John J. Audubon’s ivory-billed woodpeckers in action. Audubon’s “The Birds of America” sold for $7.9 million at auction at Christie’s in London on Jan. 20, 2012.

John J. Audubon’s American flamingo was posed so that it was still life-sized but could fit on a 39-inch page. Audubon’s “The Birds of America” sold for $7.9 million at auction at Christie’s in London on Jan. 20, 2012.

As an accredited book appraiser, book dealer, book collector and book lover, I am always thrilled to see a rare and valuable set of illustrated books come up for auction. And John James Audubon’s “The Birds of America” is one of the most exquisite sets ever produced. Bound in multiple giant volumes, it contains 435 classic, hand-colored engravings in breathtaking detail. It went up for auction in London at Christie’s on Jan. 20, 2012.

At most, 200 first editions were produced, and of those, only 120 are known to still exist in their entirety. Another first edition sold in 2010 for a record $11.5 million so I expected the January auction at Christie’s to be exciting.

Born in Saint-Domingue (now Haiti), Audubon (1785-1851) was raised in France but moved to the United States at age 18 to avoid serving in Napoleon’s army. He had painted birds since childhood and wanted to record the image of every bird in North America. He killed the birds he painted so that he could stuff and pose them in lifelike scenarios, using wires to extend wings, arch necks and bend legs. It was a revolutionary concept in ornithological art and, as a result, Audubon’s birds swoop, flock, fish, swim, hunt and nest with every feather and nuance of color accurately portrayed. Because he also wanted the images to be life-sized, the books are massive – measuring more than three feet in height. (The term “double elephant folio,” used to describe the size in book verbiage, has become almost synonymous with Audubon’s greatest work.)

The 200 sets were created over a period of 11 years and at great expense. To fund the effort, subscribers in France, Scotland, England and America (including American politicians Daniel Webster and Henry Clay) paid in advance and received five prints at a time as they were finished. At the completion of the work in 1838, the subscribers’ prints could be retroactively bound (in usually three to five volumes).

The four-volume set that sold at Christie’s in London on Jan. 20 was originally owned by William Henry Cavendish, the fourth Duke of Portland, who purchased it sometime after 1838. Some observers were disappointed that the sale came in at less than $10 million, but I thought $7,922,500 (including buyer’s premium) was a very respectable showing.

If you can’t afford to shell out millions of dollars to own one of these masterpieces, don’t despair. In 2007, the University of Pittsburgh digitized every image of their own set and placed it on the web for everyone to enjoy. You can see all 435 magnificent color plates here.

Liz Holderman is a Worthologist who specializes in collectible books.

————————

WorthPoint—Discover Your Hidden Wealth

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.

———————————

* 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.

———————————

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.

———————————

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.

———————————

*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.

———————————

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.

———————————

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.

———————————

Unframed 1881 Vero Shaw chromolithographs from “The Illustrated Book of the Dog” sell for $45 to $85 each.

We’ve all seen piles of old and broken books at estate sales; the spines are stripped off, the covers are warped and detached, handfuls of internal pages are missing and they smell a bit musty. Most books, unless they are extremely rare and sought-after, drop tremendously in value when they are in falling-apart condition. And that’s why crippled old books usually don’t get a second glance. But they should.

These bedraggled friends probably sat on a shelf for lifetime, were passed down to family members and were eventually moved to a box in a damp basement to be stored for the next generation. And truthfully, the vast majority of tattered books are just common collections of yesterday’s novels or somebody’s long-forgotten textbooks. But don’t be so quick to rush by that pile of cracked and crumbling leather offered at a tag sale, because there just might be a hidden treasure inside.

Hand-colored engravings from George Cuvier’s 1827-1835 “Animal Kingdom” are unsurpassed in quality and beauty. The color plates can sell for $40 to $80 apiece.

