This Chippendale walnut china press, which had been a family possession for four generations, sold for more than twice its high estimate at auction. Worthologist Audra Blevins handled the brokering process for the family, selecting Brunk’s Auction in Asheville, N.C. as the best auction house to sell the piece.

What would this handsome piece of antique furniture say if it could talk? Like so many antiques, this Chippendale walnut china press tells us a story. It is said to have once stood in the historic Nancy Jones House in Cary, N.C. This home, built by Nathaniel Jones around 1803, also served as a tavern and stage coach stop. Legend has it that in 1838, the house was the site of a meeting between the governors of North Carolina and South Carolina where the famous words “It’s been a damn long time between drinks” were spoken.

The china press had been in the client’s family for seven generations, and it was a difficult decision to sell the stunning piece. But the time had come to downsize, and WorthPoint was contacted to act as a broker and locate the best outlet for selling the china press. I spoke with the client and she told me the rich history of the cabinet and e-mailed additional pictures. As I viewed her pictures, I knew at once that the china press was an important piece. The shelves were deeply shaped and it retained most of the original glass from the late 1700s; the patina was a mellow brown color and the bracket feet had not been repaired or altered.

It was critical that I find a place where it would continue to be appreciated and cherished, as it had been for generations. Brunk’s Auction, in Asheville, immediately came to mind, as it is one of the premier auction houses in North Carolina. It has also had much success selling early regional furniture.

Family lore had it that the china press was once housed in the historic Nancy Jones House in Cary, N.C.

Andrew Brunk reviewed the china press and was pleased to have it as an addition to his Feb. 20, 2010 auction. He gave a preliminary estimate of $5,000-$8,000; however after examining the piece thoroughly he raised the estimate to $5,000-$10,000. This estimate well exceeded the Seller’s reserve of $4,000. Appraisers at Brunk’s Auction researched the piece and attributed it to the Roanoke River Basin, and furthermore dated it to the late 18th century. They also noted that it had similarities to examples by well-known cabinet makers in the area. An impressive full-color catalog was published and the auction was well advertised in such publications as Maine Antiques Digest and Silver Magazine. Mr. Brunk continued to work closely with the client before the auction, gathering information and sharing the good news that there was much interest in the piece. A potential buyer asked to examine the piece, even removing the upper part of the pediment. The excitement around the piece was beginning to build.

The China press has similarities to examples by well-known cabinet makers in the area, and its shelves are deeply shaped. Additionally, the piece retains most of the original glass from the late 1700s.

The much anticipated auction on February 20 finally came, and both the client and I were tuned in via the Internet. Time passed quickly as we watched the interesting items that came up for bid. The auction house seemed to be full of bidders and many items were surpassing their estimates. As they announced lot 68, we watched as the bids climbed past her reserve, past the low estimate of $5,000, over the high estimate of $10,000, and finally gaveling at a stunning $24,000!

I phoned the client that evening and she was very pleased with the final hammer price. However, she said it was “bittersweet” that the china press was no longer in her family or gracing her dining room.

I am so glad to report that the story doesn’t end here!

About a week later, she received a call from Brunk, who informed her that her piece would soon be available for her to visit. A curator for the Tyron Palace and Gardens in New Bern, N.C. had purchased the china press on the museum’s behalf. It will be showcased at the museum as an important example of North Carolina regional cabinet making.

As one chapter in the life of the china press comes to a close, we are all comforted in the knowledge that it will continue to be appreciated and cherished by all the museums visitors.

Audra Blevins is a Worthologist who specializes in French Limoges china and early American pattern glass. She also handles brokering for WorthPoint.

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This Sterling silver cigar holder, made by Tiffany & Co., New York, NY, in the mid-19th century, will be auctioned off April 19 at Freeman’s Auction House in Philadelphia, Pa. The piece is owned by a WorthPoint member who used the Ask a Worthologist feature to get an estimated value. He later used WorthPoint’s brokerage service to find the appropriate auction house.

