tag:blogger.com,1999:blog-74508856979869892202024-02-19T05:33:15.623-08:00Antique Answer ManAntique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-7450885697986989220.post-41918814690635932982011-09-05T10:05:00.000-07:002011-09-05T10:14:33.192-07:00Selling Sterling SilverA prominent Sterling collector Association has said that so much Antique Sterling is being sold for silver value that current common sterling pieces will become rare. <br />
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So if you have a quality piece, whether antique (over 100 years) or just a bit old, you might consider holding on to it instead of cashing in right now. Rarity is one of the things that always drives prices up in antiques and collectibles. With the current low interest rates your Sterling might end up being a great long term investment, even if the price of silver goes back down. <br />
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For those with knowledge and investment money there is opportunity. You might consider forming a relationship with a metal buyer to let you look at any silver antiques that come in before they send it for melt. You might get a rare piece of signed American silver or very collectible piece, such as Tiffany, for metal value.<br />
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A metal seller should be happy to sell for actual metal value as they have to send it off and pay for it to be melted. They then do not get their money for period of time. So most would be happy to sell for what they would get from the foundry for an immediate payment.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com1tag:blogger.com,1999:blog-7450885697986989220.post-89533381517305884582011-02-19T17:56:00.000-08:002011-02-19T17:56:38.684-08:00HOW TO TELL PRINTS FROM PAINTINGSAt the latest Appraisal Clinic for the Crocker Art Museum I saw many interesting pieces. <br />
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The highlights included: <br />
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A yellow ware figural spill and match holder circa 1860 -1870.<br />
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Limoge hand painted fish platter and 12 plates.<br />
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“Pickard” decorated tea set.<br />
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Art plate set by Jean Cocteau. (Similar style to Picasso plates) <br />
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San Ildefonso Pueblo black pottery bowl signed Maria and Santana.<br />
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Lithographs by John Steuart Curry, and T. V. Richardson, <br />
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Paintings by California artists - Henry L. Richter, Dana Bartlett, George Bickerstaff, and Wayne Thiebaud (pronounced Tee-bow). <br />
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The Wayne Thiebaud piece was particularly interesting as the Crocker Art Museum had just the night before given a lecture on this famous Sacramento Artist. In the lecture they described how in the beginning of his career he set up a few easels and sold paintings at the State Fair. Then the next day a lady brings in a wonderful Silk Screen painting of his, that at the age of thirteen she bought at the State Fair in the mid to late 1950‘s. Which was obviously worth considerably more than the few dollars she originally paid.<br />
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<u><strong>How to tell prints from paintings</strong></u><br />
As so often is the case I had several people bring in pieces they thought were original art pieces, either lithographs or paintings, that were in reality prints. It can be hard to tell the difference when you do not know what to look for, so I thought I would try to give some examples to help. <br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNq6W8h4HunCZAC7v4jO6WpA7VqVxFxqS17qcqYoh547Gsv9yyt2VQm1G9YaT2yZcOfAaHSEb2_w8IrZ1aJzEHlJlqWL9ETPVR0qRNQ1yAlH_Umvzd9RGLxNY8gGRk9QCwozXaZpJVAERG/s1600/blogpicts+001.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="193" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNq6W8h4HunCZAC7v4jO6WpA7VqVxFxqS17qcqYoh547Gsv9yyt2VQm1G9YaT2yZcOfAaHSEb2_w8IrZ1aJzEHlJlqWL9ETPVR0qRNQ1yAlH_Umvzd9RGLxNY8gGRk9QCwozXaZpJVAERG/s200/blogpicts+001.JPG" width="200" /></a></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguNM3iC9m0_tVKfUSjziJItRitLF2XXsWKZS0yICLuCf98q07sQVgNu8tX_P-rBmWBW73-6kptTsvJjXdyWTRykbI6FzTn0JlQMWWETkHLwrWPgXgeaA79PE3F8W42sdqf-MOci_MajY2y/s1600/blogpicts+002a.jpg" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="120" j6="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguNM3iC9m0_tVKfUSjziJItRitLF2XXsWKZS0yICLuCf98q07sQVgNu8tX_P-rBmWBW73-6kptTsvJjXdyWTRykbI6FzTn0JlQMWWETkHLwrWPgXgeaA79PE3F8W42sdqf-MOci_MajY2y/s200/blogpicts+002a.jpg" width="200" /></a> </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
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</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The picture at the left is an early doutone print used from 1880's to the mid 20th century. Two photographs were taken thru a screen with the screen slightly moved for the second photo. These were then printed in two different colors, one on top of the other. If you look close you can see the slight square shape the screen leaves to the dots of color. This technique was expanded and is the basis for most 3 and 4 color modern prints.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The picture to the right uses several mechanical print methods. On the face and hands variable sized dots of color are used to shad the face, hands, and hat. The background shows a common modern mechanical print with a typical “flower” or dot in circle pattern. Many modern prints have this pattern, some with the colors of the circles being different or shaded but showing the same general pattern. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">These are some of the most common color print methods that with a decent magnifying glass are easy to detect. And hopefully this can help you avoid buying a print you think is a watercolor or other original art piece. Now there is nothing wrong with prints. In fact many modern artists are selling limited edition prints as the major part of their art sales. However, if you buy these be sure they are a signed limited edition with a number designating how many were produced. Usually shown as 1/100 with the first number being the number of this print and the second being the total number made. The lower total made, the higher the value and the last print made is usually worth more than the first. (The opposite of engravings where earlier pieces bring the premium price.)