It I T U R E ( iHHrnlnilrd Lvaiivrship— II orhl's l.artivsl Producers I LOO l{ CO \ I! R I N G S llanl ami S»// Surface Display.') />v \alinnul Leaders I! O ^3 I] \ 1» I1 I. I 1NCES lnu'rica's Outstanding Manujavturvrs" !fP.'i8 Lines I. \ M l» S — 15 K I I D I N G Thv Important Profit-Making f ftluini' Lint's S l O i > I I I I J M S H I N G S Prvinimtis. tct<nmt Openers ami Promotional leaders and Everything for the American Home Wiih* TOI)\Y lor K.1-" HI ii! \ uii i FINE FURNITURE will be better than you now expect if you plan to make it so. Kroehler can help you — we help you sell N A T I O N A L P U B L I C I T Y - O u r 1938 national advertising will be increased. Many ads will appear in magazines having a combined circulation of over 12,000,000 homes. SALES HELPS —You need the best copy to make expensive newspaper space pay. We spare no expense in preparing the most effective dealer newspaper advertis-ing. Mats or cuts furnished free. Attractive window and store display cards also supplied on request. LINE —At our exhibit you will see a comprehensive line of the best-selling styles that experience and master de-signers can develop—styles that you will justly feel proud to display in your store. Prices will be a big surprise to you. You are welcome to make our space at the Furniture Mart your headquarters during the January Market. It's a good place to hang your coat and hat. WORLD'S LARGEST FURNITURE MANUFACTURER JANUARY EXHIBITS Chicago: January 3-15 New York: January 17-29 Los Angeles: January 17-22 San Francisco: January 24-29 We appreciate your mentioning you saw this in FINE FURNITURE f o r D E C E M B E R , 1937 NINE THIS MONTH The editors of FINE FURNITURE MAGAZINE wish to reassure their readers that never shall a hard and fast edi-torial policy be assumed. If we run across a feature that we believe will add interest, information, and be educational, it will be included in the regular contents. Simply because a feature appears for several consecutive issues, doesn't presage its establishment for the duration of publication. We refuse to become hidebound in our selection of reading material. Occasional contributions, such as Frank E. Seid-man's, are timely, their intermittent appearance adding to their value. "Solving the Labor Problem," page 20, is a fearless addition to Seidman's already voluminous portfolio of articles pertaining to the factual side of the furniture industry. "Regulars" like Ruth Mclnerney, who by the way cracked NATION'S BUSINESS in December with a delightful dis-sertation on department store policies, Ray Barnes, with his perpetual pecking at celebrities, Phyllis Cooper, and her decorative digests, "The Boiling Wake," the tantalizingly instructive "What Do You Know?" have established a monthly following that aids in supporting the standard of the magazine. Inaugurated this month is "Legally Speaking," by Charles R. Rosenberg, Jr., being resumes of actual cases, pre-sented in condensed form for the merchant lacking time to pore over lengthy legal literature, in order to find out whether or not postdating a check is "agin" the law. Though other pages bare the minds Of many men, the credit or The blame I'll bear for what one finds On this, Page Nine.—The Editor. Typical fine furniture by John Widdicomb Co. Quoting from our first PAGE NINE, and on the advent of another year, we wish to state that our credo remains steadfast: "MORE PROFIT FOR EVERYONE IN THE FUR-NITURE BUSINESS. "Convinced that good fellowship, laughter and the appre-ciation of beauty are as precious as money when assayed in the final net profit figures of life, we urge our friends to interpret our one-plank platform in that light." ff PRICING LOW Directed at the borax, price-slashing dealer is the resale price maintenance law, now in effect in 42 states. Passage of the Federal Fair Trade Act is responsible. No longer is it a violation of the anti-trust law for a manufacturer to put a retail selling price on his merchandise. The law enables the manufacturer to protect his trade-marked product, thus eliminating deceitful retail price competition. The ethical merchant now can benefit from the good will and value established by a manufacturer's trade-mark. He will be enabled to realize on the full profit without fear from price-destroying competitors. ff AD MAN SPEAKS "Business prospects for 1938 in the furniture and home-furnishings industry are much brighter than is indicated by conditions at this time," declares W. B. Henri, president, Henri, Hurst & McDonald, Chicago advertising agency, who has just completed a series of conferences with sales execu-tives of furniture, building material and home appliance companies served by his firm. These meetings, following the close of the November furniture market, reflect both an appreciation of present conditions, a determination to meet the problem of production and sales with increased effort. Says Mr. Henri: "I feel sure that the industry's opportunity is still fundamentally as good as it was last year. This belief is based on the nation's requirements and ability to buy. It goes still deeper, into the crying need for homes in America. Building must continue, for the supply of dwellings is far below the demand. New homes mean new outlets for furni-ture and homefurnishings. This potential market, as well as the huge replacement market, should be increasingly strong next year." A closer cooperation between manufacturers and retailers in ascertaining consumer demands is necessary, because better grades of merchandise quite often remain idle due to the dealer failing to correctly estimate the consumer's pocketbook, ascertain his taste. The country has survived every setback in its history. Fighting spirit is evidenced in advertising and sales plans for 1938. Any manufacturer or dealer producing and handling outstanding merchandise, must devise striking methods to bring it to the consumer's attention. ff more than ever are the deciding factor in the sale! GRAND RAPIDS VARNISH CORPORATION finest quality finishing materials, plus a cooperative creative service for new finishes and proven methods of more economical production. Inquiries invited. f o r D E C E M B E R . 1 9 3 7 11 BUY THE VISIT THESE LEADING FURNITURE EXHIBITORS Adelphian Mills Allied Mfrs of ' mene i American Art ^ orks American Chair Co American truineled Prod nets Co. American Furniture Co. American Hospital Suppl* Corp. Amora Mfs. Co. Anderson Artcraft Co. Appleton Toy & Furniture Co. Art Aquarium Co., The Artcrete Products Co. Atlas Novelty Furniture Co. Aulsbrook-Jones Corp. Bailey, Samuel i. Barler Metal Products Co. Batesville Cabinet Co., The Bellette. Inc. Benton Studios Bethlehem Furniture Corp. Bishop Products Co. Bopp, Andrew R. Bonn Art Products Corp. Brandenburger Bros., Inc. Brandt Cabinet Works, Inc., The Briatol Co., The Broude. W. S., Co. Brown, J.eslie If., Co. Butler Specialty Co. C. & O. Glass Co. Calif-Asia, Ltd. Carrollton Metal Products Co. Charlotte Furniture Co. Chesterfield Furniture Shops Chicago Curtain Stretcher Co. (Redwood Division) Chicago Hardware Foundry Co. Chicago Superior Mirror Works Cincinnati Artistic Wrought Iron Works Colonial Desk Co. Columbia Mantel Co. Conroy-Prugh Glass Co. Continental Art Ware Co. Coupes, Inc. Corduan Mfg. Co. Davis Cabinet Co. Dillingham Mfg. Co. Dunhar Furniture Mfg. Co. Durham Mfg. Co. Klkay Mfg. Co. Ellis Mfg. Co. Ero Mfg. Co. Kstey Mfg. Co. Fancher Furniture Co. Fashion-Flow Corp. Fashioned Furniture, Inc. Ficks-Reed Furniture Co. I rinklm Vrt< ratt ( o tncdlaendir 4 Co In< Furniture ^hon-- The Furniture Mi lists In, G H Spe<nlt\ ( o Garton 7cji Co General Wood Products Co. Gordon Parlor Furniture Co. Grand Novelty Co. Great Lakes Glass Co. Hallwood-Colnmhus Co. Hamilton Glass Co. Hanson, Louis, Co. Hart Mfg. Co. Hart Mirror Plate Co. Hauser. Emil Hellam Furniture Co., Inc. Hcrlzberg, Arthur, & Craftsmen High Point Bending & Chair Co. Hirsch, J. Home Service Bureau House of Baldwin Ideas Illinois* Art Industries, Inc. Indianapolis Chair & Furni-ture Co. Irwin, Robert W., Co. J. & J. Tool Co. Jones, Paul, Inc. Juvenile Wood Products Co. Kaplan, Joseph A., Inc. Karpen, S., & Bros., Inc. K.atz, Frank M., Inc. Kensington Shop, The Kerr Wire Products Co. Kessler, Warren Keteham & Rothschild, Inc. Kittinger Co., Inc. Koch, Geo., Sons Kraus, Walter S., Co., The Lefkow-KJng Co. Leganger, E., & Co. Leg-O-Matic Co. Levi-Gade Liberty Electric Co. Lincoln Luggage Co. Lorraine Metal Mfg. Co., Inc. Luce Furniture Corp., The Lyon Metal Products, Inc. Maddox Table Co. Majestic Lounge Co., Inc. Mallen, II. '/-,., & Co. Marigold Studio Martin, Miss Frances Master Metal Products, Inc. McAnulty Co., The Menaaha Wooden Ware Corp. Metal Arts Studio Mexican Products Co. Michigan Chair Co. Milano Furniture Co., Inc. Mirror Spec laltN ( o Modern Mfg C o Mount \ir\ ( hut Co Mount Viri I urmtnre Co Muskin Mfg ( o Napinee Kitcht n ( abinet National Furniture Co. of M ount Airy National Mineral Co. National Wood Products Co. Norden, Fred, Mfg. Co. Old Hickory Furniture Co. Oslermoor & Co.. Inc. Paleo Mfg. Co. Pellegrini, L., & Co. Pioneer Furniture Co. Pratt Corp. Protection Products Co. 7tamseur Furniture Co. Reliable Furniture Mfg. Co. Rockford Desk Co. Romweher Co.. The Rose-Derry Co. S. & L. Box Craft Co. St. Charles Mfg. Co. Salmanson & Co., Inc. Sani Product* Co. Schutte, George W-, Furni-ture Co. Shearman Brothers Co. Shenandoah Community Workers Shwayder Brothers, Ine. Sikes Co., Inc., The Simmons Co. Smith, B. R., Chair Co., Ino. Sorem Furniture Co. Stanley Co., The Star Furniture Co. Stark, James E-, Co. Statton Furniture Mfg. Co. Sterling Furniture Co. Straus, Mitteldorfer Sturges-Aulsbrook-Jones Corp. Tapp, Inc. Thanhardt-Burger Corp., The Three Mountaineers, Inc. Tomlinson of High Point Toy Market, The Treasure Chest Union National Lines United Art & Craft Studio Wabash Cabinet Co. Warren Furniture Co. Wheeler, M. M., & A. J. Wheeler-Okell Co. Williamsburg Galleries, The Woodard Furniture Co. Youugsville Mfg. Co. Youngsrille Sales Co. Ypsilanti Reed Furniture Co. • People, today, are ensemble-minded. That's why smart furniture buyers, at market, are visit-ing related displays before they buy their own lines. It's the only way they can be sure their selections fit the current vogue and therefore will sell. In no other building in the world can you in-spect so many displays of related merchandise— l o l l of them—curtains and draperies, floor and wall coverings, lamps and glassware, as here in the Merchandise Mart. Or see so many complete room settings, each full of practical merchandis-ing ideas. The line or lines you buy are all conveniently displayed under one five-acre roof. You can't afford to miss these Six Major Markets. Write at once for your registration blanks and com-plete information. I — and don't forget the ever-popular Kooler SHOP ALL SIX MARKETS JANUARY 3 - 1 5 INCLUSIVE Merchandise Mart Furniture Mart Merchandise Mart Floor Covering Market Merchandise Mart Lamp and Shade Market Merchandise Mart China, Glass & Pottery Market 13th Semi-Annual Curtain & Drapery Kxhibit (January 3—14) (Sponsored by the Chicago Drapery Mfrs. Assn.) Third international Housewares and Appliance Show, including Toys and A$ heel Goods THE MERCHANDISE MART - eh! cago THE CRE*f #EWfR4L MARKET WELLS STREET AT THE RIVER 12 FINE FURNITURE Frank Seidman says more than twice as much furniture was made, shipped and sold in 1936 than in 1932, and 1937 will show sales improvement over 1936. What's all the kicking about? Have you seen Charlie Kindel's factory? You could eat your lunch on the floors, they are kept so spotlessly clean. His workmen have surroundings as immaculately clean as mother's parlor at home, and it means contented workmen and increased pro-duction. Here's a plant to pattern after. A furniture salesman named Hines Covered twenty-three states with ten lines, Each line represented Report sales not augmented, And their factories covered with vines. The devil decided to refinish hell as the smoke and soot so prevalent there had left the furniture, draperies and floor coverings in a dirty, dingy con-dition. He investigated the lines of every manufac-turer of living room furniture in the world and not one of them had a suite or chair upholstered in asbestos so he gave up the idea, had the entire "dump" dry cleaned and let it go at that. Moral: Have what they want when they want it. The Tego glue boys are putting it over. John Romweber of American Furniture Company, Bates-ville, Indiana, has just installed a huge new outfit and so has Ed Mersman of Mersman Brothers Cor-poration at Celina, Ohio. Faster production, they claim. In the furniture down in the east, It is either a famine or feast, With a stock market tumble Things rumble and jumble, Until fluctuations have ceased. What constitutes a market: Good merchandise, fair prices, reasonable cost of display and merchan-dising space and a responsible group of buyers. That is the place to sell goods. GflS BUGGV BUBBLES by PHIL JOHNSON Shortly after Mrs. Murphy's cow kicked over a lantern, setting the city of Chicago in flames, a young man fresh from reportorial duties on the Dowagiac Daily News, landed with both No. 12 feet as a cub reporter on the Chicago Trib-une. From this start he developed a powerful pair of legs, a nose for news, a flair for the publication business, and the largest speaking acquaintanceship in the furniture industry. For nearly 30 years, P. S. "Phil" Johnson has been touring the country, spreading his philosophy of optimism, radiating a spirit of conviviality, and on the side, valiantly attempting to inculcate in the minds of furniture manufacturers the fact that consistent promotional work pays dividends. Feeling that "Phil" in his ramblings gathers a headful of personal and public facts of interest to our readers, and knowing that he once conducted a column for a daily paper, we served on him an editorial subpoena, requesting his appearance every month. Herewith is number 1 of "Phil's" GAS BUGGY BUBBLES.