Dr. Joseph McEllistrem, a WorthPoint member, will have a Tiffany & Co. sterling silver cigar holder up for bid at Freeman’s Auction Gallery in Philadelphia on Saturday, April 19, 2009, at noon. The cigar holder is lot number 229, and is estimated to sell between $2,000 and 4,000.

Made by Tiffany & Co., New York, NY, in the mid-19th century, the holder features a putto—a small, cherub-like figure—with a scale and a halo that holds 18 cigars. The item is 7 ½” tall and weighs 19 ounces.

Dr. McEllistrem bought the cigar holder a number of years ago from an on-line auction. As a cigar enthusiast, he enjoyed the holder for years before deciding to have it appraised through WorthPoint’s Ask a Worthologist service. After the evaluation, he was pleased with the estimated value and then decided to use the WorthPoint Consignment and Brokering service to help place his cigar holder at auction.

Since 1805, Samuel T. Freeman & Co. has upheld an exemplary role as Philadelphia’s leading appraisers and auctioneers. Freeman’s has a unique history, preserving its family business and traditions for over 200 years, and is changing with the times to maintain its position in today’s thriving art market.

Freeman’s offers more than 30 in-house auctions a year in sale categories including: American furniture, decorative & folk art, English & continental furniture & decorative arts, Asian arts, fine American & European paintings, modern and contemporary art, rare books, fine prints, Oriental rugs, fine jewelry & silver, and 20th / 21st century design.

To make a bid on this item, click here.

 
Audra Blevins is a Worthologist who specializes in French Limoges china and early American pattern glass.

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Royal Vienna-style vase.

A close-up of the hand-painted portrait of a Victorian woman with rosy cheeks and flowing hair.

Atlantique City is a massive antique show, held several times a year at the Atlantic City Convention Center, featuring hundreds of dealers selling quality antiques. One special “draw” to the show is that it offers free appraisals to the public, and last October show promoters invited several Worthologists to help evaluate the items brought in. That is where I met Linda Rubin.

Linda, and her husband, Arthur, were my second appraisal of the morning, following a “not-so-antique” set of collector mugs. It was a refreshing surprise when Linda reached into her bag and withdrew a carefully wrapped object that turned out to be a stunning porcelain vase. It stood nine inches tall and the background was a lovely iridescent emerald green, with alternating panels of flowers and blue jewels. There was a center medallion that had an exquisite hand-painted portrait of a Victorian woman with rosy cheeks and flowing hair.

As I examined the vase closer, it got even better, as I found the signature of the artist: Wagner. Wagner was an artist who worked in Austria painting some of the finest porcelain during the last quarter of the 19th century. I told the Rubins that the vase was in the Royal Vienna style and dated to the late 19th century. I also informed them that the name Royal Vienna—or Vienna Porcelain—refers to a style of porcelain painting that became very popular during the Victorian era, and that there were dozens of porcelain manufacturers in Germany and Austria that produced these magnificent portrait vases, plates and other porcelain articles. I estimated the value of the vase at $2,000. After the evaluation, I gave Linda my WorthPoint business card and assumed that was the last time I would see the vase.

But Linda and Arthur had been trying to downsize in anticipation of a move. They were going through their home, deciding on what to do with the many items that Linda had inherited from her grandfather and mother. Her grandfather was an antiques enthusiast who had amassed quite a collection. He passed these items down to Linda’s mother who, in turn, gave them to Linda. She decided to keep some of the heirlooms that she remembered fondly, like the grandfather clock from her grandparent’s home. Yet, when it came to the Royal Vienna vase, as beautiful as it was, she lacked a connection to it, and decided to sell. She also found a Royal Vienna cabinet plate with equally fine detail. In January 2009, she e-mailed me through WorthPoint, and said that she would like me to assist her in finding an appropriate venue for the vase and plate.

Picking an Auction House

Deciding where to sell porcelain required careful consideration. I wanted an establishment that dealt in quality antiques and that would advertise well to help get my client the best price. After much research, I found the perfect place—Dallas Auction Gallery—also simply known as DAG, has sold thousands of pieces of high-end porcelain and its past auction results were impressive. I contacted Adriane Shuford Crosland, vice president of Dallas Auction Gallery, who said that she would love to have the opportunity to sell the vase and plate. Ms. Crosland wanted to place it in DAG’s April 17, 2008, auction, and estimated the auction value to be between $500 and $7,000 for the plate and $700 and $1,000 for the vase. I was a little disappointed with the estimate of the vase, but as she pointed out, the economy was not working in our favor. Once again, I contacted Linda, who decided it was a go!

