WorthPoint member Rose W. purchased a desk at an estate sale for what she thought was a great price. She liked its unusual design and it seemed just the thing to use for a computer desk. But when she saw a similar desk and learned that it was really a piano, she started looking at her desk in an altogether different light. Not knowing exactly what she had, she contacted WorthPoint’s Ask a Worthologist service to find some answers.

WorthPoint member Rose W. purchased a desk at an estate sale for $275. It was its unusual design caught her eye, and it seemed just the thing for a computer desk she could use with her laptop. Looking around at an auction sale recently she spotted what she thought was another desk, to her surprise it was actually a piano and not a desk. Back at home she re-examined her desk and it appears that her desk was once a piano as well. She’s not so sure now she got a good deal on her desk because it’s a “made up piece.” She plans on keeping it, but is interested in finding what she can about it and if it was worth what she paid for it. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece and her inquiry was forwarded to me, here’s her question.

“I’ve always enjoyed buying things at estate sales and auctions for my house and had recently been looking for an antique desk to use with my laptop. All of the modern computer desks clashed with my antiques, so I spent quite while finding a desk that would fit in. The one in the image I sent was perfect, as I could close my laptop, flip the desk closed and it went from home office to antique in a couple of seconds.

“I was quite pleased with this desk, as I thought I had a good deal at $275, at least until I saw what I thought was an identical desk at an auction last month. I was surprised to discover that it wasn’t a desk at all, but a actually a piano. So, it seems now my desk isn’t antique, but a made up piece. I’d like to know what you can tell me about it and if I got the deal I thought I had.”

Here’s my response:

Spinet desks are of two types: factory made pieces, dating from the 1920s through ’40s, or conversions made from Victorian square case pianos. Based on your images, this piece is of the second type. The original Spinet desks were originally made from circa 1840 pianos, converted into desks during the 1920s through the 1940s, when their internal works were beyond repair. Their rosewood and mahogany veneered cases and square design were seen as “old fashioned” at the time, but they was also believed to be too valuable to throw out.

While conversions of this type are sometimes frowned on, the conversions to these pianos into desks were performed so long ago, they’ve now been desks for as long as they were originally pianos.

In the current market, these Spinet conversion desks often sell for good deal more than you paid for yours, even at auction. In the shops, it’s not uncommon to find similar desks retailing in the $650-$850 range.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

https://www.worthpoint.com/askWorthologist/index

How can one get an idea of what granddad’s books are worth? Is it even worth researching or having an appraiser examine them? Just like every category of antiques and collectibles, there are some basic guidelines.

In today’s example of an Unloved Antiques, let’s look at something nearly everyone has, almost never throws out and are often thought to be quite valuable. Old books. I’m as guilty as anyone, as my home is filled with books I’ve bought, borrowed or inherited over the years. Hundreds of pounds of them stashed in book cases, on coffee tables, under the furniture, in boxes and large plastic bins in the basement.

Most, to be perfectly honest, I’ve not looked at in years, except when looking for more room for yet more books that have taken over the living room, bedroom and kitchen (cookbooks seem to reproduce in the kitchen).

To most of us, books are a bit of a mystery as far a value goes. We all see and hear media reports of some rare book selling for the price of a villa in France, after lying undiscovered in Aunt Winifred’s bedside table drawer since 1947. But the truth is, even books that are more than a 100 years old often sell for less than the cost of coffee and donut. Yes, you read that right; the majority of old books are often only worth a couple of dollars apiece. At auction today, most 19th- to early 20th-century hardcover books are regularly by the boxed lot for $20.

This “Decorum & Dress Etiquette Book” from 1880 sold for $58 on eBay in 2010. The value of this book is more for the content than as a book.

So, how can one get an idea of what granddad’s books are worth? Is it even worth researching or having an appraiser examine them? Well, in the case of anything you are not sure is valuable or not, one really should call in the experts, but there are some basic guidelines. There are many ways that publishers identify books as a first edition, the examples that appear most often are as follows and can be found in most books on the publishing and copyright page, generally found on the first few pages of the book. One should look for the following:

• First if the rule of “firsts”—look for words such as “First Printing,” “First Published,” “First Impression” or “First Edition.”
• A line of numbers like this: “9 8 7 6 5 4 3 2 1” (the number one missing would indicates a second edition).
• There is no listing of later printings on the copyright page.

If you find something similar to what’s listed above on the copyright pages, it could indicate it is a first edition and is worth looking into its value. Even with first editions, there are basic guidelines for value. With books value, the next indicators are just about always “author, inscription and condition*,” meaning that values for signed, first editions of a book in very good condition by a famous author trump most other factors. The only other factor that would best the first edition guideline for a book, regardless of the printing or edition, would be a provenance to a very famous person. A good example would a family bible belonging to the family of famous outlaw Jesse James. With a genuine provenance to his family, the value of what would normally be an $80 common, mass-printed 19th-century bible can go to more than $3,000.

A modern example of the first edition “author, inscription and condition” guidelines in action would be, say a signed, first edition of Stephen King’s “Carrie,” published in 1974. In today’s market, many antiquarian book sellers list this one at as much as $7,500, but in comparison, an unsigned 1983 printing in “as new” condition often lists for less than $75. Further down the chain, a “book club” or very late reprint of the same book in good condition can sell for as little as a couple of dollars.

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* The various conditions normally used by book sellers to describe books are listed as can be seen below:

• As New: Means just that; flawless right from the store.
• Fine: Close to the condition “As New,” but not as crisp. Still, there must also be no defects.
• Very Good: Describes a used book with some small signs of wear but no rips or tears on either binding or paper. Any defects will be noted in the description.
• Good: An average used and worn book that still has all pages or leaves. Any defects will be noted in the description.
• Fair: Describes a worn book that has complete text pages including maps or plates, but may be missing end papers. The binding will generally be worn in spots, and any defects will be noted in the description.
• Poor: A book that is so worn that its only rates as a reading copy with a complete text, but it could have missing maps or plates, exhibit loose joints or bindings. These examples also tend to be scuffed or stained, and any defects will be noted in the description.
• Ex-Library: Former library books must always be listed as such no matter what the condition of the book. Any defects will be noted in the description.
• Binding Copy: Is a book in which the pages are perfect, but there could be damage to the binding or the binding could be missing
• Book Club Editions are always listed as such regardless of the condition of the book.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass
• Unloved Antiques: Stradivarius-Style Violins
• Unloved Antiques: 19th-Century Pump Organs
• Unloved Antiques: ‘Starving Artist’ Painting
• Unloved Antiques: The American Old Family Bible
• Unloved Antiques: Old Books

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

WorthPoint member Isabel R. wished to know more about this trinket box she inherited from her mother, so she engaged WorthPoint’s “Ask a Worthologist” service. The report back states that the piece originated in Limoges, France, and is painted in a floral Art Nouveau-style popular during the turn of the 19th century.