In the 1700s and early 1800s, most illustrations were printed from engraved plates and then laboriously (and meticulously) colored by hand. By the 1840s, vivid chromolithographs were being created via a chemical technique using separately inked stones or zinc plates. Although this allowed a higher volume of high-quality prints to be made, the manual set-up time required to perfectly align and prep each unique color was very lengthy and the equipment expensive. In the early 1900s, photomechanical methods of printing were developed that allowed fast mass production of illustrations. The earlier methods of lithography quickly became outmoded. But prints made from the early techniques are far more valuable than their modern processed counterparts.

Color plates should never be removed from a book in good condition. The illustrations were specifically designed as supplements to the narration and the value of the art is always greater when it is contained within the book. But books in very poor condition with missing pages cannot be appreciated as they were intended and the tipped-in color plates have often become unglued and lost. As the gatherings (sections of pages) come loose from the binding and protrude, they will no longer align neatly. That will cause the edges of the plates to become ragged, soiled and torn. If the book is not going to be restored, it is better to remove those illustrations to be stored in a safe place. And books that are seriously water damaged or moldy should always have their plates removed to prevent further devastation from the moist environment.

These three decrepit and falling-apart books were published in 1885. They sold for a total of $12.50 in April 2011…

. . . but the 30 unique Louis Prang chromolithographs inside can sell for $20 to $40 apiece.

Particularly valuable books can be professionally (and expensively) restored and that is often the right path to take—especially for family heirlooms, treasured keepsakes, books of special interest and rare collectibles. If the covers and spine are still mostly intact, a professional restorer can re-case and tighten the book, repair joints, refurbish leather and mend torn pages. A three-volume first edition of “History of the Indian Tribes of North America” by Thomas McKenney and James Hall (1837-1844) contains 120 hand-colored lithographs and can reach $50,000 to $100,000 at auction. Many of the original paintings were destroyed in a fire at the Smithsonian in 1865, so some of the illustrations are the only existing copies. These historic books should always be restored if possible. But it’s an unfortunate fact that the individual plates, although rare, are more commonly found on the market than complete books (in any condition). The exquisite, 170-year-old illustrations can easily sell for $500 to $700 apiece.

An original hand-colored lithograph from the first edition of “History of the Indian Tribes of North America” (1837-1844) can sell for $500 to $700.

What should you look for in a book’s illustrative plates?

• First, the book should always be beyond repair before a plate is removed;
• The plate should have minimal or no foxing (brown spotting due to moisture) and no water staining;
• The edges should be crisp and square;
• The borders of the plates should be clean and light;
• The illustrations should be hand-tinted or chromolithographed, with brush strokes or individual color pressings seen under a magnifying loupe. (In contrast, modern, photomechanical plates will show a pattern of uniform, bulls-eye dots when viewed under a loupe);
• And, the subject matter should be unique and interesting.

For best preservation, the art should be matted with acid-free materials, mounted behind glass with protection from ultraviolet light and displayed in a dry, climate-controlled environment.

Liz Holderman is a Worthologist who specializes in collectible books.

————————

WorthPoint—Discover Your Hidden Wealth

The blurb on the back of the first “The Great Gatsby” dust jacket was first printed with the protagonist’s name written as “jay Gatsby,” with a lower case j. When this mistake was discovered the type was quickly revised. To buy a copy at auction, it could cost you upwards of $50,000.

Why are first editions so collectible? Unless an author is already acclaimed, first editions are usually printed in a small run, so that the publisher can test the waters of popularity before investing a lot in the title. Sometimes a new book doesn’t arouse interest until years after its initial release (perhaps because the author became famous for a later title). By the time that happens, the small number of first editions may have long been relegated to half-price sale bins, library donations, forgotten storage boxes or even recycling. The book has now become both desirable and scarce.