—The Editor. of price advances, fear of war, fear of the fluctuation of the stock market and fear of God knows what. Does the industry need greater intestinal fortitude? No! It needs more guts. Mary had a little goat that wabbled at the knees, So Mary traded for a dog, but found the dog had fleas; She swapped the pup for a borax chair, because she was so sore, But when she sat, the darn chair broke, and dumped her on the floor. Take a big load of well planned publicity, backed by attention getting illustrations, promoting honest merchandise at honest prices and don't worry about volume. Volume follows and profits follow volume. Since time immemorial it has been said that we humans are the victims of fear and there seems to be a huge cargo of it in the furniture industry today. Fear of the future, fear of labor unrest, fear St. Peter and the devil decided to build a wall between heaven and hades. St. Peter was to handle the construction and the devil to pay half the cost. When the wall was completed and St. Peter pre-sented the bill, the devil refused to pay. St. Peter said, "I'll sue you." The devil answered, "Where will you get your lawyers?" Why is a Dutch pancake like the sun? Because it rises in the yeast and sets in the vest. i o r DECEMBER, 1937 13 The Turniture Am erica with a wealth of new showings that Challenge Comparison for Smartness of Styling for Excellence of Craftsmanship for Prestige-Building Character • for all around Value and Profitable Saleability VISIT GRAND RAPIDS FIRST! JANUARY MARKET 3rd to 15th GRAnD RflPIDS fURniTURE EHPOSlTIOn flSSOCIflTIOD 14 FINE FURNITURE CENTURY The MAHOGANY FINISH that is historically correct for the reproduction of the finer work of those master craftsmen of that golden age of furniture —the wonderful GEORGIAN ERA. . - ' ' - ' • • • • - - . : 3 Only by the CENTURY MAHOGANY treatment applied to Chippendale, Hepplewhite and other 18th Century reproductions are these classic inter-pretations reproduced in all their traditional loveliness. The deep warm mellow tones and pleasing patina effect produced by the CENTURY MAHOGANY method impart a distinctive character and charm not attainable by any other finishing procedure. m Courtesy West Michigan Furniture Co. We will gladly submit finished sample and further information upon request. •MANUFACTURED BY GRAND RAPIDS WOOD FINISHING CO. Established in 1893 GRAND RAPIDS, MICHIGAN We appreciate your mentioning you saw this in FINE FURNITURE l o r DECEMBER. 1937 15 They All Speak Well Of It" No. 373 Love Seat — Victorian For January We Present . . . A New Provincial Group . . . A New Swedish Modern Group . . . A New French Group . . . And New Promotional Suites and Chairs MICHIGAN FURNITURE SHOPS, INC. GRAND RAPIDS • MICHIGAN DISPLAY AT THE FACTORY SHOWROOM OF THE GRAND RAPIDS CHAIR CO. We appreciate your mentioning you saw this in FINE FURNITURE 16 FINE FURNITURE HIGH TRUMP FOR 1938 No need to bluff when VanderLey pat-terns are on your floors. Buyers find them to be outstanding values in style, con-struction and honest pricing. You can stand pat on this line, because it assures you a winning hand every time you come up against competition. See the many new designs shown in the Janu-ary exposition. If you cannot attend, send for illustrations and prices. Custom-Made for Profitable Trade 6th Floor, Keeler Building Vander Ley Bros. GRAND RAPIDS, MICHIGAN Sofas, Chairs, Love Seats, Rockers and Tables. If not attending Market, write for photos, prices and newspaper mats for featured promotions. H E K M A N / ^ A Sparkling New Note MODERN Designed in Conjunction with Leading Merchandisers Coffee tables, end and lamp tables, desks, chairs and coordin-ated wall pieces in a lighter, more graceful type of modern — entirely new but soundly founded on the good judgment of several of the country's leading merchan-disers— a line that we confi- Desk or dently predict is going places. Dinette Chair Be sure to see it and the many other Hekman offer-ings in both modern and traditional at the January Market. Coffee Table with Gunmetal Mirror Top Coordinated Wall Units Available in a Wide Variety of Functional Designs HEKMAN FURNITURE CO. EXHIBIT WATERS- _ B A u _. _ A _ , _ _ KLINGMAN BLDG. GRAND RAPIDS f o r DECEMBER, 1937 17 COMPLETE NEW MODERN LINE OF LATEST CREATIONS Long recognized as a leader in the Modern field, every suite in the RED LION FURNITURE CO. line was designed with the idea in mind of maintaining its established style leadership. Only through meticulous adher-ence to construction, workmanship and finish, has this been accomplished. No. 408 B:d No. 208 Dresser EXHIBITION SPACES . . . NEW YORK FURNITURE EXCHANGE - N E W y o R K WATERS-KLINGMAN B U I L D I N G - G R A N D RAPIDS RED LION FURNITURE CO. RED LION PENNA. We appreciate your mentioning you saw this in FINE FURNITURE 18 FINE FURNITURE Hoffer Bros.. 1905. (below) 1937 B\CK in 1902 there was a youns; llunuarian workiiiu in \tlanta. (la., in the linn of Rhodes &. Ilav-eriy. 1 fe was scrvintr an apprenticeship in the furniture business. IV.it ili'u voting cinhusia-M was JDWIL' niure than that. He \\a> k-arniiii: all lie could about tiu; citie? of the South with a \ iew to start ins: a business, ol his own. lie wanted to pick the right spot and decid-ed finally on Norfolk. \'a. Here lie would found a business and build a home. Benjamin Hoffer, president of the newly appointed Hoffer Bros., Inc., did exactly as he planned, and came to be recognized as one of the leading homefurnishing merchants in this Southern community. Not without travail, headaches and heartaches did Hoffer rise to his present business eminence. The story of his success embodies the same ingredients that fired many an aspiring youth — ambition, industrious-ness and more foresight than five-spots. Young Hoffer did not step right into his own business upon entering Norfolk one October morning in 1903. But he did step right up and get himself a job. ISADORE HOFFER . . . first sale — second hand Bible. &z By ROD MACKENZIE Editor, FINE FURNITURE Sa>s Hoffer: "Upon arriving in Norfolk, the first tiling I did was to eat a hearty breakfast. Then I called on the W. F. Crall furniture store and talked with the manager, C. G. Mays, who told me that no new men were wanted." 35 Bucks for a Job • Right here young Hoffer exhibit-ed the spark that was to carry him through 34 years ol business vicissitudes. He refused to take "no" in answer to his request that he be put on the staff as an outside salesman, reminding Mr. Mays that every institution needed good men, that an industrious sales-man could always make a place for himself. Continued Hoffer: "My worldly capital consisted of $35. I put it all on the desk and said I would leave it as evidence that I would return the samples of the trade. It made an impression. I got the job and in a few hours had made my first sale." Hoffer Brothers, Unincorporated • For six months Hoffer made house-to-house calls, selling merchandise to housewives throughout the city. Then he sent for his young brother, Isadora, who came from New York. He also made a sale the first day he worked in Nor-folk— a secondhand Bible; is now secretary and treasurer of Hoffer Bros., Inc. Buy a Horse • When Crall moved into a new store 18 months later, the Hoffer boys purchased his old f o r D E C E M B E R . 1937 19 stock, on credit, rented a tiny store on Church St. for $8 a month, bought Crall's old horse. For eight years they remained in this location, selling portieres, blan-kets, clocks, mirrors, pictures and Bibles. Each week they would take their profits to Crall until eventually they had him paid off. Progress • Their business expanding, the Hoffers moved to Main St., where they remained for ten years, employing several salesmen, operating six horses and wagons, abiding by their motto — "Fair treatment for all." A motorized delivery truck, one of the first in the community, indicated further progress. Another move into more expansive quarters at the corner of City Hall Ave. and Bank St., where they remained for 13 years, preceded the present modern establishment on Main St. The new store has 34,000 square feet of floor space, 20,000 of this being on the ground floor, where 75% of the merchandise is displayed and is recognized as one of the outstanding modern stores in the South. A 20-foot revolving display window, carrying three complete suites at once, further indicates the Hoffers' progressiveness. Tribute • A six-page section in the Norfolk Ledger- Dispatch announced the opening (September 23), which thousands attended. Felicitations from furniture and homefurnishing manufacturers and from brother merchants throughout the country, plus the unexpected response of the local public, are tribute to the initiative and determination of the Hoffer brothers. They say: "We are proud of our new store, proud to have built up such an enterprise to leave our children." Like Father—Like Son • And the children are follow-ing in their father's steps. Louise Hoffer, daughter of Benjamin, is a bookkeeper; Isadore's son, Martin, University of Virginia graduate, is a floor salesman, and another son, Elliot, also U. of Va., travels for a well-known furniture manufacturing concern, is learn-ing the business from that angle. All of which indi-cates a perpetuation of the spirit and philosophy of the senior Hoffers. "One of the greatest things about establishing a business is to have something to leave to one's children." They further emphasize their good fortune in the statement: "A good business, a good reputation, and good friends. We feel that we are fortunate in having these three things." Brands of nationally known furniture handled by Hoffer Bros., Inc., include Berkey & Gay, Luce Furni-ture Corp., Kindel Furniture Co., of Grand Rapids; B. F. Huntley, Pullman Couch Co., Kroehler Mfg. Co., Thomasville Furniture Co.; and a complete line of Stewart-Warner and Frigidaire refrigerators, Zenith and Stewart-Warner radios. "MR. B" . . . WHETHER or not Benjamin Hoffer ever read any of Horatio Alger's fictionary formu-las for success, his own career might well be added to that volu-minous library. For the saga of this young foreigner, born in Budapest, Hungary, 60' years ago, parallels the pattern estab-lished by Alger's prolific pen. Giving up a position in a fur-niture store in Atlanta, that he had held for about a year, strik-ing out for a community un-known to him except through conversation with traveling men and maps, gambling his entire monetary holdings, $35, on the fact that he could produce, is in-dicative of the spirit, vision and confidence that carried Benjamin Hoffer, president of Hoffer Bros., Inc., Norfolk, Va., to his present successful position in his com-munity. Hoffer is not a big man physi-cally, weighing about 145 pounds and rising only five feet four inches from the ground. But his perseverence, tenacity and sense of fairness more than doubles what he lacks in stature. How-ever, reports on "Mr. B's" early activities disclose the fact that his energy seemed limitless, and that the little man had a rugged constitution, for he "walked" his territory when he first came to Norfolk. In fact, his early mem-ories of the furniture business are crystallized into two words — hard work, while his career is founded on a philosophy includ-ing "system, service, honesty, courtesy and regularity." BENJAMIN HOFFER . . . first ate a hearty breakfast. Despite Hoffer's early strug-gles, his constant attention to business as he progressed, he has traveled widely in Europe and the United States, finds relaxa-tion in frequent auto trips and names Shakespeare as his favor-ite author. Hungarian goulash is his epicurean choice and the vio-lin his means of recreation. This instrument he learned to play in the Conservatory of Music in Budapest, studying under Pro-fessor Jeno Hubay. His only partner has been his brother, Isa-dore, whom he called to Norfolk shortly after his own advent, and between the two, over a 34-year span of business association, there has always existed a fine cooper-ative relationship. Always intensely interested in his customers' problems, he re-lates an incident that occurred recently, which added humor to an otherwise drab day. A colored woman came to the store, told Hoffer she was in trouble, asked for a loan of $5. "I am your customer," she said. "Mr. Hoffer, look at your books. I have been dealing with you for ten years." Wanting to oblige but not with-out checking the woman's state-ment, Hoffer found that the books disclosed the following in-formation: That the customer had purchased a range at the store ten years before for $98, still owed $20 on the account. Truly, a customer of long but somewhat doubtful standing. 