This portrait plate is a late 19th Century piece by Hutshenreuther. Like many German porcelain makers of this period they used a version of the famous Vienna Porcelain works Shield mark, inverted and altered to resemble a beehive.

The company was founded In 1814 Carolus Magnus Hutschenreuther in Hohenberg, Germany. His son, Lorenze Hutschenreuther, opened another porcelain factory in 1857 in another German city, Selb. (Selb would eventually become a center for porcelain manufacturing in Germany much like Limoges in France and Staffordshire in England.)

The two Hutschenreuther companies were owned separately by father and son, and were completely independent of one another. In fact, they competed against one another in the business of producing fine porcelain until 1969 when a merger of the two companies took place. The resulting company was named Hutschenreuther A.G., which continues to manufacture porcelain today.

Mike Wilcox

Wilcox & Hall Appraisers

From CNN:
Diamond sells for recession-busting $24.3 M

The Wittelsbach diamond was sold Wednesday for $24.3 million, well over its presale estimate and breaking a world record for a price paid for a diamond at auction. International jeweler Laurence Graff was the lucky winner of the 35.56-carat diamond. The most recent world record set for a diamond was in 1995 when a 100-carat diamond went for $16.5 million.

From The New York Times:
Dr. King’s Documents Withdrawn From Auction

In another follow-up story, three documents once belonging to Martin Luther King Jr. that were to be sold at Sotheby’s on Thursday were inexplicably withdrawn from the sale on Wednesday. Sotheby’s gave no reason behind the withdrawal nor did Harry Belafonte, the owner of the documents. However, the King estate released a statement this week condemning the sale of the papers.

From The New York Times:
Michael Jackson’s Famous Glittery Glove for Sale

Perhaps the most famous glove in music history, Michael Jackson’s iconic silver one will be up for auction next April at Julien’s Auctions. The glove, which made its premiere in the 1983 music video for “Billie Jean,” will be part of the sale of more than 2,000 items belonging to the King of Pop. Jackson, 49, has suffered financially in recent years and recently sold his Neverland Ranch after he defaulted on it.

From The Guardian (UK):
Turner winner’s greatest gamble: 5,000 of his original works for free

In what some would call a terrific publicity stunt, Turner prize-winning artist Keith Tyson on Tuesday gave away 5,000 works of art to Guardian readers who visited his Web site. No stranger to publicity—Tyson made news winning more money when he bet on himself to win the Turner Prize in 2002 than he did as the winner—he will give away limited-edition prints from his History Paintings Series. The works feature 32 alternating stripes of red, black and green in random patterns, the colors of a roulette wheel. Appropriate because the pattern of stripes for each work depends on a server-generated sequence of 32 numbers—the number of spaces on a roulette wheel.

From Auction Central News:
Korean jar discovered during appraisal day sells for nearly $4.2 million

Another world record-breaker, this time for the price paid at auction for a jar. Tuesday saw the $4,184,000 sale of a rare Joseon Dynasty Korean blue-and-white porcelain jar at Bonhams & Butterfield’s in San Francisco. The vase, made around 1800, was discovered in August at a monthly appraisal event in Los Angeles and belonged to the Warren family of Los Angeles, via Boston.

From The Examiner.com:
Top 10 contemporary artists in 2008

The Examiner.com has an interesting list of the top 10 highest-selling artists of the past year, headed by American Jeff Koons. In a sign of the times, five of the top 10 are contemporary Chinese artists and one is Japanese. Will the Chinese art wave continue to rule in 2009? Only time will tell.

The trade in New World antiquities today is as robust as it has ever been, thanks in part to—what until recently—had been a healthy global economy. Quality pieces continue to bring high prices at auction and shows, and New World art continues to be a solid investment vehicle for both collectors and institutions, with values increasing over time despite the fluctuations of the stock market.

This continued demand has also been fueling the illicit trade, and looting in many parts of Central and South America goes on unabated. This is in large part due to inadequate laws and officials who are willing to look the other way.

A recent, highly publicized seizure of 700 pre-Columbian artifacts from a shop in Peru may or may not point to a crack down there. As it turns out, the shop was located across the street from the National Museum in Lima and had been there for some time. It was only when visiting journalists saw an ad and reported to local officials that any action was taken.

