Long-lost to history, this portrait of a self-assured John Brown, was made by the African American daguerreotypist Augustus Washington in 1846-47. The clean-shaven Brown stares intently and directly at the viewer with a steely gaze and the hint of a knowing smile. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

Collecting daguerreotypes—19th century silver plated photographs—can be a thrilling hunt for any antique fan. The number of collectors looking for these early images has greatly increased since the 1970s, as have the prices for some of the rarest and finest examples.

A daguerreotype is an image captured on a thin layer of silver recognizable by its distinctive mirrored surface. The earliest type of commercial photography, present day daguerreotype value is driven by the artifact condition and, even more important, the uniqueness of the subject matter.

An early photograph of the famous abolitionist John Brown by noted photographer Augustus Washington is an excellent example of a rare and highly sought after subject. Captured sometime in 1846-47, the image hangs in the Smithsonian’s National Portrait Gallery and is recognized to be the earliest photograph of Brown.

Recently, a second daguerreotype of Brown taken by Washington surfaced in Cincinnati and is believed to have been captured at the same time as the image in the National Portrait Gallery.

John Brown is best known as the passionate abolitionist that was hung for treason in 1859. Born in Connecticut, he spent much of his life in Ohio. In 1837, Brown publicly declared, “Here, before God, in the presence of these witnesses, from this time, I consecrate my life to the destruction of slavery!” He later founded the “Subterranean Pass Way,” as the militant counterpart to the Underground Railroad.

Long lost to history, the portrait descended directly from the family of John Brown. It was passed down from Brown’s daughter to her granddaughter and was given to her grandson as a wedding present in 1949. It is a significant part of American history.

The identity of the photographer can also add value and desirability to a piece of early photography. The son of a South Asian mother and a man who had been a slave in Virginia, Augustus Washington was born free in Trenton, N.J. He enjoyed reading antislavery literature and attending abolitionist meetings. Thanks to some assistance by abolitionists, Washington attended several colleges in the late 1830s and early 1840s.

While attending Dartmouth College, he supported himself by taking portraits of Dartmouth faculty and citizens of Hanover, N.H. He continued his photography while living in Hartford and opened a studio. This studio is the site of the famous images of John Brown.

For beginning collectors, something like this framed daguerreotype of two oval portraits, housed in a half case, can be had for as little as $60. (Photo courtesy of Cowan’s Auctions, Inc., Cincinnati, Ohio)

Washington succeeded in capturing the evangelical character and stubborn rigidity of an independent-minded loner. Both Brown’s pious and militant nature is evident in his striking portrait. His was an anxious, restless, ferocious zealot’s soul.

Daguerreotypes are excellent antiques for collectors on any budget. Subject, photographer and condition are all factors to consider when trying to determine the value and importance of an image. While fine examples of anonymous subjects are sold for as little as $25, an image attributed to historical heavy-hitters like Brown and Washington can bring thousands.

In 2007, the long-lost portrait of John Brown $97,750.

Dr. Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series “History Detectives” and is a featured appraiser on “Antiques Roadshow.” He can be reached via email at info [at] historicamericana [dot] com.

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An example of the first commercially produced Christmas card. The original 1843 run of the cards were hand-colored lithographs and 2,050 were printed. There are only 20 believed to exist today.

To collectors, there is always a “Holy Grail” or the “Stuff of Dreams” for their category of collecting, for which, of course, a small fortune would be required to obtain the item. For Collectors of Christmas memorabilia there are many items out there that could fill their personal “12 Days of Christmas” wish list.

The Christmas we know today—in all its modern commercial glory—is, in essence, a Victorian invention. And the one piece of Christmas collecting that stands out in my mind is the Christmas Card, but just any old card; the first commercially printed card.

The first commercially printed Christmas card was reputed to be the one shown above. The originator of the idea was Sir Henry Cole (1808-1882), best known for his work establishing both the renowned Victoria and Albert Museum and the modern British Postal system. The panels of the card depict the original ideals of Christmas—charity and family—the design being the brain child of British artist John Callcott Horsley (1817-1903). The cards themselves were hand-colored lithographs printed in an edition of 2,050, measuring 5 1/8 inches by 3 1/4 inches, and printed by Jobbins of Warwick Court, Holborn, London, in 1843.

The original cards were only printed in 1843, but copies have been made in batches in ensuing years. The first reproductions were printed in 1881, but unlike the originals, were not hand colored. Reprints of the 1881 copy were issued again, circa 1955. Of the 1843 originals, only some 20 are thought to still exist, the majority being in museums. The last one in private hands sold at auction sold for $6,950 in 2005. It was addressed to a Miss Tripsack, a close friend of the family of poet Elizabeth Moulton Barrett, wife of Robert Browning.

Since 2005, no more have turned up. But who knows? Somewhere, in an old album, trunk or stuffed between the pages of an old copy Dicken’s “A Christmas Carol,” others may lie waiting discovery.

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

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The FBI wanted poster for Fred Walter Lennon—a.k.a Fred Knorr, Floyd Knorr, Charles Murphy and “Corky”—was sought for unlawful flight to avoid prosecution and armed robbery in California in 1950.

Years ago, I came across a bunch of FBI wanted poster cards from the 1940s, ’50s and ’60s. I thought that these were the most interesting pieces of ephemera I had ever come across in all my years of dealing antiques and collectibles. The poster cards were rather large, and each card had the name of the person the Federal Bureau of Investigation was looking for, along with picture, fingerprints and a description of the crimes they were accused of committing.

While I thought this would be an interesting conversation piece for people who collect law enforcement memorabilia, I never envisioned what occurred next. I listed the poster cards in our online store at GoAntiques.com, and since we also sell at outdoor markets in New York City during the spring and summer months, I also took them with us for our outdoor sales. The very first time I displayed these items I had people swarming our table at the open air market.

To my shock, customers were sorting through the lot of poster cards, looking for their relatives! I will never forget the first time I sold one of the poster cards to a lady who was in New York City on vacation from Canada. The card was of a convicted thief from 1952. He had escaped from prison and was wanted by the FBI on various charges, including menacing and burglary. The customer told me that this particular poster card was important to her because the person pictured was her grandfather. I remember being stunned into silence, which, for me on any given day, is unbelievable.

The FBA wanted poster for William Swift Conroy, issued in 1950. Conroy was accused of attempted burglary and unlawful flight to avoid prosecution. He was to be considered armed and dangerous.