20 FINE FURNITURE ANNUAL LABOR TURN-OVER RATES IN FURNITUREL MANUFACTURING PER IOO ON THE PAY ROLL FACTORY ENTRANCE LAIO-OFF 1931 1932 1933 1934- I93S 1936 * 1937 wmm. iA.se o ON REP- | 55.7T SOLVING THE LABOR PROBLEM By FRANK E. SEIDMAN SEIDMAN 4 SEIDMAN. Accountants and Auditors With Offices in Principal Furniture Manufacturing Centers WHEN one considers the present labor situation in this country, one is apt to be put in mind of the colored preacher who announced that the subject of his sermon would be "Status Quo." "But," he added, "in case you all does not know what that means, I will say that it is Latin for the terrible fix we is all in." Thirty Years Ahead — or Behind • Touching on the labor problem, under present conditions, is rushing in where angels fear to tread. When you get through, you are sure to be condemned as a conservative by the radicals, and as a radical by the conservatives. How-ever, there is really scant difference in definition between a conservative and a radical. It has been said that a conservative believes that nothing should ever be done for the first time, whereas a radical believes that nothing should be done "except" for the first time. Neither conservatives nor radicals can help this world because they are not presently living in it. They are either 30 years ahead or 30 years behind their time. * From an address by Mr. Seidman before the tenth annual meeting of the Wood Industries Division of the American Society of Mechanical Engineers, held at Grand Rapids, Michigan. Today's Problems • In approaching the labor problem one must consider it realistically and recognize that we cannot look back to what has been, but at conditions as they are and recognize that it is today's problems that must be solved. Furthermore, problems are never solved by being ignored. Major Unionization • It appears to me that America is closely repeating Britain's labor experience. It is becoming abundantly clear that this country is facing an era of major unionization just as Britain did 25 years ago. If this be true, industry would be well advised to co-operate in this movement rather than attempt to frustrate it. Instead of fighting the labor organization from without, enlightened leadership should bend its efforts towards reforming it from within. At present the leadership of labor unions is necessarily of the type that is continually girded for battle. Through a progressive industrial attitude, there might be developed labor leadership of a co-operative, rather than combative type. Knowledge Ends — Strife Begins • This does not mean that management must surrender to such dictates f o r D E C E M B E R , 1 9 3 7 of organized labor as are in fundamental conflict with sound economics. It must fight any attempt to impose waste and inefficiency, but it must remember that strife begins where knowledge ends and that the quality of leadership of labor organizations is as much the responsibility of management as it is of the masses of workers which it leads. It is time we realize that the age of control of indus-try through the management of capital alone is past, and that the real control of industry must rapidly rest in the hands of those who are able in the management of men. It is the lack of recognition of these factors that has, to a great extent, led to the serious strikes which this country has experienced and is currently experiencing, with all their disastrous interruptions to production. Strikes of Capital • The strike is of gravest danger both to capital and to labor. Incidentally, we invari-ably think of strikes as those involving labor. However, we have strikes of capital as well. Capital often strikes to maintain high income, just as labor strikes to main-tain high wages. Both capital and labor are damaged tremendously by a strike of either. High wages for capital and labor do not mean high purchasing power for either. The establishment of artificially high prices or wages and the stopping of production are the surest way to scarcity and a reduced standard of living. It is up to both the workers and the owners to assist in abolishing strikes because the cost of a strike is lost production, and lost production in the last analysis means lost consumption by labor and lost savings by capital. Production. Determines Income • Notwithstanding some of the odd theories that are being heard now-a-days, such as to have more we must work less, make fewer things and you have more money, etc., thoughtful persons are pointing out that to increase wealth and the standard of living, it is essential that we produce more. We think we want more profits, wages, salaries, etc. If all these were multiplied by 10 or 100, we would not be one whit better off or have any more wealth. Continued production and production only determines our real income. Seek Peaceful Settlement • To bring about continued ^production, not only must we find ways to peaceful set-tlement of industrial disputes but, to my mind, we must do at least two other things — (1) aid labor to an understanding of the problems of capital by having it represented on the board of directors of industry, and (2) permit labor to directly participate in the fruits of its increased output by letting it share in profits. Labor Representation • I am a firm believer in the principle that labor should be represented on the board of directors of industry. If that sounds radical, let me suggest that the surest way of controlling radicalism in labor is to let it participate in the responsibility of management. Radicalism ends where responsibility begins. We have had many examples in political and economic history justifying this conclusion. Responsi-bility engenders practicability. Let labor sit in and participate in the discussions and decisions of manage-ment. It will then learn the falsity of what is now preached to it that management is constantly scheming to "take its hide off." It will learn that operating an industrial enterprise is not just a matter of sitting back and raking in the profits. It will learn that by and large American business men are heartily in sympathy with good wages and fair working conditions for labor, and it will also learn that to pay wages beyond eco-nomic ability fixed by competitive and market condi-tions is to lay the foundation for the destruction of their own jobs. Labor's Viewpoint • Furthermore, labor's participa-tion in management should greatly aid management itself. It should help management get labor's viewpoint and labor's problems at close range instead of by guess and by hearsay. It should help management secure practical suggestions as to practical problems arising in the factory which now either never get to it or reach it third or fourth hand. Participation in Profits • This leads to the second proposition—i.e., the participation of labor in the fruits of increased output. In the early period of our indus-trial development, the profits of industry all went to capital. In more recent years, there has generally devel-oped a recognition that management, too, is entitled to a share of the profits it aids in producing. There is no essential reason why labor should not join capital and management in sharing the avails of the surplus cre-ated by the efforts of the triumvirate. Philosophy — Plenty vs. Scarcity • Such an allocation of profits would go a long way towards overcoming the undesirable extremes in our business cycle which con-stantly recur as a result of overexpansion, over-extension and overaccumulation. The dispersion of pur-chasing power to the great mass of workers when profits are abundant is the best form of insurance for industry itself, for it should aid in the avoidance of these excessive peaks and valleys. Business will best serve its own interests and those of the nation by di-verting some of its profits to labor's use, thereby stimulating demand for its own output. Furthermore, the inclusion of labor in a fair profit-sharing plan should answer much of labor's present criticism that it is not receiving a fair share of what it produces, for it would automatically permit it to participate in increased production as it develops. It should be a powerful stimulant to labor's adoption of a philosophy of plenty instead of its present creed of scarcity. Solution • I am convinced that the solution of employer-employe difficulties and differences lies along the path here outlined, and that the eventual adoption of these or similar principles is inevitable. The furni-ture industry, as one of the outstanding industries of the country, might well display its foresightedness by asserting leadership at the early stages of this development. Rushing in where angels fear to tread is Seidman's predicament in discussing the subject of labor. However, with characteristic fearlessness he points out that problems are never solved by being ignored. Read it. — Editor. Color for CONSUMER of AMERICANNA /CONCERNING style and color \_S trends a unique harmony ex-ists among the industries supplying the homefurnishing field. To the homemaker interested in obtaining decorative harmony it is invaluable. Americanna • Observations re-sulting from a recent meeting of the Style Trend Council of the Institute of Carpet Manufacturers, embody-ing memberships in the furniture, floor covering, textile, wall paper, interior paint fields, indicated an advanced crystallization of a definite style, typically American. Also ap-parent is a trading-up program of better design, finish, detail, work-manship, full money's worth at all price levels. Two-Tone Borderless • Starting with the floor where good decoration begins, interesting comments were made upon style trend in American-loomed wool pile carpets and rugs. Texture continues as leading style theme. Out of the popularity of two floor covering types — texture patterns and plain carpeting—comes a type expected to play an increas-ingly important role: carpets and borderless rugs to fit rooms, in which two-tone effects and design types just off the plain, give new interest to floor style. Color Clicks • Since definite de-sign is played down in these new carpet and rug types, color becomes an even more important factor. BROADLOOM CARPET SHOP f o r DECEMBER, 1937 Manufacturers expect to introduce interesting versions of color fam-ilies, including both the very subtle light shades and rich dark tones. Texture Tells • Borderless rugs and correct floor-size rugs continue im-portant. Texture designs dominate, will continue to supplant Modern designs, are a softer, more subdued, small scale design, more restrained in coloring. Reproductions of Orien-tal patterns are expected to con-tinue to decline. Early American designs follow the trend toward smaller, all-over design, with vari-colored effects, in which no single color predominates. Furniture Facts • Turning to fur-niture, a classification setting the key for decorating styles, three ma-jor design types predominate: 18th Century, Modern and Early Ameri-can. Both in upper and medium-priced brackets, 18th Century de-signs continue their popularity. A persistent note is the freshening of traditional types, the simpler, light-er- scaled, classic types, such as Re-gency, Sheraton and Hepplewhite, which fit into backgrounds where Modern color schemes, fabrics and floor coverings are used. French 18th Century styles arc creeping into prominence, both court and provincial types, the Winner in bed-room and upholstered li\ing room pieces. Simple versions of Queen Anne and other earlier English styles are becoming more evident. Medium Modern • With the intro-duction of the so-called "Swedish Modern" influence, a new opportun-ity is .-ecu lor Modern furniture to break into the medium price ranges, instead of remaining almost entirely at the extreme top or bottom levels, as it has in the last lew season*. At top of opposite page is cut-out superimposed on 9 x 12 broadloom rug. used in display window-demonstrating the use of correct sized rugs; new Cav-el (Collins & Aik-man) fabric, presenting Adam design in cut and uncut wire loom jac-quard frise velvet. New broadloom rug shop. Sterns, New York, (bot-tom of opposite page); utilizing space between banks of windows, dram-atizing broadloom at Abraham & S t r a u s , Brooklyn, with life-sized photograph of room set-ting (top right; Ludwig Bauman's, New York em-ploy cut-outs as active selling tools, (right); hu-morous skit demonstrat-ing to customers the art of remaking a living room, staged at Wana-maker's, New York. This new type of Modern is less blunt, lighter-scaled, acknowledges some indebtedness to tradition, em-ploys curves and more refinement of contour, comes up "off the floor." l'",arl_\- American furniture, too, seeks a tendency for less hackneyed types. Wood Notes • Woods and finishes show emphasis upon greater refine-ment, better color. On traditional pieces, especially in mahogany, a dark, rich traditional finish vies with lighter shades. Exaggerated blond finishes seem to be passing; in their place come semi-blond, nat-ural and "wheat" tones. Walnut captures the patina of old pieces. Fruit wood tones are f o u n d in French pieces. •TK^:v.