One would have to assume that museum employees were aware of the existence of the shop and its wares prior to the bust and had simply not cared enough to report it. It’s this sort of passive or dismissive attitude on the part of officials, and often the populace, who see the artifacts that represent their collective cultural history as a commodity.

Of course, no commodity has value if there isn’t a ready market and buyers who are willing to pay. And it’s difficult to fault people who are often living far below the poverty line for exploiting this resource.

Ultimately, it is the dealers and collectors who knowingly or unknowingly finance this trade in undocumented artifacts. Responsible collectors should insist on buying only those items with a paper trail that can prove legal ownership.

Unfortunately for the collector, the vast majority of objects for sale have no such documentation to prove either ownership or authenticity.

Most collectors view themselves as being caring custodians or amateur archaeologists who appreciate the art and often have an interest in better understanding the cultures from which the pieces came. Historically, it was this interest in the material culture of ancient societies that gave rise to modern archaeology. It is the modern archaeologist who has made the recent distinction between legitimate and illegitimate collecting practices and who should be allowed to care for the world’s shared and finite material culture.

No one wants to see sites destroyed, and objects without context have limited value to science. Collectors—both individuals and institutions—have always had similar interests in the recovery and display of cultural objects, and both have been criticized for their collecting practices at times. There is a long tradition of conquering nations carting off the cultural treasures of the conquered to fill the museums back home. In the early years of the last century, universities and museums assumed this role by sponsoring digs around the world as legitimate science and to build their own collections. This was often encouraged and supported by the host governments.

Today, many of these governments, including Mexico and Peru—which both have strict national patrimony laws—are actively working for the return of objects relating to their pre-Columbian past and are working with American museums and universities to that end.

One of the notable current cases is that of Yale University, which sponsored digs at Machu Picchu from 1912 to 1914. Hilda Vidal, a curator at Lima’s National Museum of Archaeology and Anthropology, makes an argument for the return of the collection:

“My opinion reflects the opinion of most Peruvians. In general, anything that is patrimony of the cultures of the world, whether in museums in Asia or Europe or the United States, came to be there during the times when our governments were weak and the laws were weak, or during the Roman conquest or our conquest by the Spanish.

“Now that the world is more civilized, these countries should reflect on this issue. It saddens us Peruvians to go to museums abroad and see a Paracas textile. I am hopeful that in the future all the cultural patrimony of the world will return to its country of origin.”

As collectors of antiquities we have responsibilities, a responsibility to care for those things for which we are temporary custodians and to be considerate of our acquisitions and concerned about where the items we are collecting have come and to whom they really belong.