</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Chromolithographs are another confusing color print technique but are easy to explain. Dots of solid color are laid down one on top of the other. With the shading being the overlapping of various amounts of colors. This technique can make very bright vibrant colors that from a distance look like a painting. Early Maxfield Parrish prints are an example of the quality of this technique. Some of the early Chromolithographs used fairly large dots and thus are easy to see up close, even with the naked eye.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div>Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com1tag:blogger.com,1999:blog-7450885697986989220.post-47647687216341690702010-11-12T12:44:00.000-08:002010-11-12T12:56:45.836-08:00Pocket Watches<strong><br /></strong>At a recent appraisal clinic for the Crocker Art Museum I appraised several Pocket Watches and thought that there are some basic facts that might be helpful.<br /><br /><strong>Dating<br /></strong>Determining the age of an American antique pocket watch is the first step. Check the manufacturer's serial number, a good reference guide will tell you an approximate date that serial number was used. (The Internet also has this information.)<br /><br />The serial number on an American watch is on the movement inside the watch. To get to the movement you have to remove the back, it is either a hinged pressed fit or a screwed on cover. The press fit and hinged covers have a small slit opening or tab you can get a finger nail under to pop it open. Some are very tight and a small knife blade can be used but be careful not to scratch the cover. Some watches have double backs with the inner one as an additional dust protector. Sometimes this area is used for a sentiment inscription or gift date. (Not necessarily the same as the manufacture date.) Screw on covers can be tight also, try putting the watch back in the palm of the hand and using that to give a good grip on the whole back while turning the watch.<br /><br />Older English watches have hallmarks that can be researched to find the manufacturing date. Antique watches made in Europe are more difficult to date. Sometimes they have serial numbers, but often don't. Patent numbers can be used for dating if they are given.<br /><br /><strong>Identification</strong><br />Be aware that the name on a watch's face is not necessarily the name of the manufacturer. Watch manufacturers often printed a retail company name on the dial in return for ordering a large number of them. Mail order and distribution companies did the same thing to have a company “brand” name watch.<br /><br />Once the back is open the movement usually is marked with the serial number the manufacturer name and sometimes also the model name or number, the number of jewels, and the adjustments.<br /><br /><strong>Determining Value<br /></strong>Manufacturer - who the manufacturer is becomes important to collectors as some made better watches than others are more prestigious, or are just more popular and so some names add value.<br /><br />Model name or number - some models denote better quality than the average, or are more rare than others and so raise value. Earlier and lower end watches tend to have fewer things marked on them and sometimes you need to compare the movement to pictured movements in a reference to identify it.<br /><br />Jewels - are actual small rubies and sapphires that are used as bearings. Since they are harder than metal they wear longer and make for a more durable and higher quality watch. There are 17 important wear points so any watch with fewer than 17 jewels is of poorer quality and thus worth less. Some watches have more than 17 jewels these denote higher quality and thus add value.<br /><br />Adjustments - refers to the positions the watch will be in and still keep accurate time. They are stem up, stem left, stem right, face down, back down, and some times stem down. Later watches might also be adjusted for extreme temperature and spring tension differences. Markings are - adjusted 5 positions, meaning the first five or - adjusted 6 positions when stem down is added. Temperature and wind adjusted are sometimes also on later watches.<br /><br />Case - the inside of the back case will be marked telling whether the case is made of rolled gold (a form of plating) or solid gold (14kt -18Kt). If it says “warranted xx years” it is rolled gold. It might have a karate mark and say rolled gold which again means it is not solid gold. Most watches are rolled gold which does not decrease the value unless it is worn to the point brass is showing through somewhere. Naturally a solid gold case adds extra value to any watch. Fancy engraving and designs on cases add value as the standard case is fairly plain whether rolled or solid gold.<br /><br />Railroad watches are a special area of watch collecting - Railroad refers to a standard that railroad companies required to insure accuracy in telling time to help avoid train accidents. These changed over time and by the various railroads. However, a general standard might be - open face, stem at 12 o-clock, Arabic numerals, minimum 17 jewels, adjusted to minimum 5 positions, separate seconds dial, 16-18 size only, maximum variation of 30 seconds per weekly check.<br /><br />Dial - most dials are a standard white enamel with black numerals and plain arrow hands. Fancy dials and hands add value and can get quit elaborate including painted, enameled, gold or jewel encrusted.<br /><br />All of these different areas add together and determine value. I hope that gives some help for evaluating that pocket watch just sitting in a drawer that so many people have.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-43936607823899059442010-11-02T14:15:00.000-07:002010-11-02T16:46:30.694-07:00Current Antique Market - End of 2010With the current economic situation antiques have taken a definite hit in terms of price. This is understandable with fewer people having money available for unnecessary things. And the fact that demand is the major driving factor for the price of antiques. I hate to admit it, antiques are not a necessity, even though I feel they are at times.<br /><br />The more common items have been especially effected because of high availability and low demand. Those who want to buy can demand and get very low prices as dealers just want to get out from under buying mistakes. Even some less common items are selling for bargain prices as some dealers get desperate for a sale and let items go cheaply to get cash flow to pay a bill.