-.;;r5yL&* 24 FINE FURNITURE the man on the cover WITH a father, three brothers and a daughter in the furni-ture business, it is difficult for Ed. H. Mersman, president and general manager of the company bearing his name, to even ponder upon the possibilities of having thrown his energies into any other industry. In fact "Ed H." admits being prac-tically born in it. "Who's Who in Commerce and Industry" divulges the following data on the career of Ed Mersman: "Served as manager of his father's sawmill, planing mill and furniture manufacturing business, 1890-1900. Organizer and partner, Lennartz & Mersman Bros. Co., 1903-06. Or-ganized Mersman Bros. Brandts Co., 1906; changed to Mersman Bros. Corp., 1927, of which he was elected president, director and gen-eral manager." Supplementing these activities are directorships in the Citizen's Na-tional Banking Co., Celino, Ohio, National Furniture Manufacturers Ass'n and member of the Board of Governors of the American Furni-ture Mart. Beginning his furniture experi-ence in the manufacturing of cheap beds and reclining chairs, Mersman climbed steadily in the furniture in-dustry. Supported by a philosophy of giving the best one has and reap-ing accordingly, he soon attained an enviable position as a leader in his chosen field. Mersman's profes-sional ambition to make quality merchandise that would sell at pop-ular prices brought him early rec-ognition, business volume, and es-tablished the huge plant in Celina, Ohio, as a practical model of mod-ern production methods. ED. A. MERSMAN . . . his hobby, making tables. Relentless in the pursuit of new ideas, the development of methods for merchandising his product, Mersman. in 1932 introduced a high priced article, and this at a time when his competitors were frantically engaged in the ignoble business of producing merchandise at unheard-of low prices. Says Mersman: "One d e a l e r whom I particularly wanted to sell, and make my first contact, accused me of having unlimited nerve in approaching him with such an ar-ticle during times of stress. He said that he could not possibly be inter-ested." Mersman laughs, because, as he relates, he not only sold this customer, but every one contacted on the trip, proving conclusively basic business principles — knowing your product, being equipped to present it intelligently, and, being sold on it yourself. Surprisingly, enterprising Ed con-fesses to no hobby other than that of making tables, quite naturally designates Henry Ford and "Gen-eral Motors" Kettering as his fav-orite public personages, which ac-counts for his choice of reading be-ing "engineering books of any kind"; admitting, however, enjoy-ment in reading Shakespeare and the lives of Lincoln and Theodore Roosevelt. Going suddently senti-mental on the subject of pets, he lists his wife, daughter and grand-daughter. In characteristic Mersmanian spirit he voices the desire never to retire, but to continue active in the business for the remainder of his days, doing nothing but making more and better tables. Accomplished Adaptations . . . (See opposite page) 1. Versatility is exemplified in the groupings (1 and 8) by the Mersman Bros. Corp. The smart living room at the top, keynoted by the simplicity of the modern stream-lined tables, is typically contempor-ary. Included in the modern line in addition to those illustrated, are coffee, lamp, oval, occasional tables, with tops veneered in butt and burl walnut. 2 and 3. Long recognized as a top flight creator and merchandiser of living room tables, desks, etc., Imperial Furniture Co. shows these typical current interpretations of 18th Century adaptations. 4. The Louis XVI chair covered in blue brocatelle, smartly tailored upon a mahogany frame, is shown in the Ketcham & Rothschild space in the Merchandise Mart. 5. Dignified by distinctive design-ing is this Robert W. Irwin mahog-any ensemble, consisting of 36-inch long server and 34 x 28-inch hang-ing bookshelf. Displayed in the fac-tory showroom at Grand Rapids. 6. Period furniture reflecting the influence of modified modern ap-pears in the illustration of the Landstrom Furniture Corp. group. The "tea table" in mahogany, 23 inches high, is a newcomer in the novelty field. Relying upon the beauty of its rich upholstery which combines plain and crewel (see page 31 for definition) embroidered royal blue hammered satin, is the love seat's claim to distinction. 7. Combining beauty and com-fort is this wing chair manufactured by the Fine Arts Furniture Co., dis-played in the Waters-Klingman Building, Grand Rapids. 8. Early American in feeling is this Mersman tier top table, of solid mahogany. The charming hanging bookrack draws upon Chippendale for inspiration, while Hepplewhite's influence is felt in the cabinet veneered in swirl, crotch and stripe mahogany. Displayed in the Ameri-can Furniture Mart. 9. Personifying the ultra in ad-herence to honest craftsmanship, design and quality is this chiffonier-desk by John Widdicomb Co., shown in the factory showroom, Grand Rapids. 1 St. m S2J b&guwr h A *gF"***^, i - ••*'. " * • , " * ! . • / . • # : , • ' • " * . : • ' ^ ^ 26 FINE FURNITURE THE CUSTOMER'S VIEWPOINT by RUTH McINEBNEY Electrically-heated blanket controlled by the little cabinet on the nightstand, obvi-ating frequent opening and shutting windows, adding or throwing oil extra covering. REST ASSURED —OR IS IT? NO NEED, really, to leave the sweet dream business all to the palmists and crystal gazers. Any furn-iture store that sells mattresses and springs may also sell sleep. And the funny thing is that as soon as you begin to sell us sleep instead of bedding, your profits go up. You can bed on that right now. That's because the arguments for getting a good night's rest, favor the sale of the better equipment. The cheaper the outfit, the lower the rest rating, and the less your profits. All Take—No Give • Once there was a dealer who took seriously and literally the argument of the cus-tomer, "I can't afford to spend $20 more for a better spring and mattress." The dealer forgot that $20 over a ten-month extended payment period is $2 a month. Poor bedding under the unhappy customer for the same period of time costs much more than that. Fig-ures do not fib after an eight-hour argument with a mattress that is all take and no give. So, the customer bought the inferior inner-spring mattress with the fewer coils inadequately covered. To make matters worse, she also signed up for the flat spring that is bound to sag, sure as rain in October. Now the customer restlessly counts sheep all night, and the dealer is busy counting wolves at the door. We're interested in construction details insofar as they lead directly to our comfort and convenience. Conforming to Curves • "This inner-spring mattress has 837 coils," quoth a salesman, recently. This im-pressive detail would have gone offside as far as we were concerned. However, the salesman had a sure-footed running mate of an argument. "The 837 coils of tempered steel wire provide greater conformity to the curves of the body. Every square inch of the mat-tress is literally a molded support. Each coil is sewed in a muslin pocket, and the whole unit is in a muslin case. That prevents noise. These coils aren't wired for sound. Get it?" We did. Anyway the getting was easy because the salesman talked with the help of a cross section of the , mattress in his hand. The Weigh of Looking • "This padding placed on top of the muslin case is taped through and caught with buttons on each side. Therefore, the mattress holds its shape better and discourages lump formation. The ticking weighs 9 ounces to the square yard —" "What's the weight got to do with underwriting con-tented customers?" "The weight is according to government specifica-tions. Uncle Sam is a fussy shopper. This material outlasts many damask fabrics." "That's another weigh of looking at it. And I sup-pose, if the ticking is good, better springs are not far behind. But why are the sides and ends bound and sewed so thoroughly?" The salesman had a Minnesota shift ready for this one. New and Healthy • "To prevent sagging and bulging. And the edges check dust gathering. Besides, all new materials have been used throughout. New and healthy. The handles —" "For easy turning. But a turntable would be much better. Or perhaps a Bel Geddes might design a feather-weight mattress with heavy duty qualities and an iron-clad guarantee of quality. Then again —" The salesman, seeing he had an "inattentive cus-tomer" on his hands, quickly applied the formula to be used on this kind of problem purchaser. Again — Romance • He turns on a musical instru-ment that plays lullabies and soft, drowsy, tropical night tunes. Songs heard on a moonlight cruise to nowhere and return — if you want to. The stage has already been set. Cove lighting casts clear, glareless illumination on white ceiling, ciel blue walls. The floor is heavily carpeted, and the department is walled off from store and street noises. Suddenly, we are aware that again, glamour is ganging up on us. The salesman says: "To match the mattress, buy this box spring. We call them the Star-dust Twins. And how soon would you like this good night's rest delivered?" The rest is history. f o r D E C E M B E R , 1937 27 MAHOGANY'S PAUL BUNYAN 7\ READER recently wrote us XA. that he possessed a ma-hogany table top made in one solid piece, measuring 48 inches wide, 58 inches long and V/i inches thick. "This piece is be-lieved one of the largest and pos-sibly the largest single piece in America," he wrote. For veri-fication we hastened to the source of authentic mahogany informa-tion in the United States, George N. Lamb, secretary-manager of the Mahogany Association, Inc. Well aware that George Lamb had inherited some of the char-acteristics of the fabulous Paul Bunyan of the White Pine and Big Onion camp legend, we were nevertheless astounded upon en-countering them in the natural. With nice condescension, George averred that while the table men-tioned was doubtless one of the larger mahogany table tops in the country, it certainly was not the largest. Disdaining to even discuss the matter in inches, with Bunyanistic gusto George told of a single piece of mahogany meas-uring 35 feet long, 5 feet wide, a third of a foot thick, without a blemish. Indeed, a neatly turned tale, for which we humbly crowned Mr. Lamb, the Magnil-oquent Master of Mahogany Pro-motion. Keen of wit, fortified with a practical and technical back-ground, a robust physique and engaging personality, George Lamb has all the attributes re-quired of an industrial ambassa-dor. Graduating from the Uni-versity of Nebraska with a de-gree of Bachelor of Science in Forestry, a Master's degree in Botany, a reputation as a good baseball player, a not so good footballer, and a fair boxer, George landed in the United States Forestry Service, from which he whittled enough knowl-edge of woods to make him an internationally recognized au-thority. As secretary of the American WTalnut Manufacturers Association, he had much to do with the promotion of this wood for commercial purposes, at the same time directing sales of the Walnut Export Sales Co. From this he took a fling at promoting Flexwood, which job lasted only long enough for him to see the possibilities in the return of ma-hogany as a popular wood. W'hile traveling under the aus-pices of "Wood Utilization" projects, George was afforded an opportunity for studying furni-ture production, gathered knowl-edge', invaluable to him in his wood association work. Little did he think his future would be so closely allied to that of furniture manufacturing when he accident-ally dropped into Grand Rapids one midsummer day in 1910, GEORGE N. LAMB . . . Magniloquent Master expressed surprise that "Grand Rapids" was actually a city and for the first time visited plants that were making the community internationally famous. The declaration of war in 1917, found Lumberman Lamb's ex-pert knowledge of woods neces-sary in the preparation of gun-stocks and airplane lumber. In preference to riding a desk with spurs, George served his country as a civilian. Contacts are the filling in an association secretary's pie. George Lamb's is overflowing. Past president of the Trade Asso-ciation Forum, he also lists among his membership cards, American Trade Association Executives; Merchants & Manufacturers Club, Chicago; Senior Member, Society of American Foresters. by rod t/>e red Twice a year he participates in the semi-annual brawl game be-tween the Grand Rapids Design-ers' Association and the Peddlers. Being a star of the first magni-tude and eligible to play on either team, proselyting for the services of the husky Nebraskan involves voluminous, often odi-ous correspondence between rival managers. And speaking of team play, the following from his own pen is typically Lambian: "The season of the year sug-gests football, and in that par-lance I have been privileged, for 25 years, to follow the play of the furniture game, from the sidelines rather than from the stands. I have followed the play from both sides of the field. I have known intimately the play-ers, coaches and the officials. I have seen line smashes, forward passes, field goals and touch-downs. I have also seen fum-bles, penalties, blocked kicks, ball carriers thrown for losses. "The opportunity has been mine to recognize the many dif-ficult problems of the industry and to rejoice in its progress. It has been a pleasure to witness the moulding of a mob of rookies into a well-coordinated team, that today is rendering a real and lasting service to the homes of our country." Apparently George's life is mo-tivated by the teamwork theory, as he admits having had a part-ner for 20 years, whom he met at a village dance below the falls of the Potomac. The partnership now boasts three young Lambs. Quite naturally, his avocation is akin to his vocation, for the col-lecting of woods and wood carv-ings is his hobby. Sportifiy-speak-ing, George thrills to the sound of swishing flyrods and golf clubs, selects two distantly re-lated favorite dishes, a royal flush and baked corned beef hash, decorated with a poached egg. A traveler with approxi-mately 500,000 miles throughout the U. S., Canada and Northern Europe, tales by Stewart Ed-ward White, with music by Grieg, intrigue him. Only sheer sacri-lege could prevent our hero from naming Paul Bunyan as his favorite historical character. 