WorthPoint: Get the Most from Your Antiques and Collectibles

(Pittsfield, Mass.) – Four auctions featuring a galaxy of quality antiques, collectibles and vintage clocks are slated for the first half of 2009 by Fontaine’s Auction Gallery. An antique estate auction will be held Saturday, Jan. 10; a cataloged antique auction will be held Saturday, Feb. 7; another cataloged antique auction will be conducted Saturday, April 4; and vintage clocks will reign on Saturday, May 9.
“If these auctions turn out to be anything like the ones we had in 2008, they’ll be great,” said John Fontaine of Fontaine’s Auction Gallery. “We’ve been very busy, securing consignments and getting ready for a banner year in 2009. I know the news regarding the economy generally isn’t good, but we’ve done very well in spite of it all. When you offer quality merchandise, people will bid on it.”
The Jan. 10 antique estate auction will begin promptly at 11 a.m., with a preview that morning from 8-11. The sale will feature over 500 lots of antiques and accessories from prominent local estates. Items will include early American, Victorian, Arts & Crafts, custom mahogany, period Empire, carved oak furniture, sterling silver, art glass, paintings, Tiffany, Handel and Pairpoint lamps, clocks and more.
The cataloged antique auction slated for Feb. 7 will begin at 11 a.m., with previews on Friday, Feb. 6, from 10-5, and Saturday morning, from 8-11. Featured will be 500 lots of fine antiques, in an array of categories. Sold will be high-end Victorian, custom mahogany, figural carved R.J. Horner, period Empire, rosewood Rococo and early American furniture.
The sale will also include over 100 pieces of Arts & Crafts furniture and accessories by Gustav Stickley, L. & J.G. Stickley, Limbert and Stickley Brothers. There will also be a selection of Arts & Crafts metalwork and pottery by Roycroft, Grueby, Rookwood, Fulper and more. Over 50 lamps will be sold, by Tiffany, Handel, Pairpoint, Moe Bridges Wilkinsen, Jefferson, Chicago Mosaic and more.
Rounding out the Feb. 7 sale will be art glass and cameo glass, KPM porcelain plaques, fine bronzes, marble statuary, oil paintings and hundreds of accessories. The second cataloged auction, on April 4, will feature a selection of laminated rosewood furniture including an outstanding “Rosalie” marble top table by John H. Belter; a selection of R.J. Horner furniture featuring a 10’ figural carved oak grandfather clock, a massive figural carved oak sideboard with curved beveled curio cabinets, and a great oak dining room set with full carved cherubs, also by Horner (circa 1885).
In all, 500 lots of quality antiques will cross the block. The auction starts at 11 a.m., with previews on Friday, April 3 (10-5) and Saturday (8-11). Another session was recently added that will see 80-100 lots of antique firearms come under the gavel. “We sold a few vintage weapons at one of our recent multi-estate sales,” Mr. Fontaine said, “and it resulted in some wonderful consignments.”
On May 9, Fontaine’s will hold a two-session Spring Antique Clock Auction. Already consigned is a Howard #61 astronomical regulator. Two of these coveted clocks were sold in previous Fontaine’s auctions. One went for $195,500 in June, while another example went for $189,750 in November. Also to be sold in April will be a Howard #70 clock with 20-inch dial, in the original finish chestnut case.
The Saturday, May 9 event will be split up into two sessions. Beginning at 10 a.m., a Discovery Session will feature many uncataloged clocks. Bidders are required to be in person at the gallery to preview and bid, as these clocks will be sold as-is. Then, starting at 1 p.m., the Main Catalog Session will commence. Offered will be many cataloged antique and rare clocks, to be sold in numbered order.
The centerpiece of the sale promises to be the Howard #61 astronomical regulator. The original owner of the clock, A.F. Robertson, was a lifelong craftsman in the art of watchmaking. In 1861, at age 16, he began to learn his craft under Louis Spaulding, formerly with the Waltham Watch Factory in San Francisco. He moved to Minnesota six years later and started his own jewelry business in St. Cloud.
The clock to be sold in May was purchased by Mr. Robertson for his store in the 1860s. The front glass pane read “A. F. Robertson.” In 1907, he moved to Harlowton, Mont., where he founded the Robertson Jewelry Firm. He lived there until his death. Two of his four sons continued to operate the business. One of them, William, changed the “A.F.” on the glass to “W.A.”, where it remains today.
The Robertson family took great care of the clock over the years, setting it on a protected custom pedestal in the store and keeping meticulous maintenance records. This continued up until William’s passing, in 1971, and with his niece, Betti, and her daughter (the current owner). “The provenance on this clock is impeccable and every record is intact,” Mr. Fontaine commented.
In addition to the Howard #61 astronomical regulator, approximately 500 other clocks – many of them rare, museum-quality pieces – will come up for bid on May 9. Fontaine’s is still accepting quality consignments for this and the other auctions slated for the first half of 2009. Clocks of every style, type and maker – provided they are vintage and collectible – are wanted for the May 9 auction. There will also be a music box session as well as a pocket watch session.
Fontaine’s Auction Gallery conducts all of its sales in a spacious gallery facility, located at 1485 West Housatonic Street in Pittsfield, Mass. The firm is always accepting quality consignments for future sales. To consign an item, estate or collection, you may call them directly, at (413) 448-8922, or e-mail them at info@fontaineauction.com. To learn more, you may log on to www.fontainesauction.net.

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Suggested cut lines:

Howard #61 Astronomical:
This rare and coveted Howard #61 astronomical regulator clock will be sold at the May 9 sale.

