What cities come to mind when you think of glassmaking? Venice, Italy? Waterford, Ireland? Sandwich, Massachusetts? How about Millville, New Jersey? Millville had a thriving glass industry by the 1860s. Many glassworkers were immigrants, familiar with techniques like lampworking and millefiori that had been practiced around the Mediterranean for hundreds of years.

Working in the Millville factories, they developed and experimented with new techniques, often by making paperweights. These paperweights were not production items; glassworkers made them on their own time to try out techniques or to sell or give to friends and family. They were part folk art, part glass art.

The most famous design was the “Millville rose,” which had a realistic-looking rose with crimped petals and leaves inside the clear glass ball. Another design, made by pulling chips of colored glass, is said to be inspired by a lily flower, but is today called the “umbrella.” The two paperweight inkwells pictured here, which sold together for $256 at Alderfer Auction Company, have the umbrella design.

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Q: We have about 50 butter molds and stamps, mostly wooden, collected over the last 60 or so years that we would like to donate to a museum, hopefully in Northeastern Ohio. Are you aware of any that feature these and would like additional items for their collection?

A: We do not know of any specific museums that will accept a butter mold collection, but you can check The Official Museum Directory, published by the American Association of Museums, to find out about museum collections. Your local library, historical society or a local museum may have access; or you can contact the directory online at www.officialmuseumdirectory.com. A museum that specializes in folk art, agriculture, local history or early American history may be interested in your collection, especially in a region with a history of farming or dairy industry. A university with an agriculture department or folk art collection could be another option.

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Q: I like to collect cat figurines. We bought this pottery one at a flea market, most likely $5 to $10. Recently, I decided to find out about the signature on the bottom and was surprised to discover that it might be a collectible by Fantoni. I’ve noticed his other animal and human figurines and vases have square heads. Since this has pointed ears, I wonder if it’s a fake.

A: Italian ceramicist Marcello Fantoni, known as “the master of beauty,” started his ceramics studio in 1936 and kept working into the 2000s. Some of his best-known midcentury pieces were made for the import company Raymor.

We have seen a similar cat figure with pointed ears attributed to Fantoni, but we think you’re right to be skeptical. There are many fake Fantoni pieces with convincing-looking marks on the market. It is extremely difficult to recognize pottery fakes from photos alone. Some of the best clues, like the weight of the piece or the texture of the clay or glaze, must be experienced in person.

An auction house that specializes in modern design and has experience with Fantoni pieces, like Wright, Rago, Toomey & Co. or Palm Beach Modern Auctions may have more information and identification advice. If your cat is a genuine Fantoni figure, it may be worth about $200. If it is a copy, its value is closer to $50.

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Q: I have a color print by Currier & Ives. How can I tell if it is an original?

A: Currier & Ives made their famous lithograph prints from 1857 to 1907. They have been reproduced many times since then. Check the size of your print. Currier & Ives prints were originally made in specific sizes. They could be very small (up to 7 x 9 inches), small (8 4/5 x 12 4/5 inches), medium (9 x 14 inches to 14 x 20 inches), and larger. Other sizes are usually later reproductions. Sometimes, original prints are trimmed to different sizes, which lowers their value. There are many books on Currier & Ives prints that can help you identify and value yours. Look for them at your library. A dealer who specializes in prints or books may be able to help you authenticate yours by its coloring, paper and printing method.

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TIP: If using a glass shelf to display a paperweight collection, be sure it is strong enough. The ideal size is 18 inches long, 4 inches deep, 1/4 inch thick. Paperweights are very heavy, and collectors tend to add “just one more,” which overloads the shelf. Glass will become more brittle and break with age.

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CURRENT PRICES

Current prices are recorded from antiques shows, flea markets, sales and auctions throughout the United States. Prices vary in different locations because of local economic conditions.

Majolica, jardiniere, embossed fruits, multicolor, mottled brown ground, goat’s mask handles, three paw feet, England, 1800s, 11 x 10 inches, $30.

Sabino, bowl, Coquilles, opalescent glass, molded clam shells around exterior base, four-footed, 2 x 5 inches. $95.

Clock, shelf, E. Ingraham, mahogany case, steeple, four posts with peaked finials, frosted lower door, stylized flower bouquet, paper label, 19 1/2 inches, $100.

Folk art, birdfeeder, figural, house, Dutch Colonial style, porch, windows, red chimneys, hinged roof, wood, metal tag, Henry Mayster, c. 1981, 19 x 43 x 27 inches, $185.