Today, most publishers’ markings indicate first editions with a clear and specific statement, a series of numbers or letters, the presence of colophons and other techniques. But that hasn’t always been the case and older firsts may be harder to identify. In many vintage juvenile series (like Tom Swift and Nancy Drew), the only way to identify a true first printing is by the advertisements on the dust jacket.
And, first-edition terminology is often confusing. Even experienced collectors and booksellers can differ in their interpretations of some of the definitions (and their relative worth). Many classics first appeared serialized in magazines or newspapers before they were published as books and these periodicals are technically the first printings of the works. Sometimes changes and corrections were made during the first print run of a book (before the book was actually published) and those changes constitute different states of the first edition (usually with different collectible values as well). Sometimes the exact same setting of type was used for a second print run at a later date, and although technically this was the second printing of the first edition, it is not valued the same. And even though a book club edition may be printed almost simultaneously with a first edition, perhaps even using the same plates, it is still just a book club edition (which can be difficult to determine without the dust jacket).

Why are some first editions in higher demand than others? Author renown, rarity, illustrations, binding and other factors can all play a part. But it’s important to remember that a title nobody wants probably won’t be reprinted. So its designation as a first edition is virtually meaningless.
As an accredited book appraiser, I’m often asked to appraise a well-known “first edition.” The owner has looked at asking prices online and is anticipating a good payoff. Most of the time, they are disappointed to learn that a different publisher, a slightly different date, a facsimile dust jacket or even a few peculiarities (such as typos or illustration goofs) can make a big difference in the value of those “firsts.” Here are a few fun examples where misidentification can falsely inflate the real value of a book by hundreds (or thousands) of dollars.

This dust jacket, in very good condition, has the revised version of the protagonist’s name, with a capital J in “Jay Gatsby.”

“The Great Gatsby”: This F. Scott Fitzgerald classic was published in 1925 by Charles Scribner’s Sons with striking dust jacket cover art by Francis Cugat. The Long Island story initially received mixed reviews and didn’t really become popular until it was reprinted in the 1940s, making first editions rare. The blurb on the back of the dust jacket was first printed with the protagonist’s name written as “jay Gatsby,” with a lower case j. When this mistake was discovered the type was quickly revised. Many of the existing copies were hand-corrected in ink and some were over stamped with a capital J. First printings with a first state dust jacket are prized by collectors and can reach $50,000 or more at auction.

"Adventures of Huckleberry Finn"

“Adventures of Huckleberry Finn”: The first print run of Mark Twain’s 1884 masterpiece began with a rare defacement to one of Edward M. Kemble’s illustrations. An unknown engraver made a lewd alteration to the printing plate featuring Tom Sawyer’s uncle, Silas Phelps (page 283), right before the book went to press. It was not discovered and replaced until 2,500 books (in deluxe bindings) had already been printed. The offending books were supposedly pulled from distribution, but examples do appear on the market from time to time. Last year a copy was purchased from an online bookseller for $8,500.

"Gone With the Wind"

“Gone With the Wind”: Margaret Mitchell’s Pulitzer Prize-winning book was so immensely popular when it was released that it was reprinted almost immediately and continued to be reprinted at a furious pace. In fact, within the first six months of initial publication it was reprinted 22 times. Many people think this book with the date “1936” inside indicates a first edition. And dozens of listings on the Internet repeat that same error. But the valuable first-edition distinction is reserved only for books with the date “May 1936”. First editions in excellent condition can sell for $3,000 to $4,000.

"Bartholomew and the Oobleck"

“Bartholomew and the Oobleck”: The 1949 first edition of this Caldecott Honor book by Dr. Seuss had blue covers and a blue dust jacket. This version is scarce. The dust jacket paper was very thin and most copies, if they can be found, are in tattered condition. Later printings were issued in red. A 1949 Junior Literary Guild book was also issued in blue covers, but the spine and dust jacket clearly indicate that it is a Guild edition (and therefore not a first edition).

"Nineteen Eighty-Four" with a green dust jacket.

"Nineteen Eighty-Four" with a red dust jacket.

"Nineteen Eighty-Four" with the American first-edition dust jacket.