Isabel R. inherited a porcelain trinket box that appears to be hand-painted. There are no markings on it other than “Jenny Miles- 97” on the bottom, and had originally belonged to her mother. It was used in a sewing cabinet for needles and thread, and no one could recall where it came from originally. Isabel has no plans on selling it, as it’s already found use on her vanity, for rings and costume jewelry, but she is interested in finding all she can about it, particularly the artist who painted it. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her inquiry was forwarded to me. here’s her question:

“I inherited this box from my mother, she’s always used it for pins, needles and thread, and it has sat in her sewing cabinet for years. Nobody in the family can recall where it came from, as my mother tended to pick things up at church bazaars and yard sales over the years just because she had a use for it or liked the look of it. The only marking on it is on the bottom, it’s signed “Jenny Miles- 97.” I think the number 97 might be for 1897. Could Jenny Miles be the name of the artist who painted this piece? I tried to look up her name on the Internet, but could not find any other porcelain trinket boxes signed by her, but found similar pieces with other names and dates on them. I’m not going to sell this piece, as I already use it on the vanity for small bits of costume jewelry, but I’m really interested if you anything can find out about the artist, and of course what the piece is worth.”

Here’s my response:

Based on your images and the marking, your trinket box originated in Limoges, France, and is in the floral Art Nouveau-style popular during the turn of the 19th century. The number “97” in our opinion is, indeed, for the year 1897. Limoges was the home of many porcelain companies during the last quarter of the 19th century. Most of these companies were producing fine decorative china for the export market, mainly to the USA.

A good deal of this ware came as “white ware” blanks and were hand-decorated by hobbyists and pottery studio’s in both Europe and North America. “China painting,” as porcelain decorating was called at the time, was a popular pastime from the last quarter of the 19th century until the First World War. Unfortunately, the work of many of these studios and the signatures of the artists who decorated them are either undocumented or little reference material for them is still available. This trinket box is one of these pieces.

This piece was most likely decorated in North America but, sadly, we have no listing for the artist “Jenny Miles” in any of the standard reference material or databases used to identify markings and signatures for porcelain decorators. The majority of the amateur American china painters were women either by occupation, or as a hobby. But then these Studio pieces were not generally mass produced, nor is much research material available.

While not mass produced, such pieces were made in large numbers, so values are still modest for them. In the current market, comparable hand-painted Limoges based trinket boxes of this period and style often sell at auction for less than $75.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

Is it a genuine Tiffany iridescent glass vase? Tiffany marks are no guarantee of authenticity unless the design of the piece itself matches known documented examples.

Many might wonder, when watching appraisers on the “Antiques Roadshow,” just how they can determine so much information by simply flipping a porcelain cup, silver platter or glass vase upside down? Well, welcome to the appraiser’s world of marks, a world that might seem arcane or mysterious to the budding collector of any type of antique or collectible, but once understood, can save hours of time and frustration trying to figure out exactly what you are holding in your hands.

The fact is, markings that are stamped, painted or impressed on the underside of most items can tell a great deal about a piece other than just its maker. Each mark—be it for pottery, glass or metal items—are important reference points that are used to decipher vintage, authenticity and origins.

What the appraiser is looking for in these markings are basic reference points that they have learned through years of research and study that begin to solve the mystery of each of antique or collectible item. What few people are aware of is that it’s not just the names of well-known companies—such as Rookwood, Tiffany or Gorham—that stamped on the piece that tells the whole story, but a number of things used within the mark itself.

The actual dating of a piece is much like detective work, and the company name itself only gives the appraiser a rough time line of when the company was known to operate. Other factors, such as the color of the mark, how it’s applied or the numbered codes within the design can often date a piece to the exact year it was produced. Famous companies, such as Wedgwood, Minton’s, Derby and Worcester, have all used a variety of numerical or symbol codes that, with a quick look in a reference book or library, will provide the exact date of production.

Now, it’s not possible for even the most accomplished appraiser to memorize all the marks they run into; just for ceramic items alone there are tens of thousands. Therefore, a reference source is a must for some rare or unusual or even reproduction pieces with fake markings that occasionally flood the market. Most marks, though, follow some basic guidelines that most often were a result of various trade, copyright and patent laws between countries and the companies that worked with in them.

Even without a reference library of pottery/porcelain marks, for example, there are a few “pro points” that you can copy or memorize to help you date pottery and porcelain:

• The lack of any country of origin markings indicates a production date pre 1891;
• Small, hand-written marks tend to be pre-1800s;
• Kite-shaped marks with “Rd.” in the center are English and were used from 1842-83;
• Printed/stamped marks in colors other than blue tend to be post-1850;
• The use of the word “Royal” on English ceramics before a company name tend to be used after 1850;
• The use of the term “LTD” or ” Limited” appear after 1860;
• The use of the word “Trademark” tends to be used after 1862;
• The use of registration numbers such as “Rd No.10057” began in 1884;
• Items marked “Nippon” generally date from 1891-1921;
• The name of a country with the stamp indicates where the piece was mad; dates from 1891.
• Company marks in gold, or the mention of “24K Gold” on gilded pottery or porcelain is generally mid-20th century.

These are not hard and fast rules, as there are some exceptions, depending on the individual company. In the case of the stamp shown here, it’s one of these exceptions.

This mark was used on French Quimperware pottery made by the De la Hubaudière factory from 1883 to 1895.

This mark was used on French Quimperware pottery made by the De la Hubaudière factory from 1883 to 1895. It is hand-painted, whereas the “rules” would indicate it should be a pre-1800 piece. Another would be a lack of a “Country of Origin” mark, such as “Germany,” indicating a pre-1891 production date. Many ceramic imports have used paper and foil labels that indicate the piece’s origin, which were often removed after sale or have simply worn off over time.

Marks On Metal

The foundry mark “Chiurazzi Naples” from the bottom of a bronze figurine.

Some guidelines that apply to ceramic items also apply to many antiques & collectibles made of metals from bronze to silver, such as the use of “Country of Origin” marks, British Design Registration marks or “Rd” numbers, and the words “Limited/LTD” or “Trademark.” Like ceramics, many metal Decorative Arts items—such figurines, bookends or lamps—are made of spelter or bronze and will also often have company or foundry markings that can be referenced to determine a date of production and origin. Again, these are not hard-and-fast rules, but basic points to start the reference process.

One issue that confuses novice collectors regarding metal items more than anything else is “silverware,” a term that one would think implied the item was indeed constructed of silver, but since the 1840s, that hasn’t been the case. Until silver electroplating was perfected and patented by Henry and George Richard Elkington in 1840, most silverware was exactly that: 80- to 92.5-percent pure silver. The Elkinton’s patented process allowed the appearance of “silverware” by using only a very thin layer of pure silver—usually from 1/1,000 to 2/1,000 of an inch (0.03 to 0.05 millimeter) thick—on a base metal such as copper, brass or Britannia metal (a type of hard pewter).

As with ceramics, some basic guidelines will identify most silver plated items from genuine silver pieces, To the average person, Coin or Sterling silver don’t look much different than silver-plate pieces. Where the difference lies is in the markings. By international convention, most countries have laws regarding the marking of precious metals such as silver and gold, generally referred to as “Hallmarks”—stamped marks from which the purity, the maker, city and date can be determined. Hall Marks had their origins in England, where all silver has been marked since the 14th century, and are a great aid in determining the history
of a piece today.