After that, I started getting inquiries online from folks asking if I had a card in my inventory of a relative of one kind or another. The number of inquiries I received was stunning. The most fascinating of all was a lady from the United Kingdom who bought two particular cards. She said had created a memorial to her father in her house with some of personal belongings and memorabilia. To complete the collection she said, she needed the two cards I had listed in our store. The poster cards were of her father and uncle, both wanted criminals for arson. She said when she saw the cards in my store she couldn’t believe what she was seeing. It was a perfect finish to her shrine.

Over the years, I have had many a piece of interesting memorabilia, but none will ever match these particular law enforcement documents that created such a stir. If you look online at our online store, perhaps you will find one of your ancestors to complete your family history, but of all that I bought, I only have three left!

GoAntiques vendor Laura Trueman runs Truetiques and RVT’s Primatives.

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This group of paper table decorations, including a witch, owl, cat ghost and jack-o-lanterns sold for $80.50 at auction in 2006. Photo courtesy of Cowan's Auctions, Inc., Cincinnati, Ohio.

The tradition of Halloween is rooted deep in the ancient Celtic festival of Samhain, dating back almost 2,000 years. In the areas that are now Ireland, the United Kingdom and France, the New Year was celebrated on November 1, a day that divided summer and the coming of a long, dark winter. Winter was a time of death for humans and animals alike, so on this one night, October 31, the line between living and dead became blurred and ghosts would return to earth. The tradition of “trick-or-treating” is likely traced to All Souls’ Day parades, when the poor of England would beg for “soul cakes” in return for praying for dead relatives.

Undoubtedly, the Jack-O-Lantern, a traditional lantern made from a pumpkin, is the most recognizable symbol associated with Halloween. This somewhat ghoulish lighting device has its origins in an old Irish legend of a trickster named Jack and his bargaining with the devil. Originally, the lantern was made from a turnip, Jack’s favorite food, and to keep Jack away, the Irish would hollow out a variety of vegetables, including turnips, gourds, potatoes and beets. The tradition moved into North America during the early 19th century when a couple of Irish immigrants found that pumpkins were much easier to carve, so the turnip was replaced with the native pumpkin and, in the process, orange and black became the official holiday colors.

Three 1930’s paper Halloween lanterns. Due to their fragile nature, table decorations are popular decorations that are much sought after, bringing from $10 to $100. Photo courtesy of Cowan's Auctions, Inc., Cincinnati, Ohio.

Jack-O-Lantern collectibles are many and varied, depending on age, condition and rarity. Noisemakers made in Germany range from $100-500 and glass candy containers made from the 1890s to the mid-20th century in America, valued from $10-500, are two excellent examples. Most 19th- and early 20th-century Jack-O-Lanterns were created in Germany and made of painted papier-mâché. Others were pottery and a few were even made of metals, such as tin or cast iron. Due to their fragile nature, table decorations are popular decorations that are much sought after, bringing from $10 to $100.

Popular subjects in Halloween decorations have evolved to cover a gamut of ghoulish imagery. Witches, accompanied by brooms sticks, cauldrons and pointed hats, have developed into hallmark symbols of the fall holiday. Others commonly encountered images include black cats, skeletons, devils, ghosts, crescent moons and gravestones.

This hand-painted, German pottery cigarette holder has a value of $200-400. Photo courtesy of Cowan's Auctions, Inc., Cincinnati, Ohio.

Halloween postcards are an extremely popular category of Halloween collectible, with more than 3,000 known examples to choose from and values ranging from a few dollars to more than $500. Complete sets of cards will bring a premium of 10-25 percent more.

Cast iron doorstops with a black cat and Halloween themes are valued at $75-200. A particularly rare example of a child in ghost costume carrying a Jack-O-Lantern or a witch flying on a broom in a doorstop would garner a slightly higher price.

This carved and painted wooden puppet, circa 1890, was part of the central entertainment during the Mexican Day of the Dead celebration. It’s valued is $3,000-4,000. Photo courtesy of Cowan's Auctions, Inc., Cincinnati, Ohio.

A type of collectible that is often overlooked is folk art carvings and decorations associated with the Mexican festival of the Day of the Dead, a time when Mexican families remember their dead and the continuity of life. These playful creations include puppets, skeletons and alters. The colorful masks can be purchased for as little as $10, with older and finer examples selling in the hundreds of dollars.

Dr. Wes Cowan is founder and owner of Cowan’s Auctions, Inc. in Cincinnati, Ohio. An internationally recognized expert in historic Americana, Wes stars in the PBS television series “History Detectives” and is a featured appraiser on “Antiques Roadshow.” He can be reached via email at info [at] historicamericana [dot] com.

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A vintage Christmas card by Wanamaker & Brown of Philidelphia.

How do tell somebody you care? Go to the store, buy a card and let somebody else do the telling for you.

The oldest Christmas card created for general distribution probably was created by William Egley Jr.; a 16 year-old British youth. His 3 1/2-inch-by-5 1/2-inch, 1842 printed impression, preserved in the British Museum, depicts four holiday scenes and a “Merry Christmas and Happy New Year” greeting with blanks after the word “To” on the top and “From” at the bottom. Industrious kid.

By 1860, many kinsmen had embraced Egley’s concept. Rival greeting card firms began employing prominent artists, such as Kate Greenaway, the beloved illustrator of children’s books.

The father of American Christmas cards was award-winning Boston lithographer/inventor Louis Prang, who, in 1873, reproduced a holiday card autographed by Christmas Carol author, Charles Dickens. Perhaps the greatest of Prang’s many innovations was the development of a multi-color printing process that incorporated as many as 20 colors on one print or card. Hues and detailing were so vivid that artists were sometimes not able to distinguish their own works from reproduced chromos (chromolithographic prints) when hung side by side on a wall.

Taking full advantage of this technology, Prang employed the finest artisans of his day. Card painters included the likes of Frederick S. Church, Arthur F. Tait and Winslow Homer. Poetic geniuses such as Longfellow, Tennyson and William Cullen Bryant were among those hired to write verses.

Toward enhancing originality, the Boston industrialist began holding Christmas card design contests on a yearly basis beginning in 1880. In 1885, Prang gave prizes for essays on Christmas cards written by women. With prominent judges, lavish celebrations and top prizes from $200 to $2,000, Prang’s contests soon paid off in publicity, becoming media events.

An example of a vintage Christmas card.

Although prices ranged from 50 cents to $15 each (a fortune in those days), Prang’s greeting sold briskly until inexpensive German cards flooded the market. Refusing to lower quality standards, Prang quit the business.

Highly collectible Prang cards usually can be identified by tiny lettering “L Prang and Co., Boston” on the bottom margin. Occasionally, Prang left only a rose symbol (a veiled sign of affection for his wife, Rose) or disguised his mark under a tiny shoe or on a leaf.