“Nineteen Eighty-Four”: George Orwell’s dystopian classic was published in 1949, first in England (by Secker & Warburg) and shortly later in the United States (by Harcourt Brace). Thus, there is both a first British edition and a first American edition. However, the British version is the only true first edition, and is valued significantly higher. That first edition appeared in two states, with red and green dust jackets. Although there is no documented priority between the two jackets, the red one is scarcer and generally preferred. First edition examples in very good condition can reach $1,500.

"The Bonfire of the Vanities"

“The Bonfire of the Vanities”: This trade edition of Tom Wolfe’s novel about ambition and greed was published by Farrar, Straus & Giroux in 1987. The copyright page states that it is a First Printing. However, at the bottom of the copyright page another statement reveals that a signed, limited first edition of the book was privately printed by The Franklin Library. That Franklin Library edition (in a full leather binding with gilt edges) appeared first and is the true first printing.

"The Road to Oz"

“The Road to Oz”: The first issue of this 1909 Frank Baum series book included gatherings of pages (in groups of 32) tinted in pastel colors (off-white, lavender, gray, light blue, salmon, tan and light green). This was an extremely unique feature and as a result was the first Oz book that had no color illustration plates (although it contained many elaborate black and white drawings by John R. Neill). The publication process proved to be far too costly and was quickly abandoned. In subsequent printings, regular white paper stock was substituted and these books are often called first editions. A true first with tinted pages can sell for $1,500.

"Harry Potter and the Philosopher’s Stone"

“Harry Potter and the Philosopher’s Stone”: Only 500 hardcover copies (or fewer) of J.K. Rowling’s first book were printed by Bloomsbury Publishing in London in 1997. They had laminated picture covers (no dust jackets) and most were issued to school libraries. So, first editions (especially ones without library markings) are extremely rare. The copyright page has the statement “First Published in Great Britain in 1997”—but that statement also appears on other editions. Only the true first printing displays the full number line 10 9 8 7 6 5 4 3 2 1. Later editions each drop one number starting on the right and working left. The dust jacket did not appear until the third edition. A true first printing (ex-library copy) sold at auction for $16,133 in June 2010 (including buyer’s premium).

"And Then There Were None" is not the original title of this book.

“And Then There Were None”: Agatha Christie’s most famous novel has sold more than a million copies world-wide. It first appeared in the United States in the magazine Saturday Evening Post (in seven parts from May to July 1939) under the title “And Then There Were None”. Running almost simultaneously, but starting two weeks later, it was serialized in the British tabloid newspaper Daily Express (in 23 parts from June to July 1939) under Christie’s original (and offensive) title “Ten Little Niggers.” The storyline focused on mysterious one-by-one murders on a remote island, paralleling an old nursery rhyme with the same name.

In November 1939, it was published in book form in England by Collins Crime Club, again with Christie’s original title. Two months after that, in January 1940, the book was published in the United States by Dodd, Mead and Company, who changed the title back to “And Then There Were None” (shown here). Over time, the contents of the story that related to Christie’s original title (nursery rhyme, island name, figurines on a dining room table) were changed from the ethnic slur to Indians. Later, they were changed again to soldiers. The first British book, with the objectionable title, is considered the first edition and can sell for $1,500 or more, while the first American book (actually rarer) may reach only a quarter of that amount. However, the true first printing (the Saturday Evening Post magazine version) is also hard to find and can reach prices equivalent to the first British book.

Do you have a book that you think might be a valuable first edition? Use the “Ask a Worthologist” service under the “Research Your Items” tab on WorthPoint’s home page. A Worthologist will investigate your book and do the research to determine the edition and estimated range of value.

Liz Holderman is a Worthologist who specializes in collectible books.

————————–

WorthPoint—Discover Your Hidden Wealth

Frontispiece and title page for the first edition of Jonathan Swift’s most famous work, “Travels into Several Remote Nations of the World,” more commonly known as “Gulliver’s Travels,” published in 1726.

Books that can sell for $100,000 or more at auction are rare indeed. They are purchased by museums, libraries and the wealthiest of bibliophiles. Among these treasures is the first issue of “Gulliver’s Travels” (as it is now called). What makes the book so valuable? Part of the reason lies in the story behind the story, beginning with the author.