<br /><br />In the art market items under $10,000 have been slow also, with some auction houses either lowering starting bids or being willing to put unsold items up for sale in a later auction if there are no opening bids.<br /><br />High end items have been doing well and record prices are still being made. Modern Art is doing especially well right now. A life-size bronze sculpture entitled "<span id="SPELLING_ERROR_0" class="blsp-spelling-error">L'homme</span> <span id="SPELLING_ERROR_1" class="blsp-spelling-error">qui</span> <span id="SPELLING_ERROR_2" class="blsp-spelling-error">marche</span> I" ("Walking Man I") by Swiss artist Alberto Giacometti (circa 1960) has been sold by the <span id="SPELLING_ERROR_3" class="blsp-spelling-error">Sotheby's</span> auction house in London for 65 million pounds ($104.3 million). This is the highest price ever paid for a work of art at any auction. A September 2010 sale (New Orleans) sold 60 of 64 John James Audubon “<span id="SPELLING_ERROR_4" class="blsp-spelling-error">Havell</span> Edition” prints from The Birds of America; and achieved 18 world record auction prices; and came in second place in terms of record sales for 28 more of the bird prints. In February 2010 <span id="SPELLING_ERROR_5" class="blsp-spelling-error">Masudaya's</span> <span id="SPELLING_ERROR_6" class="blsp-spelling-error">multiaction</span> “Target Robot” brought 3 times the last record price for an example of its type when it sold for $52,900. It was mint with the original box and all shooting accessories. (Tin shooting pistol plus the two rubber-tipped darts in unopened plastic.)<br /><br /><strong>Buying</strong><br />So what does this overall picture mean to the average collector ? Well first there is hope. The high end items show there is still value in antiques and collectibles. But like other things right now they are in a down turn but will recover. So this makes NOW a great time to buy antiques. We all would like to go back in time to the stock market crash and buy some stock at the record low prices in the early 1930's. That is your opportunity right now. I recommend that collectors today use their leverage (willingness to buy now) to gain some investment quality antiques at rock bottom prices. Do <strong>not</strong> buy low and middle price items unless you get a fantastic deal. Instead buy one high end piece where you would have bought 3-4 low end ones. This has always been the best buying strategy but with the lower prices it has multiplied.<br /><br />What to buy is always a question people ask me and I recommend buy what you know. Whatever you love and collect buy the very best and finest you can. Be willing to research some new areas though somebody desperate for cash often does not take the time to research and that can make the difference in a good buy and a great buy. I did a recent appraisal where a customer bought several pieces of art because he liked them and then hired me to appraise. The person selling thought they were lithographs and sold the art at a wholesale price based on that value. They turned out to be original water colors and for around $1000 the client had bought art worth $100,000 - $ 150,000. He did not buy all the art available so there may be more of those sitting on somebodies wall right now.<br /><br /><strong>Selling</strong><br />Be prepared to get less for your items right now. If you bought an item at the height of the old market it might be shocking what it will bring in the current market. However, like many dealers you might be better off to sell and take your lumps rather than paying three or four times what it is worth to store it.<br /><br />There is hope in selling as well. Right now the Asian and European markets are booming! If you have good quality Chinese, Russian, and Early European items, now is a great time to sell. Especially because the Russian and Chinese economies have grown so large compared to what they were, even a few years ago, the wealthy are buying back their countries antiques. They do not want any of the tourist stuff or items exported for our use. They want real antiques made for use in and by people in their countries. But the market is harder to reach as those with deep pockets are not buying on <span id="SPELLING_ERROR_7" class="blsp-spelling-error">ebay</span> but through the big auction houses. (In the first half of 2010 <span id="SPELLING_ERROR_8" class="blsp-spelling-error">Sotheby's</span> and Christie's reported an increase in annual revenue by 67% and 140% respectively compared to the first half of 2009.) Look especially for Russian enamel wares and early Chinese jade but be aware there are a lot of reproductions and out and out fakes on the market too.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-9631292836400812152010-02-20T12:28:00.000-08:002010-11-12T12:58:38.020-08:00Art ClinicI regularly appraise art at public clinic events for the Crocker Art Museum in Sacramento. Having just completed one of these I wanted to share some thoughts on buying and collecting art for the average person who does not have an in-depth knowledge of art or art history.<br />Naturally some of the art we see are pieces that have been in a family for years and the owners are looking as much for information on how old, who the artist was, and biographical information as value. But often people bring in items they have bought thinking or hoping that it is worth more than they paid. These are often pieces bought at a flea market, a garage sale, an estate sale, or even found at a thrift store. It is this “investment” buyer group I want to speak to primarily in this article.<br /><br />Several people in this last appraisal event brought in paintings that were clearly made to be decorative paintings to hang behind a couch. These were signed, oil on canvas, nicely framed, landscapes that looked very nice. However their value is in the decorative market rather than the fine art or even collectible market. That means they are not worth very much. (Quick hint - avoid obviously newer paintings that are sized to fit behind a couch. They are most likely decorative not collectible.)<br /><br />To determine age look at the canvas and stretchers in the back, if the canvas is white, the wood has no darkening from oxidization, and the canvas is attached to the stretcher with staples you are looking at a painting that is less than 30 years old. Look up the artists name at a library or on the internet. If the artist cannot be found I recommend you skip that one. There are a few times doing this will miss a valuable painting but it is about the same odds as winning the lottery and thus a poor buying strategy unless you have special knowledge.