Illustration by Christina Rossetti’s brother, Dante Gabriel Rossetti, for the first edition of “Goblin Market and Other Poem,” 1862.

“Morning and evening
Maids heard the goblins cry
‘Come buy our orchard fruits,
Come buy, come buy’ ”

Thus begins Christina Rossetti’s 1859 epic poem, “Goblin Market.” This tale of horror (first published in 1862) describes how two innocent girls are lured to near death by beastly goblins, who entice them with descriptions of exotic, forbidden fruits. The luscious, lyrical verse is steeped in religious symbolism, erotic desire and denial—and eventual terror when the hissing goblins attack and the taste of the fruit sears their lips.

Collecting early gothic classics can be a fascinating endeavor. The rewards are great, especially when the oldest versions of the books can be found, with pictures by the very first illustrators. “Goblin Market” was eventually illustrated by scores of famous artists, including Warwick Goble and Arthur Rackham. But it’s always most interesting to see the first visual interpretation of an author’s work. A rare first edition of “Goblin Market,” with illustrations by Rossetti’s brother, is now worth thousands.

“Frankenstein or The Modern Prometheus” was first published anonymously in 1818. The idea for the story came to 19-year-old Mary Shelley in a dream.

In many ways, Shelley’s life was as horrific as her most famous book. Her mother died when she was only two weeks old and as a young teen, she ran away to be with the famous poet Percy Bysshe Shelley, who left a wife and two infants behind. Amid the scandal, Percy’s abandoned wife drowned herself. And before even a decade had passed, Mary would lose three children to sickness, her beloved half-sister committed suicide and Percy himself drowned in a tragic boating accident. Her book became famous and she was recognized as its author in the 1823 second edition. But the book was not illustrated until 1831 (by Theodore Von Holst). The value of a first edition? A volume sold recently for at much as $175,000.

First illustration of “Frankenstein,” 1831.

The earliest fore-runners to today’s werewolf tales include “The White Wolf of the Hartz Mountains,” written in 1839 by Captain Frederick Marryat and “The Were-Wolf,” written in 1896 by Clemence Housman. Both grisly (and truly frightening) tales are about women werewolves who entice their unknowing male victims with their seductive beauty.

Illustration for “The Were-Wolf,” by Laurence Housman (Clemence Housman’s brother), 1896.

And what is Halloween without Dracula? The greatest English horror story ever told was written by Bram Stoker. The plot came to him “in a nightmarish dream after eating too much crab,” but many scholars believe that Dracula was a veiled reference to Stoker’s egocentric employer, the famous stage actor Henry Irving. Originally titled “The Un-Dead,” it was published in London as “Dracula” in 1897. The story was not illustrated until 1901, when the first paperback edition appeared.

First illustrated edition of “Dracula,” 1901.

Examples of early horror collectibles are endless. “Dr. Jekyll and Mr. Hyde” (1886) and “The Legend of Sleepy Hollow” (1820) are two classic stories with a great history of vintage illustrations. Poems and short stories by Edgar Alan Poe (1809-1849) are also highly collectible (see The King of the Macabre: Edgar Allen Poe Offers Various Avenues of Collectibles), but it is most challenging to find the earliest Poe illustrations because much of his work was published in various periodicals before it was collected into books. Many of these early magazines and papers are very difficult to find and most used anonymous artists to illustrate their stories.

It takes some digging, but it’s ultimately quite rewarding to find those very early versions of these classic stories.

Liz Holderman is a Worthologist who specializes in collectible books.

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Edgar Allen Poe offers various avenues of collectibles.

As the undisputed father of terror and the grotesque, Edgar Allan Poe (1809-1849) wrote more than 150 poems, essays and short stories, as well as a couple of novels, a play and even a textbook. Many artists have interpreted his poems and short stories, creating hundreds of different illustrated versions. Publishers have combined his work into dozens of omnibus volumes and special limited editions. Biographies abound—in fact, more books have been published about Poe than about any other author. For collectors, this is an ocean full of possibilities.

Poe’s personal life was controversial and he died young under mysterious circumstances. He was born in Boston in 1809. His father deserted the family and his mother died before he was 3 years old. He was raised by foster parents. After attempts at college and a short stint in the Army, the impoverished Poe moved to Baltimore to live with his paternal aunt and her young daughter. Four years later, Poe married that daughter, his first cousin, when she was only 13 and he was 27. The three moved to Philadelphia together and then to New York, where he gained recognition as a writer. Poe’s wife died of tuberculosis at age 24, after five years of debilitating illness and decline, and her mother moved back to Baltimore. Gossip about Poe’s drinking began to inhibit his brilliant writing career.

Three years later, the diminutive Poe resumed a relationship with his childhood sweetheart and became engaged. He traveled to Baltimore to bring his aunt to the wedding. Much controversy surrounds his death there. He was found in an extremely disoriented state in disheveled clothes that were not his own. Some say he was drunk, others say he was robbed and beaten or even the victim of rabies. He died in a hospital four days later at the age of 40. All medical records, including his death certificate, have now been lost.

So what do we collect for such an icon? Poe first published a pamphlet, “Tamerlane and Other Poems,” in 1827 (unaccredited). But only 50 copies were printed and it is virtually impossible to find. He wrote for many different magazines and newspapers, and much of his work was published in periodical form before it appeared in books. Some collectors search for the first appearances of Poe’s poetry and stories. But first (and even early) editions are extremely rare and can be valued in the tens (if not hundreds) of thousands. If you want to collect very early editions of Poe’s work, come with deep pockets.

As an affordable alternative, some like to collect the different illustrative versions of Poe’s work because many famous artists have interpreted his tales. Some limit their collection to one poem or story and collect all the different artists—including all of the international editions and the commemorative limited editions. Some artists are unaccredited and many bootleg versions aren’t even documented, but this just adds to the challenge. And the variety is extremely diverse, as can be seen in these examples.