Nineteenth-century Christmas cards are often graphic masterpieces incorporating silk fringes, tassels, mother of pearl inlays and satin backgrounds. Flowers, angels, carolers, gentle animals, romantic young women and happy children are dominant design themes.

From 1900 to 1920, penny postcards from Germany featuring Santa Claus, nostalgic hearth and snow scenes, holly, toys and Nativity settings captured the market. In 1910, J.C. Hall began selling postcards out of a shoebox at a YMCA in Kansas City, Mo. His one-man enterprise turned into what we know today as Hallmark Cards Inc.

Xmas card collecting (by the way, “X” is not a tacky abbreviation, it has religious significance in that X is the first letter of the Greek word for Christ) can be a rewarding hobby for adults and children. Prominent makers, excellent condition, early age, strong graphics, mechanical movements, interesting “collectible” subject matter, artist signed examples, large size and fine detailing help to determine value. Most of all, look for cards that hit you in the heart. That’s Santa’s real home.

—Wayne Mattox
Antique Talk

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Knowing the styles of a particular period can go a long way in identifying the date range for a photograph. Women’s fashions changed more often than men’s did, so their clothing styles are much better for dating pictures. Even if a young woman could not afford a new dress, she would often remake her old one in the newer style. (But remember that this method of dating is done with a broad brush; fashion trends overlapped quite a bit and older women might not have changed styles as readily.)

1840s fashion with side ringlets, full bonnets, bare shoulders, tight forearm sleeves and long pointed bodices. “Graham’s Magazine,” 1841

• 1840s: Hair in this period was often parted down the middle and worn in bouncy ringlets on each side. Dresses were worn in a soft dome shape that was created by a large number of stiff petticoats. Bodices were often long and pointed. Shawls and elaborate full bonnets were common. Upper arm material was loose but long sleeves were very tight on the forearms. Often, shoulders were bare. (When dating your daguerreotypes, keep in mind that photographic images from the 1840s are rare.)

A three-part hair style of the 1840s.

• 1850s: Hair was often divided into three sections, with the back section pulled into a high bun or knot and the two side sections curved under in puffs. Hoops appeared for the first time in dresses, giving dresses a more crisply defined dome shape. Flounces (wide strips of fabric attached by one edge) were fashionable and most dresses had several. Bodices were not as elongated and sometimes had a matching cape. Sleeves became much wider, often in flared tiers with lace under-trim. Full bonnets festooned with ribbons continued to be popular.

1850s dress with flounces, wide sleeves, lace under-trim and full bonnet. “Peterson’s” Magazine, 1851.

• 1860s: In the early 1860s, hoop skirts became much wider and much rounder (rather than bell-shaped). This lasted until the end of the Civil War. In fact, the huge skirt style is one of the easiest ways to identify a photograph from the early 1860s. Sleeves were still full but now with tight cuffs. In deference to the war, flounces were no longer in style and the short-waist dresses were plainer, often with tiny white collars and buttons down the front. Hair was parted severely down the middle and often gathered at the nape of the neck in a looped or braided chignon.

Early 1860s plain dress with large, round hoop, buttons down the front, tight cuffs and a tiny white collar.

After the war, in the latter years of the 1860s, ruffles, pleats, fringe, trim and ribbons again began to be added to the costumes, and the hoop was flattened in the front. Overskirts also began to appear. Bonnets became much smaller, losing their sides, and were not tied under the chin but were pinned to the top of the head (or tied in the back) as decoration only. Photography became extremely popular and affordable during this decade.

1870s dress with low bustle, train, elaborate trim and a side-less bonnet set on the back of the head.

• 1870s: As the hoops flattened in front, they soon became gathered at the back of the dress and the bustle was born, with fullness below the hips. The style was characterized by a slim look, high necks, draped overskirts, frilly trains and endless embellishments. And for the first time, hairstyles radically changed when a fringe of short, tightly curled (or frizzy) bangs began to appear.

High bustle and crimped waist of the 1880s.

• 1880s: This period most epitomizes the “Victorian” look. Bodices were closely fitted with rigid whalebone corsets and tightly squeezed waists. Sleeves lost their fullness and again became tight. Fabrics became heavier, almost like upholstery. But the biggest change was the bustle, which rose to high hip level and jutted out dramatically from the back. Bangs continued to be popular and forehead spit curls were now the rage.

1891 skirt and man-tailored blouse from “Harper’s Bazaar.”

1896 “leg of mutton” sleeves from a French fashion magazine.

• 1890s: Inevitably, the uncomfortable bustle, tight sleeves, heavy material and restricting corset gave way to more sensible clothing. By the mid 1890s, sleeves were enormous and very puffy at the top (sometimes called “leg of mutton” sleeves). Instead of single dresses, separate slim skirts and tailored shirtwaists were in vogue (now available ready-made). The bonnets were gone and replaced by regular hats. Women were entering the workforce in increasing numbers and their outfits reflected the change.

Liz Holderman is a Worthologist who specializes in collectible books.

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History: Optical boxes utilizing pinholes and reflecting light have been used to project images onto a surface for more than a thousand years. In the 17th century, these boxes were called camera obscuras and were surreptitiously used by many popular artists as tracing devices. It was not until 1827, however, that the camera’s image was captured permanently (by a chemical reaction on a pewter plate) by Frenchman Joseph-Nicéphore Niépce. After Niépce’s death in 1833, his partner, Louis Daguerre, perfected the process for practical use. The result was the daguerreotype. By the 1840s, the technique was in wide use for commercial applications.

Many improvements and changes in the photographic process continued for the next several decades. Experts can date old images by recognizing the differences between mirror-like daguerreotypes, glass plate ambrotypes and iron plate tintypes, but it can be difficult for a layman when these images are cased. (And taking the cases apart can damage the plates). So, here are a few very simple rules of thumb to guide in dating:

Image Cases: If your photographic plate is in a folded case made of a plastic-like material and lined with velvet, then it probably dates between the mid-1850s and the mid-1860s when production of these cases was at its height. If your image case is wood and covered with leather, cloth or paper, then it could be as old as the 1840s. The surrounding brass mat styles and textures can narrow the time periods into further subsets—and there are many guides available that can help with that identification.

A cased daguerreotype, circa mid-1850s.

Photographs on Cards: The common uncased tintype was prolific during the Civil War and was even produced into the early 1900s, but its use dropped dramatically in the mid-1860s and was replaced by paper images pasted onto heavy cardboard, which were cheaper to produce.