<br /><br />I really recommend those who might be buying art go to museums or art galleries to develop a sense of what valuable art looks like. It is surprising how that can help develop an “eye” for what is collectible, thus worth money, and what is not. You do not have to become an expert, but the more knowledge you have the better a buyer you will be.<br /><br />One couple really impressed me with the quality of their buying. They had focused on engravings, particularly copper plate engravings. They had some knowledge about this type of art but were far from experts, so they brought them in to affirm the items they bought were as good as they thought they might be. They brought in 5 pieces which included 2 - 19th century engravings and 3 - 16th century engravings one of which was a small but original “Rembrandt”. All were bought at local sales for very low prices. The lowest valued item was in the $400 range and the “Rembrandt” has the potential to be worth up to $10,000 depending on what state it is determined to be in. (Artists had a tendency to make changes, so an engraving “first state” means first design, second, third etc. state means alterations were made. The date when it was printed off of the copper plate also affects value. Those printed in the life time of the artist are the most valuable. However, they can be printed several hundred years later off the original plate and are still considered original works of art. One indication of this is the copper plate shows signs of wear over the years and so the print is less well defined and thus the engraving is worth less.) I believe this one was a fairly early state but I recommended an expert in 16th century engravings at an auction house look at it to determine the exact state, as I see so few of this type of item.<br /><br />This couple had a good “eye” plus some knowledge and turned a bit of time at sales into a very nice investment. This shows that collectible art is still possible to buy today at bargain prices. So visit those museums, read up on some type of art you like and go out shopping. I guarantee there are still valuable pieces out there to be found.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-35752207831665607112009-11-30T14:04:00.000-08:002010-11-12T13:10:03.219-08:00Spill HolderI showed an 1840’s flint glass spoon holder to a customer the other day and she asked what I meant by a “spill holder“. After I explained and sold her the piece I decided that others did not know what spills were and so decided to add this to the information on my blog.<br />
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In basic terms, a spill holder or “Spill” is a vase or other vessel used before the widespread availability of friction matches to hold items which transferred a flame. Spills predate lamps and "spill" is a derivative of the word "spile" which means a small piece of wood.<br />
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We take matches for granted today, but that was not the case in 1850. Matches were first made in England about 1820 by hand dipping individual sticks in phosphorus and sulpher. However, they were hard to find in the U.S. and expensive for common usage. There were match manufacturers in Massachusetts and Philadelphia prior to 1860 but there is no evidence of their wide spread use. To light a stove, candle or pipe most people used splints, spills or tapers to transfer the flame from the fireplace, even if they could get matches.A spill is a twist of paper, sliver of wood, or spiral of wood shaving. A splint, or sliver of wood, was cheap and always on hand, cut from a larger piece using a knife or a spill-plane, although spill planes were not marketed as such until late in the 19th century. An early 19th century writing suggests the paper burned too quickly and ash flew about the house making a most disagreeable mess, but because they could be done with bright colors were more decorative.A taper is a very thin candle-like item with a tiny wick center. The earliest literary references to splints, spills and tapers date back to the 15th century, as do the vases that held them. The glass "spill holder" period is mostly limited to the 1840s and 50s. An abundance of early writings and paintings clearly depict a holder on the mantle with spills sticking out. Some suggest there is no article called a spill holder because no known advertisement, publication, or bill head lists them as such. Even the early inventories from the 17th to the 19th century list the items on or near a mantle (where a spill holder should be found) simply as mantle vases, mantle glasses (other than mirrors), or mantle-piece furniture. So the specific name may be a modern usage. However, It was important at that time to own a holder for spills, if not necessarily one made of glass. From 1700-1870 spill holders were made of wood, iron, earthenware, glass, and even fancy folded wall paper.<br />
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It is known that spills/spooners of the flint glass era were made in many of the same patterns that whale oil and kerosene lamps were made in. No less than thirty patterns are known to be represented in spill holder/lamp combinations.A change in mid-Victorian tastes plus the emergence of large EAPG table sets, and the dropping price of the friction match led to the demise of the pattern glass spill holder as such. The 1860s saw the genesis of the table set (usually covered butter, creamer, sugar & spooner). This ultimately lead to a redesignation and change of use of the spill holder to a spoon holder.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com11tag:blogger.com,1999:blog-7450885697986989220.post-1091540594874248122009-09-01T13:19:00.000-07:002010-11-12T12:59:44.867-08:00Political CollectiblesWith the election coming up, it makes me think about all the political collectibles available. Political buttons have been the primary focus of collectors for a long time but recently collecting has expanded into other items as well.<br /><br />Political buttons originated with George Washington. At his inauguration, Washington & his supporters wore a brass clothing button reading "G.W.