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

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

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

Here’s my response:

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

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

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

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

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

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

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

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

Here’s her question:

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

Here’s my response:

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

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

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

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

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

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

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

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

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

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

Here’s my response:

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

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

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

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

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

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

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

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

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

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

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

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

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

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Previous “Unloved Antiques” articles:

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

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

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James M. bought this Rosenthal figurine in a box lot of odds and ends at a country auction for $12. Wanting to know what exactly it is and that the marking meant, he contacted WorthPoint’s Ask a Worthologist service.

James M. spotted this Rosenthal figurine in a box lot of odds and ends at a country auction last year and bought the box for the huge sum of $12. Most of the other stuff in the box—table-top bric-a-brac—appeared to date from the 1930s, but it was the figurine that caught his eye as potentially Art Deco and possibly worth a good deal more than the $12 he paid for the lot. James, who has no plans on selling the piece and just wants to know the history of it and the artist who designed it, contacted WorthPoint’s “Ask a Worthologist” service to inquire about this piece, its origins and value. His inquiry was forwarded to me. Here’s his question:

“I found this Rosenthal figurine of two girls dancing in a box lot of 1930s coasters, bottle openers and ash trays at a farm auction last year. The sale featured mainly farm equipment, so there were not a lot of collectors or antique dealers there, and I picked up the lot for $12. It’s marked “Rosenthal” on the bottom and is stamped “H.Meisel” and “956.” It has a real Art Deco look to it, which is what caught my eye. I really don’t want to sell it, but everyone who looks at it is impressed with it and asks me what I know about it. So now I’m quite curious. What I’d like to know is a history of this piece and what the mark H. Meisel is, which I assume to be the artist who designed it.”

Here’s my response.

I simply must get out to more farm auctions in the future. This piece is indeed a great Art Deco-style example, the marking “H.Meisel” is the mark of the original artist who designed this piece, Hugo Meisel (1887-1966).

Meisel is reported to have worked for Rosenthal in1936 and1937, pretty much the peak of the Art Deco period, but he also designed pieces for several other firms, such as Schwarzburger, Aelteste Volkstedter, and Heubach as well. The Rosenthal mark on your piece dates to 1937.

The Rosenthal mark.

As a sculptor, Meisel portrayed his figures like a photograph, freezing motion or a thoughtful moment, such as can be seen in this “Two Girls Dancing” figural group. Meisel not only produced a wide range of human studies, he also is well known for his sculptures of birds, horses and dogs. In the past year, this same figurine has been listing with presale auction estimates in the $1,000-$1,500 range and selling within that range. Not a bad return for your $12, and you also have all those Art Deco bottle openers, coasters and ashtrays to go with it.

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

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

President Rutherford B Hayes’ Limoges china included 130 vivid scenes featuring American landscapes and wildlife. This 20-inch platter had decorative, curled-in corners.

In the United States, official state dinners are formal events hosted by the President in honor of visiting heads of foreign governments. Ceremonial in nature, they are often held to reaffirm diplomatic ties. In times past, these protocol-heavy dinners were also given for members of the cabinet, Supreme Court and Congress, as well as for other dignitaries.

The earliest presidents received government funds to purchase state china for these occasions. Later, presidential families sometimes sold the old china at auction so that they could replace it with patterns more in keeping with their own tastes. However, in the early 20th century, Congress passed a law requiring that all White House china either be kept or destroyed. And since 1917, that growing collection of dishes has been displayed in the White House’s ground floor China Room. The 27-foot by 20-foot room is decorated in red and includes a pair of Chippendale chairs used by George Washington. It has velvet-lined display cases along all the walls and features a life-size portrait of Mrs. Calvin Coolidge that was painted in 1924 by Howard Chandler Christy. Most of the presidents are represented there, with samples of either their state or family china. Mamie Eisenhower helped reorganize the displays in 1955.

Eagles and gold trim are heavily recurring themes on most of the china and some presidents have added personal touches such as monograms. George and Martha Washington received a service as a gift from the East India Trading Company in 1796. It featured Martha’s initials, a snake along the outside rim and the names of the 15 states (at the time) around the border. Mary Todd Lincoln chose china soon after her husband’s inauguration, selecting a pattern with a newly fashionable reddish-purple color called “solferino.” Ulysses S. Grant’s pattern, chosen by his wife Julia, showcased 24 different fruits and flowers and received a great deal of use because the Grants entertained often. James Madison’s china is the rarest, because much of it was destroyed in the White House fire of 1814.

But the most unusual set was acquired by Rutherford B. Hayes’ wife, Lucy, who hired artist Theodore Davis to design 130 creatively-shaped pieces with scenes depicting American landscapes and wildlife. The service aroused so much interest that it was also produced in sets available for purchase by the general public.

George Washington’s china had Martha’s initials in the middle and the 15 states in the union around the border. It was a gift from the East India Trading Company in 1796.

James Madison’s china is rare because much of it was destroyed in the White House fire of 1814. This 9-inch plate sold for $14,340 (including buyer’s premium) in 2008.

George and Martha Washington hosted ministers from Spain and France on May 29, 1789 and served a very modest meal of boiled mutton. After dinner, the guests were offered a single glass of wine and retired to the drawing room. Although other presidents had hosted heads of state, Ulysses S. Grant was probably the first president to declare an official state dinner in 1874 when he entertained Hawaiian King Kalakaua. And 172 years after the Washingtons’ austere affair, the Kennedys welcomed the Tunisian president for their first state dinner, with 500 entertainers on the south lawn, elaborate wine tastings and a menu of cold salmon, salad with brie cheese, roast lamb, petit fours and molded strawberry ice cream.

Menus for White House dinners from the past can be found online, and it is fun to pair them with reproductions of the official china for each president. Woodmere is one company that has been producing reproductions of state china since the 1970s. A search of the Worthopedia showed that their dinner plates can be found on the secondary market ranging in prices from $15 to $45. Cups and saucers and other serving pieces are also available. A duplication of the Rutherford B. Hayes china (that was actually produced in 1880, while he was in office) can also be found at various auctions, but they naturally bring much higher prices, many reaching into the thousands.

Mary Todd Lincoln chose this pattern, with the new color “solferino,” soon after her husband’s inauguration.

Ulysses S. Grant’s Limoges china included 24 different fruits and flowers. This worn and chipped 8-inch dessert plate sold for $2,196 (including buyer’s premium) in 2006.

This 9-inch 1880 oyster plate was identical to the ones used in the Rutherford B. Hayes White House but was a version that was issued to the public during his administration. It sold for $1,195 (including buyer’s premium) in 2009.

Dwight Eisenhower’s Castleton Studios 11 ½-inch plate sold for $6,738 in 2006 (including buyer’s premium).

In addition to modern reproductions, actual White House china pieces also appear at auction. Most services for official dinners numbered in the hundreds of settings, so first families sometimes took a portion of the china with them when they left office. Those pieces do occasionally show on the market, usually sold by various heirs. Understandably, they can bring very high prices as well. A recent search of sales revealed a Lincoln “solferino” covered sugar bowl that sold for $27,613 in 2010 and a James Madison dessert plate that sold for $14,340 in 2008. An Eisenhower dinner plate sold for $6,738 in 2006 and nine Ulysses S. Grant dessert plates – worn, chipped and cracked – sold for $2,000 to $4,000 each in 2006. (All prices include buyer’s premiums).