The vase and plate were rushed to Dallas and photographed for the auction. The photos were so amazing; they seemed to capture the true vibrancy of the vase. The pictures of the vase and plate were so clear that you could even make out fine details like the artist strokes. After seeing the items in the catalog and on-line, I was sure that they would attract many buyers and surpass the estimates. The auction was broadcast live on LiveAuctioneers.com, and the vase received six online absentee bids prior to the auction. In my role as broker, I felt that it was important to keep the Rubins informed and make them part of the process. I sent Linda and Arthur the Internet link so that they could watch the auction live and follow along with the bidding.

On the day of the auction, the vase sold for $1,800 and the plate for $600, not including the buyer’s premium. Linda was “thrilled” with the outcome of the auction and promised to keep sorting through her items as she continues to downsize in hopes of finding more hidden treasures. She also mentioned that it was hard to believe that a vase that was kept on a “wobbly table” could have been worth so much. As a WorthPoint broker, I thought that the sale was a successful match of item to auction house. But more than this, as an antique porcelain lover, it pleases me to know that the Royal Vienna vase is once again in the hands of someone who will treasure it as much as Linda’s grandfather did.

Audra Blevins is a Worthologist who specializes in French Limoges china and early American pattern glass.

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Mantelpieces decorated with ceramic figurines were a mainstay of the English middle class during Queen Victoria’s reign in the mid-1800s. The potters of Staffordshire made painted and glazed pottery sheepdogs, exotic animals and other figurines, which are still being collected today. Worthologist Audra Blevins spoke with Lisa Vickers of V & V Antiques at the Atlantique City antique show about Vickers’ collection of Staffordshire figurines.

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Summer is here in Washington D.C.! Saturdays are always fun for me because my husband watches our 4 year old and I get to treasure hunt.

This morning I started out at 5:30 am and headed to a sale in Falls Church, Va. I found some early transferware, some custard souvenir pieces, flow blue, and some 1st ed. Little Golden Books. There were also some fun vintage cap guns and lead toy soldiers (not my thing – although I appreciate the nostalgia). I also purchased some vintage Christmas and Halloween items for resale.

Next I headed to some area thrift shops. As soon as I entered the store I saw a piece of Watt pottery in the apple pattern made in the 1940′s. (My mother-in-law collects this so now I can check a christmas present off my list!) I also found some early american pattern glass.

Finally, it was off to Chevy Chase, MD to pick up a tilt- top candle stand. It is in cherry and is complete with the “birdcage” underneath. Probably a revival piece, but still lovely.

With the heat and humidity, I had worked up a sweat, so around 1:30 I headed home for a cold drink and shower.

Another successful Saturday of “retail therapy”. I’m looking forward to next weekend already. Happy Hunting!

During the first decade of the 20th century, Consolidated Lamp and Glass Company continued to enjoy the sweet success of an established business with quality products. But in the 1920s, with electricity now in most homes, the need for oil and gas lighting lessened and profits began to slow. In order to increase sales they had to diversify.

A lead designer, Reuben Haley, convinced management to launch an affordable giftware line. It was his innovative designs that led Consolidated to regain profits and reestablish itself as a premier glass house. From 1926 to 1929, Consolidated introduced over seven giftware lines that were sold in department stores all over the country. I have chosen to focus on three very different lines: “Martele,” “Catalonian,” and “Ruba Rombic.”

The “Martele” Line

Ruben Haley’s designs were influenced greatly by an exposition in Paris in 1925. The exposition had the top designers from all over the world competing and showcasing their “moderne” wares. One glass designer emerged overwhelmingly as the best at this exposition – Rene Lalique. Reuben brought back Lalique’s ideas and actually copied some of his patterns. In 1926, Consolidated introduced their “Martele” sculptured artware line. This line had raised molded designs of birds, flowers, insects, fruit and people. Their Love Birds vase was an exact copy of the Lalique Perruches design. Other pieces, such as the Bird of Paradise, Le Fleur, and Katydid vases had close connections to Lalique originals.