28 FINE FURNITURE RETAILING TIPS and FEATURES Delinquents' Return Envelopes . . . High Table Display . . . Studio Groupings Augment Displays . . . Introduction Card Credit Collection Reduced USE of form return envelopes has effected consid-erable savings in time and costs in handling credit accounts for the Fred Davis Furniture Co., Denver, Colorado. Two separate form envelopes are used. The first of these, which is white, is employed when the account becomes delinquent. On the front of the return envelope is printed the name and address of the furn-iture company with lines provided in the upper left-hand corner for the customer to write his name. Mailing Form • In sending out the return envelopes, which are enclosed in the regular envelopes employed by the firm, the flap of the return envelope is folded back so that it covers the front of the envelope. Folded in this manner, the envelope is placed in a typewriter and the name and address of the delinquent customer is placed on the flap. A small black dot on the outside of the flap guides the typist in this, so that the name and address of the customer correspond with the address slot when the return envelope is inserted in the envelope in which it is to be mailed. On the back of the return envelope, which ordinarily would be covered by the flap, the name, address and telephone number of the firm appears. (See cut.) Delinquency Concealed • Since the flap of the return envelope is sufficiently large so that it covers the printed matter on the back of the envelope, the customer need have no concern about her delinquency being dis-covered by outsiders, if she decides to use the envelope to make her remittance. On the other hand, if she does use it, the printed name and address of the customer on the flap and the amount due on the back of the envelope advise whoever handles the reply of the account without the necessity of referring to the depart-ment's files. Second Call • The second form return envelope is yellow and is sent out five days after the first, if no reply has been received. Similar to the first, it is mailed in the same manner. The message on the back of the envelope varies from the first, however. (See cut.) If no reply is received from this message, the matter is taken up by letter after five days and, if this fails of results, the account is shortly afterwards turned over to a finance company for collection. Xo stamps are placed on the return envelopes. Studio Sales Room T TXIQUE in appearance, highly beneficial in sales W value, is the arrangement of the sales room for new furniture in the Studio Furniture Co., Dallas, Tex. Entering the new furniture field slightly more than a year ago, after years of business as an upholsterer, T. L. Morehead, owner and operator, found a rapid build-up not only in sales through outside contacts, but on the floor. Adding Space • A series of walls, crossing one another to form corners and room sections, each papered with an individual suggestion for wall decoration, marks the arrangement of the sales room. Result has been to give the store, which is not a large one where sales room space is concerned, con-siderably more wall space for proper exhibition pur-poses. Large windows across the front of the store, divided by an entrance, reveal in one case, two small studios for the exhibition of lighter furnishings. Papers Vary * The three walls to each unit of the two-unit window are given individual papers, single ceiling - - J s a p — - ^ Delinquents' return envelopes. Display studio rooms enlarge exhibition facilities. ior DECEMBER, 1937 29 Unusual height of table display invites inspection, location assures traffic vol-paper is used. These papers are changed frequently, providing additional interest. Likewise, studio units in the store are given different paper motifs per "corner," or section. Corners formed by intersecting walls allow for groupings of furniture to form small ensembles where the customer can observe ensemble effects without distraction from other merchandise. Picture Sales Jumped • A feature of no small import-ance, made possible by the small studio groups, is the display of pictures on the walls. Picture sales have increased remarkably well from such an arrangement. Pictures are more important to the furniture dealer now, since they add color to plainer walls. When homes were using heavier figured papers, pictures were not so necessary. Frequent Changes • The studio type windows have proved of high value in drawing attention of customers. People watch the windows constantly, changes are made frequently. Complete changes are made as often as once a week, minor changes, such as a new picture, or a chair replaced as merchandise is sold out of the window, are made all the time. Boost Bridal Business LOCATED just inside the store, a novel four-foot i high table displayed a variety of complete table settings, produced a large volume of extra bridal busi-ness, for the Jackson Furniture Co., Oakland, Calif. Height of the unusual display invited close-up inspection of the individual table settings. Location by the main entrance assured traffic volume. Matched Groups * In the center of the seven-foot diameter table was a unique floral centerpiece consist-ing of a plate for the base, a large bowl for the body, a small bowl inside of that and then a vase for the flowers. One of the finest cloths carried was used for the table cover. Around the edge of the table were 10 complete settings, each in a different pattern of china, glassware and silver. On each dinner plate was a card giving information on the pattern and the price. Merchandise grouped together was carefully matched as to price ranges. Most expensive glass and silver patterns were shown with the most expensive china, inexpensive china with inexpensive glassware and silver. Boosting Brides • This year, the special entrance table display was used as an introductory showing leading to a variety of bridal offerings throughout the store. A bell-shaped sign hung over the display proclaimed, "Bridal Suggestions." Duplicates of this sign were used in each department where bridal merchandise was featured. A display of this type is used twice a year, first at the opening of the summer bridal season, again before the Christmas holidays. On several occasions, the interior display has been supplemented with a window containing a duplicate set-up on a low revolving table. Meet the "Guest" Card AN introduction card stimulates inter-department . selling, the tonic food for any departmentized business. In lieu of the loose, much-too-casual contact— "We have that in department B, third floor" — the introduction card gives a firm, sure contact, keeps business at home, impresses customers with the store's service, builds up reciprocity among salespeople. Here is a form used by The Bon Marche, west coast store, during one of its heavy drive months. The cus-tomer is treated as a "guest" who is to be accorded special attention. This type of card of introduction works more effectively than just a verbal contact, whether the wish to look at merchandise in another section originates from the customer or is suggestively created by the sales employe. It is also important in that it permits a written record of departmental turnovers, reveals the identities of those most deft in keeping more business at home, enables a management to reward valuable store con-sciousness wherever it exists. THE BON MARCHE OCTOBER TRADE SALES Introducing as my guest M Sent Salesperson Department Your Special Attention Will Be Appreciated 30 FINE FURNITURE FABRIC FACTS Facilitate Furniture Sales PART II by PHYLLIS HELD COOPER (The first part of this article ap-peared in the September issue.) embroidery (crewel — an old word for wool or worsted yarns) is an English craft and though crewel embroideries, done in chain stitch and colorful yarns are associated with only the Jacobean period (1603 to 1688), they were executed long before that period and long after, too, by skilled embroiderers. Trade at that time between the Orient and Great Brit-ain brought about the use of Orien-tal motifs in crewel work, the most popular and representative being the "Tree of Life" design. Modern reproductions of crewel work are most appropriate for English up-holstered furniture of many periods as well as draperies, portieres, cush-ions, bedspreads, etc. Damask • (pr. dam-ask, slight ac-cent on first syllable) — one of the oldest of known fabrics and still a very popular one for upholstering and draping purposes, derives its name from the most ancient of cities —• Damascus in Syria. It was for centuries an important center in textile weaving and trad-ing, and was renowned for its ex-quisitely designed fabrics of luxuri-ant quality. As early as 200 A.D. the first complicated mechanical weaving was attributed to Syrian weavers. The ancient draw-loom, a product of the Chinese, was highly devel-oped by the Damascenes who reached their zenith as manufac-turers of luxuriant silks during the 12th and 13th centuries. Damask Lore • The background of modern damask is in a satin weave with the design appearing in either a plain, or twilled effect achieved by the modern Jacquard power-loom. The fabric may be of all-silk, silk and cotton, rayon and cotton, mercerized cotton and sometimes wool, and in plain colors, two-colors and often three (sometimes more). Jacquard Principles • M. Josephe Marie Jacquard, a Frenchman born at Lyons, France, in 1752 (died 1834), was responsible for the first great improvement (1801) in me-chanical weaving which revolution-ized the industry. Through the fa-cilities of his inventive genius, it is now possible to weave on power-looms of the Jacquard principle, the most intricate and elaborate designs that prior to the 19th century could only be done on hand-looms. The term "Jacquard" is often applied to damasks, velvets, friezes (frise), et cetera, that have been woven on a Jacquard loom. A Fortuny Print • is a 20th cen-tury development in hand-blocked cotton, suggesting in appearance the lovely designs and colorings of the rich, heavy damasks, cut vel-vets and brocatelles of the Italian Renaissance period (1400-1643 A.D.). Mariano Fortuny Y de Madrazo, born at Granada, Spam, in 1871, was the originator of the "Fortuny print." His father, Mariano For-tuny, was one of the outstanding painters of the 19th century, and while studying in Spain at the School of Fine Arts in Barcelona, won the Prix de Rome. The son received his education in Paris, France, and studied art with Benjamin Constant and with an uncle, Raymondo de Madrazo. Be-ginning the 20th century, young Fortuny gave most of his time to the theatre and decoration, and it was he who was responsible for a new type of decorative back-drop used for the opera "Tristan and Isolde," held at the Scala Opera House at Milan, Italy, in 1900. Then, about 1907, he and his wife became interested in a new process of printing that suggested the beau-tiful woven textiles of the past, and today "Fortuny prints" are prized fabrics created in Venice and only obtainable through an importer. They may be used for draping, up-holstering and wall-hanging pur-poses. Frieze • is the spelling given to a word that refers to a much used upholstering fabric. When the word is thus spelled it should be pro-nounced (freeze) and not (free-say). Only when spelled "frise" (word taken from the French verb "friser" meaning "to curl," "to