White House dinners hosted by Thomas Jefferson were coveted not just for social and political reasons, but because the food was delicious. After serving as minister to France, Jefferson returned home craving French food and even employed a French cook. Massachusetts Rep. Manasseh Cutler wrote this about a Jefferson White House dinner he attended in 1802:

“Dined at the President’s – Rice soup, round of beef, turkey, mutton, ham, loin of veal, cutlets of mutton or veal, fried eggs, fried beef, a pie called macaroni, which appeared to be a rich crust filled with scallion onions or shallots, which I took it to be, tasted very strong and not very agreeable. Mr. Lewis [Meriwether Lewis] told me there were none in it; it was an Italian dish, and what appeared like onions were made of flour and butter, with particularly strong liquor mixed with them. Ice cream very good, crust wholly dried, crumbled into thin flakes; a dish somewhat like a pudding – inside white as milk or curd, very porous and light covered with cream sauce – very fine. Many other jimcracks, a great variety of fruit, plenty of wine and good.”

Jefferson was a passionate gourmet and many of his hand-written recipes still exist, including early versions of ice cream and pasta. His vast collection of recipes have been compiled into several cookbooks. What better way to end an article on White House china then to include a simple recipe loved and collected by our 3rd President.

Thomas Jefferson’s state china featured his own monogram.

Thomas Jefferson’s Bread Pudding

1 1/2 pounds cubed stale bread
4 cups scalded milk
1/2 pound butter
1/2 pint brandy
8 eggs
3 cups sugar
3/4 tablespoon nutmeg
2 tablespoons vanilla

Preheat oven to 350 degrees

Cut up bread while milk and butter are heating in a pot. Combine liquids, eggs, sugar and spice. Add bread last by submerging it using your hands so that it gets thoroughly soaked. Transfer into a buttered 9-x-13-inch pan, pouring gently so that bread doesn’t break up too much. Bake until an inserted skewer or knife comes out clean, about 40 minutes.

Liz Holderman is a Worthologist who specializes in collectible books. “Dining with Antiques” is an ongoing feature in which she highlights collectible dinnerware and food-related antiques, along with vintage recipes..

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At the age of 6, Salvador Dali wanted to be a cook.

Dali’s “Portrait of Gala with Two Lamb Chops Balanced on Her Shoulder,” 1933. Many of Dali’s works feature food.

“At the age of 6 I wanted to be a cook,” wrote Spanish surrealist Salvador Dali in his 1942 autobiography. “At 7 I wanted to be Napoleon. And my ambition has been growing steadily since.”

Dali (1904-1989) is best known for his symbolic and controversial paintings, his flamboyant, eccentric lifestyle and his iconic mustache. Dali was world-famous during his lifetime because his provocative work was ground-breaking in its quality and imagery. His most-recognized piece is undoubtedly his sensational 1931 painting “The Persistence of Memory,” showcasing a scene of melting pocket watches.

And, as he obviously believed at age 6, Dali was first a lover of food. His paintings and sculptures include themes with bread, lamb chops, bacon, boiled beans, figs, pears, fish, eggplant, oranges, eggs, omelets, lobsters, pomegranates, ears of corn and other foods. He filmed a humorous French TV commercial for Lanvin chocolates in 1968 and he designed the Chupa Chups (Spanish lollipops) logo in 1969. He was also a passionate cheese-maker.

Including buyer’s premium, this 7-inch Dali-decorated Suomi bowl sold for €521 ($730) in June 2011.

“Fried Eggs on the Plate without the Plate,” 1932.

In 1976 Dali created the decoration for a 500-piece limited edition of Suomi dinnerware (designed by Timo Sarpaneva and produced by the German porcelain company Rosenthal). The pieces are glazed in brown and gold, with images of stylized birds and figures surrounding a pond. Dali’s bold signature is at the bottom of the scene. The dishes are extremely scarce and can sell at auction for $450 to $750 each.

But Dali’s greatest contribution to fun with food was the publication of his little-known cookbook in 1973, when the artist was 68 years old. “Les Diners de Gala” includes recipes by his wife, Gala, and recipes from Dali’s favorite Paris restaurants (such as Maxim’s, Lasserre and La Tour d’Argent). The book is dedicated to Gala and is wrapped in a foil dust jacket featuring her image. Best of all, it is lavishly filled with Dali’s surreal illustrations (created in 1971), including 12 color lithographs. Most of the 136 recipes (in 324 pages) are elaborate and difficult—some are even bizarre and outrageous. But how could a creation by Dali be any other way? There are veal cutlets stuffed with snails, frogs in pastry, a prawn parfait, potted duck with olives, a dome of steamed crayfish, avocado toast and even aphrodisiacs. Signed copies of the book in fine condition can be pricey, but unsigned copies in lesser condition can also be found for $150 to $350.

This autographed copy of Dali’s 1973 cookbook, “Les Diners de Gala,” in fine condition sold for $1,960 (including buyer’s premium) in June 2008.

One of the 12 lithograph illustration from “Les Diners de Gala,” 1971

At a special event this past May, the Sea Change Restaurant and Bar in Minneapolis presented a five-course meal from Dali’s cookbook, including oysters in brown butter vinaigrette, roasted lamb and banana cream pie. With the same idea, Dali fans sometimes get together for a surreal evening to cook some of his favorite recipes. It is probably asking too much to expect to serve those meals in Dali’s Suomi dinnerware (very lucky collectors might own only one or two pieces). But that doesn’t really matter, because online stores are full of inexpensive Dali posters and prints, as well as Dali-themed aprons, napkin holders, plates, clocks, light-switch covers, trivets, coasters, coffee mugs, wall calendars and shopping bags. So it’s easy to decorate for a party. And Bamako Soup is one of Gala’s fascinating recipes that will feed a crowd of six. It is great served with crusty bread and hearty red wine. Clarifications are shown in parentheses.

Bamako Soup
From “Les Diners de Gala,” compiled by Salvador Dali, 1973

2 tablespoons of oil
1 tablespoon of butter
1 lb. of onions
2 ½ lbs. of round steak (plus 6 pieces of beef short ribs)
1 marrow-bone
2 quarts of water
2 beef bouillon cubes
4 cloves
3 teaspoons of ginger
10 oz. of calf’s lungs
10 oz. of minced pork meat
1 lb. of chick peas
1 lb. of carrots
1 lb. of turnips
1 bunch of leeks
1 green cabbage
6 eggs
2 small red peppers (dried chili peppers)
6 tablespoons semolina

Dali’s “Soft Self-Portrait with Grilled Bacon,” 1941.

“Here is a dish which is in itself a perfect meal and has its place in the center of a circle of friends. In a very big pot, fry the onions in oil and butter until they are nice and golden. Remove the onions and use the same fat to brown the round steak and the ribs. When the meats are golden brown and crisp, put back the onions and add the water, marrow-bone, bouillon cubes, ground cloves and ginger. When it begins to boil, skim off the fat and simmer on low flame for 5 hours. Taste for seasoning and add salt if needed.

“After 2 hours, add to the broth six meat balls made with a mixture of calf’s lungs and minced pork meat. Then add the chick peas. After the third hour, add the diced vegetables (carrots and turnips). The bunch of leeks and the cabbage go in without being cut. After the fifth hour, remove meats and vegetables, and keep them warm. Poach the eggs in the broth for five minutes, and out them, one by one, on the meats, keeping everything warm. After skimming off the fat, separate the broth into two equal parts. In the first half, crush the red peppers. Keep it warm. In the second half, throw in the semolina to thicken the broth. Boil for a few minutes.

“In each plate pour the semolina (and) then arrange a few vegetables, a piece of each type of meat, a meat ball and a slice of marrow on the poached egg. As to the broth that has been spiced with the red pepper, pour it into 6 bowls. Each bowl is put next to a plate so that, from time to time, your guests will be able to take a sip of this explosive mixture.