Arthur Rackham’s interpretation of “The Pit and the Pendulum,” 1935.

Edouard Manet’s interpretation of “The Raven,” 1875.

Abner Epstein engraving for “The Fall of the House of Usher,” 1931.

Others collect a particular area of Poe’s work, such as dark romances, alliterative poems (like “The Bells”) or his stories about death and the grotesque. I personally like “Annabel Lee,” the tragic poem about the death of a beautiful bride. It was the very last poem written by Poe, and not published until after his own death. Many believe it was inspired by his late wife.

“I was a child and she was a child
In this kingdom by the sea:
But we loved with a love that was more than love –
I and my Annabel Lee.”

“Annabel Lee,” interpreted by John R. Neill, 1910.

But books, periodicals and artistic works are not the only Poe items that can be collected. Signed letters, autographs, bronze and plaster busts, playbills, movies, comics, posters, T-shirts and even audio tapes are all areas of interest.

Poe was buried in 1840 in Baltimore where he died. He had no headstone and was placed next to his grandfather who was a civil war general. Reports of his anonymous and unmarked grave began to circulate many years later, and there was even controversy surrounding his body’s exact location. Eventually, a movement was started to collect funds and a large monument was finally dedicated in 1875 in a corner of the cemetery. Poe’s remains were exhumed and placed in the new spacious location. His aunt/mother-in-law (who had died in 1871) was also exhumed and placed with him at the new site. The remains of his wife (who had been buried in New York) were moved there in 1885.

Many people collect grave rubbings. Not surprisingly, Poe’s is one of the most popular.

Poe's gravesite in Baltimore.

Liz Holderman is a Worthologist who specializes in collectible books.

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Spiderwoman

Maybe it was the iTunes motion comic, or writer Brian Michael Bendis’ undying love for her, but one thing is for certain: me naming Spiderwoman #1 as a speculator spick of the week did not make the title sell out last week. However, it did sell out. Marvel issued a press release earlier this week detailing the sell out of Spiderwoman #1 at the printer and a second printing variant is on the way. So, after reading the press release, I did what most comic-collecting nerds would do and went straight to eBay, where I found one auction for Spiderwoman #1. One auction. I’m guessing Spiderwoman #1 is going to be a very hot title in the very near future. If there’re any copies left at your comic shop, I’d pick them up now.

My Stack:

Here’s a list of the comics I’ll be picking up this Wednesday, Sept. 30. For a full list of comics shipping this week click here. To find a comic shop near you click here.

Amazing Spider-Man #607
Green Lantern #46
Justice Society Of America #31
New Mutants #5
Punisher Annual #1
Secret Warriors #8
Superman #692
Thor #603
Thunderbolts #136
Wolverine: Weapon X #5
X-Factor #49
X-Force #19

Thoughts on the Pile: No new editions to the pile this week but a strong new comic showing nonetheless. I’m not a big J. Scott Campbell fan but have to give him the “Sexiest Cover of the Week” award for Amazing Spidey #607. All things Green Lantern seem to be sailing smooth waters as the Blackest Night event continues. I haven’t been this happy with a DC event, maybe ever. Justice Society of America; I’m not saying I don’t like it but perhaps I’m still adjusting to the change in writers. It’s been quite some time since we’ve seen Warlock return to the X-books, and I love it, but I wish New Mutants would tie-in to current X-Nation story. It just seems a little silly that these characters are oblivious to the happenings off the coast of San Francisco and the return of Magneto. I’ll be picking up the Punisher Annual, but have a suggestion for Marvel: Maybe instead of giving us several Dark Reign: The List one-shots at $3.99 each, you could kill two-birds with one stone and make them Annuals. Remember back in the day when all the Marvel annuals were events like Atlantis Attacks and the Evolutionary War? It was fun right? Secret Warriors, Thor, Thunderbolts, Wolverine: Weapon X, and the two X-books are great every month. I’m not going to harp on the subject because, if you’ve been reading this blog, you already know how much I love them. I’ll miss JMS on Thor when he leaves but maybe the title will hit the stands more regularly. I am going to harp on Superman, again, because Robinson and Rucka’s super-books have been fantastic and hit all time sales lows. Come one America! You used to love Superman. Now that his title is better than ever, give it a chance.

Speculator Picks of the Week:

These are three comics that could sell out very quickly and end up demanding premium prices on the back issue market. Some will be hot for the next two weeks while others will sell at ridiculous prices for the foreseeable future.

G.I. Joe: Cobra Special #1: IDW

G.I. Joe: Cobra Special

Solicitation: Spinning out of the red-hot thriller G.I. Joe: Cobra, this one-shot follows up on issue #4’s surprise reveal and focuses on our big bad guy (or is it multiple bad guys?). By the same creative team as the original mini, don’t miss out. This is the perfect end cap to the series!

$3.99 US
JUL090901
Written by Mike Costa; Pencils and Cover by Antonio Fuso.

Why it’ll go fast: The first G.I. Joe: Cobra series sold very well, mainly due to low printing and under-ordering on the part of retailers. These back issues are impossible to find out side of those ridiculously priced for the lunatic eBay buyer. Like the previous series, this special will be under-ordered, sell out quickly, and re-emerge at premium prices. Even if retailers do raise their orders on the Cobra Special, it still won’t be enough to meet the demand that was created by the Internet buzz that surrounded the initial series. If you don’t feel like paying the high back issue prices there is a TPB of G.I. Joe: Cobra coming this November and it’s definitely worth a read.

Trick ‘r Treat: Wildstorm

Trick 'r Treat

Solicitation: The adaptation of the upcoming Halloween scarefest is here! Written by critically acclaimed scribe Marc Andreyko (Manhunter, Torso) and illustrated by a cavalcade of terrifying talents including Mike Huddleston (Man-Bat, Gen 13), Grant Bond, Christopher Gugliotti (The Texas Chainsaw Massacre) and Fiona Staples (North 40), this graphic novel will keep you quivering with fear! Halloween has always been a night of tricks and treats, but this year, it’s nothing but a cornucopia of tricks as werewolves, demons, killers and zombies celebrate the festival of Samhain!