Jonathan Swift was born in 1667 under dire circumstances. His Irish father was a lawyer but died seven months before he was born. His English mother was left in poverty and Swift, who was a sickly child (suffering from a dizziness and vertigo, now diagnosed as Meniere’s disease), was mostly raised by relatives. Throughout his life, he alternately lived in England and Ireland.

Swift eventually earned a doctorate degree in divinity and became a priest. He was very active politically, publishing dozens of pamphlets and essays criticizing various aspects of the British government and supporting Irish patriotism. Although much of his work was printed anonymously or using pseudonyms, Queen Anne disliked him and made it difficult for him to advance in his career in England. Instead, he became dean of St. Patrick’s Cathedral in Dublin.

It took Swift five years to write his masterpiece, “Travels into Several Remote Nations of the World.” In 1726 he had the manuscript delivered to a publisher anonymously, with negotiations handled by a third party. The story, originally intended for adults, was a long, scathing political satire and a parody of the exaggerated travel journals that were popular at the time.

Yahoos pulling a sled by artist Milo Winter, 1912.

Gulliver in the giant land of Brobdingnag, artist unknown, circa 1920s.

“Travels into Several Remote Nations of the World,” in four parts, was ostensibly written by the moral English surgeon “Lemuel Gulliver,” and covered a period from 1699 to 1715. Almost everyone is familiar with the first voyage to Lilliput, a kingdom of people less than 6 inches tall. That story has been retold countless times (and most children’s books contain only the Lilliputian story.) But there were also three other voyages.

In Gulliver’s other adventures, he traveled to a kingdom of giants, visited a flying island and met the immortal struldbrugs, who became frail and senile but could never die. He was left by his mutinying crew in a land of barbaric humanoid creatures called Yahoos, who were enslaved by intelligent horses. Gulliver finally returned to England but he was unable to acclimate with his long-suffering family and turned into a mad recluse.

When the book was released (in two volumes) in October of 1726, it became instantly popular with both children and adults. It was almost immediately translated into other languages and serialized in magazines. For the most part, the story reflected the conservative Swift’s disdain of social trends and attitudes, as well as his harsh criticism of the British government. Characters that Gulliver encountered on his travels were metaphors for politicians, philosophers and members of the Royal Academy (with their shortcomings emphasized). In one famous example, Gulliver helped the Lilliputians put out a raging fire in the bedroom of their empress by standing over the palace and urinating. Not surprisingly, this episode is usually omitted from modern children’s versions, as are several other offensive descriptions of bodily functions and sexual behavior. In fact, abridged and censored versions appeared fairly quickly after the first publication. Today, the story has been drastically cut into a shorter classic of children’s literature and most versions are mere outlines of the original text.

Jonathan Swift (1667–1745).

The original publisher (Benjamin Motte) altered Swift’s text before it went to press, removing some of the more controversial symbolism to avoid prosecution. Variants and states of that first edition are sometimes disputed because the popular book was published using several different printing companies. It sold out within a week and was reprinted multiple times in the first few months alone. Minor differences ensued, with mixed states common. Nonetheless, these earliest printings are extremely rare and thus highly valued. They can sell for $75,000 to $150,000 today.

In 1735, a new version appeared (published as part of a complete set of all of Swift’s works). It contained several allegories that were not in the original issue and also included “A Letter from Captain Gulliver to his Cousin Sympson,” complaining about the changes that Motte had made to his story. Scholars believe this is the more authoritative edition and modern publications are usually transcribed from this text.

Swift suffered from severe dementia for many years before his death, but lived to be almost 78 in spite of his poor health, dying in 1745. He had no children, and the bulk of his fortune was left to found an Irish hospital for the mentally ill.

Liz Holderman is a Worthologist who specializes in collectible books.