NOTE: Gala’s recipe uses meatballs prepared with 2 kinds of meats and no other (stated) ingredients. They do not hold together in 3 hours of simmering. Add a cohesive filler (bread crumbs and beaten egg), brown them first (with the round steak and ribs), and then add them in the last half hour. Calf’s lungs are part of the entrails of the calf, sometimes referred to as offal. We can be squeamish about them in the United States, but they are considered a delicacy in many cultures. Lungs may be hard to find so you can substitute ground veal.

Liz Holderman is a Worthologist who specializes in collectible books. “Dining with Antiques” is an ongoing feature in which she highlights collectible dinnerware and food-related antiques, along with vintage recipes..

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This Veterans of Foreign Wars commemorative Ezra brooks whiskey decanter, collected by the thousands, and other like it, are not worth very much, despite its “limited edition” label.

The fourth item in this series of “Unloved Antiques”  (previous editions focused on Collector Plates, antique Singer Sewing Machines and vintage Decorator Prints) and is the commemorative whiskey decanter, like the one pictured right, issued by Ezra Brooks distilleries, circa 1973. This particular one, honoring the Veterans of Foreign Wars, was just one of many veteran commemoratives issued for American Legions posts across the country.

American distilleries were always looking for ways to market their products in new customers. These decanters had their start in the 1940s, when decorative glass bottles based on traditional decanters or cocktail shakers first appeared, but the more familiar china examples we see today generally postdate the late 1950s, when the first Regal china pieces were issued by Jim Beam.

The demand for decanters took on a life of its own by the 1960s, spawning a whole series of decanters: Those honoring state and city centennials; football, tennis, golf and horse racing events; famous people and characters; service clubs; and, of course, Elvis. In fact, it’s difficult to find any event of significance that occurred in the USA since 1776 that did not have a decanter issue for. If you couldn’t find what you wanted on the shelf, the Jim Beam company—among the largest producers of commemorative decanters—even offered the option through its “Customer Specialties” program where you could order your own decanter for any event or organization you desired.

Because of the huge initial popularity of these decanters, they were mass produce in equally huge numbers to fill that demand. Most people who received them as gifts could not bring themselves to discard them when they were empty, as they were considered gifts meant for display. Besides, in many cases, they were packaged as “limited editions,” which left the impression of some future value. Occasionally, you can still find a decanter that hasn’t been opened, full of bourbon and still sealed with a liquor stamp.

Now, some 60-plus years after the earliest examples were issued, their original owners have passed on or are selling off their collections as they downsize to smaller homes or apartments. This has flooded an already-full market, leading to declining prices across the board.

In today’s market, the decanter shown above lists retail with some specialty dealers for around $24, but often sells at auction for $9.95 or less.

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

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WorthPoint—Discover Your Hidden Wealth

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

Sandra B. bought this porcelain figure at an auction two years ago, but because as she was moving, it was packed away soon after she bought it. She engaged WorthPoint’s “Ask A Worthologist” service to discover its value.

Sandra B. bought this porcelain figure at an auction two years ago, but because as she was moving, it was packed away soon after she bought it. She had meant to do a little research on it, but forgot all about until she cleared out the storage locker she rented to contain all of the overflow from her old apartment. She contacted WorthPoint’s “Ask a Worthologist” service to check its value and history. The inquiry was forwarded to me. Here’s her question:

“ I bought this figurine at a estate sale auction about two years ago. It caught my eye because it was so powerful and realistic; it seemed like a photograph, freezing the motion of the horse to stop motion. I paid more than I planned at $185, but I had to have it. It does have some markings pressed into the bottom that reads, “Prof T. Karner,” and a mark that looks like it says Rosenthal with a crown and a cross. I’d like to know what the marks mean, and anything you can tell me about it.”

Here’s my response:

The marking “Prof T. Karner” indicates the designer’s name; in this case it means the original creator of this piece was Professor Theodor Karner (1884-1966). Karner worked for a number for well-known German porcelain makers such as Nymphenburg, Rosenthal, Allach, Eschenbach and Thomas & Lindner. His work comprised of a wide range of animal, bird and Art Deco nude figures, his horses are nearly all in action poses—running, rearing, charging—and, as you say, appear to have been frozen in motion.

This particular study of a rampant horse was designed as Model 1524 by Karner, circa 1934, for Rosenthal, a company well-known for its high-quality porcelain figurines. Karner also designed a modified version of it as Model 74 for Allach Porcelain in 1937. Its design was widely copied, with some variations by other companies right through the 1950s.

A great many of the Rosenthal horses do now sell at auction for less than the $185 you paid for yours, but this piece is an exception and a good buy. Yours is a lovely piece, and is one of the best examples of Karner’s Rosenthal pre-Second World War horses. The most current auction listing we have on file for a Karner 1524 on file, dating from March 28, 2011 lists it as sold for $579.

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

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WorthPoint—Discover Your Hidden Wealth

Andy Aigner, a collector of Japanese porcelain and other items, started his collection with this set.

Are you a collector or are you in an accumulating phase? I interviewed Andreas “Andy” Aigner, a program manager for a telecommunications company who lived in Japan in early 2007 and early 2009 for six-month stints, for his take on collecting porcelain.

David Pike: Why do you collect? What does ‘the passion of collecting’ mean to you?

Andy Aigner: There are many different aspects to this: Trying to beat the professionals at their game (finding nice pieces that everyone else has overlooked); simply owning some beautiful items and being able to look at them and touch them on a daily basis; and last, but certainly not least, the “window into history” that these pieces afford me. I am utterly fascinated by the Japanese screens and scroll paintings depicting scenes of both court and everyday life in historic Japan and could look at them for hours and hours—unfortunately I don’t own any of them.

David Pike: When did you start collecting?

Andy Aigner: In July 2003. About half a year later I sold my first piece on the Internet, and now I am regularly selling on two Internet sites, as well as once a month at a small antiques fair in Southern England.

David Pike: How did you become interested in collecting?

Andy Aigner: I spotted a Meiji Satsuma tea set with rakan and dragon design in an English antique shop and it intrigued me because I thought the style was on the one hand very unusual (I had never seen anything similar before) and on the other quite un-Japanese (now, of course, I know that this was a classic example of export ware). The set was marked (“Choshuzan”) and with the help of my wife (who is Japanese) I started doing research on the Internet. Simultaneously, I realized how many antique fairs there were in England each weekend, and we started with those in our immediate neighborhood but soon expanded our reach.

A Kanjincho Satsuma piece.

The other side of the Kanjincho Satsuma piece.

David Pike: What is your philosophy for collecting?

Andy Aigner: Not much of a philosophy, I have to admit: Anything Japanese from the 1920s or older that appeals to me (see also “Philosophy for buying” and “Best pieces”). However, my “standards” have gone up considerably since I started, and will most probably continue to do so.

David Pike: Philosophy for buying?

Andy Aigner: Anything that fulfills a minimum two of three criteria: originality, quality and condition, does not totally bomb in the third one and, of course, is reasonably priced. Of the three criteria stated above, originality is certainly the one hardest to come by. Nowadays, when I buy, 80 percent of the pieces are going to be sold later on, but I will hardly ever knowingly buy anything that I wouldn’t like to keep in my collection at least for a year or two.

David Pike: What are your main interests?

Andy Aigner: As far as collecting is concerned, mainly porcelain chawan (Taisho or older) and other porcelain items that are 200 or more years old.

David Pike: Why are you less interested in Chinese work and more so in Japanese work?