The carte de viste (used as a calling card) was a small size (2 ½” – 4”) version that was the most popular between 1860 and 1870.

A larger version, the cabinet card (4 ½” x 6 ½”), was in wide use between 1870 and 1900. Experts can narrow the time frames for these cards by the color, thickness, edge styles and borders. Large, elaborate studio names on the back of the cards appeared in the later decades of popularity.

A cabinet card, circa late 1880s.

Kodak introduced an affordable personal box camera in 1900. People began taking their own photographs and that began the decline in popularity of the studio cabinet cards.

Clothing and Hairstyles: All of the aforementioned formats overlapped to some degree, so another way to date images from the late 1800s is by clothing and hairstyles. Those vintage photos may all look the same to us now, but the styles did change dramatically, and as often they do today. Part 2 of this article, coming soon, will help identify your photographs by the style of clothing.

Finally, Beware of Fakes: If you know the provenance of your family’s old photographic images (which means you can trace their ownership), then you know they are genuine. But it is extremely easy to create cabinet cards with sepia tones, copy pictures onto plastic “ambrotypes” and even transfer photos onto modern tintypes. And unfortunately, it happens all too often. Indians, Civil War soldiers and Wild West show personnel are the most popular reproduction subjects, but portraits of people holding unusual objects (such as toys, books, old tools, dolls or pets) are also collectible and therefore subject to fraud. It’s much better to find your ancestors in a shoe box in grandma’s attic!

Liz Holderman is a Worthologist who specializes in collectible books.

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I immediately thought of my photograph albums and the many moments frozen in time which they contain. These chronicle not only my life but those of my parents, grandparents and great grandparents. While painted portraitures would have been available, do these truly capture that very moment that the picture was conceived? Do they provide us with the ability to see the soul as is possible while viewing photographs?

The first photographs were daguerreotypes and were also known as “mirrors of true” or “mirror images” due to their vivid clarity; they seemed to have the ability to reveal the soul of the person whose image had been immortalized.

Daguerreotype and two Ambrotypes from B. L. Williams Collection Used with permission

The daguerreotype was developed by Louis Jacques Mande Daguerre of France and introduced to the world in 1839. Daguerre was a very successful artist and scenic painter who was also the proprietor, promoter and creator of the Diorama, a famous giant illusionist theater located in Paris. In 1829, Daguerre, working in partnership with Joseph Niepce, experimented in techniques to develop a means of obtaining permanent images using a camera. After the death of Niepce in 1833, Daguerre continued to perfect this very complex, 10-step process. The first daguerreotype images were first seen as a mere curiosity, however, within a short period of time, they were viewed as an important means of preserving an ever-changing America. The span of the daguerreotype was short, though, lasting only 16 years, from1840-1855. Millions of these pictures could be found by the mid 1850s, covering every aspect of life and death.

Then came Ambrotypes, whose name was derived from Greek word ambrotos, meaning “immortal.” Patented in 1854 by James Ambrose Cutting of Boston, this was the second type of photography and was much less expensive to produce than daguerreotypes. The ambrotype lasted from1855-1865. It was during this time that photography had begun to become commonplace, and many ambrotypes were hand-tinted, making them visually appealing.

Due to the fragility of both the daguerreotype and ambrotype, they were housed in similar protective cases, which can cause confusion to the novice collector. One way to distinguish between them is to view the photo from all angles. The ambrotype will always appear as a positive no matter which angle it is viewed from.

Hamilton Smith of Ohio followed by patenting tintypes in 1856. Tintypes—also known as ferrotypes—are not actually on tin but are on a thin metallic sheet which was cut to size by the photographer. By the end of the Civil War, tintypes had superseded ambrotypes in popularity in the United States. These are probably the most readily available of early photographs. Tintypes continued to be produced into the early part of the 20th century. The study of these endearing images can reveal much to collectors as well as historians regarding the customs, clothing and normal events of daily life.

Early photographs of dogs, cats, horses, homes, scenery and toys can be found. While these type of images are much scarcer, it is possible to do a search and view several examples which have been posted on the internet.

Photography had become a means to document the most important to the most mundane moments of our lives. I should think that there are few, if any, married couples who do have at least one picture that was taken to mark this milestone in their lives. The birth of a baby also is an event that brings out the photographer in a new dad. With the advent of the digital camera, images of the newest member of the family can be instantaneously sent to grandparents, aunts, uncles and close friends. The flash of a camera can be seen at graduations, birthday parties, family reunions and sporting events. Moments frozen in time, moments that are preserved for our enjoyment, will be used by future historians to study and document our time in history.

Some of my favorite family photos from my personal collection.

The use of photography to document the history of children’s growth from infancy to adulthood, either through the use of the family camera or a professional photographer, has long been employed by parents. I am sure we Baby Boomers can all remember the special orders issued to us on “picture day” at school. I can still hear my mother’s voice instructing us to stay clean and tidy till after the click of the photographer’s camera. Looking back over my grade school pictures, it seems that this admonishment was seldom regarded.

All photos from my personal collection.

Among my favorite early photographs are those which are taken of children and their toys. As a doll collector I am always on the look for early photographs that include a child pictured with their favorite, and possibly, only doll. I am fortunate to have a few examples of these types of photographs. One of my favorites is a tintype of a young girl who is proudly displaying her large papier mache shoulder head doll. Examining the clothing and hair style of the child, I think the tintype dates from the mid 1860s to the early 1870s. I have often wondered what happened to this beautiful child. I hope that she was able to live a life that was fulfilling and happy. It is interesting to me how we are drawn into these photographs and can still see with such clarity that which has been long ago departed from this worldly realm.

Have you ever considered the wonder that one of your descendants may feel when looking into a photograph of your face? There is an old saying in my family that you are only truly dead when you are no longer remembered. Will your moment of immorality be loving preserved?

Letha Berry is a Worthologist who specializes in dolls and accessories, but has other interests as well.

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“It isn’t like putting coins in a slot,” Slicker said. “Each collector puts together a collection no one else has ever done.” It might be the evolution of the mystery novel or the scientific discourse created by the 1859 publication of Charles Darwin’s “Origin of Species.” “It can be anything you are interested in—movie scripts or World War II,” he said.

1859 edition of "Origin of the Species"

“All great collections take on a spherical shape,” Slicker said. “At the core of any collection are high points surrounded by supporting works.”

Taking Darwin’s “Origin of Species” as an example, a collection might include writings of the early 19th-century naturalist Jean-Baptiste Lamarck, who posited an early theory of evolution in his 1802 book “Recherches sur l’Organisation des Corps Vivans”; writings of Darwin’s contemporaries, such as Thomas Huxley; and contemporary works, like Harvard biologist Edward Wilson’s 1999 “The Diversity of Life.”