Featuring a cover from the film’s concept designer Breehn Burns and based on the Warner Bros. film from writer/director Michael Dougherty (X2, Superman Returns) starring Anna Paquin, Dylan Baker, and Brian Cox!

96 PGS
$19.99 US
JUL090273
Written by Marc Andreyko; Pencils by Christopher Gugliotti, Fiona Staples, Grant Bond and Mike Huddleston.

Why it’ll go fast: Trick r Treat is one of the most eagerly awaited direct-to-DVD horror movies I’ve ever heard of. No joke. The anthology-Horror-flick had a screening at this summer’s Comic-Con and horror nerds have been screaming about it ever since. Check out the latest twitter feed on Trick r Treat and see. Amazon.com lists the DVD as the #6 sales rank in Horror and #71 in all movies. Not bad for horror movie that never showed in theaters. My point is that this title has a following; they know this comic is coming a week before the DVD hits the stores and they’re excited about it. I wouldn’t expect most retailers to have much faith in this one however. I wouldn’t be surprised to see less than five copies of Trick r Treat on most shelves making it a very quick sell out.

The Unknown: The Devil Made Flesh #1 of 4: Boom

The Unknown: The Devil Made Flesh

Solicitation: Mark Waid brings another installment of the world’s greatest detective! With only six months to live, Catherine Allingham’s condition is terminal. But nothing will stop her from trying to solve even more mysteries. It’s international suspense and hair-raising macabre as time runs out for our detective. Interior art by superstar Minck Oosterveer.

$3.99 US
JUL090747
Written by Mark Waid; Pencils by Minck Oosterveer.

Why it’ll go fast: Mark Waid has been writing excellent comics for more than 20 years and his latest work at Boom Studios is no exception. Along with his Irredeemable, which has been getting the bulk of the press, the Unknown has been quietly building a following and selling out each month. I haven’t read the Unknown, mainly because I can’t find the back issues, but have heard nothing but great reviews. This is one I’ll have to read in trade because the back issues are gone.

Nerdy Question of the Week:

Time to call your shot nerds! DC Editor in Chief Dan Didio is going to be writing a one-shot and possibly a series starting in January. At least that’s what he said in Monday’s edition of 10 questions and an answer with Dan Didio at Newsarama.com. So here’s your chance to call your shot. What’s he going to be writing?

————————————–

This Week in Geek is a weekly blog about new comics written by WorthPoint comic book Worthologist Matt Baum. Every Wednesday, Matt takes a look at the week’s new comics from a collector’s point-of-view and discusses which books may be hard to find in the near future and why. Make sure to click on the hot links for previews and more information on the comics, characters, story-lines and creators discussed here. Also, feel free to post your comments in the new “comments” section below, or you can follow him on Twitter, where he is always screaming about something nerd-related. Want to know what your comics are worth? Join WorthPoint for free and post your comics in the “Ask A Worthologist” section. Remember to post the title, issue number and cover price.

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Every movie genre, from film noir to westerns, fascinates me. Gangsters and public enemies, thanks in large part to Prohibition and the Depression, were among the major news stories in the late 1920s and early 1930s. The movie industry was quick to capitalize. Gangster movies made stars of James Cagney and Edward G. Robinson. Never turn down a chance to see “Little Caesar” (1930) or “Scarface” (1932).

“The Big House” (1930), a gangster classic directed by George Hill and starring Wallace Beery, Robert Montgomery, Chester Morris and Lewis Stone, made term “The Big House” a generic term for prison. “Send him to The Big House” or “He’ll do his time in The Big House” appeared in dozens of subsequent movie scripts.

Movie lingo appears in my writing. In the past, I assumed readers had no trouble understanding the references. This is no longer the case. My references have become dated and, alas, obscure as I have grown older. “You know how to whistle, don’t you?” I now take time to explain them. The Big House is synonymous with the slammer, the pen, penitentiary, correctional facility, and prison, hence its appropriateness in the title.

A California attorney acting on behalf of a client ordered a copy of my “How to Think Like a Collector” (Emmis Books, 2005). The client was incarcerated at the Pitchess Detention Center in Los Angeles, the location to which I was to send the book. I filled the order. Two weeks later I received a blistering e-mail from the attorney asking why I cashed her check even though her client had not received the book. I sent the book using the United States Postal Service’s media mail rate, not the fastest way to send a package. It takes a week or more for a book to travel coast to coast. I informed the attorney that I had sent the book as requested. A second e-mail demanded an immediate refund. Since I encourage those involved in selling antiques and collectibles to adhere to the “customer is always right” principle, I sent a full refund; evidence that I do practice what I preach.

Shortly thereafter, the missing book arrived back in Brookfield, Connecticut. The “Return to Sender” label from the “IRC – Mail Unit” had the “Contents Unacceptable” box checked. The mailing envelope was opened and resealed. An employee of the Pitchess Detention Center reviewed my book and made a judgment that it did not belong in The Big House.

I was conflicted. Should I be angry or should I be flattered that my book was deemed inappropriate? I settled for amused and bothered.

"How to Think Like a Collector"

What was in “How to Think Like a Collector” that caused law enforcement personnel to decide it was dangerous? The book describes what motivates and drives the collector. If a burglar or other criminal-type is going to steal antiques and collectibles, he is more likely to fence them to a pawn broker or consign them to auction before offering them to a collector. High-end fine art is the exception to this rule, but it is not covered in “How to Think Like a Collector.”

The chapters describing how the market works, how prices are determined, and separating period pieces from reproductions, copycats, fantasy items and fakes might intrigue the criminal entrepreneur. He first would have to identify universal concepts within the specifics and second have a sophisticated knowledge of the broad antiques and collectibles marketplace to apply them. My book is innocent. Or is it?