Andy Aigner: I have for a long time been fascinated by the Japanese and their culture; in my (admittedly very personal) view, the better Japanese pieces tend to be more subtle than their Chinese counterparts. Again, I am talking about pieces in the middle range of affordability. Of course, I am aware that there are some absolutely breathtaking Imperial Chinese pieces, but you need a bottomless wallet if you want to start a collection of these. In the end it comes down to personal taste—many Japanese pieces touch me in a way that Chinese items don’t. Another issue is fakes: You need a lot of experience if you want to buy Chinese antiques because the fakers have become frighteningly good. With Japanese pieces, you have less to worry because at the current prices they are just not worthwhile to fake.

David Pike: Do you prefer Japanese work made for the domestic market or Japanese work made for the European market?

Andy Aigner: With porcelain I do prefer the relative simplicity of the domestic pieces (although ceramic pieces like the ones for the tea ceremony are just too austere for me), but I do admire the enormous technical skill achieved during the Meiji and Taisho eras. European porcelain hardly interests me at all, which means that among the later Japanese pieces, I prefer the ones that still retain a distinctive Japanese flavor.

David Pike: How many pieces do you have?

One of Andy's best pieces.

Another of of Andy's best pieces.

Andy Aigner: Chawan: About 200 different ones; Edo chuki and older: Another 150 pieces. Other pieces (including lacquerware, cloisonné, etc.), around 450. And these are only the ones that I intend to keep.

David Pike: Are you the type of collector that buys from a sense of liking a piece or from the perspective of someone trying to fill in a spot in their collection? From the gut or from the head?

Andy Aigner: I try to combine both, but I think usually the gut prevails.

David Pike: Do you try to have a complete, representative collection? That is to say, do you think in terms of filling in areas that may be under-represented if taking a survey-type look at the field you are interested in and your collection?

Andy Aigner: Not really, because in the two areas listed above, it would not be possible to ever give a meaningful definition of “complete.”

David Pike: You like late Edo through Meiji pieces. Is there any reason for that time period?

Andy Aigner: Actually, my favorite period is about 1750-1830: On the one hand, you can find pieces of very high quality and originality and, on the other, you can still afford them, unlike most of the Genroku-era pieces

David Pike: What do you think were the biggest challenges you faced as a beginning collector? That is to say after you decided to “collect?”

Andy Aigner: The lack of good reference material (books) on Japanese porcelain. On top of it, the few books which you can find are almost all written in Japanese

David Pike: As a collector who has considerable experience, what are your biggest challenges now?

A catalog of kimono designs (more than a hundred) from the turn of the 19th/20th century.

Fabric swatches from the kimono catalog.

Andy Aigner: To find interesting pieces that are “different.” Also, I have the feeling that the supply of good Japanese pieces at reasonable prices has been decreasing considerably for the last years.

David Pike: Do you still make mistakes in purchases?

Andy Aigner: Yes. The Chinese forgers are getting better and better.

David Pike: Hindsight is 20/20. What would you do different if you were to start over?

Andy Aigner: I would have started 20 years earlier.

David Pike: How often on average do you purchase?

Andy Aigner: On an average, about once every two weeks.

David Pike: How does what is available in Europe compare to what is available in Japan? Prices, type of work?

Andy Aigner: In general, there is fairly little overlap between things available in Europe (which for me means mostly England) and in Japan. And the split is very much along the lines of export vs. domestic consumption.

• Kutani and Satsuma: A few simple pieces in Japan, almost everything else in Europe;
• Imari: Export pieces, usually from the 1880s or later and of lesser quality in Europe; late Edo and older mostly in Japan;
• Fukagawa/Koransha: Available in both Japan and Europe. This may be due to the fact that these wares have been produced both for the Japanese market and for export;
• Kakiemon: Surprisingly, you can occasionally find reasonably priced Kakiemon pieces both in Europe and Japan;
• Lacquer: Almost no good (undamaged) pieces available in Europe, except at the very, very high end;
• Cloisonné: This is one of the few exceptions where you can find interesting pieces both in Japan and Europe;
• Dolls: Mostly Japan.

One of the latest pieces added to Andy's colleciton.

Another recent addition to the collection.

One more thing: If I say that Satsuma export pieces are not available in Japan, this is a simplification. They can be found at most major antiques fairs, but at absolutely astronomical prices. Just the fact that a piece has been to Europe or the U.S. and subsequently “repatriated” (if I remember correctly, they call it “satogaeri”) seems to quadruple the price. I have actually had instances where a Japanese customer bought a piece from me on eBay and on my next visit to Japan I found this piece offered at an antiques fair at a price that I would never have dared to ask.

David Pike: With about 1,000 pieces at your house, how do you keep things in order? How do you display them?

Andy Aigner: I was very lucky. When I had only about 20 items I started taking pictures of them all and also set up an Excel file with the important data (like month of purchase, dimensions, weight, price, faults, etc.). This means now, more than seven years later, I have the complete documentation (including pictures) of all the pieces I ever owned, however briefly. As for keeping them in order, each item has a small numbered piece of Post-It attached to it; the number corresponds to the relevant line in the above Excel file. And with a few exceptions, they are all in various glass-fronted cupboards. But more than once a week I just take out some of them to “play,” i.e. handle and admire them.

David Pike: Are tomobako important to you? Tomobako are the signed boxes that come with some pieces in Japan.

Andy Aigner: No. In my (heretic?) view they don’t add anything to the intrinsic beauty or value of the object. They are, however, marvelous if you want to transport fragile objects over long distances.

David Pike: I have noticed a decrease in the willingness of sellers to bring good quality onto the market since the prices can’t be had. Do you think that ties in with your observation that the quantity of quality pieces at reasonable prices has decreased?

Andy Aigner: Here in England, some top-quality pieces can still be had, but at absolutely astronomic prices. What concerns me is the increasing lack of mid-range items (which is mostly what I am specializing in); this might very well be due to the fact that everyone currently concentrates on China and thus, as you said, the prices for Japanese antiques are very low.

A blue Chawan bowl and lid.

An Iro-e Kakiemon dish.

David Pike: What are some of your best pieces?

Andy Aigner: The most difficult question; I have so many that I really love. Well, here goes:

• A set of four kidney-shaped Ko-Imari dishes from the mid-17th century;
• Two Satsuma vases with scenes from a very well-known part of Japanese history (the story of Ushiwakamaru and Benkei);
• A set of five chawan from about 1800, decorated in red and gold only;
• An iro-e (coloured) Kakiemon plate from the 18th century;
• A catalog of kimono designs (more than a hundred) from the turn of the 19th/20th century. This is definitely one of the pieces giving you a great sense of history;
• A mostly blue-and-white chawan with floral designs from the 18th century.

David Pike: What is the process after you buy a piece? I would like to know how you get to know a new piece, research a new piece.

Andy Aigner: If there is any signature or mark on it, I usually get the help of my wife in reading and/or translating it. Next step will be various Internet searches, which in most cases, however, do not yield too many results. The final (and usually by far most successful) step is to ask fellow enthusiasts on the invaluable Gotheborg web site. The breadth and depth of knowledge there is absolutely fascinating.

David Pike: How often do you sell a piece from your collection?

Andy Aigner: By definition, never. Anything that gets sold is part of the “business side,” and for one reason or another, not up to the standards required to stay in my collection.

Of course there are border-line cases. Sometimes I get a set of three or four pieces and usually only want to keep one; in these cases I do sell off the remaining ones. However, when I get a complete set of five dishes from the 18th century, I tend to keep them all rather than break up the set.

David Pike: What do you hope to do with your collection?

Andy Aigner: Not having any children, I have not yet seriously thought about this.

David Pike: What does your wife think about your collecting activities?

Andy Aigner: She joins me whenever I go antiques hunting; this is very much a shared passion.

David Pike: Have you ever thought about giving up?

Andy Aigner: No

David Pike: What is the longest you have gone with-out purchasing something?