frizz" (hair), "to crisp," should it be pronounced (free-say). Originally, frieze (pr. freeze) was a cloth having a shaggy nap similar to chinchilla cloth and The history of textiles is a fascinating study in which profit, both monetary and personal, awaits every houseiurnishing salesman who becomes interested in it. far nitum,frolics BABNES; f/ OF 9o"\-LoF ;. COMPETITION >&THY OUT, % ,// K ¥^//<\ 5ME COVERS A LOT ^^m<' of TeRRlTO«V'«W •til. HATTOH* st^y'/// 11 "•<yj#&- FOOT E^ • <§. COACH or OM THOMAS' * ^ U^v'" s . ^ V ^ K^ RA.TE HJM THE' « WR , QIMCW -HIS STOLIDITV I^SOVPOR'Y'J 91GHT GOARO AGA1HST v^ DPTIMISM J ^ ^ ^ . icUVTMAWK1 V^^s^. ^ /'AT PULL IMG OOT Of A MC LI Me ^ '«^ CHOSEN R)K. ^ 7 ^tCAt)5E OF LEADER THE SMOOT-H FRED RIGHT POST, 15 ^ ' ANDAGCD 32 FINE FURNITURE produced in Ireland. Today, "frieze'" or more correctly "frise" is a heavy. durable upholstering material, usu-ally of Angora goat's hair (mohair), but also may be of silk or linen, having a combination of "cut" and "uncut" or "looped" pile in con-temporary novelty patterns as well as in designs suggesting the Genoese velvets of the Italian Renaissance period. Iccspe • (pr. zhahs-pay) with ac-cent on last syllable, is the French word for "jasper," which means jas-perated, marbled or veined. The term is applied to upholstering fab-rics, linoleum and carpeting having a streaked effect in contrasting col-ors tending to blend into one single color-tone. Kapok • (pr. kah-pok, accent on first syllable) is from the Japanese. The name refers to the silky fibres that surround the seeds in the seed pods of the "silk-cotton" tree found in the East and West Indies. There are various grades and it is used as a less expensive substitute for down and feathers in stuffing pillows, mat-tresses, chair cushions, etc. Ramie • (pr. ram-meh, accent on first syllable) is grown chiefly in China and is a strong, fine fibre similar to flax from a plant of the nettle family. When woven into a sheer fabric resembling handker-chief linen (though stifler in tex-ture) it is called "grass cloth." When woven into a sturdy velvet-like fabric and used for upholster-ing purposes it is referred to as "ramie cloth" — sometimes as "ramie velour." Origination of Velvet • China re-ceives the credit for having origi-nated the art of velvet weaving many centuries ago, though it is probable that Persia and India pro-duced it at the same time. It was during the 14th and 15th centuries that great quantities of rich, bro-caded velvets were produced, espe-cially in Italy. Originally, the words "velours" and "velvet" referred to the same fabric (the former is French for the latter which is the Anglicized word). Today, these names are associated with two dis-tinctly different types of pile fab-rics. "Velours" is applied to an open surfaced piled weave in all cotton while "velvet" refers to a close weave with a short and very compact piled surface suggestive of suede in appearance, and usually of pure silk fibres with a linen or cot-ton back for reinforcement. Ray of Light • The French word "rayon" means a "ray of light" and was the name officially adopted in 1924 for artificial silk — a textile fibre made by converting cellulose (wood pulp and cotton linters) into a filament by means of chemical and mechanical processes (viscose, nitro-cellulose, cupra-ammoniumn and acetate). List of Books on Decorative Textiles of Interest to Housefurnishing Salesmen 1. "THE CHINTZ BOOK," by Maclver Percival, publ. by Wil-liam Heineman, Ltd., LONDON. 2. "PAINTED AND PRINTED FABRICS" by Clouzot & Mor-ris, publ. by Yale University Press for the Metropolitan Mu-seum of Art, NEW YORK, 1927. 3. "HISTORIC TEXTILE FAB-RICS" by Richard Glazier, publ. by Charles Scribner's Sons, NEW YORK, and B. T. Bats-ford, Ltd., LONDON. A short history of the tradi-tion and development of pattern in woven and printed stuffs. Il-lustrated by 83 photographs and over 120 drawings chiefly by the author together with 4 plates in color. This is an especially interest-ing as well as instructive book on the subject. 4. "HOUSEHOLD TEXTILES" by Charlotte M. Gibbs, A.M., publ. by M. Barrows & Co., BOSTON. 5. "TEXTILE FABRICS" by Elizabeth Dyer, formerly super-visor, research department for retail training, Carnegie Insti-tute of Technology — now co-ordinator, School of Retailing, New York University, publ. by Houghton Mifflin Company, NEW YORK. 6. "DRAPERIES" — Merchandis-ing Manuals for Retail Sales-people — by Fredonia J. Ringo, Research Bureau for Retail Training. University of Pitts-burgh, publ. by A. W. Shaw Company, CHICAGO and NEW YORK. Pleasant Peasant — Modish Modern (See opposite page) Contrasting contemporary inter-pretations are the numerous pro-vincial adaptations making their appearance at the various markets throughout the country. Pictured on the opposite page are some of the fresher ideas in these remotely related styles. 1. Manufactured by Wm. j . Jaeger Furniture Co., Los Angeles, is the roughhewn, rawhide-wrapped coffee table, complimented by color-ful, rough textured upholstery. Dis-played in Los Angeles Furniture Mart. 2. Utilizing chrome steel, contem-porary fabrics, glass and bakelite, this Howell Co. display in the American Furniture Mart is def-nitely tuned to the modern tempo. 3. Obviously avoiding the angu-larity of erstwhile modern is this distinctive crotch walnut vanity by Joerns Bros. Furniture Co., shown in the American Furniture Mart. The chest is equipped with ward-robe compartment in addition to having six drawers. 4. "Franciscan" is the name ap-plied to this Fashion Flow Corp. merchandise, combining in influence Colonialism, Spanish, in the hand-painted motifs, Indian, in the thong tying. Maple is the wood employed, finished in a brushed yucca. Shown in the Merchandise Mart. 5. From Sweden once more comes the inspiration for modern. This time in the form of interpretations rather than imitations, adapted to conform with American living. Light woods, rough fabrics, delicate in feeling, yet of substantial character. Made by Michigan Seating Co., shown in the Fine Arts Building, Grand Rapids. 6. This Romweber Industries group shown in the Merchandise Mart, motivated by peasant inspira-tion, is done in Swedish oak. The combination cabinet and table is de-signed for the home of small space. Dropping the leaves of the table permits the cabinet to be moved to the side of a divan. The drawers are ample enough to hold a good supply of linen. 7. More familiar is this Kroehler Mfg. Co. modern, with its contem-porary- type cabinet tables and Lawson-type love seat, covered with light beige, leaf-patterned tapestry. Displayed in the Los Angeles Fur-niture Mart. Si*?; t-S '"•-. " * 34 FINE FURNITURE THE SKETCH Beer... MOTIFS ONCE EMPLOYED IN EXPRESSION OF THOUGHT NOW BECOME MEDIUM FOR INTERPRETATION OF BEAUTY •"PHE origin of many of the designs used in orna- 1 mental mouldings applied to furniture of the class-ical periods, have a symbolic meaning, or are variations of symbolic designs. These symbols were the picture writing of the earliest man, followed by sign writing of the Chinese, later by the cuneiform system. From these we have the symbolic and mnemonic groups of ornamental design. As civilization and art advanced the aesthetic type of design developed. Originally, what we term ornament, was an expression of a thought or an idea, later became purely an attempt to add beauty. Symbolism • The symbolic designs often originated from plant and animal life depicted crudely — the mnemonic styles from geometrical patterns. The laurel wreath crowned the heads of conquering heroes and was a symbol of glory. Variation of the circle gives us the Guilloche and similar interlacing bands. The Greek Keys, the Astragal Beads, etc., are the develop-ment of the geometrical motifs. In the aesthetic group, the Acanthus Leaf offers a good example of a design, with no symbolical significance and apparently adopted because of its ornamental value. The execution of some of these designs in wood for application to present day furniture necessitates liber-ties in interpretation, while others, better adapted to machine limitations, are produced with a surprising degree of fidelity. Matchman . . . WHY George P. Eddy, sales and advertising manager of the Klise Mfg. Co., Grand Rap-ids, should bust into such a select spot as "The Sketch Book" is undoubtedly beyond the ken of many. To us, it's a natural. George, albeit he never collect-ed any medals as an exponent of the arts, is more than a stepbrother to the furniture designer. He's a stepfather. He can call more of them by their first — and in numerous cases, unpublishable — names, than any man in the industry. He also knows furniture. He understands production methods and costs. He sells carved orna-mentation. If those are not enough reasons, we might add that George "Matchman" Eddy has a promotional mind, wherein he differs from the majority of furniture designers. However, this is a factor worth bucks in any industry. Even furniture. By the way, have you received your "autographed" matches this month? (adv.) Back in 1912 a raven-haired youth, with more words than wisdom, an insatiable curiosity to see what made things click, was bending his ambitious efforts toward the promotion and sales of lumber-drying and -handling equipment. He was contacting the primary and secondary wood manufacturing industries, and being a personable individual, GEORGE P. EDDY . . . his pranks. Rabelaisian. built himself a popularity that became an asset 13 years later when he opportunely stepped into the carved ornamental field. As promotional director of the numerous Klise lines, George boasts the unique distinction of being able to supply ornamenta-tion from the cradle to the cas-ket, at the present time furnish-ing moulding for baby carriages, carved ornament for hearses. It is difficult to ascertain when George Eddy is working, when he is playing. This doubtful tribute is due to the fact that he has built his career upon the philosophy of "working hard, but at the same time getting some fun out of it." Born a jester, his pranks often take on a Rabelaisian hue, while his serio-comic mein continually confuses the uninitiated. With a superior sense of organization the idiom "Let George do it" becomes more than a colloquialism. It becomes a habit, with George Eddy's fine Holland handwriting ever discernible, from the neigh-borhood picnic to a Rotary program. Questioned regarding his plans for retirement, George expressed surprise, laughed raucously, ad-mitted that gardening and read-ing afforded some relaxation, especially when the story was by Author Sax Rohmer. Eddy is a masterful raconteur himself. Despite the fact that he enjoys hunting and fishing, his hobby strangely is — "puttering around the house." Prankster Eddy's spirit of conviviality prohibits the selection of any favorite song other than the lusty "Hail, Hail, the Gang's All Here." His membership in Rotary, the Ma-sons, Grand Rapids Industrial Executives' Club, National Safety Council, Grand Rapids Designers' Ass'n, is further evi-dence of his gregarious nature. for DECEMBER, 1937 35 Illustrated on this page are commercial examples of carved mouldings, interpretations of classic symbolism. Of necessity, certain liberties must be taken in the execution of these designs, others are produced with amazing fidelity. In authenticating the origin of these motifs, the following sources were relied upon: "The Principles of Design," by G. Woollescroft Rhead; "Handbook of Ornament," by Franz Sales Meyer; "Styles of Ornament," by Alexan-der Speltz; "Period Finishing," by C. R. Clifford; and "Dictionary of English Furniture," by Percy MacQuoid & Ralph Edwards. — Editor. ACANTHUS LEAF • Varying from the pointed leaf edges used by the Greeks, the rounder and broader leaves of the Romans, the stiffen less delicate style of the Byzantine period, the round bulbous form of the Gothic. First used on English furniture in 1660 — a motif found in Elizabethan, Jacobean and Chippendale. LAUREL • Sacred to Apollo, symbolical of glory — the con-quering heroes crowned with the laurel wreath. Used by the Greeks and Romans in architecture, pottery, etc. _ f DENTIL • As the name indicates, representing the teeth. 1 AhAt A u v ,• *ft •%-• ASTRAGAL • Bead moulding of geometrical origin. EGG AND TONGUE • Better known as the Egg and Dart. A design of symbolic significance, according to some authori-ties depicting the helmet and spear of the Roman soldier as seen over the embattlements, or designating the fight and the feast. I SWASTIKA • A cuneiform design dating to prehistoric Amer-ica and found in almost every part of Europe. The symbolic meaning of this design is difficult to trace, because oi its widespread usage among so many peoples. It is thought to mean progress, as, enclosed in a circle, it gives the sug-gestion of flight. r GUILLOCHE • A design of geometrical origin, said to have been derived from the classical arch. Authorities place this design in the middle of the 16th Century. I I I I »• GREEK KEY • Forerunners of this type of motif are found in earlier Assyrian and Egyptian styles. Greek architecture gave rise to many variations. This detail is also termed a Meander border, often referred to as the Wall of Troy design. I WAVE • In symbolic studies. The wave of the sea has been suggested as the motif, but the design is purely geometri-cal. A common term applied to the detail is Evolute Spiral. WAVE DESIGN • Shown in pictorial inscription as repre-senting travel by water, possibly a variation of the Meander border, said to be derived from a river in Asia Minor, the Meandros, now the Manderas, which flows in sinuous curves. 