Horner dining set:
Carved cherub from an R.J. Horner carved oak dining set (circa 1885), to be sold at the Feb. 7 sale.

Antique firearms:
Over 80 antique firearms, some of them exceedingly rare, will be offered in the April 4 auction.

Winged griffin sideboard:
Phenomenal winged griffin oak sideboard by R.J. Horner, with carved crystal cabinets (Feb. 7 sale).

Belter Rosalie table:
Outstanding “Rosalie” marble-top table by John H. Belter in exceptional condition (Feb. 7 sale).

Howard #70 clock:
Howard #70 clock with 20-inch dial, in the original finish chestnut case (May 9 Spring Clock Auction).

The first Christmas card sent was in 1843, it was the last card published for 19 years. Why, you may ask? It showed a family including a small boy drinking out of a wine goblet. Now what I would like to know is how they knew that it was wine in the goblet, it was printed in black on white paper then hand colored. I think the artist was having too much fun with his paintbrush and perhaps “he” had too much wine. Nevertheless, it was condemned for promoting drunkenness. They just look like they are having a great time to me.

To see a photo of the first Christmas card please visit:
http://www.emotionscards.com/museum/john_calcott_horsley_ra_1817.html
The first Christmas card: John Calcott Horsley designed the first Christmas card.

He was commissioned by Sir Henry Cole who in 1843 was too busy to write to his friends as usual over the festive season. Printed in black and white and then colored by hand, 1,000 cards were produced for “Old King” Cole, with the leftovers sold off by the printer.

The design showed a happy family raising a festive glass as a toast to the recipient. Sadly, un-festive critics condemned the design – for promoting drunkenness.

The Christmas card then went into hibernation until 1862, when printers Charles Goodall came up with minimalist designs consisting of the words “A Merry Christmas”. Robins were added later, followed by holly and afterwards Little Red Riding Hood. After that it was downhill all the way: Wise Men, mangers, snowmen.

The backlash by real-life Scrooges began in 1871, with the first newspaper article asserting that the deluge of cards was delaying “legitimate correspondence”. Another Yuletide milestone was passed in 1873 when the Times personal column ran the first ad apologizing for “not sending Christmas cards this year”. And it was 120 years ago that the Post Office first begged us to “post early for Christmas”, but we still don’t.

I have to admit, it took me awhile to decide whether I should write this article. Most people are sick of the name O.J. Simpson, and frankly, I don’t want to give the guy any more attention. However, since this is a sports-collectibles blog, it’s necessary to discuss the most recent developments in Simpson’s controversial life.

After the “Trial of the Century” in 1995, the country was divided on O.J. Simpson. Many people felt O.J. got away with murder, and as a result, no one would touch his once-popular collectibles with a 10-foot pole. Whether it was a rookie card or a signed football helmet, collectors had no interest in most things with the name O.J. Simpson on it.

However, through all the controversy, his rare pieces still remained valuable. While you might not be able to get much for his football cards, a rare piece like the suit he wore when acquitted for murder could fetch anywhere from $5,000 to $25,000, according to memorabilia experts. Other rare personal effects were still gaining high-price bids on eBay and other online shops.

These unique personal belongings were the types that Simpson was “trying to get back” during the now-infamous confrontation in the Las Vegas hotel room. The question today is this: In light of the recent prison sentence, will O.J.’s rare personal items lose all their worth?

O.J. Simpson pleads his case at the sentencing hearing after he was convicted of 12 felonies in connection with an armed robbery in a Las Vegas hotel. Simpson maintained he was trying to recover collectibles that were legally his. (Pool photo by Isaac Brekken)

In the mainstream world of sports collectibles, it appears this is the final nail in the coffin for Simpson memorabilia. Most shops stopped dealing his pieces years ago, but now virtually all interest in “The Juice” has vanished. Controversy might help some athletes gain popularity, but for Simpson, it has made him a nationally despised ex-athlete.

For the typical sports collector who buys cards and game-used items, O.J. cards will no longer be bought because of his impressive athleticism but rather because they are needed to complete a set. As the Washington Post puts it, “Simpson makes Michael Vick’s gear look upscale.”