Andy Aigner: Six months—after moving back from Japan to Belgium in July 2009 and then having to prepare another international move (to the UK).

David Pike: Do you have regrets about pieces you didn’t purchase?

A piece Andy calls the "strangest" in his collection.

The back of the "strangest" piece.

Andy Aigner: Very rarely; I have so many beautiful pieces and I know there are many more to come.

David Pike: Thoughts for other collectors? Do you have advice to someone who is new to collecting?

Andy Aigner: Try to handle (or at least look at) as many genuine pieces as possible, so that you get a feel for what is “right.” Try to find a mentor (e.g. an honest and knowledgeable dealer) and join a discussion board like Gotheborg, so that you can get some advice from friendly long-time collectors.

David Pike: What do you say to someone who is trying to build a collection as a means to build wealth? Their goal is to have the pieces appreciate in value.

Andy Aigner: I am probably not the best person to give this kind of advice, because this was never my goal, but it seems to be universally accepted that you should buy fewer and more valuable pieces rather than many cheap ones.

David Pike: Do you think it is possible to build a collection on a “pocket money” budget?

Andy Aigner: Absolutely, but you need some patience. Close to half the pieces in my collection have cost less than £20.

David Pike: What are the best places to buy?

Andy Aigner: Japan, especially the Tokyo area.

David Pike: What are the best places to avoid?

Andy Aigner: EBay, China and Hong Kong. In my experience, roughly 100-percent of all Chinese and Japanese pieces offered on these sites are fakes.

David Pike is a Worthologist who specializes in items from Japan, including porcelain.

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WorthPoint—Discover Your Hidden Wealth

The piece that holds the most emotional value, a Jiaqing M&P plate, a gift from a dear friend.

David Pike: Where do you live?

Arno Jacobs: I live in a place called Valkenswaard, a little city in the southeast of the Netherlands with a population of about 30,000 people. I was born and grew up in Valkenswaard.

David Pike: Why do you collect? What does “the passion of collecting” mean to you?

Arno Jacobs: In my first year of collecting I only had interest in European porcelain, and especially for the most important historical 18th century manufacturers. But a year later my attention went to the Asian porcelain market and I came in contact with the Gotheborg site for Asian porcelain collectors. From that moment on, I was more orientated toward the Oriental and got my first Japanese piece with the help of John Wocher in Japan.

With John’s help, I collected some of the finest pieces of Japanese Kakiemon and Nabeshima porcelain. From a dear friend in the United States, Sal Trabanino—who is also a member and board moderator for the Gotheborg—I got my first important piece of Chinese porcelain, a Jiaqing M&P plate. Since that day my most precious part of my Chinese porcelain collection is the M&P porcelain. M&P stands for “Mark and Period.” This Chinese porcelain is made in a specific Chinese period and bears the mark of the Emperor of that period. I hope to become the owner of a real Imperial piece. These kind of pieces are the summum bonum of Chinese porcelain, and Imperial porcelain is also M&P porcelain. The passion I have for collecting porcelain gives me the ultimate feeling of happiness. When I starting to talk about my passion, it is hard to get me to stop.

David Pike: When did you start collecting?

Arno Jacobs: I started my collecting of porcelain in October 2003 with a mortar of the German porcelain manufacture KPM (Royal Porcelain Manufacture).

David Pike: How did you become interested in collecting?

Arno’s first piece, a German mortar and pestle, KPM manufacturer, 20th century.

Arno Jacobs: It was because of my work. I was interested in a porcelain mortar and pestle for use in my laboratory, an object I was working with for years but never paid much attention to it before. From that day on I wanted to know all about porcelain.

David Pike: What is your philosophy for collecting?

Arno Jacobs: Find out what your tastes in the subject by reading, talking and looking at subjects from all angles. Then try to find out what gives you the warmest feeling and brings you the most satisfaction.

David Pike: Philosophy for buying?

Dutch taste cup and saucer, Amstel porcelain, early 19th century.

The least expensive piece, Hirado cup and saucer, circa 1900.

Arno Jacobs: Try to buy only those kinds of pieces that are worth placing in your living room so you can look at them all day long (and never get tired of looking).

David Pike: What are your main interests?

Arno Jacobs: Since I found out in 2005 the real origin of porcelain, I go for Chinese porcelain, especially the M&P porcelain, because in my opinion, only that kind of Chinese porcelain that has a true historical value. The main criterion for my collection is that a piece has to damage free.

David Pike: How many pieces do you have?

Arno Jacobs: I have divided my collection by countries of origin. My European collection is 30 pieces, my Japanese collection is 10 pieces. My Chinese collection consists of subparts. My main Chinese collection is the M&P collection, which has 10 pieces, one 18th-century Kangxi period M&P piece, and I have one or more M&P pieces of every Chinese period of the 19th century. In my Chinese porcelain collection, I also have some regular pieces of the Ming Dynasty and Qing Dynasty, in blue/white and colored, but mostly these pieces are out of the 18th century, Kangxi and Yongzheng period.

David Pike: Do you try to have a complete, representative collection? That is to say do you think in terms of filling in areas that may be under represented if taking a survey type look at the field you are interested in and your collection?

Arno Jacobs: In collecting Chinese M&P porcelain, I never can have a complete collection. For now, I hope to be able to collect at least one piece of every period of the Qing Dynasty. At this point, I only need a piece of the Yongzheng period and the Qianlong period to fill my collection. If I complete that part of the collection, I hope to get M&P pieces out of the Ming Dynasty. Later on, I hope for at least one Imperial piece.

David Pike: What do you think were the biggest challenges you faced as a beginning collector? That is to say, after you decided to collect.

Arno Jacobs: To find out what kind of pieces I liked the most and where to find them, without buying a fake. It still is.

Best piece, Kakiemon bw plate, 17th century.

Another fine piece, Nabeshima shallow bowl, 20th century.

David Pike: As a collector who has considerable experience, what are your biggest challenges now?

Arno Jacobs: To find the most valuable pieces for a bargain price.

David Pike: Do you still make mistakes in purchases?

Arno Jacobs: Now and then I’ll make a mistake in my purchases. I destroy these mistakes at once or, if possible, I return it to the seller.

David Pike: Hindsight is 2020. What would you do different if you were to start over?

Arno Jacobs: Finding sponsors to finance my passion.

David Pike: How often, on average, do you purchase?

Arno Jacobs: My intent is to purchase one or two large or expensive pieces a year When I’m lucky, I’ll find a bargain and can buy more pieces. I call those years “lucky.” 2010 was such year.

David Pike: What was your first piece? Do you still own it?

Arno Jacobs: My first piece was a mortar from the German porcelain manufacturer KPM. I still have it in my collection of most important European manufacturers.

David Pike: What are some of your best pieces?

Arno Jacobs: My most valuable piece is a Jiaqing period (1796-1820) M&P Chinese porcelain plate. It was a gift from my U.S. porcelain friend Sal Trabanino. Another valuable—and very nice—piece is a blue and white Kakiemon plate with quails from the 17th century, a piece John Wocher bought at my request in Japan. I also have a late Ming bowl with galloping horses. There is an identical bowl in the Princessehof Museum in the Netherlands. My rarest pieces are two cups and saucers with cage decorations, made of Chinese porcelain and date to the Yongzheng period. But I also have a rare sugar pot from the German Frankenthal manufacture.

Finest pieces, Daoguang & Xianfeng M&P lidded cups and saucers.

The rarest and latest piece, asset of Yongzheng cups and saucers.

David Pike: What is the process after you buy a piece? I would like to know how you get to know and research a new piece.