“The collection gets to be creative. You get hooked, and you are really contributing to mankind’s knowledge,” Slicker said. “I know it sounds high falutin’, but that is what you are doing!” The fact that many such private collections end up in university libraries buttresses Slicker’s view.

Looking for a textbook, finding a new calling

Slicker’s career as an antiquarian bookseller began in 1972 when as a young psychology graduate student in search of a text, he wandered into The Old New York Bookstore in Atlanta.

Already a bit disillusioned with academe and the thought of clinical practice, Slicker found the bookstore a haven. “I could see I really didn’t have the patience to work with kids,” he said, “When you have a degree in psychology—basically a degree in reading, talking to people and drinking coffee—a bookstore was perfect.”

Slicker apprenticed at, managed and co-owned a bookstore in California and became increasingly interested in rare and antique books. In 1977, he opened Lighthouse Books in St. Petersburg, Fla.

Book collecting has its own body of knowledge and expertise, and when Slicker, who is one of about 450 qualified members of the Antiquarian Booksellers Association of America, examines a tome, there are things he’ll naturally check.

He will examine the binding, quality of the paper, sewing and whether the volume shows shelf wear or dog-eared pages and the page design and illustrations.

“If you enlarged a page and hung it on a wall, how would it look?” Slicker asked. As for illustrations, one key question is how well they are “married to the text.” The illustrator may also greatly increase the value of a work—be it Renaissance artist Albrecht Durer, the early-20th century’s Maxfield Parrish or highly regarded contemporaries, such as Michael Hague and Barry Moser.

Title page of Durer’s “Vier Bücher von menschlicher”

But that is not all there is to collecting. “Books have a way of becoming part of you,” Slicker said. “A lot of the value in a book is placed there by its owner.”

This is, however, still a market, and Slicker has watched it change in dramatic ways over the last 30 years. “We were very proud 10 or 15 years ago of our international business, as we would send a box of books every few months to England or some place in Europe,” he said. “Today over the Web, we are getting queries from abroad every week and sending books all over, from South Korea to Greece.”

Antique book collecting goes global

“The world is now our audience,” Slicker said. “On the other hand, our walk-in traffic has fallen off. It’s not as much fun to handle an Internet sale. We certainly miss those personal interactions.”

And for books—as for many other collectibles—the Internet has made what once appeared rare easy to find. “It seems that the genuinely rare things have appreciated rapidly. In contrast, books that are relatively common, even those with special interest have plummeted,” Slicker said.

A prime example is James Michener, whose works are widely collected. “When everyone realized how many copies were out there, the books suddenly devalued,” he said. “The $50 book is more likely to sell now for $10.”

In contrast, the 19th-century, illustrated “Views of the Holy Land” by Scottish artist David Roberts, in folio, has gone from tens of thousands of dollars to hundreds of thousands, and the octavo edition has jumped from about $4,000 to $15,000, Slicker said.

Roberts' Arabs at Jacob's Well

Still, Slicker said he believes that eventually all the extras surplus “will get soaked up” and the market will rebound.

For the collector—especially the new collector—Slicker said, the goal should be the creation of a collection, not the market. “The key thing is to collect what you are interested in,” he advised. But he added, “Approach it as you would any other investment, in that you want to do is some research—get bibliographies, visit bookstores and book fairs, and ask a lot of questions.”

WorthPoint—Get the Most from Your Antiques & Collectibles

It’s an extraordinary moment that stamps an exclamation point on hundreds of years of shameful history. Slavery. Jim Crow laws that segregated buses, restaurants and restrooms. Separate-but-not-equal schools. Restricted civil rights and liberties. All of which served to make blacks second-class citizens.

It took decades upon decades of sacrifice and sit-ins, lawsuits and lynchings before President Lyndon Baines Johnson signed into law the Civil Rights Act of 1964 and the Voting Rights Act of 1965. And one man who championed the movement and gave his life to it was the Rev. Martin Luther King Jr.

Collectibles and memorabilia shed light on an era

Collecting artifacts and memorabilia from the Civil Rights era helps preserve and contextualize both the facts and the emotions of this complicated time. Few commercial dealers have tackled the topic like Syl Turner, owner of the Broad Street Antique Mall in Chamblee, Ga.

Syl Turner

For two decades, Turner has maintained one of the nation’s largest commercial inventories of Black Americana collectibles. Online, Turner also operates the BlackHistoryStore.com and offers items on GoAntiques.

He has several King-related historical items on GoAntiques in the weeks leading up to the MLK holiday.

Interest in Black Americana grows

Turner said interest in King collectibles spikes around the holiday. But King collectibles—and Black Americana generally—have been steadily growing in importance and price. The holiday and the Obama inauguration draw extra attention to what’s available, but it’s a category that has transcended any particular event, he said.

“I see a little spike in activity around the King birthday, but that’s about it,” Turner said. “The additional interest actually continues through February because that’s Black History Month.”

The slain civil-rights leader and Nobel Peace Prize laureate was born Jan. 15, 1929, but a national holiday and day of service honoring him is on the third Monday in January. It was observed for the first time on Jan. 20, 1986. Speaking of the importance of service, Dr. King said, “If you want to be important— wonderful. If you want to be recognized—wonderful. If you want to be great—wonderful. But, recognize that he who is greatest among you shall be your servant. That’s a new definition of greatness.”

King collectibles are difficult to come by even though he was a prolific writer, Turner said, because his widow, Coretta Scott King, and others “exerted direct control” over most of his documents.

Most King documents in institutions

More than two years after Mrs. King’s death, most of the large collections of King documents and personal effects are in institutional collections.

In 2006, Morehouse College—King’s alma mater—acquired 10,000 items from the King family for an undisclosed sum raised with the help of a private coalition of business and civic leaders. Sotheby’s, which had announced an auction date for the collection, estimated it would command up to $30 million.

The collection includes items ranging from canceled checks, to a term paper King wrote as a student at Morehouse, to a draft of his most famous speech, “I Have a Dream,” delivered at the 1963 March on Washington.

Anti-Vietnam speech outline withdrawn from auction

In December 2008, the King Center in Atlanta prevailed upon Sotheby’s to withdraw from auction three important King documents that singer Harry Belafonte sought to sell. Valued up to $1.3 million, they included an outline of King’s first speech opposing the Vietnam War and notes found in his pocket following his assassination.