Asking questions is part of my thinking process. All questions are fair game. Dangerous questions fascinate me. I formulated two doozies.

If I received a request from an individual, never in my wildest dreams imagining that the person had criminal intentions, asking me to recommend a list of books to gain insight into how the antiques and collectibles marketplace functions, what books would appear on the list? “How to Think Like a Collector” would be near the top. A theory book explaining and analyzing the inner workings of the antiques and collectibles marketplace does not exist. A few how-to books, i.e., how to become an auctioneer, appraiser or dealer, etc., deal peripherally with the subject. Michael Mendelsohn’s “Life is Short, Art is Long: Maximizing Estate Planning Strategies for Collectors of Art, Antiques, and Collectibles” provides tidbits of information about the high-end market scattered throughout its chapters. The absence of an antiques and collectibles marketplace theory book conveys a clear message. Publishers see no market for it.

Finding a publisher for any new antiques and collectibles title in 2010 is difficult at best and nearly impossible in the least. Antiques and collectibles publishing editors lament: (1) it already has been done, (2) who will buy it, and (3) give me something new that has not been done before and has a ready-made 5,000 plus copies market.

“What interest would there be in a book providing criminals with information needed to successfully steal and sell antiques and collectibles?” I asked. I found my answer frightening. There is a market, a big market. Individuals can find information on how to build bombs, commit suicide, reconfigure a gun’s triggering mechanism to convert it to an automatic weapon, and a host of other illegal and semi-illegal activities on the Internet. Given this, “Successfully Stealing and Disposing of Antiques and Collectibles” (SDAC) is a marketable title. A price of $75 or higher, even for an online e-book version, is reasonable for such a niche title. The potential gain far exceeds the price.

Creating a chapter outline is the next step. Once done, it will become the heart of a formal book proposal. SDAC divides into three sections: (1) identifying what is worth stealing, (2) acquisition techniques, and (3) disposal options with emphasis on how to use them without leaving a trace while still maximizing your return.

Part I includes chapters that focus on how to (a) distinguish between objects that are and are not worth stealing, (b) separate the more desirable high-end pieces from middle and low-end pieces, and (c) understand a myriad of value considerations ranging from aesthetics to condition. It ends with a chapter devoted to spotting and understanding market trends.

Part II opens with a separate chapter for the key sources of supply, e.g., museums, historical societies, public institutions, private individuals, etc. A full chapter is devoted to packing and moving objects to avoid damage during theft. Part II ends with a chapter on how to store objects until such time as it is safe to liquidate them.

Part III devotes a chapter to each major selling source—auctions, dealers, pawn shops, private collectors/investors, and scrap buyers. Two chapters, the first focusing on the European and English-speaking markets and the second on the Asian and South American markets, provide a global perspective. A concluding chapter discusses secondary sales options ranging from museums to industrial decorators.

I can write this book, albeit based on hearsay as opposed to actual knowledge. While I doubt if a mainstream publisher will accept it, there are fringe publishers who might. If not, I can self-publish, especially in this age of print on demand and e-books.

If I decide to go forward, I will need to consult an attorney. What legal responsibility, if any, do I have regarding those individuals who use my information and those who are victimized by its use? Is the person who provides the plans for a bomb as guilty as the person who makes and uses it? The one thing I do not want to do is spend time in The Big House.

————————————–

Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site.

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. It streams live on the Genesis Communications Network.

“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: http://www.harryrinker.com

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.

Copyright © Rinker Enterprises, Inc. 2009

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The "Tribune Almanac of 1859," published by H. Greeley co. New York, contains 80 pages of info and advertisements.

It used to be said of something no longer of use that it was “as useless as last year’s almanac.” But not any longer. Old almanacs are both valuable and interesting, and lately have become the object of much collector attention.

It is easy to understand why.

Reading backwards through a collection of them is a trip into the past. Almanacs have recorded American history ever since the first one was published more than 300 years ago. But, more so, they are a peek at our ancestors and at a way of life long gone.

For countless centuries, almanacs of all types, shapes and sizes have been an important part of daily life. Even today, many people swear by their uncannily accurate weather forecasts. Each year a dozen or so different ones hit the magazine racks in stores and shops across America.

The veritable perennial is “The Old Farmers Almanac.” Published annually since 1793, it has never missed a year. The same cover picturing Robert B. Thomas, founder and first editor, and Benjamin Franklin, has been in use for more than a century.

Almost as old as our country, the popularity and use of almanacs quickly spread across America. The first came out in 1639. Since then hundreds of different titles have been published; all eagerly awaited by farm families and city dwellers alike.

During the 17th, 18th and 19th centuries, travelers, settlers and businessmen carried almanacs with them as the frontier was steadily pushed westward. Throughout the 1800s, New England whaler and Yankee clipper-ship sailors brought them into every port of call.

“Webster's Calendar of the Albany Almanac” for 1866.

“The New England Almanac and Farmer's Friend” for 1869.

“The New England Almanac and Farmer's Friend” for 1875.

Basically, an almanac is a calendar containing weather forecasts, farming aids and a wide variety of useful astronomical information. There are also lists of holidays, phases of the moon and planets, and a table of tides.

For most people living before 1900, almanacs provided practical knowledge not readily available anywhere else. They offered medical care information, household hints, farming and planting data, as well as pages on such diverse matters as the law, spelling, math, history and child raising. For fun, the booklets also contained lots of puzzles, witticisms, homilies and jokes.

Also included were useful pieces of information, such as postal rates and regulations, railroad and stagecoach schedules, and listing of weights and measures. Quaint illustrations of farm scenes, especially with a four-season theme, often decorated pages.

The unfolded cover of the “Farmer's Pocket Notebook/Almanac,” distributed by H.J.Baker & Bro, Fertilizer dealer 1867.

Since they were published for a mass market, the paper stock was of the cheapest grade. This, plus the fact that almanacs, along with the Bible, were the most referred to of all books in the household, helps to explain why the ones you might find in the attic leftover from great-grandmother’s day are likely to show much wear and tear.