But what about that small sect of collectors who were bidding on Simpson’s personal items before this most recent case? These collectors don’t care about his athletic achievements. Instead, they’re fascinated with the celebrity surrounding his off-field controversy. So, will they continue to scour the Internet for rare memorabilia of the incarcerated ex-star? Or will even this market dry up?

eBay sales vanish

Just one day after the O.J.’s sentencing, I checked eBay to see if there was any action on his collectibles. As expected, his normal sports collectibles were getting no bids. This isn’t anything new as true sports fans stopped collecting these pieces years ago. However, what I found interesting was that the rare pieces (i.e. original courtroom sketches of O.J., collectibles of O.J. and his attorney, Johnnie Cochran, from trial of the century) were also getting no bids.

So, has this niche market of ambulance-chasing collectors finally lost interest in Simpson? For now, the answer is unclear. I expect there will always be those few collectors caught up in the controversy of this once-revered athlete who continue to buy his rare, sometimes disturbing, memorabilia. But it seems that even this market is shrinking quickly.

Eric Brantner is a baseball fan and freelance writer living in Houston.

Other stories by Eric Brantner:

Chicago Cubs Collectibles

Antique Baseball Gloves

Red Sox Collectibles

Brett Favre Collectibles

Honus Wagner

Sports E-cards

Olympic Baseball Collectibles

Sports Collectibles Memories

Yankee Stadium Legacy Cards

Brett Favre collectibles

Sultan of Swat Collectibles

Mannings Spawn NFL Collectibles

At Least Cubbies Have 1908 Series

Rays Collectibles—Buy Now

Young NBA Stars: Collectors’ Slam Dunk

WorthPoint—Get the Most from Your Antiques & Collectibles

Researching the value of an object on your own is a three- or four-step process: (1) authenticating the object, (2) determining the value you want to research, (3) doing price research and (4) consulting a professional appraiser if the value you find exceeds $500. A previous column (#1124) outlined the authenticating process. You need to know what you have to accurately research its value.

There is no fixed value in the antiques-and-collectibles field. Value is determined by time, place and circumstances. This is a tired refrain, but it bears repeating.

What are you planning to do with your object—keep or sell it? If you are keeping it, you want to find its replacement value. Replacement value is the retail price you would pay to buy an object that is identical to the one you own. It sounds simple, but it is not. Assume you are replacing a dinner plate from a china service and found identical examples on eBay, an Internet storefront and from a replacement service. All three values will be different, and the difference may be a multiple of five times or more. Which is the right price? They all are. The immediate needs of the buyer determine which price applies. The inexperienced price researcher favors the highest of the three. While obviously it has the greatest appeal, it is not always the best answer. Should the three prices be averaged to obtain a valid replacement price? The answer is no. The researcher has to consider the most likely source to which an average customer would turn to acquire the piece.

Determining replacement value

Historically, replacement value was the retail price asked by a dealer at an antiques show or at an antiques-and-collectibles mall. The difficulty is that this value is often negotiated downward, especially in the current economy. As more and more collecting categories on eBay are reaching price stabilization, i.e., identical goods selling in a narrow price range, eBay is becoming a better source to determine replacement value. The researcher must examine several months of eBay data. One month’s data is not sufficient.

If your goal is to sell your object, the price varies depending on sale venue. The traditional sale venues are auction, dealer, garage sale, flea market, Internet (eBay) and private. Research the potential value in all six categories. All have hidden costs, not the least of which is your time and expenses. Do not ignore them. Auctioneers charge a commission to sell objects. The hammer price includes this commission, which is deducted when the seller is paid.

A dealer has to buy at 25 to 30 cents on the retail dollar to maintain a profit margin that allows him to remain in business. The trade-off is a quick sale and cash in hand. While you keep all the monies received in a garage-sale transaction, your return is reduced. Garage-sale shoppers are 10 to 20 cents on the dollar buyers. Flea-market costs are low, but the sell-through rate is low unless you offer your items at 50 cents or less on the dollar.

Understand all fees

eBay fees are rising. Note the plural. The listing fee is only the start. Internet sellers should have a thorough understanding of all fees before pursuing this approach. Private buyers will pay the highest amount provided what you have is what they want. However, private buyers are often advanced collectors. The list of what they want is relatively small. There is a 90-percent chance or greater that a private collector already owns the object you are offering. Further, finding a private buyer is a time-consuming and difficult process.