Arno Jacobs: I keep a large record for each piece I add to my collection. I record all the information I can possibly find, from all over the world. For example, I’ll pour over the many books on porcelain I have, check out museums, the Internet, with other collectors and on the Gotheborg site. The records I make includes some photographs, all the provenance, links, comments, books and museum references.

David Pike: How often do you sell a piece from your collection?

Arno Jacobs: I have once or twice, but I rather not sell from my collection. I’m not the kind of collector who upgrades by selling part of his collection. I only buy those pieces that are important to me, and always will be.

David Pike: What do you hope to do with your collection?

Arno Jacobs: I do hope that my collection will be appreciated by my children, when they get older. And if they don’t like porcelain or want to collect it, I hope that the money I spent collecting will generate a bigger profit for them. Finally, I hope that the collection will end up in the hands of another collector or collectors who have as much passion for porcelain as I have.

David Pike: What does your wife think about your collecting activities?

Arno Jacobs: My wife is very glad that I have a hobby, but she don’t like the porcelain pieces at all. In reality, I can’t put my collection in my living room, and I respect her point of view.
David Pike: Have you ever thought about giving up?

A very attractive vase, Kangxi period.

Another rare piece, German sugar pot, Frankenthal manufacturer, 18th century.

Arno Jacobs: Only when I see that the prices are going up again do I have the feeling of giving up collecting, or maybe just that part of the collection. There’s always a way to find some interesting porcelain pieces, filling in my collection of historical pieces of porcelain.

David Pike: What is the longest you have gone with-out purchasing something?

Arno Jacobs: The longest period I have gone without buying a piece for my collection was last year for some six month. I was glad I found a bargain in the last half of 2010, because otherwise I wouldn’t have purchased anything for a whole year. I am saving money for a real great and expensive buy this year, if my dealer lets me. He has some real interesting klapmuts bowls.

David Pike: Do you have regrets about pieces you didn’t purchase?

Arno Jacobs: Yes, many regrets! For example, not buying two sets of Kangxi Famille Verte c&s, made of thin porcelain. At that time, I was just about a few months into collecting Chinese porcelain and was shocked by the price of these two sets. Now I understand my dealer was asking a fair price for only two sets. I would buy those sets right away, now that I have learned more about the pricing of Chinese porcelain.

David Pike: You seem to have a technically oriented outlook. Do you have any thoughts on the differences between the technical focus of Chinese porcelain and the more emotional Japanese porcelain?

Arno Jacobs: I have spent a lot of time with my friend John Wocher in Japan, and his enthusiasm for Japanese porcelain has infected me. He loves Kutani porcelain and I try to aim a little bit higher. I aim for the Kakiemon porcelain and the Nabeshima porcelain. I think Nabeshima is the Japanese porcelain with the most historical value, and I like it more.

The most expensive and the favorite piece of Arno’s collection: late Ming bowl.

The strangest piece in Arno’s collection: late Ming stem cups.

David Pike: Do you have any thoughts on the copying that has been going on between the Chinese and Japanese since about the early 1600s? Both sides have copied each other.

Arno Jacobs: Porcelain is being imitated by the Japanese, Europeans and Chinese. Chinese do copy the old Ming and Qing Chinese pieces nowadays, but in a modern kiln. I don’t like the copying at all; it makes it more difficult to find a genuine older piece.

David Pike: Do you think there is a big difference between what you might be interested in as a Dutch person compared to a French person or say British person?

Arno Jacobs: I think there are subtle differences between a pure French, British or Dutch collection. Also between a Chinese and Japanese or European collections. This is because the national tastes are a little bit different. The Chinese, in the 18th century, made pieces especially for each European country. For example, the Lowestoft decorated pieces for the British and the pieces with “Madame de Pompadour” decoration for the French people.

David Pike: Can you elaborate a little more on what counts as a mistake and how you would go about dealing with it.

Arno Jacobs: A mistake in purchase, I believe, is when the item itself is not what you expect it to be, or it has too much damage. I only like old, genuine pieces, not the old-looking modern pieces. Also, if a genuine piece has a hidden hair-line crack or a chip that was not disclosed when I bought it, I will return the piece. Also, there are genuine pieces which are very good and invisibly restored. I don’t want those pieces either.

David Pike: I would like to ask you to elaborate a little more on the best and worst places to buy if you will.

Arno Jacobs: Many sellers of Chinese porcelain on the Internet, like on eBay, are sellers living in China. They claim that they sell genuine old pieces but that is not possible by law. Other sellers on eBay do not have enough “know how” for the Chinese porcelain and sell modern pieces as old genuine pieces. Many fake Chinese porcelain pieces comes from China or other Asian countries. I have pictures from the porcelain city Jingdezhen with many fake Ming and Song vases and jars, made in the last decade of the 20th century. In the Asian countries, there are many potters who are producing fake pieces just for the money. These potters become so good that the big auction houses like Sotheby’s and Christies can’t tell the fake ones from genuine ones easily. Some good places to buy Chinese porcelain are those where the porcelain was sent to for centuries, such as the European countries. The only exception is France, because they have a Chinese porcelain copy manufacture called Samson. The Asian fakes have begun to be found here in the Netherlands, but there are so many genuine pieces left that it is still easy to find one.

David Pike: Do you have advice to someone who is new to collecting?

Arno Jacobs: Buy books! This way you learn about the wares and material. Talk with reliable dealers and ask to look at their collection. Pick up the expensive ones. This is easy on the Internet, with several expensive shops all over the world. Visit a large collection in a museum, the Princessehof in the Netherlands has a large collection of Chinese porcelain. Get connected to a collectors site; Gotheborg is one of them and has a lot of information about Asian porcelain for non-members.

David Pike: What do you say to someone who is trying to build a collection as a means to build wealth? Their goal is to have the pieces appreciate in value.

Arno Jacobs: This is a real difficult question. I can understand people who invest in all kinds of material, and that includes porcelain. But I think that these people are not real collectors; not like the people I talk with, although I’d like to see what they have in stock.

David Pike: Do you think it is possible to build a collection on a “pocket money” budget?

Arno Jacobs: If your interest is high enough and your passion is wide enough, you can buy a frustrating collection on a pocket money budget. You will have to get to every flea market and collect closet, even though they are full of subpar pieces. Once in a while you’ll discover a piece you really like somewhere in the corner of a closet. But on the other hand, you can collect shards or damaged pieces; then you can have a real nice-looking collection, too, and it only cost pocket money.

David Pike: What are the best places to buy?

Arno Jacobs: The Netherlands (Holland) is the best place to buy Chinese porcelain, together with some other European countries. This is because the Chinese sold porcelain here for hundreds via the VOC in the Netherlands. This porcelain came in hundreds of ships packed full with porcelain and was sold among the Dutch people in the 17th, 18th and 19th centuries.

David Pike: What are the best places to avoid?

Arno Jacobs: In this case, it is good to know that it is forbidden by law to export old Chinese porcelain out of China.

There you have it. If you have any questions or comments for Arno and his collection, please leave a comment below and I will gladly pass it along.

David Pike is a Worthologist who specializes in items from Japan, including porcelain.

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Royal Copenhagen’s first Christmas plate.

Bing and Grondahl’s first Christmas plate.

One such traditional item is the Christmas plate which, legend has it, got its start as a gift from wealthy landowners to their servants. The plates—filled with sweet treats—were a rare thing for servants, who would to refer to them as their “Christmas Plate.” While the original Christmas plates were simple affairs, likely made of wood or pottery, what been considered a Christmas plate since the turn of the 19th century are considerably more decorative.

The Christmas plate tradition today is an annual affair, as each year the companies that produce them make a limited number for sale only that year, the molds broken after the edition has been run. The first modern firm to produce annual plates of this type was Bing and Grondahl in 1895, followed by Royal Copenhagen about 1908. These very early plates are the most sought-after, and if you can find one, Royal Copenhagen’s first Christmas plate could sell for $1,700 or more at auction.