The earliest almanac type of publications were first used 2,000 to 3,000 years ago by the ancient Egyptians; and later by the Greeks and Romans. During the medieval era, the almanac was the most widely used book, after the Bible.

The first almanac printed in this country was produced by William Pierce Marener in 1639. Nearly a century later, in 1728, James Franklin printed “The Rhode Island Almanac.” This was followed by “Poor Richard’s Almanac,” published by his brother, Benjamin, in 1732. The most famous of all American almanacs, “Poor Richard’s Almanac” lasted for more than a quarter of a century and earned itself a place in history as one of our favorite legends.

The scientific almanac, a variation with information valuable to merchant seamen and farmers, came to America in the early 1800s. This style was based on science rather than astrology or alchemy, as were most almanacs of the day. With it, farmers planned their lives and farming activities, including plantings and harvests.

The 19th century experienced an explosion in the number of almanacs available, including many advertising and regional styles.

1931 “Farmer's Almanac” published by Armour Fertilizer Works, Chicago. Almanacs adopted science over astrology, as this example encouraged farmers to “Hitch Science To Your Plow.” It has a page of the fertilizer tonnage by years starting in 1880, Morning and Evening Stars, 1931, Ember Days for 1931, cartoons, etc.

The advertising pamphlet, extensively used by patent medicine manufacturers and sellers, was usually given away free of charge—an unparalleled attraction. Actually, many cannot be called true almanacs, since they were often little more than just a calendar and a joke book put together.

But some evolved into classics, like “Ayer’s American Almanac,” published by Dr. J. C. Ayer and Company for decades beginning in the late 1800s. The Ayer booklets, besides detailing the many ailments and afflictions that the company’s Sarsaparilla would cure, also had humor, monthly calendars, and farming helps. Other favorites were “Dr. Miles Almanac and Hand Book of Valuable Information,” an advertising promotion of the Miles Medical Company, and the “Swamp-Root Dream Book Almanac,” put out by Dr. Kilmer & Co. (Binghampton, New York). Both were distributed in the late 19th century and into the early years of the 20th.

From 1860 to the turn of the century and, in many cases, some years beyond, large numbers of regional or city almanacs were issued. Most always the product of a local company, they were usually centralized around a large urban area (Boston, New York, Philadelphia, etc.). A good example was “Beckwith’s,” which covered New Haven, Conn., from 1847 to the 1920s. Such almanacs also circulated for a county or similar area. Often the publishing of them was done by generations of the same family down through the years.

Such treasures contained local history, often a list of births and passings, last year’s disasters, forthcoming social events, current political and business leaders, and lots of helpful information such as trolley schedules and locations of schools and government offices. Chock-full of advertisements in some of them illustrated with line drawings – by businesses and providers of all sorts of services, regional almanacs are a gold mine of data for dedicated hometown historians.

In looking over old almanacs, you read about the conjunction of the planets, the best time to graft fruit trees, the phases of the sun’s declination, when to plant potatoes, and when to bring in the pumpkins before the frost gets them. Of course, it always helped to know what the weather was likely to be when planning a sleigh ride over to grandma’s house for Christmas.

An almanac is a look forward. When the year is over and done with, the same almanac acts as a mind-jogger of what happened in the past. They also make great collectibles.

— Roy Nuhn

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– TM, Lancaster, PA, via e-mail

ANSWER: Selling art reference books, especially if they are coffee table books, is difficult and time consuming. The resale market for periodicals is even tougher.

First, check the secondary “asking price” market by researching the titles on abebooks.com and bookfinder.com. Since many books experience multiple printings and editions, make certain your book and the listing description match. Also, all the books listed have yet to sell. Keep this in mind when determining the price that will make you happy when you sell your books. The more copies of a title listed, the greater the probability that the book will be a tough sell.

Consider grouping the titles into lots by type, e.g., books about painters, painting styles, etc., and selling them on an Internet auction, e.g., eBay. Start with an opening bid of $0.99. You already made the decision that they no longer have any value to you, so any money is better than no money.

Some local auctioneers conduct book auctions once or twice a year. Consign your books only to one of these specialized auctions. Avoid consigning them to a general sale. You are fortunate. The Lancaster Mennonite Historical Society (2215 Millstream Road, Lancaster, PA 17602; www.lmhs.org) conducts book auctions. Contact the LMHS to determine what interest, if any, they might have in selling your books.

Several of the colleges in your area have undergraduate and graduate programs in art. Also see if there are private art schools in your area. Young art students are eager buyers of reference material. Post a list of the titles you have for sale, each followed by your asking price. Consider offering the collection as a single lot, i.e., one payment buys them all. Discount the value by 25 percent to make the purchase price attractive.

Visit the reference librarian at your local library and ask for a list of antiquarian book dealers in the area. Your art books may not be old enough to interest them, but it always pays to ask.

You can offer the books at a garage or yard sale. If taking this option, the books need to be priced at $5 or less. People who shop garage sales expect to pay ten cents on the dollar.

If the above fails, consider donating the books to your pubic library’s annual book sale and taking a tax deduction. If the value of your gift is below $500, you do not need a gift letter.

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QUESTION: The Beatles were popular in the early Sixties. I was a fan. I was looking through some of the things I saved, among which was a Bazooka Beatles bubble gum card wrapper. What is its value?

– BK, Prairie du Chein, WI, via e-mail

ANSWER: Topps issued five sets of Beatles bubble gum cards. Three 1964 black and white series featured images related to the movie A Hard Day’s Night. Series 1, cards numbered 1 through 50, had blue facsimile signatures on the front and blue or green numbers on the backs. Series, 2, cards numbered 61-115, had blue facsimile signatures on the front and orange or green numbers on the back. Series 3, numbers 116-165, had blue facsimile signature on the front and green numbers on the back. A gum wrapper from this series books at $25.