Valuing an antique or collectible is a complex process. It becomes even more complicated when condition is factored into the equation. When searching for identical objects or comparables (very similar objects when the exact object is not found), the condition of the object you are researching must match the condition of the object you own.

Antiques-and-collectibles price guides are usually the first price-researching tool consulted. Others sources include auction catalogs, Internet pricing, field research and “expert” opinion. The more sources you check, the more accurate your price valuation will be.

Check price guides’ condition criteria

Before consulting the listings and values in any antiques-and-collectibles price guide, read the front matter, paying close attention to the condition criteria assigned to the values. If the price guide provides a single value, it most likely is for a complete object in near-mint condition. This provides the highest price possible. High values sell price guides. In reality, these are “dream” prices, i.e., the only place you will get them is in your wildest dreams. Less than 5 percent of surviving objects are in near-mint condition or better. Not surprisingly, the front matter normally does not tell how to adjust the “book” value downward when an object’s condition falters. Price guides prefer a good-news, rather than bad-news approach.

When a price guide contains multiple prices, the lowest value is C6 (very good) and the highest C10 (near mint or mint). Again, less than one-third of surviving objects meet the C6 grade. The minimum requirement for C6 is a complete object with no visible surface damage when held at arm’s length. Do not forget to keep your glasses on when making this condition judgment.

Price-guide prices are not absolutes. They are guides, just as their name implies. In reality, their values are high and not as reflective of the buy/sell marketplace as their authors would have users believe. Price-guide authors are biased. They are in love with the collecting category, either as collectors or dealers.

Comparison shop price-guide prices

All price-guide prices need to be field checked, first at flea markets, antiques malls and shows, and then on the Internet. The goal is to identify a percentage by which the prices need to be reduced to obtain a more realistic retail value. In some cases, the percentage will be small, less than 10 percent. I applaud those price-guide authors whose prices fall within this percentage. Alas, there are some price guides, e.g., the Hummel price guides, where the deduction is closer to two-thirds to three-quarters of the listed value. The authors deserve your contempt. They already have mine.

Collecting has become more specialized and sophisticated during the past two decades. The auction community has followed suit. Specialized auctions ranging from majolica to toy soldiers are commonplace. These specialized auction catalogs have replaced price guides as the primary value-research source for these categories. Once again, prices need to be analyzed and understood. Who was the final buyer? If the buyer is a dealer, then the value is low. The dealer will mark up the items he bought when reselling them. If the buyer is a collector, determine the amount of competition. Did two rival buyers lock horns and drive the final price into the stratosphere? One auction’s results are not enough to establish a pricing trend. Ideally, research should be done with catalogs covering three years or more.

The Internet offers the quickest price-researching tool. Again, all values need to be interpreted. If the information comes from a dealer’s Internet storefront, what is his discount policy? If the information is from an auction site, how long a period does the pricing data cover?

Field research is time intensive. Select those venues from flea markets to antiques malls and shows that are most likely to offer an object identical to the one you own. Carry a picture with you for comparison purposes. List price is not always final sale price, albeit it is close.

When it comes to “experts,” caveat emptor

Antiques-and-collectibles experts are a dime a dozen. Be careful who you believe. Far too many “experts” tell you what you want to hear to make you feel good as opposed to the truth. Double- and triple-check all opinions, mine included.

The most difficult aspect of pricing research is accepting the truth that the object you are researching is not worth as much as you thought it would be. Shattered dreams are not fun. Yet, they are an integral part of the antiques-and-collectibles business.

Once in a while, the research story ends differently. When it does, take the final step, and have a professional appraiser confirm your findings. Share the research you have done with him. It will save the appraiser time, thus reducing your fee.

Finally, do not forget to take time to learn about the object as you are doing price research. Objects become alive as you learn more about them.

You can listen and participate in “WHATCHA GOT?,” Harry’s antiques-and-collectibles radio call-in show on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. If you cannot find it on a station in your area, WHATCHA GOT?” streams live and is archived on the Internet.