-Long Live the President". With the invention of ferrotypes & tintypes, pictures were soon used. These were usually surrounded by a metal frame with a hole punched in it so a ribbon could be attached, & were usually worn on lapels. The 1st celluloid buttons, appeared in 1896 with the campaigns of William McKinley & William Jennings Bryan. These were made by placing a thin celluloid protective covering over a paper design & then wrapping it around a metal disk or pin-back button. Many colorful designs were created in the golden age, usually thought to be from 1896-1916. Button prices are driven by demand so winning candidates and more prominent Presidents generally sell for more. So many different buttons were produced you can find a common McKinley button for as cheap as $10 and a rare jugate (picture of both President and Vice President) as expensive as $400+. E-Bay sold a celluloid political pin-back button of the 1908 Taft-Sherman team for $9,200 not too long ago, and the Teddy Roosevelt and C.W. Fairbanks 1904 pin is worth about $11,000.<br /><br />In the past other types of political collectibles were ignored and not as desirable. In 1982 I bought a silk Jugate handkerchief of Benjamin Harrison and Morton (1888) for $25 and two of their paper lanterns for $100. The handkerchief is now worth $450 - $550, and the lanterns are worth $1500-$2000 each. As you can see from the prices that has changed, but some items like china and glassware are still considered just interesting items by most current collectors and are thus reasonably priced. From this experience I have learned if you start collecting things before others become interested in them it can pay off investment wise, with a little luck.<br /><br />Like everything there are some reproductions around. In the 1960-70s the American Oil Co. and Kleenex both made historical pin-backs as giveaways when you bought their products. These reproductions/fakes are usually easy to spot since they are often blurred, and lithographed on metal without a celluloid cover. Also a close examination of the side reveals an inscription like AO-1972 or Repro-1966 revealing date of manufacturing. Many of the originals had paper labels on the inside especially those made by Whitehead & Hoag one of the oldest and largest makers of the original pin-backs.<br /><br />Since there are so many to choose from, I would recommend concentrating on a particular candidate or time period that you like and build a cohesive collection rather than a pin here and a pin there. If you are on a budget you could concentrate on interesting losers. I think a collection of 3rd party buttons would be very interesting and reasonably cheap to build.<br /><br />I've seen some very unusual pieces, and political items can show up where you least expect them. I was asked to appraise a “crazy” quilt (random shapes and patterns), where the maker had obviously used old clothing scraps of satins and silks. I recognized old patterns used on ties, scarves, a couple of silk cigar advertising ribbons and there sewn in among everything else was an 1864 silk ribbon for Abraham Lincolns election. I was shocked, that ribbon alone doubled the value of the quilt. You just never know what someone has hidden away in a box or attic. So keep looking, maybe you’ll find one of those brass George Washington buttons in an old jar of clothing buttons.<br /><br />If you are interested in more recent candidates, there are lots of new options for collecting, now not only buttons but bobble-heads, frisbees and dog toys to name just a few. If the political arena interests you, these collectibles can make very interesting collections. Those of you already collectors in the political realm, I'd be interested to know what pieces you've found and any history that goes with the piece.Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com1tag:blogger.com,1999:blog-7450885697986989220.post-9224618097716226182008-07-30T16:15:00.000-07:002008-07-30T16:19:06.967-07:00Proper Way To Store Antiques<span style="font-family:arial;font-size:85%;">I did an appraisal this week and had a first for me. The civil war era Starr revolver that I picked up to appraise was still loaded with ball and powder! It's common to find items not stored to their advantage, and this gun is no exception. The owners had no idea, but it makes me wonder who was going to take that shot. There were several other items that weren't stored properly and so I want to share what I told this client and what everyone should know about the proper way to store Antiques.</span><br /><span style="font-family:arial;font-size:85%;"><br /><strong>Guns</strong>: First do not store guns loaded, second assume any gun you handle is loaded, even one from the civil war. Do not store guns long term in leather or canvas cases or in holsters, they can collect moisture and rust the weapon. Rust can not be removed without damaging the finish except by a professional. Any weapon should be cleaned with a commercial gun cleaning fluid to remove any residual gun powder, dirt etc. Then wipe the metal pieces down with a light gun or sewing machine oil. Store in an area that does not have extremes of hot, cold or moisture. Anytime the gun is handled, wipe it down with a lightly oiled cloth, the salt in your sweat can rust/etch fingerprints right into the metal if left alone.<br /><br /><strong>Paper</strong>: Store paper flat (not folded) or rolled, always using <em>acid free</em> tissue or matting to separate the item from acidic things like wood, cardboard, newspaper, or wrapping paper. If you must use tape on paper (not recommended) use special acid free tape. Mylar or plastic holders are ok but you have to be careful that moisture does not accumulate inside and cause mold problems. Do not store paper in direct sunlight, where there is high moisture or where there are extremes of hot and cold. Matting on old framed prints is usually acidic and can cause your art to turn brown. It pays to re-matt old prints with acid free matting. Old linen paper has low acid but modern paper tends to have a lot of acid in it and will deteriorate from it’s own internal acid over time. These can be de-acidified by a paper conservator, check with a local library or museum to find a good conservator in your area. Acid free paper, tape, matting and etc. can be bought at art supply stores like Aaron Brothers or Michael’s. Old framed prints sometimes have wood backing holding in to the glass. Always remove or separate this with acid free backing. I have a wonderful Civil War era print where a knot in the wood backing stained through to the front, causing a major loss in value.