The survival rate for complete packs and gum wrappers is higher for Beatles trading cards than most other sets. Beatles fan were savers.

Two full-color series also were issued in 1964. The Color Card series had 64 cards with questions and answers along with vital statistic on the back. The Diary Card series included 60 cards and featured a Beatle diary entry on the back.

The color photo series wrappers contained one of four extra images, e.g., “Bazooka,” an “Exploding Battleship,” and “Sea Shell Hobby Kit.” Like the wrappers from the black and white series, wrappers from the color photo series are easy to find. Book value is $20.

Given their high survival rate, your chances of obtaining book value is slim to none. Most Beatles collectors would rather have a full pack than just the wrapper. A Beatles “Bazooka” wrapper recently sold on eBay for $9.99 plus shipping and handling, a far more realistic reflection of what your wrapper is worth.

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QUESTION: I have an Esther Hunt “Marigold” chalk bust. There are some flakes, but none on the face. Can you tell me its approximate age and value?

– DMcC, Kingsport, TN, via e-mail

ANSWER: Esther Hunt was born in Grand Island, Nebraska on Aug. 30, 1875. In 1881 her family moved to a ranch near San Diego. In her early 20s (circa 1896-1900), she worked as an artist in Los Angeles.

Hunt began her formal art training in 1901 at the Mark Hopkins Institute in San Francisco. She painted pictures of individuals living in Chinatown and sold them through a New York art dealer to finance her education. After studying with William M. Chase in New York in 1905-1906, she spent the next six years in Paris.

Hunt returned to Los Angeles and then lived in San Francisco, 1918-1927. She moved to Greenwich Village in New York City in 1927, returning to San Francisco for the period 1932 to 1946. A stroke ended her career. She was moved to the Santa Ana (California) Rest Home, dying there on March 4, 1951. She never married.

He artwork—ceramics, etchings, oils, and watercolors—were extremely popular, appearing on calendars, postcards, and prints. Children were her favorite theme. Her signature work features young children from San Francisco’s Chinatown.

Donna Yick’s “Esther Hunt: A Collector’s Guide” (Poco Books, 261 Bayshore Blvd., San Francisco, CA 94124) is the primary reference book on Hunt. Visit www.estherhuntart.com to learn more.

Hunt offered several chalk busts, including Lotus Bud, Marigold, and Peach Flower. Their primary secondary market is the West Coast, especially the San Francisco area. In this market, a bust in very good or better condition sells in excess of $300. However, in Tennessee, where you are located, a bust in fair to good condition is valued between $100 and $125. If the flakes are numerous, halve the value.

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QUESTION: My grandfather had a copper still that was used ‘in the day” to do a little moonshining. It has been collecting dust on his porch for a few decades, and he would like to sell it.

– CM, Wausau, WI, via e-mail

ANSWER: I most certainly do not recommend you advertise the sale of your moonshine still in the local media, e.g., newsprint or radio. You do not want to attract the attention of Federal Revenue agents.

While it is not illegal to own a still, it is illegal to produce non-taxed alcohol. Stills were part of many rural farms, both before, during, and after Prohibition. Homemade libation was and is a family tradition in many cultures.

The pictures attached to your e-mail indicate your still is a very a basic unit, i.e., a boiler and a long coil. Both appear to be in heavily used condition.

Your still does have value. The first is scrap. The value for scrap copper is high at the moment. Look into this option.

Second, the still has decorative/conversation value. If placed in a living room or den, it will draw its fair share of conversation value. Its decorative value is between $30 and $40.

While it might have reuse value in the hands of a skilled operator, it is best to ignore this opportunity.

Since the old still has been in your family for a long time, keep it and tell grandfather stories about it.

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Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site.

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. It streams live on the Genesis Communications Network.

“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: http://www.harryrinker.com

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.

Copyright © Rinker Enterprises, Inc. 2009

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Some publishers clearly state “First Printing” or “First Edition” on their books’ title pages, which make identification easy. But most first editions are very difficult to recognize.

Unique Publisher Markings—Every publisher is different, and most changed their first edition markings many times throughout the long history of their business:

• Some publishers don’t mark their first editions at all, but subsequent reprints are always noted as such;
• Some publishers show the year of publication only in their first editions;
• Some publishers print their logo (or seal) only in their first editions;
• Some publishers print a single capital letter on the copyright page to indicate the edition number. The letter “A” would be a first edition, while an “E” would be a fifth;
• Some publishers use a series of numbers or letters, eliminating the first number or letter in the series for each new edition. (1 2 3 4 5 6 7 8 9 10 would represent a first edition while 3 4 5 6 7 8 9 10 would represent a third);
• Some publishers use a series of coded letters on the copyright page to indicate the month and year when an issue was printed. In old Harper & Brothers books, a code of B-P would indicate a printing in February 1915.

Extensive guidebooks are available that list many different publishers and the varying ways they have changed their first edition markings over time. But there are exceptions to all the rules, and some publishers do not use any markings at all to identify their editions.

Copyright and Published Dates—A copyright date is not a published date. A copyright date only indicates the first appearance of a work and could be 50 years older than the actual book.

Some books print both a copyright year and a published date. It is usually possible to identify a first edition if the copyright year and the published year are the same; but not always. (The first edition of Gone with the Wind was published in May 1936. Only 10,000 copies were printed but the book was so popular that a second printing was ordered right away, in June, and several subsequent printings also occurred in 1936. Thus, a September 1936 edition of this book is not a first edition, even though the copyright year is also 1936).

Title History—Knowing a book’s original publisher and original publishing date can go a long way toward edition identification. Many popular titles were reprinted over and over, by scores of different publishers.

George Orwell’s Nineteen Eighty-Four was first published in 1949, but a book with this date is not the first edition unless it was published by London’s Secker and Warburg (The Harcourt, Brace and Company version printed later in 1949 was the first American edition).