————————–

WorthPoint—Discover Your Hidden Wealth

Did you know that a single item can have several different appraised values? In fact, when you “Ask a Worthologist” to value an antique or collectible, you will receive three separate values, in addition to some interesting history, background and facts about the item. Why three values? Because professional appraisal guidelines state that appraised values are always dependent on the reason for the appraisal.

To help understand the difference in values, we’ll take a first edition of “The Wonderful Wizard of Oz,” for an example. That book was written in 1899 by L. Frank Baum, illustrated by W. W. Denslow and published in 1900 by George M. Hill. Approximately 35,000 copies were produced, with some variations (or states) based on corrections and changes made during the print run. For our example, we’ll assume that the book is in very good condition, has not been restored and is a second state.

Let’s say you want an appraisal of the book for insurance purposes in case your house burns down or the book is stolen. In that case, the appraiser must determine what it would cost for you to replace the book (in a similar condition and state). The appraiser will have to search bookseller catalogs, advertising lists and antiquarian bookstores to see who has the title for sale and what they are asking for it. The result is called “Replacement Cost” and would probably range between $5,000 and $10,000.

The first edition of L. Frank Baum's "The Wonderful Wizard of Oz" in very good condition. An unrestored second state can be valued three different ways, ranging from $10,000 to $1,000. This is common for all appraised items.

Alternatively, let’s say you want an appraisal for that book because a) you are going to donate it to a charity and want to deduct the donation on your taxes, or b) you have inherited it from a relative and you have to pay estate tax on the value.

The Internal Revenue Service requires that this appraisal be based on “Fair Market Value.” That means that the appraiser must research past comparable sales for the book and determine what it actually sold for in a fair and open market (where both the buyer and seller were fully knowledgeable about the book and could transact at their discretion). Current market trends, buyer’s premiums, shipping costs, selling locations, dates of sale and other factors all come into play. “Fair Market Value” is also used for appraisals when an equitable division of assets is required (such as in a divorce case). In WorthPoint terminology, this is called “Auction Value” and would probably range from $3,000 to $5,000.

Now, let’s say you just want to know the value of the book, for no other reason than your own information—maybe you are thinking about selling it. Guidelines state that somewhat less research is required. If you took this book to a volume used book dealer, he would not pay you “Fair Market Value” for the book because he needs to be able to (hopefully) resell it, cover his expenses and still make a profit. Instead, he will pay you “Market Value” for the book. This is what you will get if you don’t want to research, list with an auction house, package and ship, advertise, pay seller’s fees, rent space at a retail venue or other such efforts. WorthPoint calls this “Quick Sale” and it would probably be around $1,000.

Believe it or not, there is actually another legitimate appraised value that is even lower, although WorthPoint does not include it in their valuations. If the courts seize your assets due to bankruptcy or other legal action, your book might be sold in a distress sale for pennies on the dollar. In this case, an appraisal might be required to determine liquidation value.

Liz Holderman is a Worthologist who specializes in collectible books.

————————

WorthPoint—Discover Your Hidden Wealth

An illustration by Normal Rockwell for “The Adventures of Tom Sawyer,” 1936. The original is showcased at the Mark Twain Boyhood Home and Museum in Hannibal, Mo.

Some book collectors collect books based solely on the illustrations, and for good reason. Many books from the late 1800s and early 1900s were filled with beautiful chromolithographs, tipped-in color plates and tissue-guarded glossy illustrations. Famous classics like “Alice in Wonderland” or “Robinson Crusoe” have been issued in hundreds of different editions, with varying artists displaying their own unique and imaginative interpretations of the scenes. A book’s illustrations can make all the difference in a story’s appeal, which is exactly why the American Library Association established an annual award in 1937, the prestigious Caldecott Medal, for the best-illustrated children’s book of the year.

Collecting the original art used to illustrate a book is a hobby enjoyed by many bibliophiles. Unlike most other collectibles, a piece of original illustrative art will be one of a kind. The picture may be enjoyed by thousands of readers in its printed form, but the original will always be a stand-alone work. Sometimes, fine pencil lines, painted-over changes and other corrections can be seen, all of which add to the mystique of the piece. Did the artist plan a different interpretation of the scene, only to change his mind as the painting came together? How did the artists choose which scenes to represent? How did they decide on colors and mediums? What did they do to research their work?