“SELL, KEEP OR TOSS? HOW TO DOWNSIZE A HOME, SETTLE AN ESTATE, AND APPRAISE PERSONAL PROPERTY” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web Site.

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@aol.com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.com.

WorthPoint—Get the Most from Your Antiques & Collectibles

Hanukkah menorahs, a type of candelabrum, have places for candles to symbolize the eight nights, as well as an additional spot for the candle that is used to light the others, which is called a shamash. One candle is lit each night of Hanukkah—on the first night, just one candle; on the second night, both the first candle and another are lit.

Antique menorahs tend to be rare. In North America, Hanukkah was not as widely celebrated in centuries past as it is now—thus antique menorahs are expensive. Lucky are those who come across menorahs made in the 19th century. Hanukkah menorahs made today are usually in this familiar shape:

Older menorahs often look like this one:

When looking to purchase an antique Hanukkah menorah, remember to check the number of candleholders. Hanukkah menorahs differ from menorahs found in temples. Temple menorahs hold just seven candles while Hanukkah menorahs hold eight, plus the shamash.

GoAntiques has several remarkable antique Hanukkah menorahs up for sale, including this one, handmade in the early 1900s in Damascus, Syria, from bronze with sterling silver.

There are also 20th-century menorahs, most notably an Art Deco-style piece made in England in 1937.

And another—also made in England—from 1948.

This silver menorah, made in the Middle East in the 1930s, features a delicate filigree design.

In a different design than most other menorahs, this is a unique way to celebrate the Festival of Lights. Made in the Middle East around 1930, it is silver and has a pattern of small menorah images around the base.

And this brass piece is a showstopper. Made in 1940, it has a detailed design with two prominent lions.

WorthPoint—Get the Most from Your Antiques & Collectibles

Help

Thank you

Have you ever found a lost love note and read it? Maybe it wasn’t even a love note, but a personal letter not meant to be read by others that enticed your attention. When presented with the opportunity to peak into someone else’s personal life, it can be extremely difficult to restrain from our natural curiosity. Is a picture really that different from a personal note? A picture can speak volumes by visually capturing an expression, a time in history, a place, a moment, or even a secret. The wealth of information that can be absorbed by this visual documentation is the great draw of photography and the reason why we place so much value in pictures. Whether we collect and store pictures in leather-bound albums or shoe boxes, each picture has a history and is essentially a conduit through which one can peak into the life of another.

What happens when pictures are lost or discarded and found ownerless? Pablo Cruz Aguirre has created an online gallery of just that; pictures he found in trash bins or on the streets of Buenos Aires. His website is called “100% basura porteña” or “100% trash from Buenos Aires.” He has scanned in a large collection of these “found” pictures and displayed them on his site for anyone who happens to run across “Fotos en Contradas” (Found Pictures) and is enticed to browse through the collection and essentially open a window into the private life of strangers.

Aguirre addresses possible doubts and questions concerning his collecting process by explaining that Article No. 2526 of the Argentine Civil Code states that “such images are regarded within the category of things abandoned by their owners” and that Article No. 2412 states that “abandoned things can be taken by whoever desires it, being their sole possession enough title of property.” However, Aguirre later explains that if he is provided with a justified reason for the removal of a picture, he would respect the request. Lastly he clearly states that every picture posted on the site is one that he personally found discarded in the street. The pictures are placed into groupings on the site including portraits, couples, vacations, pieces of pictures, social/family life, etc.

Regardless of if these pictures were abandoned, misplaced, or specifically thrown away, they are tiny bursts of history and artistic expression, both intentional and unintentional. It is highly likely that the original owners of these pictures would not consider them to be collectable items, however, once grouped together and displayed by Pablo, the compilation is fascinating and thought-provoking. It gives the observer that same feeling of peaking into the personal life an unknown person without their knowledge. Whether that is morally sound or not is another question, but I believe we can come to the general conclusion that the “spying” element of examining pictures with a blank history is alluring. It provides the observer with a culturally-relevant and historical hodgepodge of visual information about the inhabitants of Buenos Aires that is unconventional and therefore worth exploring. Although the site says “100% trash,” these “found” pictures have, without a doubt, real collectable value.