These hallmarks on an English-made Sterling Silver trophy tells that it was made in 1873, among other details.

American silver is often marked with the word “Sterling” (925/1000ths pure silver), “Coin” (about 900/1000ths pure silver) or with numerical markings that indicate the same thing “925” or “800.”

Here’re a few markings that right away will tell you the item is silver-plated. The wonderful thing about them, though, is they actually spell out their true metal content, as can be decoded as shown below. So if your “silverware” has any of the markings listed below, you can rest assured it’s not “Sterling.”

EP - Electroplate
EPBM - Electroplated Britannia Metal
EPNS - Electroplate on Nickel Silver (nickel silver is a nickel/brass alloy)
EPC - Electroplated Copper
EPWM - Electroplated White Metal
EPNS-WMM - Electroplated Nickel Silver with White Metal Mounts

Marks on Glassware

Although some of it has been warn away, the Steuben fleur de lis mark on the rim of a glass lampshade is still visible.

Most glassware markings will require sources of reference to identify them. Most are very minimal, a change in the style of the company marking being the only indicator of a vintage based on the marking alone. A great deal of glassware up to the late 19th century was handmade and unmarked, but a lack of markings as an indication of glassware made pre -1890s should not be used.

Other than Art/Studio Glass, mass-produced glass tableware and commercial bottles—a great
deal of even contemporary glassware—comes with paper or foil labels which are not terribly durable and come off with the first washing. Determining the origins and vintage of glassware often depends very little on the lack of markings, but on the style and type of glass, compared to documented examples in reference material and company catalogs.

Patent Marks and Serial Numbers

The patent mark on an antique clavicle splint registed by A.M. Day, Bennington, Vt., in 1853.

Any time a manufacturer designs a unique item or an improvement on it, a “patent” is applied for with the regulatory agencies of that country’s government. The patent provides protection from anyone else from copying that product for a period of several years (the period varies depend on the country of origin). Many manufactured items, such as cameras, radios, phones, etc. will have one or more patent markings on them, generally in the form of an “applied tag” or label to
indicate the date of the patent. To determine a rough date of production for the item, look for the last patent date on the label and add 1 to 17 years (the period of time the patent would have covered). Another alternative is to look up the patent numbers here (for American patents).

Last, but not least, is the serial number. Many items, such as clocks & watches, will have serial numbers through which a period of production can be determined with a great deal of accuracy. Companies such as Rolex, Waltham, Hamilton, Elgin, Illinois Watch, Omega and many others all used them. In most cases, the serial number you need is stamped on the movement rather than the case.

The serial number (see at top) of this Elgin pocket watch can tell you when it was made.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

Here’s an example of what the second version of the “Kite” or “Diamond” mark—used from 1868-1883—looked like. It differs slightly from the 1842-1867 example.

Two different Kite/Diamond marks were used to identify various patterns that were registered in the United Kingdom, the first set—used from 1842-1867—was covered in part one of this article. From 1868, the British Patent Office issued a second Kite/Diamond registration mark when a design was registered. It differs slightly from the 1842-1867 example covered earlier.

The markings on it now indicate more than just the date of registry. Reading the 1867-83 mark is similar to the earlier 1842-83 example, with some changes. The Roman numeral in the circle on top of the kite/diamond still indicates the material the item is made from. For example, I was used for metal, II for wood, III for glass and IV for pottery/porcelain/and other ceramics. Notice, though, that on the four corners of this newer marking the codes have been changed. In the case of the number “3” in the top position below the material mark IV, it now indicates the day the registration was made. The number “6” on the left corner represents the “Bundle number,” the letter “X” on the right is the date code letter for the year (see chart below). The bottom letter “K” is the month code.
Using the chart below, you can see that mark in the example above indicates a registry date of Nov. 3, 1868. As with the original Kite/Diamond marking, this 1868-83 version can also be found on metal and glassware items.

The date coding is pretty straight forward for both markings, with a few exceptions. For the first mark—used from 1841-1867—the letter “R” was used during the year 1857 between 1st and 19th of September. In the year 1860, the letter “K” was used between 3rd and 31st of December. For this second mark used 1868-1883, between 1st and 7th of March the during the year1878, the letter “W” was used for the year instead of the correct letter “D,” and the letter “G” was used instead of the correct letter “W” for the month.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

An example of what the first version of the “Kite” or “Diamond” mark—used from 1847-1867—looked like.

There are several ways to place an estimated date of production for factory-made pieces of pottery or porcelain: some involve the marks used by the company over their history of operation, others required by International trade laws that are all well-documented. Putting all these clues together is a lot like solving a mystery, each clue bringing us closer to the solution. One such marking can tell us a lot from one look is the British Design Registry mark, or as some in the trade refer to it, the “Kite” or “Diamond” mark.

This marking granted protection of the design for a period of three years from use by other companies without permission or license from the design’s owner. With this mark, it gives us a start date on the window of production. If the piece is also carries a company marking, it can be cross referenced with Diamond/Kite mark to indicate a quite accurate date range.

Two different Diamond/Kite Marks were used: Beginning in 1841, the British Patent Office issued a registration mark (like the one above) when a design was registered. Learning to recognize this mark will make it easy help date any item carrying it easy and make you look like an expert.

The markings on it indicate more than just the date of registry. Reading this mark is fairly simple:

• The Roman numeral in the circle on top of the kite/diamond indicates the material the item is made of. For example, the numeral I was used for metal, II for wood, III for glass and IV for pottery/porcelain/and other ceramics.
• Notice on the four corners of this marking you will find a series of letter codes, each with their own meaning. In the case of the letter L in the top position below the material mark IV, it indicates the year (see chart below). The letter R on the left corner indicates the month, the number 19 on the right is for the day the registration was made. The bottom letter P is what’s called the “Bundle number” —basically a filing designation for the Registry office itself—and really does not tell us much without actually contacting the Registry office itself.

Using the chart below, you can see the mark above indicates a registry date of Aug. 19, 1856. It should be noted that this marking can also be found on metal and glassware items.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

This “old family bible,” published in 1877 by the O.A. Browning & Co., of Toledo, Ohio and London, Ontario. It’s in fair to good condition and comparable examples often sell at auction in the $80-$150 range.

Next in this series of “Unloved Antiques” is the American “Old Family Bible.” Most families have one, often said to be “At least 200 years old,” inherited from some distant deceased relative and nearly always with a fantastic tale relating to the Frontier, Old West or the Civil War.

To date we have must have examined dozens of bibles that were said to have belonged to family members related to Daniel Boone, Davy Crockett, Jesse James, Billy the Kid, Stonewall Jackson, Ulysses S. Grant and even Abe Lincoln*. Sadly, none of them had any provenance, and nearly all were printed long after all of these notables had gone to their final reward.