“There’s not much out there for the average collector,” Turner said. “A handwritten letter is very difficult to find because most are in the hands of institutions.”

More commonly available are collectibles related to significant events in King’s life and items related to his family. Recently, Turner sold a 12-page program of installation services of King as Pastor of Dexter Avenue Baptist Church in Montgomery, Ala., on Oct. 31, 1954. The church was the headquarters of the Montgomery bus boycott that propelled King into the national spotlight. The program was in excellent condition and commanded $3,500.

Turner has acquired several other examples of King-related items, often from parishioners at Ebenezer Baptist Church in Atlanta where King was co-pastor with his father.

For example, Turner is offering a rare eight-page Ebenezer Baptist Church bulletin dated June 30, 1974. During that service, King’s mother, Mrs. Alberta King, was shot and killed at the organ console by a deranged gunman as worshippers recited the Lord’s Prayer. Her husband, Martin Luther King Sr., was the pastor. The program has handwritten eyewitness notes of the murder, including the comment, “Worship began on Earth; completed in Heaven.”

Ebenezer Baptist Church program

Inside program

Another collectible related to King’s parents is a 1984 funeral program for Martin Luther King Sr. listed in near-mint condition. “It was in a lady’s Bible and looks like it came right off the press,” Turner said.

MLK Sr.'s funeral program

One of the larger collectibles is a limited-edition poster commemorating King’s life by artist Edie B. Eisenberg. The 40-by-30-inch poster is designed as an American flag and features famous King quotes. It is listed in excellent condition. “I don’t think it was ever circulated,”

Memorial flag poster

Also rare and unusual is a 20-page program for the Coretta Scott King Freedom Concert Program on May 23, 1965. The concert was presented by the Philadelphia Beauticians’ Association at the First African Baptist Church in Philadelphia.

Freedom concert program

Turner isn’t the only GoAntiques dealer with MLK collectibles available this month.

Alan Radwill of Guaranteed Autographs is offering an autographed copy of Dr. King’s 1964 book, “Why We Can’t Wait.” He used a fountain pen with blue ink to sign the title page.

"Why We Can't Wait"

Autographed page

Antique Goodies of New Zealand has a Martin Luther King, Negro Funeral Home advertising fan. Advertising fans were often distributed at funerals as a way to stave off the heat.

Funeral fan

Lake Murray Treasures has a gold-tone, filigree-metal double picture frame. On one side is a photo of Martin Luther and Coretta Scott King, on the other Robert Kennedy. Between them is an electric clock.

Clock

If you are interested in viewing Martin Luther King’s “I Have a Dream” speech, click here for a 17-minute video that includes it, or click here for a video with only the speech.

WorthPoint—Get the Most from Your Antiques & Collectibles

In November 1882, the Ringling brothers started a show called The Ringling Classic and Comic Concert Company. For their second season, they opened in Ironton, Wis., on August 20, 1883, with Ringling Bros. Grand Carnival of Fun. These shows played in town halls and opera houses, and featured songs, dancing, comedy sketches and juggling.

Because of this historic beginning, it’s no wonder I was amazed and thrilled to come across an advertisement for an 1883 Ringling Bros. poster. The March 14, 1972, issue of the “Antique Trader” had an advertisement placed by a Chicago antique shop that read:

1883 Ringling Bros.
Rare Early Date
Nice Red & Black “Posters”
Near Mint as They Were
Part of a Small Hoard
Found Several Years Ago.
About 6 inches by 18 inches

I called immediately. The antique dealer confirmed that this was an authentic handbill and had the title “Ringling Bros. Classic and Comic Concert Company—Ringling Bros. Grand Carnival of Fun.” The date at the bottom of the handbill was August 20, 1883, Ironton, Wis. The dealer followed up with a letter, writing:

“Having handled many old paper collectibles over the years:
“1.) The paper looks proper and the yellowing edges right
“2.) They are printed letterpress not offset and were found as a roll . . . most are mint.”

He then called and told me he had sold a few, but still had 44 of the handbills left. So, we negotiated a price for the remaining lot.

I was so excited when they arrived in April. What a find! The following month, I attended the annual convention of Circus Fans Association of America in Sarasota, Fla. To my surprise, there was talk about a great discovery of an 1883 handbill. Two of these had been framed and were presented with great fanfare to the Ringling Museum of the Circus and the Circus Hall of Fame, both located there in Sarasota. I correctly assumed these were some of the handbills sold before my purchase of the rest.

In the ensuing months, I ran advertisements in some of the circus fan magazines hoping to sell a few of the handbills to recoup my investment. Some were sold to well-known circus collectors and historians, including two to Charles Philip “Chappie” Fox, the author of more than 30 books, many about circus history. Fox had just left his position as director of the Circus World Museum in Baraboo, Wis., to become vice president and research director for the Ringling Bros. and Barnum & Bailey Circus World theme park near Orlando, Fla. Everyone was convinced this was an historic find and that the handbills were, indeed, authentic.

Even though all the circus experts were certain, I wanted confirmation. On a business trip to Washington, D.C., in 1976, I made an appointment to meet with an associate curator from the Division of Graphic Arts at the Smithsonian Institution. She examined one of the fliers and asked if I would leave it with her. I did, and a month later, she returned the handbill with a letter stating the following:

“I have had more time to examine your poster, and here are my findings:

“The bold red and black letters, ‘Ringling Bros. . . .’ at the top of the sheet are derived from the typeface Cooper Black—a face that was designed in the 1920s. That settles the matter of date very easily.

“It appears to me that these letters are printed from a line-engraving, i.e. A reproduction of printed type, while the program is printed from actual type . . .”

The poster definitely isn’t a reproduction because no original of this poster is known to exist. It is obviously a so-called “fantasy item.” I have shared this story with many historians and collectors, but no one has come up with an answer about its real origin. We may never know. It’s possible it was created by Ringling Bros. and Barnum & Bailey to promote the 1933 Golden Jubilee Show, perhaps by Roland Butler, who designed the cover for that year’s program. But that’s just a guess. If anyone knows more about this item, I’d love to hear from you.

Larry Kellogg is a WorthPoint Worthologist specializing in circus memorabilia.

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When collecting autographs, it is better to collect letters and documents and avoid clipped signatures (signatures that were cut from letters or documents). First, there is nothing historical about a clip, and Secondly, it is very hard to properly authenticate a clipped signature. Go for letters and documents and other “larger” items. Of course, a good number of letters and documents either have secretarial, autpen or printed/stamped signatures. A good rule of thumb is the routineness of the item, the time period and the author.