They not only made Martele vases, but also expanded to tableware and smoking sets. This line was popular and the original molds were passed to other glass companies (Phoenix and Fenton) when Consolidated closed its doors.

The “Catalonian” Line

“Catalonian” was introduced in 1927 as a “reproduction of old Spanish glass.” The design, also by Haley, consisted of swirls and bubbles that gave it a crude, rustic feel. Haley was granted several patents for his design and manufacturing processes of the “Catalonian” line. This glass was blown and generally has rough pontil marks. They produced a full line of dinnerware, serving pieces, and gift items. It was available in green and crystal glass as well as a variety of finishes from common light color washes (yellow, purple and green), to less common darker washes (cobalt and ruby), to rare rainbow highlighting (a combination of three colors). “Catalonian” was Consolidated’s most popular and profitable line.

The “Ruba Rombic” Line

In 1928, Consolidated launched a spectacular and unique line that created a quite a stir when it was launched at a glass show in Pittsburgh. “Ruba Rombic” was so innovative that the company touted it (actually adding the phrase to its label) as “an epic in modern art.” The name comes from “rubiay,” which means epic, and “rhomboid,” which means irregular in shape with no parallel lines. This original design by Reuben Haley was granted three separate patents.

The line was very extensive, consisting of tablewares (plates, tumblers, pitchers, serving pieces), powder jars, perfumes, cigarette boxes, and even fishbowls. The color names that the company chose were just as captivating as the glass: Jungle Green, Smokey Topaz, Jade, Lilac, Sunshine, Silver, and Silver Cloud. (Rare pieces have been found in red, black, vaseline and opal.) “Ruba Rombic” epitomizes the Art Deco era with its irregular angles and strong forms.

Even though the glass had fascinating appeal, it was not a success. It was expensive and time consuming to produce. In the manufacturing, the pieces often broke when coming off of the molds because of the acute angles of the fragile glass. The nation was beginning to enter the Depression, and Consolidated stopped producing “Ruba Rombic” three years after it was introduced.

Consolidated Ceases Production

With the Great Depression in full swing, Consolidated Glass Company closed its doors in 1932. “Ruba Rombic” and “Catalonian” would not be produced ever again, but many of the “Martele” molds went to Phoenix Glass Company in Monaca, PA. Phoenix produced the glassware until Consolidated was reopened in 1937 and they returned the molds.

Consolidated Glass made from 1926 to 1931 is highly sought after by collectors. Many museums (Metropolitan Museum of Art, Brooklyn Museum, Greentown Glass Museum, and the Corning Museum of Glass) have Consolidated’s art glass in their permanent collections. Even though the company has closed its doors, it lives on through its timeless works.

References

National Depression Glass Association

Article on Ruba Rombic by Barbara Norman

Phoenix and Consolidated Art Glass By Jack Wilson

Kirkland Museum Collection – Denver, CO

Phoenix and Consolidated Glass Collectors Club

Museum of Fine Arts Houston – Houston TX

This is the first of a series of articles on the Consolidated Lamp and Glass Company. Over the next few weeks I will cover the Art Deco period and art glass giftware line.

History

Consolidated Lamp and Glass Company was established in 1893 when two firms, Wallace and McAfee Company of Pittsburgh and Fostoria Shade &Lamp Company of Ohio, merged. They began production at the old plant in Ohio, but after a devastating fire in 1895, relocated to Coraopolis, Pa. where a large, new factory was built.

The main wares produced by Consolidated were lamps, globes, and shades. They made both decorative and utilitarian globes for commercial and residential lighting. In addition, they made pattern glass tableware including sugar shakers, butter dishes and pitcher sets. By 1910, Consolidated Glass and Lamp Company was the largest lighting glass company in the United States and employed over 400 workers.