<br /><br /><strong>Material</strong>: First clean your items before storing. I can remember an old Farm Auction in the Midwest where a tablecloth was put away with bits of food still on it. Originally that was cleanable but after years of storage, the stains were so set they could not be removed. Large items like quilts and tablecloths should be stored rolled if possible. If stored folded, do not put heavy weight on top and they should be refolded (with folds in different places) at least twice a year. Acid free tissue paper should be used to shield them from touching wood, or other acidic items. Plastic containers are a modern day favorite storage item. However, there are two kinds of plastic: good and bad. Polyethylene, which is stable, or inert, is a good plastic. Polypropylene releases gases as it breaks down, so it's bad for storing linens or any antique. Dry-cleaning bags, for instance, are made out of polypropylene. They react with linen, becoming sticky over time. For larger storage containers, choose semi-opaque containers made out of polyethylene. Avoid moth balls, they release poisonous gases and smell bad besides. You can buy oil of cedar from many drug stores and this not only has a pleasant smell but it’s vapor kills young moth larvae. However, do not apply the oil directly to your antique materials. Using lavender to repel clothes moths is an old homemaker's trick. Sachets filled with lavender (and/or laced with its oil) and suspended in your closet or tucked in your drawers are said to protect woolens. They will also leave a pleasant scent behind. Lavender will not, however, kill moth eggs or larvae, so be sure the space is free of them first.<br /><br /><strong>Silver & Silverplate</strong>: Items should not be stored tarnished, tarnish is corrosion (like rust) and will just continue if left alone. If you use a cream polish be sure and get all the old cleaner out of crevices, with an old toothbrush (careful, nylon bristles can scratch silver), if left it will corrode the silver. Use treated bags to store items if possible, these have an anti-tarnish chemical in the cloth. To keep your silver from tarnishing, keep the air from it and do not touch it (if possible) before you put it away. Museum curators use white cotton gloves when handling silver; try that, or hold the pieces with your drying towel as you put them in their air free case. If the silver is to be stored for a long time, plastic may be put around the treated bags, but never directly on the silver. Some plastic wrap such as Saran Wrap, contains sulfur that tarnishes silver. Some are ok, but other plastic film wraps applied directly to the silver can cause permanent damage to the silver surface so it is best to be safe and not apply it directly.<br /><br /><strong>Polish or don’t polish silver?: </strong>The modern, short-cut cleaning products do just what they say they do, clean. But to polish silver, to get it to really shine, rubbing is required. For most silver it is better to clean than not clean, then polishing to a shine is more a matter of taste. However, there are exceptions. If a piece is over 100 years old, has historical significance, or is extremely rare you should ask an expert before cleaning or polishing. Old historic silver should have an overall grayish tone not a bright, new or chrome-like look. This can affect value as much as 50% in extreme cases.<br /><br /><strong>Glass or China</strong>: I have packed and unpacked thousands of boxes of fragile glass and china. I have scrounged through broken down filthy boxes and found incredible works of art and I have painstakingly opened bubble-wrapped, foam filled heavy cardboard boxes only to find a rare one of a kind treasure cracked and devalued. Sometimes, it just doesn’t make sense. From lots of experience, I have my own personal packing system. I take each individual piece and using several sheets of clean "mover’s" paper, I start from the corner, wrapping diagonally and continuously tucking in overlapping edges. I have found that <em>a tightly packed box</em> with plenty of <em>cushioning between items</em> is the best way for me to keep items from breaking. Don't forget extra cushioning material in the bottom, sides and top. I also mark on the outside what is in a box or make a master list so I do not have to unpack several boxes to find one item. For long term storage where boxes are stacked on top of each other, plastic tubs work best, since cardboard boxes can deteriorate and lose their strength. Collapsing boxes can allow the weight of the boxes above to damage your packed items. Do not ignore the affects of stacking weight. I have found a bowl broken in the middle of a stack of bowls in a box. The weight on top of the box put enough constant pressure on the stack inside, that the bowl in the middle which did not have as much cushioning broke, while the others were ok.<br /><br /><strong><em>Note</em></strong>: When packing items for mail or shipping they have to be able to withstand a drop from waist height to concrete. Both the US Post Office and shippers like Federal Express use mechanical unloading with conveyor belts where items at the end fall off into a bag on the ground and then other items fall on top of them. If your item is the first in a new holding bag it falls to the concrete and the next item falls directly on top, so pack accordingly.<br /><br />If anyone has a special type of item they want to know how to store, I will gladly help with that information.</span><br /></span>Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-87882961976581822912008-07-16T18:52:00.000-07:002008-11-30T14:06:32.055-08:00Antiques 101A<span style="font-family:arial;font-size:85%;">I have been an Antique dealer and appraiser for 32 years now and many people have asked me where they can go and get classes to become an appraiser or help them be a better collector. While there are some colleges with courses, they are few and far between. When I first started there were no courses and darn few reference books of any kind. Instead I learned by collecting and by talking to advanced collectors and dealers, who loved antiques like I did. These people were willing to share their hard gained knowledge with me just because of that mutual love of antiques. </span><br /><br /><span style="font-family:arial;font-size:85%;">So part of the reason for this blog is to pay them back by sharing some of my knowledge with others like they did. I want to reach people who care about antiques to share more than just the mechanics of identifying old from new, or how to value something. I also have selfish motives for doing this. I think the more people know about antiques the better they will be as customers, and it will help keep the whole antiques and collectibles market healthy. </span><br /><br /><span