When “The Adventures of Tom Sawyer” became an almost instant classic in 1876, many artists wanted to interpret the scenes. But Norman Rockwell, in 1935, was the only artist who actually visited Hannibal, Mo., in order to illustrate the events from the childhood of Mark Twain (Samuel Clemens). When Rockwell toured the cave where Tom and Becky Thatcher got lost, he realized that it had no stalactites and stalagmites, as had so often been shown by other artists, and he adjusted his sketches accordingly.

An illustration by Barbara Remington for the Ballantine paperback covers of The Lord of the Rings trilogy, 1965. The original art sold at auction for $36,000 (including buyer’s premium) in February 2010.

Alternatively, Barbara Remington was not able to even read the “Lord of the Rings” trilogy before being asked to rush the cover art for the Ballantine paperback versions in 1965. Her cover art included elements and images that were never contained in the series, much to the chagrin of author J.R.R. Tolkien.

Original illustrative art can be expensive if either the artist or book is very popular. Works by Johnny Gruelle (of Raggedy Ann fame), Arthur Rackham, John R. Neill (who illustrated many Wizard of Oz stories), Kate Greenaway and others can bring tens of thousands of dollars or more. Sometimes the art is held in family estates for decades before it is released on the market. And color illustrations or cover art are usually priced at a premium.

The 1950 cover art for “The Doll’s Christmas” by Tasha Tudor. The original sold for $8,000 in 2008

Pen and ink illustration by C.J. Taylor for Puck magazine’s July 1887 issue. The original sold for $108 in 2008.

But it is possible to build a collection of illustrative art far less expensively, especially with black and white illustrations or art from lesser known books and artists. Magazine, comic book and newspaper illustrations can also be found for very reasonable prices, especially if they are unattributed. Thousands of insignificant Disney books have been produced, most illustrated by anonymous company graphics employees. Original Disney art is therefore fairly easy to locate and can be purchased for a few hundred dollars apiece. But more often than not, the actual book that it illustrated is now long forgotten.

If the title of the book where the art first appeared is known, it is fun to display the original along with the book. However, the art should always be framed and covered with glass to prevent smudging and wear, especially since many older book illustrations were done in charcoal or chalk. A gum eraser can be used to gently remove fingerprints or soil from the margins, but the artist’s original guideline marks should never be altered if they are still present. The paper (or board) should also be de-acidified and kept out of direct sunlight or moist environments.

Liz Holderman is a Worthologist who specializes in collectible books.

————————–

WorthPoint—Discover Your Hidden Wealth

The Good Shunammite” with a cover made of gutta percha. A copy with some chipping, dings to the corners and other minor defects retail for $500 or more.

Selma D. found an interesting antique book with a cover unlike any she had seen before. She engaged WorthPoint’s “Ask a Worthologist” service, and it was forwarded to me. Here is Selma’s question:

“I’ve picked up a strange looking book from an estate sale. Its title is “The Good Shunammite.” The cover looks like it’s some kind of carved stone—like slate—as it has a couple of small chips in it and the dark color of it color goes right through. I’ve seen embossed leather book covers before, but never anything like this one, what can you tell me about it and its value?”

Selma, I’ve seen a couple of copies of this book before, and others with similar covers. “The Good Shunammite” was first published by Longman Brown Green & Longman’s, London, in 1847. Such covers were inspired by medieval manuscripts and Gothic art, which was going through a revival in popularity at the time (its influence could be seen in everything from furniture to architecture during the mid 19th century).