Production

The intricate patterns that were produced at the factory showcased the designs that were in fashion during the Victorian period. They hired some of the most skilled mold designers of the time to develop patterns exclusive to Consolidated. Their “Gone with the Wind” style lamps were decorated with lions, ornate masks, and foliage designs on the molded glass. Their tableware patterns were less-fussy designs such as cones, feather, and loop patterns.

Consolidated offered a variety of colors, including crystal, canary yellow, and ruby red were favorites. Also popular were apple green, mandarin orange and sky blue. Much of their production was milk glass, also referred to as “opal.”. They also made cased-glass pieces, which were simply layering two colors of glass.

Consolidated decorated and applied finishes to much of its glass “in-house.” Items were acid-etched and hand-painted in decorating rooms. They took pride in their craftsmanship and fire polished all edges by hand. They also carefully hand-applied scenic transfers and gold gilding. One particularly popular pattern at the turn of the century was Cosmos, produced in both milk glass and crystal. The decorators hand-painted the petals on the flowers in soft pastel colors.

In the early years, Consolidated Lamp and Glass Company produced large quantities of good quality decorative lamps, lighting fixtures, and table wares. Because their production was extensive, pieces are readily available in the antiques marketplace today.

Collecting Consolidated glass

The most important thing to do when collecting early Consolidated glass is to educate youself. Learn how to recognize the sizes, finishes, and colors produced by the company. Study collections held in at museums, such as the Carnegie Museum of Art in Pittsburgh, and the Corning Museum in New York.

The Phoenix and Consolidated Collectors Club is a group that helps further the knowledge and understanding of Consolidated and Phoenix glass (a related company to be discussed in an upcoming article). They publish a quarterly newsletter with in-depth articles and host an annual convention which has glass displays and lectures. Past lecturers have been authors, collector, and even past factory employees. By joining a group of fellow collectors, you establish a network of people with the same interests that can help you in identifying and evaluating your pieces.

It is also important that you buy from a reputable dealer or auction house. A dealer should be willing to discuss the history and background of the pieces they sell. Ask questions before you buy and examine pieces thoroughly, as a slight chip or crack can devalue pieces greatly. Beware: several pieces of Consolidated have been reproduced and vary only slightly from the originals.

Resources

There are some great resources available both online and in print. Some websites include:

Phoenix and Consolidated Collector’s club (http://home.earthlink.net/~jdwilson1/pcgcc.htm),
Fostoria Glass Museum
(http://www.fostoriaglass.org/),
Corning Museum of Glass
(http://collection.cmog.org/main.php?module=objects)

Reference books include:
Opalescent Pattern Glass by Marion Hartung
19th Century Patterned Art Glass Chamber Lamps by Ron Gibson
Antique Kerosene & Oil Lamps Guide Vol. 1 by Catherine Thuro
Antique Kerosene & Oil Lamps Guide Vol. 2 by Catherine Thuro

This past weekend was the D.C. Big Flea, a huge 2 building antique show in Chantilly, Virginia. It is a two day general antiques and collectibles show. The show’s promoters, D’more, advertise well and really get the people in the door.

Before the show, I was worried about how sales would be because of the high fuel costs and general economy. During set-up, I bought 7 early hooked rugs (1920′s-1940′s). Pre-show sales to other dealers were terrific. I sold a few pieces of sterling silver, a late 19th century oil painting, and lots of china. If my Friday sales were any indication, Saturday was looking hopeful.

Customers lined up early and anxiously awaited the 9am opening. I think that the weather helped because it was forecast to pass 100 degrees and I’m sure people wanted escape the heat and humidity. Sales started briskly with some transferware, chintz china, and depression glass. A hand-painted tea cart sold to a woman who wanted to start a tea house. White ironstone and creamware were popular as well as hooked rugs. Saturday was consistent with sales and people.

Sunday is generally pretty slow at least until 1pm when the after church crowd comes. This slow period allowed me to browse more. I enjoyed talking with a dealer of Native American arts and learned ho to tell the diference between Mexican blankets and Indian blankets(it’s all about the fringe). I also purchased a Heisey console bowl in the Plantation pattern. Sales picked up around 1, and remained steady until closing.