36 FINE FURNITURE F. H. MUELLER . . . G. R. Guild president, enthuses over national consumer ad pro-gram ior 1938. National Ads for Guild PARALLELING the unprece-dented development of the Grand Rapids Furniture Makers Guild is a national advertising and merchan-dising program which will be an-nounced at the January market. Stressing the inherently fine in the manufacture of commercial furni-ture, this new factor augments an already impressive list of services enjoyed by dealer-members of this non-profit sharing organization. In addition it will aid other merchants not featuring Guild merchandise to capitalize on their relationship with individual manufacturer-members of the Guild. Full Year Campaign • Occupying dominant space in two top-flight, authoritative homefurnishing con-sumer magazines — House Beauti-ful and House \3 Garden — a con-sistent year-'round campaign has been planned. Combined with dra-matic editorial cooperation, the Guild program is assured of a dis-tinctive, well-timed merchandising effort to render the homemaker not only "good furniture conscious," but eager to possess "pedigreed" mer-chandise, the latter term being con-firmed by the nationally-known reg-istered Guild trade-mark. Appealing to a definite consumer acceptance for quality furniture will be the inclusion of the Guild adver-tisement in House Beautiful's "Buy-ing Guide for the Bride," House & Garden's "Bride's House" issue. Further stimulation will be af-forded through the media of direct mail, newspaper advertisements, prepared to tie-in the national pro-gram and localize the campaign for the benefit of the individual Guild merchant. Boston Museum of Fine Arts (See opposite page) FROM the Jaffrey House located in Portsmouth, N. H., comes this month's Boston Museum of Fine Arts room (No. 3). Of unusual interest is this American collection, circa 1740. 1. Delineating the varied life on the Boston Commons during the last half of the 18th Century, is this needlework picture, hanging above the mantel in the Jaffrey House. Anticipating the vogue for decora-tive maps, this embroidered panel and its coloring, show a diversifica-tion of influences, Chinese, Persian and French. 2. Beautiful Georgian mirror, American, about 1750. In keeping is the walnut Queen Anne wing chair, American, 1720-1730. 5. From the middle of the 18th Century came this bombe mahogany chest of drawers. 6. Because of its size, this painted pine cupboard is often called father of the American corner cupboard, circa 1730. 7. Chippendale in influence is this claw and ball, carved arm chair. Typically English 18th Century. Accolade for Paine's "Hutch" . . . IT'S beginning to look as though George H. Hutchinson has a steady job with the Paine Furni-ture Co. in Boston, Mass. At least that's the impression more than 500 members of the furni-ture industry received the eve-ning of December 9, when they attended a testimonial banquet given in his honor and in recog-nition of 50 years association with the Paine company. The story of "Hutch's" career with Paine's is based on the Al-geric principle of paying strict attention to one's job, working hard and ignoring the clock. Be-ginning as errand and elevator boy in 1887, George Hutchinson served successively as head clerk, bookkeeper, cashier, from where he jumped to "pony" salesman. At 28 he warranted the confi-dence of his employers sufficient-ly to take over the all-important function of price-marking, fol-lowing this within the year as buyer of small piece lots. Assum-ing with each additional year of service increasing purchasing re-sponsibilities, he soon became the store's carload merchandiser. The death of Shearer, Jr., in 1936 de-volved the entire responsibility of all furniture buying for the Paine store upon Hutchinson. Working in conjunction with W. L. Shearer, "Hutch," along with Ed McLaughlin of Abraham & Strauss, Clark Brockaway of Wanamaker's and George Pull-man of George C. Flint's, New York, became known as the "Big Four," had first call on leading furniture manufacturers' prod-ucts, Shearer often contracting for a factory's entire output. Never having been occupied in another business, Hutchinson hugs the memories of his good fortune in aligning himself with a concern boasting such an envi-able record down through a cen-tury of commercial operation. Following the banquet-enter-tainment program, which includ-ed speakers Dr. A. P. Haake, National Association of Furniture Manufacturers; Roscoe R. Rau, National Association of Furni-ture Retailers; "Bill" Cunning-ham, sports writer, Boston Post, William L. Shearer, Jr., president of the Paine Furniture Co., pre-sented the honored "Hutch" with a life-size painting of himself, ex-ecuted by John Hilliard, noted Boston artist. Headed by the honorable Gov-ernor Hurley, all branches of the furniture industry were repre-sented as the Copley-Plaza Hotel assumed the atmosphere of a na-tional furniture market. Spon-sored by salesmen's clubs, the various manufacturers' associa-tions, national furniture market associations and retail furniture dealer groups, members of the industry came from far parts of the country to pay homage to a man to whom Elbert Hubbard's phraseology fits: "I am Today what I am, because I was Yester-day what I was." {or DECEMBER, 1937 37 from the . . . MUSEUM of FINE ARTS, BOSTON 38 FINE FURNITURE WHAT DO YOU KNOW? and. . . are you sure? 1. If you know" your women in furniture you'll know which one of the following had much to do with influencing the beauty and variety of Louis XV styles: a—Mme.Du Barry b—Mine, de Pompadour c-—Marie Antoinette 2. And going still further female, check these two statements as being true or false: a—The highboy {jroin the French, haut — high, and bois — wood) made its first appearance during the reign of William and Mary, and had a square top. b—The highboys made during the time of Queen Anne are identified by either a broken pediment, a swan's neck, or a broken arch top. 3. That should stop you, but in case you still persist, to which of the following terms are we referring when we say, "A tapestry or fabric which has a de-sign consisting solely of foliage": a—Velour b—Velveteen c—Verdure d—Velvet 4. And getting into upholstery, where does Spanish Moss, stuffing used in place of curled hair, come from: a—A bush b—A water plant c—A tree 5. If a customer inquiring for maple fur-niture should ask specifically for mer-chandise from the Ipswich Group, which of the following lines would you show her: a—Conant Ball b—W. F. Whitney Co. c—Robert W. lrwin Co. d—Station Furniture Mfg. Co. e—H. T. Cushman Mfg. Co. 6. She might ask which type of finish brings out the color and permits the wood to show to its best advantage. You would tell her: a—Oil with wax b—Stain c—Stain and shellac with wax d—Varnish 7. Perhaps she is interested in adding a painted piece to liven the group, and asks you how many of the following countries supply decorative ideas for contemporary decoration, not only in furniture but in textiles, pottery and glassware: Spain, Mexico, Sweden, Italy and Russia 8. Are any of the following statements false: a—TheAmerican Eagle was introduced on ftirmtufe at the time of the inauguration of the first president. b—The eagle was chosen by Napo-leon as an Empire emblem sym-bolic of the state and used as a decorative motive. c—A carved eagle head was often found on the arms of the Queen Ann period. 9. Marshall Field & Co. recently featured, with window display and newspaper ad-vertising, a new Modern living room grouping, shown for the first time at the November market. If you made the market you should know wThich two concerns collaborated in developing this new Modern note. Give yourself an extra five if you name both firms: a—Johnson, Hand-ley, Johnson b—Widdicomb Furniture Co. c—Werner Co. d—Michigan Seating Co. e—Dunbar Furniture Mfg. Co. /—Herman Miller Furniture Co. 10. If you think that was tough, try this one. List opposite the proper names, all prominently connected with the furni-ture industry, the facts related to the individuals. Group them in this manner, A-l, B-2, etc. We'll give you five for eight right and ten for par: a—Grmling Gibbons b—Frank E. Seidman c—John Goddard d—Paul Frankl e-—Charles Lock Eastlake f—George Hepplewhite Are You Sure? g—William Savery h—Gilbert Rohde i—William Morris j—Thomas Sheraton 1—18th Century American designer 2—Modern industrial designer 3—Shield-ba^k chair 4—Furniture facts and figures 5—Lounging chair 6—Square-back chair 7—Famous wood carver 8—Modern skyscraper, furniture style 9—Block front chest 10—"Hints on Household Taste," 1869 11. Here's an easy one — perhaps. Does the term "broadloom" include carpets woven in all three following widths: a—54 inches or wider b—27 inches c—36 inches 12. If a living room suite costs you #40 and you sell it for $75, what is your mark-up per cent on cost — quick! a—43.75% b—35% c—87.5% 13. When a customer comes in and asks to see a scrutoire, do you show her: a—A studio couch b—A Welsh cupboard c—A sleigh bed d—An enclosed writing desk 14. When you show a customer a buffet on which the carved decoration is in-cised or cut in, and she insists upon having the carving raised above the other surface, does she mean: a—Intaglio b—Relief 15. We'll wind up with a bit of personal interest. How well acquainted are you with the staff of F I N E FURNITURE MAGAZINE, what they do and how they do it? How well do you read our sheet? Which of the following statements is correct, regarding the woodcut in the center column: a—"Casey Clapp" drawn by Ruth Mclnerney b—Chet Shafer sketched by Phyttii Field Cooper c—Phil Johnson caricatured by Ray Barnes d—Rod the Red done by Rod Mac-kenzie. Count five for each question. Perfect score should be 85 (there are two opportunities to double); 60 is fair; 70 is good and if you hit 75 you're excellent. Correct answers on page 43. f o r D E C E M B E R , 1937 39 r' "ff P Year 'Round Expositions DAY and NIGHT FINE ARTS BUILDING Directly across the street from the Pantlind Hotel, the center of furniture activities in Grand Rapids, the FINE ARTS BUILDING is the newest and most modern Exhibition Building in this Famous Market. Nearly 100% of the buyers visiting the Grand Rapids Market will visit your display if your line is shown in the FINE ARTS BUILDING, due to its exceptional facilities for displaying merchandise and its convenience to the Pantlind Hotel, headquarters for all furniture activities. It is the only building in the FURNITURE CAPITAL, constructed exclusively for furniture displays and devoted exclusively to furniture exhibits. Furniture manufacturers are its sole tenants and all services of the building including lighting, floor arrangement, ventilation, etc., are conducted in their interest. Some choice space available at rental rates that will make your displays very profitable. Write today for complete details. Fine Arts operating F i t l e *"** atld Corporation r a Pantlind Exhibition Buildings We appreciate your mentioning you saw this in FINE FURNITURE 40 FINE FURNITURE LEGALLY SPEAKING by CHARLES R. ROSENBERG, JR. Electric Shock in Store • • • A woman customer, while shopping in a store, was painfully and seriously injured by an elec-tric shock under rather unusual circumstances. The merchant had an electric display sign in his window and sup-plied current to the sign by means of wires from a ceiling light. The customer reached out her hand to pick up an item of merchandise, her arm came in contact with the wires leading to the sign. It was contended that the wires were not properly insulated, and the jury ap-parently believed this, for it awarded the customer a verdict of $12,500 for her injuries resulting from the shock. Which suggests the importance of a merchant's having regular and careful inspection made of the elec-tric wiring and fixtures in his store. (Pinkussohn vs. Great Atlantic and Pacific Tea Co., 192 South Eastern Reporter, 283.) Where Employe Is Loaned • * • Where a business man loans an employe to work temporarily for someone else, what is the liability of the employer if the employe causes damage or injury in the course of his work for the secondary employer to whom he has been loaned? That question, as put, may seem a bit complicated, but is apt to arise m circumstances where a business man lets an employe temporarily "help out" a customer or some other business man. In California re-cently an employe was loaned to drive a car for a customer. While thus loaned, the employe became involved in an accident resulting in great damage. Passing on the lia-bility of the original employer for the damage negligently done by