Most of these bibles we receive appraisal requests for are actually very late 19th-century presentation pieces, highly ornate bibles with embossed covers, in some cases with latches that resemble something one would find in a 14th-century monastery. Quite often, these were given as gifts to newlyweds or newly ordained priests and ministers by family or friends, eventually handed down from one generation to the next. Some are inscribed with dedications, dates and names to give some hint as to their original ownership, but after two or three generations, the inscribed date is dismissed as “written in years later,” particularly if the last name inscribed is similar to someone famous—like Ulysses S. Grant—or infamous such—as Jesse James or William Bonnie (Billy the Kid).

Upon examination of the first few pages, most of these bibles will reveal the publishing date and the name and location of the publisher; most, like the example above, tend to post date the 1870s and were made right through the turn of the 20th century. Values for these late 19th-century American Bibles can be upwards of $400 at auction, if in very good shape and printed by a well-respected publisher. But most we see suffer from 100-plus-years of being shoved into bookcases, drawers and hope chests.

The example above dates to 1877, published by the O.A. Browning & Co., of Toledo, Ohio and London, Ontario. It’s in fair to good condition¹, and comparable examples often sell at auction in the $80-$150 range.

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*With such pieces, with genuine provenance to someone like the Western outlaw Jesse James, Mother can take the value of a battered, run-of-the-mill 19th-century bible from $80 to more than $3,000 at auction. If you have any doubt at all about the value and origins of an old book, we strongly suggest having it examined and appraised by an antiquarian book dealer.

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¹ “Fair” describes a worn book that has complete text pages, including maps or plates, but may be missing end papers. The binding will generally be worn in spot and any defects will be noted in the description. “Good” describes an average used and worn book that still has all pages or leaves. Any defects will be noted in the description.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass
• Unloved Antiques: Stradivarius-Style Violins
• Unloved Antiques: 19th-Century Pump Organs
• Unloved Antiques: ‘Starving Artist’ Painting

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint member Jeff A. found an unmarked vase in an antique store he liked. It looked like an early Art Nouveau piece, probably from the turn of the 19th century. The dealer concurred, and eventually they struck a deal. After engaging WorthPoint’s “Ask A Worthologist” service, Jeff now knows that the preconception as to when it was made made it hard to find out the real history of the piece.

Jeff A. found an unusual vase he thinks is Art Nouveau. He recently bought it at an antique store because he liked its design. His curiosity got the better of him and he’s since done a little research on it. He’s intrigued because it has no maker’s marks, number or letters to give any idea as to who made it and he’s come to the conclusion that because it has no markings on it and the decoration is full of organic, flowing lines of intertwined morning glories, that the piece must be a pre-1891 Art Nouveau example. He only paid $250 for it, using the fact there was no marking on it as a haggling point from an original price of $300. The label on it had nothing claiming it was anything in particular, but the dealer said, in his opinion, it was probably a turn-of-the-19th-century piece. As Jeff has not been able to find a match for this piece as Art Nouveau he contacted WorthPoint’s “Ask a Worthologist” service to inquire about its origins and value. His inquiry was forwarded to me, here’s his question:

“I bought this vase from an antique store around a month ago asthe design was a little unusual and I liked it. The dealer didn’t seem to know much about it because it had no company stamp on it, but said it came out an estate auction with a bunch of pottery that was marked dating to the turn of the 19th century. I managed to haggle him down from $300 to $250 because it was unmarked. After I got it home I did a little digging on Google and think this might be a 19th-century Art Nouveau piece because it has no country mark* and the morning glory design. I could not find a match for this vase searching for “Art Nouveau Morning Glory Vase” and am really curious as to what it really is.”

Here’s my response:

Sometimes research takes us in the wrong direction if we have a preconceived notion as to what we are looking. While many pieces made prior to 1890 had no country of origin marks, and the morning glory vine is a Art Nouveau icon, in the case of this piece, neither of these assumptions are correct. Your vase is actually quite a bit newer than either you or the dealer believed. It’s actually a piece by the well known Art Pottery by Roseville in its “Morning Glory” pattern. This pattern dates to 1935. Yours is a model 730-10 in green, but it was also made in white as well. The green version is generally more sought after than the white.

The reason for the lack of markings is that some pieces in this pattern originally had foil labels, which were either removed or have simply fallen off over time. Standard colors for this pattern are green and white, green is usually priced higher than white. In addition to the foil labels, some early Morning Glory pieces were also marked with hand-written shape numbers. Some examples have familiar, die-impressed Roseville script marks telling of the shape number and size.

There are about 18 different Morning Glory shapes that I’m aware of, including, candlesticks, bowls, baskets, vases and wall pockets. Even though your vase is not what you originally thought it was, you still did quite well by getting it retail for $250.00. In the current market comparable Roseville Morning Glory vases often sell even at auction for more than $300.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

Here’s an example of what a Rd. Number looks like:

Beginning 1884, the British Patent Office issued a registration number like the one above when a design or mark was registered. The marking had an added feature of indicating to the buying public that the piece was a product of Britain. This marking also made it very clear that the design was protected, that copying it would lead to legal problems with both the company that owned the design and the government that registered the design. The length protection offered for the design of the item depended on the material type it was made of; pottery and porcelain items were covered from design piracy for a period of three years.

What the numbers tell us is the first year the design was registered for protection. In the case of the Rd. number above, “Rd. No. 56790,” means the mark was registered sometime in 1886. Being that the protection of such a marking was only good for three years, we could say a date estimate of 1886-1889 would be reasonably accurate, but it should be noted the design could have been in production a great deal longer than three years. Using the chart below will enable you to determine the earliest year of production for any piece of English pottery or porcelain that carries a Rd. number. It should be noted that Rd. numbers can also be found on metal and glassware items, this chart applies to these items as well.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

An example of an “Enrico” painting, otherwise known as a “starving art painting,” which were as mass-produced as a painting could be.

The 14th item in this series of Unloved Antiques is really more decorative arts than antique, but we get a huge number of requests for information regarding this item, more than for just about anything else. It’s what I call the “starving artist” painting. Based on the number I see, I think every home in North America has at least one over the mantle or in a spare bedroom.

By definition “starving artist” painting are those semi-impressionistic paintings in a heavy Impasto* style, and most depict Parisian street scenes, cafes or crashing waves on a beach, with a lighthouse perched on a cliff in the distance. Most tend to have single “first name” type signatures, such as “Enrico” or “Ricardo”—in some cases the signature is almost illegible—and sometime the last two digits of a date; E.G. “76” for 1976. It’s not uncommon to find almost identical examples of these painting showing up on online auctions sites or free appraisal forums.

At one particular forum I participated in some years ago, we had six people within one week respond to an initial request for information about their “Enrico,” saying they too had the exact same picture, but with different signatures.

While this seems puzzling to the owners of such paintings, it’s really not all that complicated. These paintings are produced as multiples of the same scene under contract for art wholesalers. Art wholesalers have been staging traveling “Starving Artist” or “Art on a Fence” sales in hotel conference rooms since the 1970s. These events are usually heavily advertised as a chance to buy “Genuine Oil Paintings at discount prices,” also offering upscale framing options, on which they make most of their profit. Each sale will have a wide selection of painted scenes, if a particular street or beach scene sells well, the wholesaler will order multiples of it for the next show. The signatures on these paintings are often just pseudonyms, the real artist’s name or even where they were painted remaining unknown.