After the final tally, this has been my best show in 8 years! We enjoyed catching up with our “regulars” and meeting new friends. We are anxiously awaiting the next show here in September.

Deming Jarvis started the Boston and Sandwich Glass Factory in 1825. Sandwich was a small town on Cape Cod that was rich in fuel, had easy access to major waterways, and was located only 50 miles from Boston. When Jarvis purchased the land for the factory, he purchased the surrounding 20,000 acres of forest so that the company would not have to pay for wood to burn in the furnaces.

The site was chosen for ease of transportation and boats could actually dock at the plant. The one thing that Sandwich didn’t have was fine sand (they had sand that was too coarse), so they had to bring sand in from New Jersey and Western Massachusetts.

In the beginning, Sandwich employed about 70 men. The company took care of their workers, and,even built houses for them close to the factory. The men only worked four days a week and were off from Friday to Monday. Most started working there as young boys and left as old men.

Sandwich glass products: The early years

The first items produced at the factory were tumblers, whale oil lamps, cruets, glass hats, jugs and bottles. They produced free-blown wares, hand-cut items and mold pressed pattern glass. The glass was often blown into molds made of brass that were tightened with screws or levers. Jarvis hired the most skilled artisans of the time from all over the world. The main mold designer was Hiram Dillaway. They also produced octagonal wares that were referred to as “lacy” glass. It is called lacy glass because of the busy pattern of scrolls and flowers on a stippled background that resembled fine lace. These early wares were made primarily in clear, but can also be found in yellow, amethyst, opalescent, and a variety of reds and blues.

Sandwich made some of the best products and was one of the better known glass houses between 1830-1860. During this time, the factory employed around 500 men, and produced over 6,000 tons of glass daily. After the Civil War, glassmaking became more competitive, and the company saw their profits slide. The company closed in 1888 after its workers formed a “union” that demanded new rules and pay that the company could not deliver. They warned workers saying,“ It the fires go out, they will never be re-lit”. The men thought that the company was just bluffing, but on Jan. 2, 1888 the furnaces were extinguished.

Collecting Sandwich glass

Collecting Sandwich glass can be both rewarding and confusing for the novice. Many companies made similar patterns and it is often difficult to know for certain if a piece of glass was made by Boston and Sandwich Company. In the 1930’s, excavations at the original factory turned us hundreds of thousands of shards that have helped establish and prove that certain styles and patterns were made there. The occurrence or reoccurrence of certain shards from a piece of glass or certain fragments in color combination and/or designs clearly indicate that the pieces were made at Sandwich.

Lacy-type and pressed pattern glass are the most readily available in today’s antique marketplace. When looking for early Sandwich glass, keep in mind that molded glass was in its infancy and that seams are a bit rough. Blown-molded wares were blown into three part molds and were meant to imitate the cut glass that was popular at the time. Look for pieces that were finished with applied, not molded, handles and rims.

Another factor to note is that Sandwich glass was much harder than later glassware, and does not scratch easily. As a rule of thumb, in pressed pattern glass, the simpler the pattern the earlier the item. There are many patterns available form simple loop and dart to bellflowers to historical patterns. It was popular for glass houses to produce pieces to commemorate famous politician such as George Washington or Henry Clay, in addition to Naval ships and patriotic eagles.

Watch out for Sandwich glass reproductions

When looking for Sandwich glass, be careful: there are reproductions out there. U.S. Glass reproduced many patterns in the early 1900’s, and Fenton and Westmorland made reproductions in the 1970’s. Lacy Glass cup plates have been widely reproduced by many companies. And The Metropolitan Museum of Art produced very good quality reproductions for the Sandwich Museum.

Today, many museums have a variety of Sandwich glass in their collections. The Sandwich Glass Museum is owned and operated by the Sandwich Historical Society, who established the museum in the early 1920s to preserve and showcase the rare glass. There are auctions solely devoted to this early glass. Rare pieces can fetch ten to fifty thousand dollars. The designs, quality and craftsmanship continue to make Boston and Sandwich Glass a favorite with collectors.