Sounds like a tall order? Not really. All fields, be it collectible, even investment vehicles (like the stock market) require either the consumer being the expert in the field (through learning) or entrusting that expertise to one who has been in the field for a long time.

I have been dealing and collecting in this field over 20 years and I still learn everyday……..find it exciting, too!!

When collecting, especially in the beginning, start small, READ (buy all the refernce books you can get your hands on!!). Also, know your dealer and his references!

I grew up in the mountains of Eastern Kentucky and the practice of taking postmortem photographs was a normal occurrence. After moving and marrying someone who was raised in a large city I became aware that what I had been taught as a life-affirming practice was viewed as macabre and just plain creepy by many. I have often tried to explain to my friends that rather than macabre these photos are a remembrance and an affirmation that the loved one had indeed lived and was a remembrance of them. I treasure the pictures I have of my parents and other family members that patiently wait for our reunion.

During the Victorian Era postmortem pictures generally showed the body in a coffin or propped up in a lifelike pose. To achieve a more life like look either the eyes of the deceased would be left open, or the image could be doctored to make it appear the eyes were open. Photographs of children frequently were posed as if they were asleep and often toys or dolls were included. Infants often are shown in the arms of the mother. It is a sad fact that one out of every twenty babies born would die before their first birthday. Images of the deceased baby were very important mementos and affirmed that the child had indeed lived and was remembered. Photographs of deceased loved one were frequently displayed in the home or in a locket that would be worn by the mother. Victorians viewed death as a restful sleep and these photographs were a important part of the Victorian mourning and memorializing process. Victorians did not fear death as they viewed it as a temporary absence from their loved one. They did however fear that they would not have a proper mourning. The CDV at the right is from my personal collection. The baby appears to be about 6 months old.

These photos might well be the only image a family had of a deceased loved one. After the Carte de Visite was invented multiple prints could be made from a single negative. This allowed images to be sent to distant relatives who may not have had time due to distance to reach the loved one prior to death and these images were treasured remembrances.

I collect in a number of specific areas. Rather than randomly collecting movie art, I enjoy building wider collections that include toys, trading cards, ties, comix, magazines and books and so on.

I’ll collect anything from a movie or TV show in which aliens play a prominent role.
I’ll collect anything to do with any of the four films based on “The Invasion of the Body Snatchers,” for instance, or “Earth vs. the Flying Saucers,” or either version of “The Thing.”

Then little sub-collections develop. Somewhere along the line, I realized that I could probably collect everything to do with Saturday Night Live’s “The Coneheads,” for instance. Meep, meep…

At least five different posters advertised the film and I bought them all at reasonable prices ($20 or so). A poster from the TV show recently showed up on eBay and I bought that. I have the comic book version of the film, 50 35mm film cells (see the photos), all the trading cards based on the film, a Beldar tie, all the action figure toys, a TV guide with Beldar and Star Trek’s Captain Picard, a coffee mug showing the original threesome (Dan Akroyd, Jane Curtin, and in the Saturday Night Live sketches), a publicity book issued at the film’s release). There are a few more items, although none extremely rare and I’m sure I’ll eventually have anything ever connected with the Coneheads.

Do you think they somehow used their wily alien technology to make me CONSUME MASS QUANTITIES?

One of the most amazing American collections of movie memorabilia known has sold to an as-yet unnamed foreign buyer.

Leonard Schrader, screenwriter and older brother of director Paul Schrader, died in November 2006. Nine months later, his friend and collaborator David Weisman discovered that Schrader had kept a secret from his friends, his brother and even his wife. He had amassed a collection of 8,642 vintage lobby cards and 5,000 additional movie stills, fan magazines, and heralds.

He kept the collection preserved in large photographer’s binders in his home in the Hollywood hills, although many were well hidden, says Weisman.

Quite possibly the largest and most important collection of lobby cards in existence, rivaling or surpassing those in museum hands, it includes such treasures as 189 Buster Keaton cards in pristine condition.

It also includes seven binders dedicated to John Ford films, six with Fritz Lang items, and many others dedicated to directors, stars and more.

No one knows exactly why Schrader kept the extent of his hobby hidden.

Two national magazines, “Moving Pictures,” and the literary magazine “The Believer” dedicated pages to the Schrader collection in recent months.

In an email to us, Weisman says:

“The collection has been sold, as a whole, and will be soon shipped abroad. The transaction is in final stages of conclusion and the buyer intends to make his own announcement soon, so that is all I can say right now.

“Suffice to say no one in this country had the vision or resources to compete. But the Schrader collection appears to have found the home it deserves – one that’s very much in keeping with the current zeitgeist.”

We’ll let you know when the buyer is revealed.

Let’s start with the absolute basics: all serious collectors desire items that are as near perfect as possible, and the closer to perfect an item is, the higher the price it can command.

On the other hand, movie paper in all conditions sells. Internet auctions of movie paper routinely sell (clearly labeled) lesser condition items with fading, tears, foxing, water stains, pin holes and a variety of other defects. Many of the worst defects on movie posters, lobby cards, inserts, and stills are along the edges where they can be hidden by mats or frames if desired primarily as a display item.Some dealers even note in their ads that they buy movie paper in “any condition.”

Factors affecting movie paper prices

It is important to note that factors other than condition affect movie paper prices. Many films were reissued with new art over the years. A serious collector checks to make sure whether the art is from the first run or a reissue.

Reissue movie paper may still bring considerable prices for very popular films. The easiest way to tell a reissue from an original is by comparing the copyright date of the paper to the initial release date. We’ll cover that in more detail in another paper.

Reproductions are usually worthless as collector’s items, although they may dress up a wall display of movie art.

The older movie paper is, the more you should expect some defects, particularly with photographs.

Common movie paper defects

Here’s a list of common movie paper defects:

Bleed-throughs – Writing, stamps, tape, stains or other marks on the back of the paper visible on the front. Such marks on borders do not affect value so much as those on prominent parts of the item.

Creases – Lines from folding, crumpling, or crimping the item. Their affect on value depends on how many creases exist and where they are. Creases, which may be deep enough to damage the item enough to crack through the color, leaving a white space, should not be confused with wrinkles, which are surface defects.

Fading – Loss of color and detail caused by exposure to sunlight or age leades to considerable loss of value in movie paper. It is less of a problem on the edges than on principal artwork.

Pin holes, drill holes, staple holes – All holes in movie paper affect its value, but those on edges and not torn generally won’t lower value nearly as much as those more visible. Drill holes were used to “mark” posters once used on building walls by placing them on a stack and drilling a hole top center.