Values for these paintings depends a great deal on the quality of the painting, subject matter,
size and the frame, but for the most part, at auction it’s not uncommon to see such paintings sell
for less than $50. Still, one has to be very careful when dealing with oil paintings; to release any possibility of doubt, any example of original artwork such as an oil painting or water color
should be examined by a qualified fine arts appraiser.

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*Impasto: In English, the borrowed Italian word impasto refers to a technique used in painting,
where paint is laid on very thickly, usually thickly enough that the brush or painting-knife strokes are visible. When dry, impasto provides texture, the paint appears to stand proud above of the canvas.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass
• Unloved Antiques: Stradivarius-Style Violins
• Unloved Antiques: 19th-Century Pump Organs

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

WorthPoint member Stella B. picked up this Rosenthal urn at a church bazaar, paying only $40 for it. She loves it and doesn’t plan on selling it, but wanted to know more about it. She engaged WorthPoint’s “Ask A Worthologist” service to find out.

The Rosenthal mark, along with the name of the artist, Kurt Wendler.

Stella B. picked up this Rosenthal urn at a church bazaar, in a box complete with plastic roses for $40 and stuffed with newspapers circa, 1959. As is usual with sales of this type, many of the items were donated were pulled out of closets, attics and basements with little or no documentation or family histories. Stella really likes it and has no plans to sell it, but would like some idea of its value, age and history. Stella contacted WorthPoint’s “Ask a Worthologist”service to inquire about this piece, her inquiry was forwarded to me,

Here’s her question:

“We recently had a fund raiser at our church and the congregation was asked to donate items for sale in our yearly bazaar. We normally have hundreds of items donated, most of it is stuff that’s been stored away for years by some of our elderly members or unwanted inherited bric-a-brac from the younger people. I don’t normally find much that appeals to me at these sales, but this urn really caught my eye. It had not yet been put on display it was still in was in a box stuffed with papers from 1959 and some very faded plastic roses. It came out of a Depression style Lane cedar chest someone had donated packed in with linens, tablecloths and doilies, etc. I paid $40 for it, which I thought was a wonderful price for such a lovely thing. It’s about 10 inches in height and is stamped on the bottom (see mark image) “Rosenthal” over “Selb-Bavaria” with a crown and scepters. Below that it has a name,” Kurt Wendler.” I don’t plan on selling it but would like to know what it’s worth, how old it is and anything else you can tell me.”

Here’s my response:

Well, you’ve certainly found a gem among the bric-a-brac. This is a wonderful Art Deco piece made by well-know porcelain works Rosenthal. The Rosenthal company was founded as a decorating studio in 1879 in Schloss (castle) Erkersreuth, Upper Franconia, Bavaria, as the Porzellanfabrik Phillip Rosenthal & Co. Phillip opened his first factory in 1891 and the first world exposition of his products was in 1900. Since then Rosenthal has been a renowned name for quality porcelain and remains in production to this day.

This particular piece is in the “Indra” pattern and one of the nicest bits from Rosenthal made during the early 1920s. The Indra pattern was found on a line that included plates, vases, urns and trinket boxes. This one was designed by Kurt Wendler (1893-1980), who worked for Rosenthal from 1920 until 1930.

In the past year, similar Indra pieces have been listing with presale auction estimates in the $1,400-$1,800 range and realizing those prices as well.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

This Estey Eastlake-style organ was made circa 1890 and is of a type generic to the North Eastern U.S. and Canada. While why may be loved, and this isn’t even taking its sound into account, they don’t sell for more than $200.

The next item in this series of Unloved Antiques is the 19th-century “pump” or “reed” organ, or the Estey “Eastlake-style”* organ, to be more precise. The reed organ was once an important domestic instrument, offering a cheap alternative to the ever-popular family piano while, at the same time, providing a suitable instrument for accompanying family hymns on a Sunday. It was the product of a world-wide industry that turned out hundreds of thousands of organs a year at its peak.

According to old catalogs produced by the Estey company, it was founded in 1846—located in Brattleboro, Vt.—and was one of the best-known and longest-lasting of these organ companies, remaining in production until 1960. It was also one of the most prodigious, as in its 114-year existence, Estey produced some 520,000 reed organs. Like piano makers of the time, Estey numbered its products with serial numbers—either stamped on the back of the organ or on an internal sticker—so if you have one of these Esteys, you can get a rough idea about when it was made. For example, an organ from 1850 was stamped “400,” and by 1870, the numbers were up to 24,000. In 1880 it produced its 100,000th organ and in 1890 it turned out No. 221,000.

Demand for reed or pump organs dropped off after the First World War, and most ended up stored in back rooms and barns. Demand for them for is still very modest, and many were often converted into desks or bars by antique dealers looking to make them a more marketable item.

In the current market, values for them in “as is” condition at auction is still very modest and depends on who wants one and how bad. Of the 55 Estey Eastlake organs I’ve seen come up for auction over the last couple of years, 17 failed to even meet their modest reserves, while the remaining 35 sold for less than $200. Only three sold for more than $200.

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*Charles Eastlake was an English Designer who wrote a design book entitled “Hints on Household Taste” in 1868. In this influential book, he rejected the ornate decorations favored in earlier Victorian furniture and espoused a more simple design featuring incised rectangular lines sparingly accented with machined forms and varying wood types for decoration.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass
• Unloved Antiques: Stradivarius-Style Violins

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

WorthPoint member Denise wants to know about this “coffee set” she inherited from her great-great-aunt. The Art Nouveau style does not go with her black and white minimalist/Zen décor and wants to know if it would be safe to give it to Goodwill without losing a valuable antique.

WorthPoint member Denise A. has what she was told is a coffee set that dates from the late 1800s, the former property of a relative who traveled extensively during the 1920s and collected things from all over the world. While Denise likes the look of the set, it really does not go with anything in her Designer Minimalist “Black and White” apartment and has spent the last five y

The “Nippon” mark that complied with American trade tariff known as the McKinley Act that required “country of origin” markings for anything imported into the United States.

ears forgotten in a kitchen cabinet along with other pieces still boxed from at least three moves ago. Other than what she was told when she inherited it about 10 years ago, she knows nothing about it. She would like to know if the set is worth anything or should she just donate it the local Goodwill store. Denise contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her inquiry was forwarded to me. Here’s her question:

“I inherited this coffee set about 10 years ago from a relative, a great-great aunt I’d never met on my mother side. My mother said all she knew was that my great aunt spent most of the 1920s traveling all over the world and that her old home had been crammed full of stuff and nobody recalled exactly where it came from. The set is very pretty, with the pot and four cups/saucers, but really just does not go well with my modern apartment, as much of it is decorated in a Black and White Minimalist/Zen decor. Since I redecorated about five years ago it’s been gathering dust in the top kitchen cabinet along with boxes of things I’ve not even unpacked from my last three moves. Most of this stuff I’m determined to get rid of, either by selling it if it’s worth something, or giving it away to Goodwill. This set was at the front of the cabinet and will

the first thing to go. What I need to know is whether it is worth a substantial amount of money or can I just donate it to charity without any worries about giving away something quite valuable. The set has a stamp on the bottom that says “Nippon,” and “hand painted,” everything is in very good shape with no wear to the gilding or any cracks or chips”

Here’s my response:

From what I can see in the images this is not a “coffee set,” rather it is actually a pretty typical turn-of-the-20th-century chocolate set, meant for serving hot cocoa. Sets like this were made between 1890 and 1915 and are generally in the Art Nouveau style, also popular during this same period. The marking on it of course is a version used by the famous Japanese porcelain company Noritake* (circa 1911-1921).