Related links:

The Sandwich Glass Museum

Wikipedia entry on the Boston and Sandwich Glass Company

White whale oil lamps from the Boston and Sandwich factory

Even before I finished setting up, people were browsing (there is a farmer’s market right beside the pavillion). I made several sales before the ‘official’ opening. I sold mainly limoges, chintz, linens and victorian glass. Most sales were under $50, but I had several sales $100+. One customer puchased 5 pieces of hand painted porcelain.

The other dealers were very pleasant – next to me was a warm, funny woman that dealt in vintage clothing, linens, and other curiosities. I learned new and interesting things talking to a dealer who specialized in elegant glass, and even purchased something for myself – a cut glass creamer and sugar set.

A perfect Saturday in May – enjoying friends and antiques (and even making some money). I’m looking forward to another show here in Manassas in October.

My mother has always loved gardening. Some of my earliest memories are of our backyard in full bloom with spring flowers. Mom’s favorite is a delicate, sweetly scented blue and yellow beauty that multiplies year after year: the forget-me-not.

There is an old English folk tale about a knight who drowns while trying to retrieve forget-me-not for his love. Traditionally, forget-me-nots were given as tokens of affection to remind one of the giver. They were an extremely popular motif of the Victorian period (1880-1910) appearing on china, ephemera, and jewelry.

For Mother’s Day every year I try to find a gift that links Mom’s love of forget-me-nots with her passion for antiques. I scour local shops, antique shows and the Internet for that special gift. One year, I found the perfect broach made of gold and adorned with enameled forget-me-nots. Another Mother’s Day, I found fabulous antique forget-me-not prints that now are hanging in her dining room. I have also found pieces of Schumann china called, “Forget-me-not”. Many years, I have given her a piece of porcelain with hand painted flowers. Decorating this type of porcelain was a popular pastime for women in the early 1900’s.

No matter what I give her, I want it to convey my appreciation and love. I want the gift to be as special as she is. As my mother unwraps the present, her smile is my reward. I realize that the sentiment behind giving forget-me-nots hasn’t changed in over a hundred years.

Happy Mother’s Day!

People start collecting Kentucky Derby glasses for a variety of reasons; maybe they ride horses, their mother may have had one, they could be from Kentucky, or simply enjoy the thrill of a race (not to mention a good Mint Julep!). No matter the reason, Kentucky Derby glasses are a hot collectible.

Kentucky Derby glasses were made for sipping mint juleps at the Kentucky Derby. The official glasses hold 12 ounces, and were introduced in 1938. (There are some collectors who disagree that the 1938 glass is “official” because it was meant to serve water instead of the cocktail.) Most of the glasses are made of clear glass and frosted. During World War II, when glass was being used in the war effort, the derby glasses were made of early plastic, or Bakelite, by Beetleware Corp. of New York. These plastic glasses vary in color, and are extremely desirable now. (A 1942 glass recently sold on Ebay for $1,625.00.)

Another uncommon material that was used was aluminum. These bring anywhere from $800- 2,500 depending on year and condition. There was no design on the glasses in 1946-1947. This causes a break in the continuity of some collections, as it is impossible to authenticate these glasses.

Dating the glasses produced after 1948 is rather easy, just add one year to the date of the last winner on the back of the glass. The value of most glasses produced after 1980 is under $30.00, although the rare one can fetch upward of $3,000.

There is an amazing online price guide that is complete with pictures and high and low values at Equillector

There is also an excellent book Kentucky Derby Glasses Price Guide by Blood Horse Publications for $16.95. (This book also includes values for Preakness, Belmont, and Breeder’s Cup.)

As with most antiques and collectibles, there are certain things that affect value. They are: availability, materials used, scarcity, condition, demographics, and design.

While you research these whimsical glasses here is a recipe:

Mint Julep

1 part Kentucky bourbon

1 part simple syrup

Fresh mint

Crushed ice

Place mint leaves and simple syrup in a chilled julep cup. Gently press leaves against the back of a spoon to release flavors. Pack cup tightly with crushed ice; pour bourbon over ice. Insert straw, place mint sprig directly next to straw, and serve immediately. Sprinkle with powdered sugar if desired.

Audra is a WorthPoint Worthologist.