To the uninformed, a version of Frankenstein with a published date of 1865 may seem like a good candidate for a first edition. It’s certainly a very old and valuable book, but it’s not anywhere close to being a first printing. Frankenstein was first published anonymously in 1818. Author Mary Shelley’s name appeared on the second edition in 1823. Editions of this book were also published in 1831, 1833, 1849 and 1856.

The first illustrated edition of Frankenstein did not appear until 1831. This is the first artist interpretation of the monster.

Points—Many popular books experienced multiple printings in quick succession by the same publisher. But in some cases, meticulous researchers have documented peculiarities that can identify the edition number. These include typos, changes in text or illustrations, binding variants, dust jacket styles, changes in price and the like. The text for the first printing of L. Frank Baum’s The Road to Oz in 1909 was printed on pastel tinted paper, with the color changing every 32 pages (off white, lavender, gray, light blue, salmon, tan and light green). The technique proved to be far too expensive and labor-intensive so was discontinued with subsequent editions.

Common identification points usually include advertising—in the back of the book, on the back of the dust jacket and on the dust jacket flaps. For many old juvenile series books, this is a key source for identifying first editions and is not possible without the dust jacket present.

Sometimes as many as four editions of a vintage juvenile series book were printed in the same year, before the next new title was released. Therefore, the common practice of assuming that a series book is a first edition if the advertising list of previous titles stops with that book (often referred to as “lists to self”) is highly unreliable.

The Bungalow Mystery dust jacket can only be identified as a 1930 first edition with the following points: The back of the dust jacket advertises only the first 10 Amy Bell Marlowe Books for Girls; The inside front flap advertises only the first three Nancy Drew titles; and the inside back flap advertises only the first 10 Beverly Gray titles.

Book Club Editions—A book club edition might have the markings of a first edition because it was printed from the same plates. But it is not. Without a dust jacket, it is often difficult to recognize a book club edition. The book might have an embossed marking on the back and might be made of lesser quality paper, but not necessarily. However, a book club dust jacket will not have a price (and might even state “Book Club Edition” in the lower corner of the front flap). Beware of popular books passed off as first editions that do not have dust jackets (or have price-clipped dust jackets).

So how can a casual buyer be cautious and informed? First edition identification is not specific and never easy. Here are a few tips:

Know Your Seller—Reputable book dealers will have done the necessary research to correctly identify a first edition. Does the seller have a store or website? Does the seller publish a book catalog? Is he a member of the Antiquarian Booksellers Association?

If you’re still not sure . . .

Ask a Worthologist—WorthPoint’s experts understand the points and research materials necessary to identify a book’s true age. A Worthologist can safely authenticate a book for you before you buy. It’s just as important to know when a book is NOT a first edition—and that is usually easy to determine.

Liz Holderman is a Worthologist who specializes in collectible books.

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There are many different terms to describe the various illustrations that may be contained in a book. The type of illustrations in a book can help determine the book’s age. And, many types of illustrations do increase the value of a book.

Plate – A page printed separately from the rest of the book. Usually this is an illustration or a diagram.

Dancing with the devil. A tipped in color plate by Arthur Rackham for The Ingoldsby Legends, 1920. The illustration is lightly affixed to the background cardstock at the very top edge. The cardstock itself is glued into the book along its inner left edge. This book also contains tissue guards that protect each illustration.

Tipped In – An illustration that is lightly attached to the book by a narrow strip of gum or glue. This happens after the book has been bound, so the illustration is not sewn in with the rest of the pages. Usually, a stand-alone illustration is expertly “tipped in” along the inner edge, between two pages of the book. The illustration will align perfectly with the rest of the pages and will not be numbered. Sometimes, the illustration is attached by one edge to a heavier cardstock (which itself has been tipped in to the book).

Because “tipping in” was a laborious, manual process, it increases the value of a vintage book. But as the book (and adhesive) age, the tipped in plates can become loose. Therefore, older books are often missing some of their illustrative plates, particularly the frontispiece (because it received more handling and wear as the book was opened).

Tissues or Tissue Guards – Tissue paper or other lightweight paper tipped in to a book directly opposite an illustration. These were originally designed to absorb any transfer of ink from the illustration to the page. Later they were used to protect the illustration from scratching. The presence of original tissue guards also adds value to an old book, because they were often lost or torn out. They are rarely used today except in more expensive, limited editions.

Black and white woodcut of Little Red Riding Hood by Gustave Doré for “Perrault’s Fairy Tales,” 1883.

Color woodcut by Randolph Caldecott for “Elegy on a Mad Dog,” 1879. Color woodcut illustrations were made by using a different block of wood for each color. The color alignment had to be perfect since multiple passes were made through the presses for each illustration. Therefore, the detail in the illustrations had to be much simpler.

Woodcut – Illustrations made by engraving a block of wood and then inking the block for transferring the image to paper. This is the oldest form of printing illustrations and its use dates to 600 AD.

Chromolithograph illustration from Aunt Louisa’s Golden Gift, 1879.

 

Chromolithograph – An illustration made by using grease crayons, paints, gums and acids on flat stones or zinc plates for transferring the image to paper. The illustrations were distinguished by bright and vibrant colors but chromolithography was a time-consuming process. It became obsolete in the early 1900s when faster printing techniques were perfected.

Photogravure of Victor Hugo, 1883.

Photogravure – High-grade illustrations made from metal plates into which a photograph has been etched.

Halftone – Graduations in light and dark shades created by using tiny, closely spaced dots.

Illuminated – Illustrations and manuscripts decorated by hand using gold or silver leaf or metallic paints.

Glossy – An illustration printed on smooth, coated paper. Because glossy illustrations had to be tipped in, they were sometimes replaced in later editions with line drawings that could be included as part of the print run. An edition of a juvenile series book with a glossy illustration, for example, would be older than the same title with a plain illustration.