During the period, these pieces were popular and nearly all potteries were marking their wares with “Country of Origin” markings, such as “Germany,” “France,” “Austria” or “Bavaria” to comply with the American trade tariff known as the McKinley Act. This trade law prohibited any importation of items into the United States that were not marked to indicate a country of origin. The U.S. was the largest growing market during the late 1800s, so most overseas manufacturers were very quick to fall in line and apply such markings.

The word “Nippon” used on the mark is the Japanese word for “Japan,” and was used until about 1921/22, at which point the word Nippon was changed to Japan.

Values for these sets depend a great deal on the maker, the quality of the decoration and the pieces current condition. Today comparable Noritake Chocolate sets like yours often sell at Auction in the $200-$250 range.

* Noritake’s roots date back to 1876 when Baron Ichizaemon Morimura IV formed the trading company “Morimura Kumi” with offices in New York and Tokyo, with the main business being exporting Japanese gift ware and china to Europe and the U.S. The company began production of its own line of china after 1904, the first exports to the U.S. occurring about 1910.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

A violin with a label stating: “Antonius Stradivarius Cremonensis Faciebat Anno, which was used a part of a marketing strategy, indicating the violin was designed after originals by Antonio Stradivari. It is worth, usually, around $75.

The twelfth item in this series of “Unloved Antiques” is the world-famous “Stradivarius Violins.” Nothing hits the popular-culture’s buttons better than the idea of a found treasure, which shows like “American Pickers, “Storage Wars,” “Auction Hunters” and the venerable “Antiques Roadshow” highlight on a weekly basis. The rarer the item, the more a collector’s heart goes pitapat, and nothing makes it beat faster than finding the name “Stradivarius” on a violin.

If genuine it’s—the rarest of the rare—it’s a ticket to early retirement to the south of France or wherever your fancy may take you.* The name is so ingrained with “treasure” in popular culture that even those who haven’t collected anything but shiny shells on the beach as a child know it means a rare violin of huge value, made by a master craftsman.

The legend of the Stradivarius is an old one regarding an Italian luthier (a maker of stringed instruments), one Antonio Stradivari (1644-1737). While his legendary violins are best known, he also is said to have produced cellos, guitars, violas and harps. In all, it’s been estimated that Antonio Stradivari was responsible for 1,000 to 1,100 instruments, of which some 650 have been identified to have survived. Of this 650, references claim that 450 to 512 of these survivors are violins, of which the whereabouts are well recorded. But this important piece of knowledge is not as common as the stories of their value.

In the course of my career, I’ve probably had dozen “Stradivarius” violins a year lovingly placed in my hands at antique appraisal events, all of them glued inside with the immortal label “Antonius Stradivarius Cremonensis Faciebat Anno” (with the date printed or hand written). These labels were not really meant to deceive the buyer when originally used; it was more of a market strategy to indicate the violin was designed after originals by Antonio Stradivari.

The quality of these bogus “Strads” varies tremendously, from terrible to quite good. Nearly all these examples were made in Germany or Czechoslovakia from the turn of the 19th century through the 1920s. Some, those made before 1891, will have country-of-origin marks, such as “Germany” or “Made In Germany” clearly visible, a practice necessary to comply with America Trade tariff laws. As the American market was the largest one at the time, most musical instrument manufacturers were very quick to comply, producing tens of thousands of these Stradivarius copies during the closing years of the 19th century.

In the current market values for these late 19th to early 20th-century Strads vary, depending on the quality of construction, condition and sound; something that would have to be determined by a specialist who deals with stringed instruments. That said, one often see these German or Czechoslovakian copies selling for less than $75 at auction.

*Today, a genuine Stradivarius can sell for enormous sums. One of the most recent and famous of his pieces is a violin he completed in 1721, which is known as “Lady Blunt.” It was named for Lord Byron’s granddaughter, Lady Anne Blunt, who owned it for 30 years. The “Lady Blunt” sold for on July 21, 2011for a sum of $15,932,115.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

An Art Deco figurine WorthPoint member Anne P. bought at a charity auction. After giving it a good once-over, she noticed the piece was signed and there was a foundry mark and started wondering who made it, when and what it might be worth. The answers were: Pierre le Faguays, 1926 and a lot more than she paid for it.

Anne P. has an interesting figurine that she bought at a silent auction fundraiser last month. She bid on it because it was the only thing at the sale she was remotely interested in and buying it would support a cause she felt strongly about. She’s since had the time to examine it, found it was signed and had a foundry marking. At the sale there was not much information provided other than it was a “Art Deco-style figurine, circa 1960.” Now that she’s found a signature, she’s interested in finding out its true origins, how old it really is, and if she got a good deal at $125. Anne contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her inquiry was forwarded to me, here’s her question:

“I bid on this figurine at a silent auction for a local Green initiative project. Everything in the sale was donated, but most of what was in the sale did not appeal to me, except this piece. It was just listed as “Art Deco-style figurine, circa 1960” and no other information was available about it. The woman who had donated it had herself only owned it briefly and knew nothing about it other than what an interior decorator friend had told her. When I was thinking of where to put this piece for display, I decided to examine it and found two markings on it: a name that looks like Fayral and some kind of company stamp. The figurine appears to be bronze and is about 11 inches tall. I’ve heard that signed bronzes are generally the originals and I’m curious about who made it, how old it is and what it’s worth.”

Here’s my response:

You did well on your purchase. “Fayral” is one of two pseudonyms (Fayral and Guerbe) used by French sculptor Pierre le Faguays (1892-1956 ). “Fayral” and “Guerbe” were the family names for his mother and his wife, respectively. He was born in Nantes, France, and became famous for the illusion of movement he gave his dancers, winning him a medal of honor for his work in 1927. He was a close friend of Max Le Verrier*, owner of the Le Verrier foundry, which produced most, if not all of his pieces.

The Le Verrier foundry mark, which identifies this piece as an original.

The originals have a foundry mark, like the stamp you mentioned in your request. The Fayral figures have been known to be recast from original molds and modern copies are still in production, which has depressed prices for older examples without foundry marks. The one you own is an original, circa 1926, and is cast in white metal with a bronze patina. This patina is part of its original design and, whatever you do, please resist the urge to polish it! That would ruin its value.