the employe under these circumstances, the California court said: "An employe may be loaned by his employer to another, so that the act done by the employe becomes the act of the employer to whom he has been loaned, and for the time being the original employer is not responsible for the employe's acts." (Nichols vs. Hitchcock, 70 Pacific Reporter, second series, 654.) Bad Check or Credit? • • • A business man took a check for merchandise. The check was returned unpaid by the bank be-cause of insufficient funds. The business man then had the customer arrested for passing a bad check. The customer was acquitted of the charge, and then sued the business man for damages for malicious prosecution. The facts were that at the time the check was given, the customer stated that he did not have suffi-cient funds in the bank to cover it. The check was to be paid as soon as he obtained the money and could deposit it. The giving of a bad check under such circumstances, it was held, was not a fraud and not an offense under the bad check act of Georgia, where the transaction occurred. The court took the view that under these circumstances it was not unreasonable to conclude that the business man actually extended credit to the customer at the time the check was given, and the check amounted to no more than a prom-ise to pay in the future. Ordinarily, the giving of a bad check is a crimi-nal offense only when merchandise is delivered or services are per-formed in reliance upon the check. Courts have held that the postdat-ing of a check is in itself notice to the merchant who accepts it that the check is not good at the time. It has also been decided by some courts that the giving of a bad check in payment of an old account is not a fraud or criminal offense, because the person giving such a check for an old debt obtains noth-ing from the merchant on the strength of the check. The arresting of a customer on a criminal charge is risky business for a merchant unless he is absolutely certain of his ground. If the cus-tomer is acquitted, and it develops that the merchant had him arrested without "probable cause," as the law calls it, the result may be a damage suit for false arrest or mali-cious prosecution. (Barnes vs. Gos-sett, 192 South Eastern Reporter, 254.) F.O.B. Shipment ' ' ' The importance of the F.O.B. point to a merchant is emphasized in a recent decision by the Court of Appeals of Georgia. There, the court pointed out that where goods are sold under a con-tract "F.O.B. cars at point of manu-facture," they are "to be delivered to the carrier without cost to the purchaser and placed on the cars for shipment to the point of desti-nation." Ordinarily, also, this means that the buyer pays the cost of transportation from the point of shipment. In the Georgia case the seller of certain equipment under the ar-rangement for delivery F.O.B. cars at point of manufacture, sued the buyer for the unpaid balance. The buyer attempted to deduct from the amount which he owed, the amount of the freight charges he had paid on the shipment. However, this was not permitted by the court. Merchants buying goods F.O.B. point of shipment or manufacture should bear in mind that, as a rule, liability for damage to, or loss of such goods in the course of trans-portation, must be borne by the buyer, although he may have a right to recover against the railroad or other carrier. (Humphries vs. Frick, 192 South Eastern Reporter, 247.) Manufacturer Not Forced To Sell Retailer • • ' That manufacturers may legally "conspire" in their refusal to sell certain retail merchants, is ap-parent from a recent decision in the Federal courts. There, a group of manufacturers formed an association whose pur-pose was to stamp out a practice on the part of certain other manu-facturers in copying and reproduc-ing models and designs originated by the manufacturers in the asso-ciation. The association enforced a rule whereby none of its members would sell merchandise to any retailer who failed to "cooperate" by refraining from selling so-called "pirated" copies of designs and models orig-inated by a manufacturer member of the association. A retail merchant who was re-fused merchandise under this rule of the association, brought an action against the association on the ground that it was a conspiracy in for DECEMBER, 1937 41 GOOD BUSINESS DEPENDS UPON GOOD MERCHANDISING You Can Control the Buying Habits of Your Community Through Good Merchandising Why blame conditions •when your sales and net profits are not up to normal? Why not get the business in spite of an apparent "let-down" in business by employing new and better merchandising methods? You can utilize the same methods which have brought to other aggressive furniture stores a month to month and year to year increase in total sales volume and improved net profits. We can say truthfully that it is possible for you to do exactly what these other furniture merchants have done (names fur-nished on request) through the medium of the Joseph P. Lynch method of ten-day special sales. This service offers a solution to the perplexing merchandising problems of today and its efficiency has been thoroughly tested and demonstrated by some of America's keenest merchandisers. This plan establishes public confidence, sells the policies of your store, exerts a powerful permanent influence on your year's sales totals, injects enthusiasm into your sales organization and applies mass psychology to advertising, selling, arrangement of merchandise and many other factors which have to do with good merchandising. Best of all, this plan is clean-cut, the name of the Joseph P. Lynch organization does not appear as connected in any way with your store, you approve all advertising, place your own prices on all merchandise, handle all cash, and, in fact, every detail connected with this plan is such that it will bear your most searching careful investigation. J WRITE OR WIRE NOW FOR OUR FREE PLANS Space in this advertise-ment permits our giving you only a brief idea as to the intimate details of the Joseph P. Lynch Sales Plan. Our complete outline goes thoroughly into detail — tells you exactly what we do — how we do it — and what it costs you for our services. This is gladly sent you without obligation upon request and we urge you to write or wire us imme-diately. Surely if some of Amer-ica's largest and most reputable stores place their confidence in us why should you hesitate? Send for it today. We promise you will not be disappointed. r Many of America's finest retail stores are building exceptional sales volume and net profits through the use of Joseph P. Lynch 10-Day Special Sales. Write, wire, phone, or visit our office -while visiting the Grand Rap-ids market and let us give you full details of our 10-Day Special Sales Plan. No obligation. Our complete outline goes thoroughly into details — tells you exactly what we do — how we do it — and what it costs you for our services. This is gladly sent you upon request without obliga-tion, and we urge you to write or wire us immediately. Surely if some of America's largest and most success-ful stores engage us to conduct their special sales — stores with stocks ranging from $15,000 to well over a million dollars — why should you hesitate to use our plan? Write today. We promise you'll not be disappointed. Address All Correspondence to THE JOSEPH P. LYNCH SALES CO. 148-154 LOUIS ST., GRAND RAPIDS, MICH. We appreciate your mentioning you saw this in FINE FURNITURE 42 FINE FURNITURE You Just Know It's — HAVE you seen contemporary furniture with upholstery that seems MOULDED on? Have you seen color com-binations that caught every eye? Have you seen a fabric that looks, feels like leather — yet is actually pyroxylin coated fabric? Ten to one it's MOLEATHER! That's why manufacturers are standardizing on MOLEATHER — why Drapery and Upholstery departments are pushing MOLEATHER. Write TODAY for FREE swatch book. ASH i:it & itoic 1:1/. INC. COATED TEXTILES Dept. C, 900 Broadway New York City Credits (Medicai LYON lERp\NTILE AGENCY ARTHUR S. LYON, General Manager Est. 1876—Publishers of LYONRED BOOK The nationally recognized CREDIT AND COLLECTION AGENCY of the FURNITURE INDUSTRY and trades kindred—Carpet—Upholstering—Baby Carriage — Refrigerator — Stove —- Housefurnishing and Undertaking BOOK OF RATINGS—CREDIT REPORTS—COLLECTIONS New York, N. Y Boston, Mail, ,~.~. Philadelphia, Pa Cincinnati, Ohio Chicago, III. OFFICES 185 Madison Are. North Station Industrial Building ...12 South 12th St. .6 E. Fourth St. ...201 North Welb Street Grand Rapids, Mich. Association of Commerce BIdg. High Point, N. C Waehovia Bank BIdg. Los Angelea, Cal. 12th St. at Broadway i»\ We wish our many customers and friends, tl as well as the trade in general * of very Jnemj Cykristmas — ana— utappif UXew year To those whom we have never had the pleasure of doing business with, we are hoping for an opportunity. Samples and trial orders will be interesting but if you will try Perkins glues and service for just one full month, you will understand why MORE and MORE the trend turns towards PERKINS. * PERKINS GLUE CO. Originators and Manufacturers of Vegetable and Coldide Glue Manufacturers of Casein Glue LANSDALE, PA., U. S. A. ) FULL COVERAGE FINE FURNITURE display and classified advertisements reach the cream of the retail furniture trade, covering retail furni-ture and housefurnishing stores, department stores with furniture and housefurnishing departments and interior decorators. Reader interest, large, select distribution, low cost of advertising make FINE FURNITURE a sure fire medium for maximum results. Full information and rates on request. Address FINE FURNITURE Grand Rapids Michigan i o r DECEMBER, 1937 43 restraint of trade in violation of the anti-trust laws. After protracted litigation, the Federal court decided in favor of the manufacturers' asso-ciation. The court found that the pur-poses and practices of the associa-tion were proper and reasonable to the extent that they were designed to eliminate an evil in the trade. It further appeared that there were many other manufacturers not in the association from whom the mer-chant could buy. Consequently the association, it was decided, did not effect a monopoly in the trade. Under the decision, the retail mer-chant was obliged to accept the rul-ing of the association that none of its members would sell to him un-less he "cooperated." (Filene vs. Fashion Originators Guild, 90 Fed-eral Reporter, second section, 556.) Liability Because Of Advertising? ' ' * A store conducted a toy bal-loon contest on the grounds of an airport and in its advertisements referred to an "air circus" which followed the balloon contest. A boy was killed during the so-called air circus, and the store was sued be-cause of the boy's death. Was the store liable for his death because it had, to a certain extent, promoted the air circus through its adver-tising ? That was the set of facts recently brought before the Maryland courts. The boy had been riding his bicycle across the flying field, along a formerly used road, and was killed by an airplane, as it glided to the ground. The court exonerated the store of all liability, saying: "As to the owners of the store, there was no liability as a matter of law, since while the store's ad-vertisements had referred to the air circus which followed the toy bal-loon contest, the store owners had no connection with the air circus, and there was no ground for infer-ence that the store owners or man-agement had any authority or con-trol over the operations on the field during the latter performance." (State vs. Sammon, 189 Atlantic Reporter, 265.) WHAT DO YOU KNOW? Answers to Questions on Page 38 1. B—Mme. de Pompadour. 2. Both true. 3. C—Verdure. 4. C—A tree. 5. C—Robert W. Irwin Co. 6. A—Oil and wax. 7. All of them. 8. No. 9. B—Widdicomb Furniture Co. D—Michigan Seating Co. 10. A- 7—Grinling Gibbons, a fa-mous wood carver. B- 4—Frank E. Seidman, fur-niture facts and figures. C- 9—John Goddard, block front chest. D- 8—Paul Frankl, modern furniture skyscraper style. E-10—Charles Lock Eastlake, "Hints on Household Taste," 1869. F- 3—George Hepplewhite, shield-back chair. G- 1—William Savery, 18th Century American de-signer. H- 2—Gilbert Rohde, modern industrial designer. I- 5—William Morris, loung-ing chair. J- 6—Thomas Sheraton, square-back chair. 11. A only. 12. C—87.5%. 13. D—An enclosed writing desk. 14. B—Relief. 15. D—Rod the Red. C L A S S I F I E D A D S MANUFACTURERS ATTENTION • Sales-man presently representing concern of na-tional prominence in the Middle West and well acquainted with department store and furniture trade, seeks strong kindred novelty line, on commission basis, no drawing ac-count or advance necessary. Well rated concerns only. Box ISO, FINE FURNITURE MAGA

Date Created:

1937-12-01T00:00:00Z

Data Provider:

Grand Rapids Public Library (Grand Rapids, Mich.)

Collection:

2:10

Subject Topic:

Periodicals and Furniture Industry

Language:

English

Rights:

© Grand Rapids Public Library. All Rights Reserved.

URL:

http://cdm16055.contentdm.oclc.org/cdm/ref/collection/p16055coll20/id/146