The strange material used in making the cover could be one of two things—Papier-Mâché or what is called “gutta-percha”—but not slate. According to antiquarian booksellers, of the two, gutta-percha would appear to be the most likely candidate. Gutta-percha was first introduced to the West by William Mongomerie in 1843, when he demonstrated its uses before the Royal Society of Arts in London. Gutta-percha is a natural polymer, chemically about the same as natural rubber, but has different properties. It’s harvested much like maple syrup is here in North America; the milky-looking sap tapped from the gutta-percha tree (found in Pacific Rim nations). When the sap is evaporated, what’s left is a material much like a natural form of plastic that can be heated and molded into small decorative items, such as photo frames, trinket boxes, cigar & pencil cases and, in this case, a book cover.

As for the book’s value, you didn’t mention what you paid for it, but I imagine it was far less than what it currently lists for. In the current market examples comparable to yours with some chipping, dings to the corners and other minor defects retail for $500 or more. A copy in fine condition can sell for $900 or more.

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

——————————

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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 [at] aol [dot] 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

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

– 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.

—————————————-

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.

—————————————-

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.

—————————————-

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.

—————————————-

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 [at] aol [dot] 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

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

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.

WorthPoint—Discover Your Hidden Wealth

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

WorthPoint—Discover Your Hidden Wealth

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

WorthPoint—Discover Your Hidden Wealth

Some of the most perplexing descriptions include the various editions and copies of a book. Even antiquarian book scholars and dealers do not always agree on the specifics of these terms, so the following is offered as a very simplified guide:

Edition – All the copies of a book printed in the same run from one typeset (electronic or otherwise). Sometimes later printings of the book made from the exact, unchanged typeset are numbered as different Impressions or Printings of the same edition.

Illustration opposite page 34 for the first edition of The Wonderful Wizard of Oz, 1900. The two dark blue dots on the moon are one indication of the first state of this book. The dots were removed in the second state.

First Edition – The first printing of a book from the original typeset. Some works were first printed in a magazine or newspaper and then later issued in book form. Thus, a first printing or first publication of Edgar Allan Poe’s “The Raven” would be the copy that appeared in The New York Evening Mirror in January, 1845. The first book edition was published later that same year.

First Edition Thus – This is not a first edition, but is the first appearance of an edition in a new format, with a new illustrator or by a new publisher.

State – If minor corrections, changes or typeset repairs are made during a single print run, the variations are referred to as different states of the same edition. For this term to be exact, all the copies from that run must be released for sale at the same time.

First edition dust jackets for Nineteen Eighty-Four, 1949, in both the red and the green variants.

Variant – This usually refers to different versions of the binding or dust jacket within the same edition. It is a variation that is consciously made by the publisher with no regard to priority.

Book Club Edition – An edition published by a book club, often from the original publisher’s typeset.

Association Copy – This is a book that falls into one of the following categories:

a. It once belonged to the author or illustrator and perhaps contains their personal library bookplate or critical notes and edits in their hand.
b. It once belonged to someone associated with the author or illustrator. This might be a relative or a famous friend and the book often contains an inscription to that person.
c. It once belonged to someone who is mentioned in the book or is associated with the contents of the book.

Limited Edition of the complete writings of Henry David Thoreau in 20 volumes, 1906. Green crushed Levant morocco over marbled boards. With profuse illustrations, a foldout map of Concord and a foldout manuscript of “Life without Principle.” Limited to 600 sets.

Limited Edition – A single edition limited to a specific number of copies, usually in a very specialized format. Sometimes signed and numbered by the author or illustrator.

Advance Copy (or Advance Reading Copy) – Publishers often send a few copies of a new book to reviewers, publicists and wholesalers prior to its publication. These copies are usually proofs issued in paperback format (with plain wrappers) and could still contain manuscript errors. Advance copies have been in effect for about 100 years. They are early versions and scarce, but they are not first editions.

Ex-Library – A term used for a book that has been in a library, with the associated inferior binding, printed labels and painted shelf numbers. Not to be confused with the term Ex-Libris, which only means that the book contains an owner’s bookplate.

Liz Holderman is a Worthologist who specializes in antique and collectible books.

WorthPoint—Discover Your Hidden Wealth