In the current market, comparable examples with the original Le Verrier foundry marks sell at auction in the $800-$1,200 range.

* Max Le Verrier, (1891-1973), a fine sculptor in his own right, opened his own foundry in 1926, casting pieces for a wide range of French sculptors of the period, including Pierre Le Faguays, Marcel Bourain, Janle, Denis and Charles. From the very beginning, his foundry had a reputation for very high quality work and exceptional detailing .

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

A pair of “Iris” pattern Depression glass tumblers, made by the Jeannette Glass Company, often sell at auction for less than $10 each.

The next item in this series of Unloved Antiques is 20th century is crystal Depression glass, which gets its name from the fact the bulk of it was mass produced during the years of the Great Depression (1929-40). Depression glass is a form of pressed glass—both in clear or colored varieties—that was originally distributed free, as a premium or low cost give away. Some theater chains offered different pieces on a weekly basis to draw crowds during these lean years. Some companies, such as Quaker Oats and other packed food companies, offered glassware as a marketing method by placing it in the boxes (also saving the amount of product needed to fill the box).

Most glassware of this type was made in the central and midwest United States, an area with existing industrial manufacturing capacity with ready access to power and raw materials. Depression glass was also made in Canada for similar reasons. There were hundreds of patterns produced in clear and colors such as green, blue, pink and amber, rarer colors include cobalt blue, ruby, black, canary yellow and jadeite. Being what it was—a low cost or give away item—the quality of Depression glass isn’t top notch, but it’s always had a group of collectors since the 1960s. While some of the more unusual colors can be fairly valuable, the clear glass types like the examples above are very inexpensive, even some 80 years after its introduction.

The examples above, two tumblers from a water/lemonade set are in the “Iris” pattern, so called for its relief pattern of leaves and flowers that covered the main body of the pieces, along with a herringbone background. The pattern in clear glass was first issued circa 1928 by the Jeannette Glass Company, which was located in Jeannette, Pa.

Judging by the sheer numbers of these examples one sees at antique markets and shops, these items must have been produced in staggering numbers. The Iris pattern covered about 40 different pieces of tableware, including bowls, teacups, water/cordial sets, candelabras, light shades and plates. This pattern was revived after the Second World War and again in the 1970s, but in clearly different color variations.

The Jeannette Glass Company closed for good in 1983, after being in operation since 1898. In today’s market, the Jeannette Iris pattern tumblers above often sell at auction for less than $10 each.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware
• Unloved Antiques: 19th Century Religious Prints
• Unloved Antiques: Depression Glass

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

WorthPoint member Jeremy T. picked up this pair of “bronze” lamps at a garage sale last year, but never did anything with them. Now that his garage is in need of a sale, he wants to know if they are worth more than the $42 he paid for them. He contacted WorthPoint’s “Ask a Worthologist” service to inquire about pieces, their origin and value.

Jeremy T. has a pair of “bronze” lamps that he picked up at a garage sale last year, but never did anything with them. They’ve been boxed away in his own garage since the day he brought them home. Now that it’s time to pare down his own overstuffed garage, Jeremy has decided to find out what they are and what they are worth before retagging them for the $42 he originally paid. If they turn out to be valuable in any way, they will make a move from his garage to the living room. Jeremy contacted WorthPoint’s “Ask a Worthologist” service to inquire about the pieces, their origins and their value. His inquiry was forwarded to me. Here’s his question:

“I bought this pair of bronze lamps about a year ago for $42 and promptly stuffed them into my own already crowded garage, still in the box they came in (price tag and all). I’ve decided my own garage is in need of a sale, as I can scarcely get the car in and open the passenger door now. The lamps have a pair of cherubs, they measure about 20 inches tall, and one is marked “L’amour Vainquerr” the other is marked “L’Amour Vagabond.” I know they have to be worth more than I paid, but it is how much more that I’m curious about. If they turn out to be anything special, I’ll put them in the living room. If not, I’ll put them in the sale.”

Here’s my response:

Your cherub lamps are circa-1900-examples after the style of Emile Bruchon (French, 1806-1895), a very well-known Parisian sculptor. He worked from 1880 through 1910, first training under the famous artist Mathurin Moreau, and exhibited his sculptures at the famed Salon de Paris. Generally, figurines used as lamp pedestals are of two types: those that are custom-made pieces, using existing 18th- or 19th-century figures in their construction; and those that use late 19th- to mid -20th-century, factory-made figures and were “ready made” as lamps.

Your lamps are not bronze, but are actually made of something called spelter*, a zinc alloy that’s often given a bronze patina and is of the second variety which uses factory made components. Most lamps of this type are Continental pieces, made during the first quarter of the 20th century. These bronze and spelter studies by 19th-century sculptors were often based on full-sized examples, the right to copy them in various sizes licensed to foundries by the original sculptor. That said, pieces “in the style of,” or even precise copies, were often produced without license to take advantage of the popularity of an artist without having to share the profits with them.

The authorized/licensed examples generally will have foundry marks, while the unmarked figures tend to be later pieces made for the mass market. Examples similar to these pieces are still being reproduced today by a number of foundries in both North America and China, which has depressed values for older examples.

Lamps comparable to yours now sell in the $600-$800 range for a pair. It looks like you’ll need to find some space in your living room for these cherubs.

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* You can test for spelter at home: just remove the base and do the following test. Take a nail file and scratch the underside; spelter will show as a silvery streak under the bronze plating.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

This is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. Most framed prints of this type often sell for less than $45. However, the frame is often worth much more than the print, as in the case of this large hand-carved Black Forest frame, which can sell for more than $150.

The tenth item in this series of “Unloved Antiques” is late 19th- to early 20th-century religious prints, such as those depicting Patron Saints, Guardian Angels or the Madonna were very popular from the turn of the 19th century through the 1930s. Virtually any Catholic home—particularly those of European origins of the period—would have an image of a Patron Saint in the home.

Depending on the family occupation the Patron Saint could mirror the families’ livelihood, such as Peter the Apostle, the patron saint of popes, fishermen, fishmongers, sailors, bakers,
harvesters, butchers, glass makers, carpenters, shoemakers, clockmaker, blacksmiths, potters, masons, bridge builders, cloth makers. Or it could be St. Anne, who is the patron saint of housewives, grandmothers, cabinet makers, unmarried women, women in labor and miners.

While not mass produced in the modern sense of the term, these images were printed in very large numbers, marketed through church fundraisers or awarded as prizes for perfect attendance at Sunday school or as Confirmation gifts. In some cases, these prints a were part of a family shrine displayed on the mantel piece along with other religious symbols, or simply hung on the wall in a place of reverence. The one shown above is a good example of an 1890s print of a young girl crossing a treacherous bridge with rotten boards, escorted and protected by her Guardian Angel. Like many, the print itself has been cut down to fit an existing frame, in the process removing the name of the publisher, date, title and the artist. In some cases, these prints have been matted, with the matting covering the publishing information.