style="font-family:arial;font-size:85%;"><strong>ANTIQUES 101A </strong></span><br /><br /><span style="font-family:arial;font-size:85%;"><em>Antique Glass Basics </em></span><br /><br /><span style="font-family:arial;font-size:85%;">We have evidence of antique glass beads in Egyptian tombs going back to 4500 BC. The basic formula for glass is silica sand and heat. If you have a big enough bonfire on a beach you can melt some of the sand and turn it to glass. That is probably what gave the idea to the first glass makers. The problem is it takes a lot of heat, about 2400 F. So glass making required a kiln or furnace to be able to reach high enough heat to be practical. </span><br /><span style="font-family:arial;font-size:85%;"></span><br /><span style="font-family:arial;font-size:85%;">By Roman Times, there was glass manufacturing all over the world with several areas mass producing everything from bottles to decorative items. Glass tended to be high-end, like perfume bottles, while pottery filled the low end needs like food storage. </span><span style="font-family:arial;font-size:85%;">The early Egyptian glass pieces were just lumps of glass that were hollowed out or worked by chipping or abrasion similar to how natural rock was used. </span><br /><br /><span style="font-family:arial;font-size:85%;">Eventually blowing glass into a shape was invented and improved over time. To blow glass a metal hollow tube gets a “gather” of molten glass on one end out of the furnace. Air pressure from a man blowing into the tube causes an air bubble to form in the center of the gather and by turning the tube and continued blowing the bubble grows and a hollow vessel is formed. Continued heating and manipulation with wet wood paddles, and other tools allows this hollow object to be shaped. It is broken off the blow pipe and cooled or it is attached to a metal “pontil” rod by a small bit of molten glass for additional shaping. </span><br /><span style="font-family:arial;font-size:85%;"></span><br /><span style="font-family:arial;font-size:85%;">Free blowing and shaping was time consuming to learn and it took years of practice to become a master blower. This was fine for luxury items but for mass production this was a problem. To speed things up, molds were made and the glass was mouth blown into them. This took far less training and experience and thus was faster and cheaper and allowed the first type of mass production of glass items. </span><span style="font-family:arial;font-size:85%;">By the 1820’s mold blowing machines were in use, which lasted until the 1840’s when mechanically pressed glass machines started to replace them. </span><br /><br /><span style="font-family:arial;font-size:85%;">This basic information helps when you are trying to identify what type of glass you have:</span><br /><span style="font-family:arial;font-size:85%;">* Hand blown glass will show some variations in thickness and shape. </span><br /><span style="font-family:arial;font-size:85%;">* It will usually have a pontil mark if it was shaped after initial blowing. </span><br /><span style="font-family:arial;font-size:85%;">* The left over glass from the pontil rod is broken off and can be left rough, ground smooth or reheated so rough/sharp edges are round. </span><br /><span style="font-family:arial;font-size:85%;">* </span><span style="font-family:arial;font-size:85%;">All or most all American and English antique blown glass have ground pontils, mid to low priced continental European glass was more likely to be left rough or fire treated. </span><br /><span style="font-family:arial;font-size:85%;">* </span><span style="font-family:arial;font-size:85%;">Mouth mold blown glass (oldest) will have mold marks up the sides, though tops and lips tend to have hand shaping that obscures the marks. </span><br /><span style="font-family:arial;font-size:85%;">* Look for more variations in pattern and thickness than machine mold blown pieces. </span><br /><span style="font-family:arial;font-size:85%;">* Also look for “whittle” marks on the glass, these are streaky lines in the glass, (slightly indented) that are caused by a cold/wet mold quickly cooling the hot glass. </span><br /><span style="font-family:arial;font-size:85%;">* Machine blown glass usually has 3 or 4 mold seams and a ground pontil on the base. </span><br /><span style="font-family:arial;font-size:85%;">* Pieces with 2 mold marks tend to be pressed glass or late machine blown pieces. </span>Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-13181696885680904922008-07-14T13:48:00.001-07:002008-07-14T13:59:16.849-07:00The Changing Antiques Market<p><span><span style="font-family:arial;font-size:85%;">The Antique Market has changed drastically in the last 5 - 10 years. Lots of dealers and collectors have discussed this trying to figure out what caused the changes and what it means for the long run. I just want to put in my 2 cents worth on this subject. </span></span></p><p><span><span style="font-family:arial;font-size:85%;">INTERNET</span></span></p><p><span><span style="font-family:arial;font-size:85%;">The internet has been both good and bad for the antiques trade. It has given a means to reach specialized markets for dealers and for collectors to find items scarce in their local area. Unfortunately it has also taken away some of the mystic and rarity at the same time.</span></span></p><p><span><span style="font-family:arial;font-size:85%;">When the only place to find an item was in a local antique shop/show and it took time and hunting to find, it made that antique stand out over new pieces that anybody could have. Now with the internet, duplicate items can often be found with a lot less time or effort required, eliminating some of the <strong>WOW</strong> factor of owning antiques.</span></span></p><p><span><span style="font-family:arial;font-size:85%;">The other area that has been hurt is great bargain buys. Don’t expect to go out and find very many antiques at a garage sale any more. When the only place to sell was to a dealer or at a garage sale/flea market there were lots of antiques around locally and some great buys. Now because of the availability, most people put the old items they have on an internet auction (E-bay, etc.) rather than take a chance someone will get a deal. That leads directly to the Antiques Road Show affect.