Writing marks – Many exhibitors marked up movie paper for a variety of reasons, but not a few bored movie staffers handling the art occasionally doodled mustaches on stars, among other defacements. Obviously, the extent and type of marking will seriously affect a poster’s value. Actual marks off the art by exhibitors (With Bugs Bunny Cartoon Saturday!) bother some collectors less.

The Los Angeles Times is reporting that a movie memorbilia collection some say is second only to that of the Academy of Motion Picture Arts and Sciences will be auctioned off in mid-December of this year.

At that time, The Collector’s Book Store on Hollywood Blvd. will sell its stock, which includes a million film studio publicity stills, 50,000 original movie posters and 20,000 vintage fan magazines, 150,000 original negatives, 50,000 color slides, scripts and contracts signed by stars such as Boris Karloff, Vincent Price, Frank Sinatra, Elizabeth Taylor (and her parents).

Retired collectibles dealer Malcolm Willits assembled the massive collection during a 43-year-period. When he opened the store in 1965, the studio system disintegrated and many were just throwing away publicity materials such as stills, posters, and press kits. The store acquired much of that material.

Also, stars would sell the store their entire personal collections of material. Some, such as Mae West, would come into the store, yank unflattering pix from the bins and offer to replace them with better shots, which she did.

Certain rare, high value items in the collection such as stills shot by well-known glamor photographers will sell apart from the bulk of the collection.

The rest will go in large lots, folders of publicity stills sold by the filing cabinet letter, each drawer containing 5,000 photos, for instance. Out of my league, but we may all end up buying material from the collection second hand from other auctions and dealers, I’m guesing.

Profiles in History will hold the auction in Calabasas, CA.

Among the attendees at a fundraising dinner at the Olympic Hotel in Seattle was a young Democratic activist, who asked for—and got—both Jack and Jackie to autograph the dinner program for him.

1959 fundraising program for Senator John Kennedy

Many years later, the man passed away, and the dinner program autographed by the future president and his wife was inherited by his son, Dennis, who now lives with his family in Denver.

This week, nearly 50 years after that fundraising dinner in Seattle, Dennis brought the autographed program to the WorthPoint exhibit at the American Presidential Experience and asked Worthologist Tom Carrier to give him a sense of its value. Carrier, who once worked in the White House and has a passion for and an expertise in White House memorabilia, examined the program and estimated its value at $1,000 to $1,500.

Tom Carrier visiting with Dennis and his J.F.K. program

“Dennis doesn’t want to sell the program—not yet, anyway,” Carrier says. “His father passed away several years ago, and the program is a tangible connection to his late dad and to the Kennedy family. But Dennis says he’ll keep in touch with WorthPoint just in case he changes his mind.”

Steve Johnson, WorthPoint

As the founder of WorthPoint, I have been asked countless times what I collect. I think it is a funny question, as I have learned that a collector’s attention span is usually measured in a 5-6 year time span. I am typical in that respect, as, what I collect changes every 5-6 years. The problem is that I keep what I collected, thus, I have many collections that I am not active in. Thus, how do I answer the question?

My current focus as both a collector and a dealer is in paper. By paper, I mean anything produced on paper. This includes photos, letters, autographs, tobacco cards…. As a seller I like these as people around the world are my customers. They are easy to put in the mail, and the audience is large, as people can put the items in notebooks and live in an apartment. The buyers for your items are limitless, compared to selling a table or a sofa.

I personally like paper because I learn a lot from it as I read it and can experience history. I recently went through the new Smithsonian aviation museum, at the Dulles airport, in VA, and knew so much about the planes there because I have read and sold documents related, to the planes, that I bought out of attics and flea markets in Maine. It was like I have lived the history, uncensored, or through a participants eyes.

I am, through my mother’s family, a second generation American. With the recent controversy about immigration, I have wondered how American’s historically viewed my grandmother’s immigration to the United States less than 100 years ago.

Interestingly, I recently came upon a document in my buying that is from the late 1800′s, from a ship’s captain, that was immigrating to the US and had an American born wife and children. The letter is quite interesting as he is quite educated, and refers to the mass immigration rush to the US, the giveaway of land to immigrants and the immense opportunity in this country. I have shared the letter in my blog and it is quite fascinating. I suppose it is worth about $40, but, the contents, and learning about our history, is worth much more than that, to me. Ultimately, the value is worth whatever the contents are worth to a collector!

I recently spoke at a press conference, in Denver, about WorthPoint’s hosting of the American Presidential Experience, at the Democratic National Convention, in August. It is a tremendous event and I would encourage all that can attend to do so. I will take my family of 7, from Atlanta, to Denver to see it. Not because I am the CEO of WorthPoint, but because of the experience and what one can learn from the history that is there. Like reading the posted letter, and seeing from the eyes of an immigrant, the US in the 1880′s, there is so much to learn about the US presidency in this exhibition in Denver. There are documents, letters, clothes and such that the president or their spouse wore or created. There is so much to learn.

As I mentioned at the press conference, antiques are there as survivors to help us learn about the past. For me, it is more relevant to understanding the past then reading a book that is someone else’s interpretation 100 years later. You just have to take the time to do it!

“Dear Friend

Many thanks for your kind favor including my clearance from Atlantic Lodge Portland.

Will you please inform me if you think I could get the government to locate the 160 acres of land in a Western or Southern State, as I might prefer, or must I take it just wherever they happen to locate it;-have I no right to have any choice in the matter?

Would it meet the requirements of the Government if my wife is a native born American and my came to reside on the land in a couple of years; or must I myself in person occupy same in order to obtain clear and proper title to the same.

I have four years contract with the French (Messageries Maritimes Mail Steamship Company); commencing from late January. As this brings me a pretty good income. I would not like to resign the position-, until the contract is finished: but Mrs. Dithlefsen and my children may wish to come to America soon, provided it (the land grant) was located in a place not to wild and uncivilized. Mrs. Dithlefson says she would not mind to occupy such land, especially if there would be a school for our children at not too great a distance from it.

Although of course Uncle Sam will have land to give away for many many years yet to come, still with the immense immigration constantly pouring into America, would I – in your opininion – be less likely to get good land from him by writing than by claiming and occupying – it soon.

I suppose a few years would not make a difference in that respect. But no doubt – if I now at once could get it in a place already begining to be settled by immigrants, – by the time I arrived in America it might already be pretty valuable.

In conclusion: – would you advise me to try to obtain (as regards these 160 acres) timberland, mineral – land- or purely agricultural – land?

With kindest regards from Mrs. Dithlefson, my children and myself I remain

Yours truely,

Paul A. Dithlefsen”