The only way to view this information—if it is still intact—is to remove the print from the frame and matting. Removing the old paper backing and matting will not lower the value of prints like this and replacement of both will actually enhance what little value they have rather than depress it. Most framed prints of this type often sell for less than $45.

However, examples like this one in a nice, large hand-carved Black Forest frame* can sell for more than $150, largely due to the value of the frame rather than the print. Dealers often buy religious prints with salable frames like these and replace the print with more marketable examples of the same period.

* Black Forest frames of this type generally date from the late 19th century and are generally referred to as “Black Forest Carvings,” after the fact that most of them were thought to have been produced in the Black Forest region in Germany. Black Forest carvings are more often than not actually Swiss in origin rather than German. However, recent research indicates the bulk of it was made in the Swiss town of Brienz, where by 1910 some 1,300 carvers were working in the vicinity to fill the demand of Victorian tourists who were taking in the spas of Brienz, Luzern and Interlaken.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

WorthPoint member Melanie R. inherited this bronze figurine some years ago from her aunt, who collected horse racing memorabilia for years. She doesn’t want to sell it but is concerned about insurance coverage in case of fire or theft. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value.

Melanie R. inherited this bronze figurine some years ago from her aunt, who collected horse racing memorabilia for years. Melanie has no idea where it was purchased; only that it had graced the fireplace mantel since the 1970s, when she was a little girl. She doesn’t want to sell it but is concerned about insurance coverage in case of fire or theft. She contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. Her request, printed below, was forwarded to me:

“I inherited this bronze from my aunt years ago. It’s signed J.W. Goodand measures about 13 inches high and about 15 inches long. My aunt was crazy about race horses and used to go to the races whenever she could. She collected mainly porcelain horses and autographed and dated photos of grand champions like Seabiscuit and Northern Dancer. I always liked this bronze best; it was the first thing you saw when you went into the living room, sitting right on the fireplace mantel. I don’t want to sell it, but I need to know a bit about it and a value for insurance in case I have a break-in or a fire, I’d also like to know if I can polish it because it has tarnished look to it.”

Here’s my response:

The signature stands for John Willis Good, who was born in London, England in 1845. Beyond that, there is not much biographical data is available about the man, who committed suicide at at the age of 34. What is known is that he took a probationary course at the Royal Academy of the Arts in London and went on to study under the sculptor Sir Joseph Edgar Boehm (English, 1834-1890). Good exhibited at the Royal Academy 15 times between 1870 and 1878, with pieces titled “Putting Hounds into Cover” in 1870, “In the Paddock” in 1874 and “Hunter” in 1878. He also exhibited a collaborative work with the painter and sculptor Charles Lutyens entitled “Prince of Wales, a Celebrated Clydesdale Horse” in 1873. Good shot himself in his studio on Fulham Road in London in 1879.

This example however is not actually a piece originally made by Good, but based on his work. Such pieces are generally referred to being “after” an artist’s work, and this one would be termed “After Willis Good.” Most such pieces were made after his death and well into the 20th century; this particular piece is still in production and sold by a number of foundries. Values for a bronze figure in an artist’s style depend a great deal on their vintage, the size, quality of the casting and condition. No attempt should be made to polish this piece; the weathered bronze patina is original to this pieces design and adds to its value. All that’s required of bronze figures is regular dusting.

Currently, the work of most 19th century sculptors is being reproduced on a grand scale, which has had a negative effect on the secondary market. This one appears to be a later example of a type recast since the 1970s. That said, the replacement cost even for a fairly modern example like this is still close to $1,000.

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth

This tea set is a good example of this Japanese pottery called Dragonware. The term used to describe porcelain or pottery items with raised decorations that depict an oriental dragon. Unfortunately, it looks to be more valuable than it really is.

The ninth item in this series of “Unloved Antiques” is Dragonware. The tea set above is a good example of this Japanese pottery. Dragonware is the term used to describe porcelain or pottery items with raised decorations that depict an oriental dragon. Many family stories abound about these colorful tea sets; in fact, we’ve almost never run into owners who did not have a fantastic story to tell about their set. Often, great ages are assigned to Dragonware because of its over-the-top styling, the fact some examples have no company markings*, or they were gifts given to distant seafaring relations 150 years ago by Japanese royalty. The truth is, the origins of these sets is often rather more mundane, as the vast majority were brought home as gifts by troops returning from the Second World War, Korea and Vietnam. These items were produced in Japan from the end of the 1890s until the mid 1950s.

Most Dragonware pieces are decorated with “moriage,” which is a type of slip clay that gives the piece a three dimensional appearance, often giving it the look of colorful cake icing at times. Pottery such as Dragonware featured this method of decoration quite heavily, using a very deep relief of the dragon or serpent that curls around the outside of the piece of pottery, sometimes the dragon’s mouth being part of the teapots spout. Quality varies considerably for these sets as some have minimal moriage decoration with very detailed depictions of dragons, others appearing as over-decorated birthday cakes with the dragons and moriage popping out over three-quarters of an inch above the surface. Generally, it’s the earlier examples with a more subdued decoration that are the best quality, while the pieces featuring heavy moriage usually turn out to be later examples.

An example of an lithophane, a delicate picture that resembles a black & white photograph that can be viewed through the bottom of the cup, usually depicting smiling Japanese beauties in profile. The term “lithophane” has a Greek origin, meaning “light in stone” or “appear in stone.”

Another feature sometimes found on Dragonware is “lithophanes,” delicate pictures that resemble black & white fashion shots that can be viewed through the bottom of the cup, usually depicting smiling Japanese beauties in profile. The term “lithophane” has a Greek origin, meaning “light in stone” or “appear in stone,” the image is first created as a mold, then used to create the image in the porcelain. Where the picture appears the lightest, the porcelain is very thin, and where it is darkest, the porcelain is much thicker. Not all Dragonware has this feature, as it added considerably to the original cost of production.

Regardless of the type of Dragonware, values for it are quite modest when you considered the amount of labor involved in producing it. While not mass-produced in the modern sense of the term, it has been produced in large volumes for the tourist and export markets. Today, a set comparable to the one above would often sell at auction for less than $90 and retail in shops for less than $200.

* The lack of a marking on pottery and porcelain is often erroneously considered a mark of antiquity. In the case of Dragonware, it simply indicates it originally had a foil or paper label that was removed after sale or has simply fallen off.

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Previous “Unloved Antiques” articles:

• Unloved Antiques: ‘Limited Edition’ Collectors Plates
• Unloved Antiques: Singer Sewing Machines
• Unloved Antiques: Decorator Prints
• Unloved Antiques: Commemorative Whiskey Decanters
• Unloved Antiques: ‘Bronze’ Flatware
• Unloved Antiques: 1847 Rogers Brothers Flatware
• Unloved Antiques: Hummel Knockoffs
• Unloved Antiques: National Geographic Magazines
• Unloved Antiques: Dragonware Tea Set

Mike Wilcox, of Wilcox & Hall Appraisers, is a Worthologist who specializes in Art Nouveau and the Arts and Craft movement.

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WorthPoint—Discover Your Hidden Wealth