</span></span></p><p><span><span style="font-family:arial;font-size:85%;">ANTIQUES ROAD SHOW</span></span></p><p><span><span style="font-family:arial;font-size:85%;">The Antiques Road Show gives the impression that any thing old is expensive. People overlook the fact that they have thousands of items to look at and only show details of the top 20 or so of those. As an appraiser I have participated in this type of event and know how many common collectibles and out and out junk is brought in. Dealers and serious collectors know this but the general public seldom sees the junk (not good television), instead they see the cream of the crop with once in a while a fake for educational purposes.</span></span></p><p><span><span style="font-family:arial;font-size:85%;">The affect of this is interesting, making many non-collectors think anything old is worth money. I have gone to garage sales where people have priced old but common collectibles for 3 or 4 times what they are worth. I have quit telling them that they are way over priced, since they all think I am trying to get the price down so I can steal it from them. ( Actually had someone use that word, I “wanted to pay a lower price and steal it from them” ). At other times when I have made a fair offer for an item I have been told it is worth more and they will sell it on E-bay if they can not get their price. As a result I seldom go to garage sales anymore. Especially with the cost of gas today.</span></span></p><p><span><span style="font-family:arial;font-size:85%;">CONCLUSION</span></span></p><p><span></span><span><span style="font-family:arial;font-size:85%;">So what does it all mean? The market has definitely changed but good items at reasonable prices still are selling. Though the prices are down from what they were a few years ago. The high end of the market such as rare glass and pottery, good art, and historically important items are still strong. What the antiques market needs is new buyers. But it also needs educated (in Antiques) buyers. That is what I want to do by using this blog to educate people about antiques so they will be better collectors and buyers. I believe that the more educated we become, the more it will energize or reinvigorate the antiques market. </span></span></p>Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com0tag:blogger.com,1999:blog-7450885697986989220.post-40908403790543752262008-07-08T10:10:00.000-07:002008-07-08T10:34:42.289-07:00The Joy of Antiques<span style="font-family:arial;">Antiques are one of the joys of my life and through this BLOG I hope to be able to share some of that enjoyment and maybe spread the infection a little bit at the same time. My attachment to antiques is based on a number of different things. </span><br /><br /><span style="font-family:arial;"><strong>First is Artistry:</strong> Many antiques are one of a kind pieces of art that expresses something from the maker to you. And I am not talking just about traditional one of a kind art items like a painting. Many of the multiple “manufactured” items also end up being unique one-of-a-kind items. Blown glass is an example of one of these multiple but “unique” kind of pieces. Even when a glass blower is going to make large numbers of the exact same item, because of the process each one ends up being one-of-a-kind. There are slight variations in colors, alignments, thickness, dimensions and craftsmanship that makes each one different and unique, if you take the time to really look and see those variations.<br /><br /><strong>Second is Craftsmanship:</strong> This is related to artistry. Though the artistic concept may have been someone else’s, the ability to transform a concept to an actual product is an art in itself. This even relates to many factory made items since they often required a level of hand work that is unthinkable today. An example would be a glass cutting, you start out as an apprentice and it would take 20 -30 years of experience to finally become a master cutter. Look at a cut glass bowl, and remember each cut was made by hand holding the bowl against a thin copper abrasive wheel. The cutter has to hold and rotate the odd shape of the bowl to the wheel to get a straight line, even depth, and correct alignment for other cuts. One slight misstep and the whole thing has to be thrown away. The British museum has a Cameo glass platter made by John Northwood that after 8 years of work was near completion when it was dropped and cracked through. It was kept in the family since it was not sellable and eventually ended up in the museum since it is such an amazing piece. But this shows what could and did happen when hand work is involved.<br /><br /><strong>Third is History:</strong> All antiques are connected to or a part of history, but only some in special ways or with special meanings. To hold a Civil War Saber that was used in battle, to feel the weight and power of it and remember it was used against another soldier, a fellow American maybe even that person's relative gives a connection that can evoke thoughts and emotions far beyond the simple object itself. It can cause personal connections to the people of that time or cause a search to understand how and why it ended up being needed and used in the first place. That’s a dramatic form but even a simple object like a dinner plate can connect you to history. Think of the family that ate off of it, what their life was like, how it was the same or different from our own, even as expressed by the piece itself. Was it a piece bought by the rich or the poor, was it for everyday use or only for special occasions, why was this type of design popular, etc.<br /><br /><strong>Forth is Love:</strong> This is the only word I can think of to describe what I mean -- the personal connections to objects by individuals. This is expressed in the Artistry, Craftsmanship and History to some degree but it is beyond those. It goes to the attachments and meanings these pieces had to the people in the past. Our world today has far less connections to our possessions than ever before. We have a disposable mentality. However, in the past the average person bought items thinking this is something I am going to live with and pass on to my children and they did. So a simple dinner plate can include the many hands that washed and dried it after 100 years worth of meals and the sentimental attachment that can add to the piece. For some items their survival is a matter of chance but for many they were saved because they meant something to somebody. For me when I see an antique I see beyond the item itself, somehow part of the previous owner has become a part of it, making it something more than it was originally.<br /><br />I hope to share some of these things with others of like mind and maybe to educate and bring into the fold a few new antiquers.</span>Antique Answer Manhttp://www.blogger.com/profile/15179171894225559759noreply@blogger.com1