Bing and Grondahl’s first platewould also set you back some $1,600. But not all the early plates by both companies are so expensive, later examples by Royal Copenhagen made from 1909 to 1914 often sell at auction in the $75-$100 range, while the Bing and Grondahl examples from the same period often selling for less than $60.

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

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Anne J.’s grandfather brought this vase back from England after the Second World War. She knows that it’s marked as made by Minton’s, but she wanted to learn its value. After turning to “Ask a Worthologist,” Mike Wilcox was able to give her a little history and a nice valuation.

Anne J. has a piece of porcelain that her grandfather had picked up in England during the Second World War. Looking for a value before deciding whether to sell it, she engaged WorthPoint’s “Ask a Worthologist” service. The question was forwarded to me. Here is her question:

“I inherited this vase a couple of years ago from my Grandfather; we were told he purchased it in England from an antique shop when he was stationed there during World War Two. It’s an unusual vase, it looked like cloisonné when I first looked at it, but it’s not metal, it’s porcelain. The stamp on the bottom is a crown over a globe with the name “Mintons” in the center of it. There is also as symbol that looks like a shield with a number in it, but it’s hard to read. It’s a beautiful piece, but doesn’t go with anything in my house and I would like to find out what it’s worth before I try and sell it.”

After investigating the mark, I was able to determine the source of Anne’s grandwather’s piece:

The Minton mark.

Based on the images and the company marking, your grandfather had very good taste. The markings indicate this vase was made by the well-known English porcelain maker Minton in 1891. The Mintons mark shown was used from 1873-1891, and the shield mark you mention is a date code used by Minton: the shield mark with a number in it was used from 1891-1894; numeral 1 for 1891; numeral 2 for 1892; numeral 3 for 1893; and numeral 4 for 1894.

The reason the vase resembles cloisonné is because that was the original intention of the designer of these Minton pieces, the renowned Christopher Dresser (1834-1904). Dresser was a Renaissance man of many talents and now considered Britain’s first independent industrial designer and a driving force of the Anglo-Japanese and Aesthetic movements in Britain. He wrote several books on design, including “The Development of Ornamental Art in the International Exhibition” (1862), “The Art of Decorative Design” (1862) and “Principles of Design” (1871–72).

Dresser produced designs for more than 50 firms, some well-known companies such as Royal Worcester, Wedgwood and Minton for ceramics, Elkington and James Dixon for silver-plate, and Coalbrookdale for cast iron. Dresser’s connection with Minton lasted from about 1860 until the 1880s.

Now, about your piece in particular: vases in Minton’s cloisonné style are highly sought after and valuable pieces, in even the depressed markets of today. Vases similar to yours still sell in the $1,800- $2,500 range.

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

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Porcelain pieces made by small potteries and decorating shops in and around Paris in the 18th and 19th centuries are referred to as “Old Paris Porcelain” or simply “Paris Porcelain.”

Unmarked 18th- & 19th-century porcelain is a puzzle to everyone, even among dealers and experts. Trying to attribute an unmarked piece at first glance can often bring more than one conclusion. This is especially true if the piece is similar to examples by “big name” makers such as Sevres, Chelsea, Worcester or Meissen. Among the potters of the early 19th century who often did not mark their wares, there were several small porcelain factories and decorating shops in France—by estimates some 30 or so that operated from the end of the Napoleonic era through to the Franco-Prussian War (1815-1871). Today, we generically refer to pieces made by these small potteries and decorating shops as “Old Paris Porcelain” or simply “Paris Porcelain.”

As the name suggests, most of these potteries were located in Paris and had to compete with the famous and well-established Royal Manufactory at Sevres. The Paris porcelain makers got around major competition from Sevres by being ahead of the curve, adapting to the latest styles and decorating trends quicker than Sevres and developing patrons among the lesser nobility and rising merchant classes. One would imagine that then, like today, their style-conscious customers enjoyed having Sevres styled porcelain, but at a price they could afford.

It’s estimated that 70 percent of Paris porcelain made during its peak of popularity had no company marks at all and were not recorded in a way we can use to identify pieces today. Many of the Old Paris artisans also worked with blanks—or “white wares” —that had originally been produced at Limoges (and even at Sevres), but were not marked as such until the late 19th century.

Pieces made by these lesser-known Paris potteries are generally of high quality, with some pieces as good as those of the famous Sevres factory they competed against. Today, Paris Porcelain is still a bargain, as comparable examples of Paris Porcelain plates like the one above currently sell at auction in the $180-$250 range.

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

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Thomas Kinkade’s works are like liver and onions: either you like them or you hate him.

I received a note from a collector of Thomas Kinkade figurines who receives a new one every two months, thanks to a subscription. She wanted to know if they will increase in value over time.

Thomas Kinkade (born on January 19, 1958 in Sacramento, Ca.) is like liver and onions: either you like him or you hate him. Kinkade has successfully branded himself as the “Painter of Light,” a trademarked phrase. When not using that moniker, he is “America’s most-collected living artist.” Critics attack his work as over commercialized (he is a QVC favorite), lacking substance, and pandering to popular tastes.

Whichever camp you are in, you have to credit Kinkade, as he has created one of the best mass-marketing programs for printed reproductions and related licensed products during the last quarter of the 20th century. His reach and popularity is equivalent to the Norman Rockwell mass-marketing program of the late 1960s through the early 1980s. Alas, we all know what happened to the secondary market value (more correctly, lack of value) of these items.

Beacon of Hope Kinkade figurine

Unlike the 1960s-1980s Rockwell-licensed products, a speculative secondary market has not developed for Kinkade material. I checked eBay and other Internet sources. Most listings were by dealers trying to sell current product either at list or a slight discount.

Kinkade’s prints and other licensed products are not cheap. Prints range from the middle hundreds to low thousands. And then throw in another two hundred dollars for framing. There is profit aplenty in these prices, since the actual off the press price for the print is likely less than $50. Actually, I’m trying to be nice. It is more likely less than $25.

Winter Angel of Light Kinkade figurine

Before I conduct an appraisal clinic, I say a silent prayer asking God to please not make me deal with a variety of items. Cruise ship art and Thomas Kinkade products are on the list.

The simple answer to the question is that you have a greater chance of winning a lottery than your Kinkade figures have of increasing in value in the next 50 years. In 25 years, I expect the secondary market will be half or less of their initial sale price. Optimists hold out the hope that future generations will see through the crass commercialism of Kinkade and develop a finer and more sophisticated art appreciation. I am only dipping my toe in their stream of consciousness.

As with all contemporary products, buy the Kinkade figures because you like them and plan to live with them until you die. Remember, you always can use them as gifts.

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

You can listen and participate in “WHATCHA GOT?,” Harry’s antiques-and-collectibles radio call-in show on Sunday mornings between 8 a.m. and 10 a.m. Eastern Time. It streams live on the Genesis Communications Network.

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

Copyright © Rinker Enterprises, Inc. 2009

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A Herend Rothschild large bird teapot, featuring two different bird motifs (there are 12 Rothschild Oiseaux motifs) and scattered butterflies, circa 1915-1930.

The Herend Manufactory (as it call itself) has a long and exalted history in Hungary—its country of origin—with its reputation having spread to other capitals beginning in the early years of its operation. Later, and especially at present, North Americans have become exposed to the extraordinarily beautiful and expertly executed pat- terns and specialty decorative items.