Internal – A term sometimes used to describe a glossy illustration inside a book. It is most often used when describing juvenile series books, which can be dated by the number of “internals” they contain. Over time, the printing of juvenile series books was made less expensive by reducing the number and quality of the illustrations.

Liz Holderman is a Worthologist who specializes in collectible books.

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Condition terminology is important to master, because condition and rarity are the most significant aspects for evaluating a book’s worth. Determining and describing condition, however, is always subjective and open to interpretation.

This is an example of a paste-on illustration in fine condition for the cover of “The Family Friend,” 1878. No scratches, fading or wear. Bright and crisp.

Fine Condition – A crisp and tight book or dust jacket with no dullness or defects. Sharp corners and edges. Near new.

Very Good Condition – A sound, firm book or dust jacket with light wear and no major defects. Corners and edges only slightly bumped and never frayed. Covers fresh and clean. Usually, books in less than very good condition drop greatly in value.

Good Condition – A complete book or dust jacket with average but obvious use and wear. Usually beginning to soften and often with minor markings or fading. This is the lowest grade given to a collectible copy and is really not considered “good.”

Fair Condition (Reading Copy) – A loose book or dust jacket that is very worn, torn, frayed or soiled, with some of its parts missing (such as the spine backstrip, title page or internal illustrations).

An example of a book in poor condition, sometimes called a breaking copy. Covers, title page and spine are missing. Pages are loose, marked and torn.

Breaking Copy – A book (usually with color plates) that is in such poor condition it can only be considered for breaking apart in order to collect the internal art.

Sunned – The aspect of a book’s cover (usually the spine) which has faded due to long-term exposure to sunlight or other light sources.

Price-Clipped – A dust jacket that has had the corner price excised or cut away. This lowers the value of a dust jacket and sometimes even means that the words “Book Club Edition” have been cut away.

War Paper – Lesser-quality paper often used for books produced during the paper shortages of World War II. It now appears brown and brittle.

Wormholes – Burrowing holes made in paper or bindings by maggots or bookworms.

Foxing – Brownish spots on the paper of old books that are usually caused by dampness or impurities.

Starting – A book that is beginning to show signs of looseness.

Shaken – A loose book that is not firm in its hinges.

Loose – A book with detached or nearly detached covers.

Bumped – Worn and softened binding edges or corners.

Frayed – Ragged binding edges or corners, with cloth threads showing.

Rubbed – Worn spots on bindings or dust jackets that show color loss, usually caused by excessive shelf wear.

Dog-Eared – Pages that are turned down at the corners – a poor man’s bookmark.

Closed Tear – A simple tear that does not involve loss of paper.

Open Tear – A tear (or hole) that involves loss of paper or material.

Facsimile – An exact copy of an earlier work, usually produced by photographing or scanning the original.

Reproduction – An approximate likeness of an earlier work, made to look like the original.

Sticker Damage – Paper loss or discoloration due to the rough removal of a price sticker.

Laser Copy – A dust jacket that is made by scanning the original and printing it on a laser printer. Stiffer paper and slight defects (such as tears) that are seen but not felt can be used to identify these copies.

Marriage – A combination of dust jacket and book that does not represent the original state. For example, a second edition dust jacket might be combined with a first edition book.

Dimple – A small defect made by an indention on a cover or page.

Damp-Stained – A book or dust jacket with a stain left by exposure to water or moisture. These books are often also warped.

Smoke-Free – A book that has been housed in a smoke-free environment. Books can retain an odor from long-term exposure to cigarette smoke. (Smoke odor can be removed by wrapping a book in newspaper and burying it in new, clean kitty litter for several weeks.)

Liz Holderman is a Worthologist who specializes in collectible books

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Many do not realize that the pages before and after the narration are very important, even if they just show advertising. They can sometimes help identify the issue or date of a book, especially one that was produced by many different publishers. A book is always worth less if these pages are missing.

Title Page – A page in the front of the book that states the author, publisher, illustrator and sometimes the date of publication.

Copyright Date – This is the date that the work first appeared (when the protective copyright was established) and does not date the book in hand. The work may have appeared in a magazine or newspaper prior to book publication, or in other previous book publications. The copyright page usually appears on the reverse side of the title page.

Edges – The three outer edges of the pages, as visible when the book is closed (top, fore and bottom). The edges might be gilded or marbled. In specialized books, the fore-edge was sometimes painted with a scene that only could be viewed when the pages were slightly fanned. Edges might also be Unopened, which means the folded leaves have not been cut apart in the finishing process (and the book cannot be read). Confusingly, Uncut or Deckle edges have been cut apart but have not been trimmed and therefore appear rough.

Recto – The front side of a page. If a book is lying open, this is the page on the right.

Verso – The back (or reverse) side of a page.

Errata and Addenda Slips – Pages inserted after a book has been printed to identify mistakes or additions.

Frontispiece for Nancy Drew #14, “The Whispering Statue.” A slick, glossy illustration was used in editions between 1937 and 1943.

Frontispiece for Nancy Drew #14, “The Whispering Statue.” A line drawing of the same scene was used in editions between 1943 and 1970. The type of frontispiece helps date vintage juvenile serial books.

Frontispiece – An illustration facing the title page.

Fly-Leaf – A blank page that appears after the front free endpaper. In earlier days, when paper was scarce, these pages would sometimes be torn out of books to be used elsewhere.

Watermark – An image in the page that can be seen when held to light. In simplified terms, it is created by a wire mold that is part of the tray where the wet pulp settles during papermaking. The mold causes a difference in the thickness of the paper.

Points – Peculiarities or indicators whose presence or absence can help determine the edition or state of a book. These might include typographical errors that were later corrected; changes in illustrations, lettering or chapter headings; specific advertising, etc.

Colophon – A formal note at the end of a book, sometimes with identifying symbols, which might reveal the printer and printing date, as well as other miscellaneous information. An older device, this is usually on the last page or even the endpaper and is generally not found in modern books.

Liz Holderman is a Worthologist who specializes in collectible books

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