The Herend factory was established in 1826 by a Vince Stingl. He began by producing stoneware, while he experimented with the technicalities of making lighter weight porcelain. Until the 17th century, porcelain had been imported from China to Europe by ship, as many European countries offered only heavy folk pottery for their tableware. The Europeans did not have the expertise or knowledge to produce thin “chinaware.” Finally, Johann Friedrich Bottger (who was actually an alchemist in search of gold), discovered a method of making porcelain around the year 1705, which allowed factories such as Meissen and others to begin the production of properly made china.

In Hungary, experimentation with porcelain manufacturing was ongoing in Herend, a small village near the holiday resort of Lake Balaton, and in Telkibanya in the northern part of the country. Highly placed patrons lent their financial and political support to various factory endeavors. Lajos Kossuth (1802-1894), a nobleman and social reformer of the time, was influential in trying to change the economic system. He believed strongly that the modernization of the country could not occur without the establishment of Hungarian industry, which was still in a medieval and semi-feudal state. His clout with the Herend Company eclipsed that of another historical figure, Istvan Szechenyi, who was the patron of a Telkibanya concern. Eventually, Herend prevailed, and went on to become the preeminent pioneer of Hungarian porcelain, becoming renowned for its hand painted decoration. But Vince Stingl had a difficult time with the upkeep of his small factory, both with quality production and monetarily. He was in considerable debt for the purchase of essential equipment, and finally resorted to selling out to one of his creditors, Moricz Fischer, in 1839.

Mor Fischer, as he was known, gave the factory a real boost. As well as supplying a much needed infusion of capital, he worked hard to achieve an entrepreneurial dose of commercial success. He is generally considered the father of the present Herend factory. His ambition led to the expansion of the workforce, with new and improved kilns for large-scale manufacture.

The Herend backstamp and mold/pattern numbers on bottom of the Rothschild teapot.

The workers began researching and applying new techniques toward the reproduction of high-quality replacements for the classical pieces of Chinese and other origins, which the aristocracy could not find at that time. This led, predictably, to contemporary pattern making in the antique style, as well as to the production of forms and decorations reminiscent of the period pieces by Meissen, Sevres, Vienna and Capo di Monte. Meissen was a distinct influence, with its baroque emphasis on tea and coffee services featuring floral and aviary patterns. Likewise, the woven pattern on several Herend plate edges owes its origins to Meissen. Chinese motifs were incorporated as well, since porcelain originating in China always had a great influence on European factories with their interest in all things oriental. Several royal courts of the time (Italy among them) requested Herend to replace items that were missing from their old Chinese tableware sets. These orders helped to become firmly establish Herend’s reputation. Other Herend products perpetuated the beauty of Chinese porcelain, yet were distinctly Herend in their patterns and purpose. Some oriental patterns of this long-ago period can still be purchased today: Victoria (so named because Queen Victoria ordered this set, which was decorated with butterflies and flowers), Poisson, Ming and Godollo, for example.

While still imitating old, established patterns, the factory also started to incorporate its own personal versions of design. Thus began the theme of using local botanical and natural elements—such as fruits, insects and plants—from the Bokany region of Hungary. So, while still acknowledging the old, something was being created.

This globe Herend box is hand painted and done in pierced style with a floral decoration, circa 1900.

After winning great acclaim in exhibitions at home in Hungary and Vienna, the Herend style was ready for its international debut. This occurred at the first World Exhibition in London, England, in 1851. Herend took home a gold medal from the Crystal Palace, sold all the pieces on view, and received many large orders. It was a definite coup for the factory’s first international exposure. Here began the worldwide reputation that Herend porcelain still enjoys today. Within a few years, Herend displays could be found at the New York World Exhibition in 1853, and the Paris World Exhibition in 1855. Later, there would be gold medals from Amsterdam in 1887, St. Petersburg in 1901, and so on. Many distinguished customers followed from these events, several of whom had patterns named after them. Some important clients were the Rothschild family, Emperor Franz Joseph I, King Victor Emmanuel of Italy, Tsar Alexander II of Russia, the Shah of Persia, Alexander von Humboldt, and the Prince and Princess of Wales.

Fischer clung to the old-fashioned methods of porcelain production throwing the pots by hand, hand-painting the blanks, and reviving historical trends. During the period of 1857-1872, the factory was at its pinnacle. This was also the time in which the Arts and Crafts movement in England, with William Morris at its helm, was preaching a return to medieval craftsmanship, a denial of mass-produced wares, and a renewal of regional and traditional development. The Herend style fit the bill admirably. Fischer was accumulating personal honors, as well. In 1863 the Emperor Franz Joseph I gave him a knighthood, and the next year granted him all rights to patented designs of the now defunct Imperial Porcelain of Vienna factory. He also received a coveted medal from the French Legion of Honor. In 1872, he was dubbed “Purveyor to the Royal Court” (of Austro-Hungary). At the same time, outstanding pieces of Herend porcelain were beginning to appear in private collections, and museums began adding representative items to their exhibits.

In 1874, Europe experienced an economic slump. This, in combination with Mor Fischer’s advancing age and Herend insistence on manual artistic production without mechanization, drove the company toward insolvency. Fischer’s sons took the helm, Mor died soon afterward, and the firm was hard-put to get back into the mainstream. The sons tried mass production and decorative simplification, but were not successful. The factory slid into a decline in both artistic and financial aspects.

At the close of the 19th century, the company became the property of Jeno Farkashazy, a grandson of Mor Fischer, who was a trained ceramist. He reverted back to his grandfather’s values, gave new life to the old models and traditions, while introducing new innovations of his own. Things were looking up! He had great success at exhibitions around the turn of the century in Paris and St. Petersburg.

A porcelain figurine by Herend, called "The Bather," circa 1950, created during the Communist era.

In 1923, a new mixed ownership group took over, introducing modernization of decorative techniques and production methods. New artistic development and attempts to expand foreign market share were achieving success. A demand for ornamental items at affordable prices resulted in the development of small sculptures and cabinet pieces in addition to the tableware. These became very popular and included birds, animals, and figures of persons engaged in sport or dance. Hungarian subjects were favored, and these represented historical figures and those from favorite fairy tales and legends. Famous Hungarian artists of the time were commissioned to design some of these pieces. In the 1930s, commercial success was again on the way, and recognition was accorded by world acclaim at the Brussels Exposition of 1935 and at Paris in 1937. People were impressed by Herend’s products—the place settings with traditional motifs, as well as the newer and innovative sculpture line.

After the intrusion of World War II, the factory was nationalized in 1948. The war had handed a huge blow to the company. Since exports were the backbone in Herend’s financial health, it was negatively affected when it became shut out of the international marketplace. The proper china clay was unavailable, as it had always been imported. Domestic clay had never been the optimal raw material. After 1948, however, the situation improved somewhat with clay coming it from Limoges, and some exports resumed.

Production continued through the communist era, yet the Hungarian economy was isolated from the world scene by the Iron Curtain. However, within Hungary and the Eastern Bloc, there still existed a demand for political gifts and ideological statuary. Herend was in a good position to supply these needs. One can still find small cabinet sized sculptures of Stalin, and workers in socialist-approved occupations and poses.

This situation has changed dramatically in the 1990s. With the end of the communist influence, and with privatization of the company in 1993 with three-quarters of the firm owned by its employees, Herend has expanded and prospered. Herend products are now at the peak of their popularity. The majority of pieces are still hand-shaped and hand-painted, which assures its porcelain a place above similar large factories. Only the kneading and purification are mechanized. Electric kilns are utilized instead of the old wood burning stoves, and research is constantly conducted, with quality control meticulously maintained.

The Herend factory currently employs more than 1,500 crafts people—potters, designers and painters—and continues its traditional elegant style, with an extraordinarily wide selection of time-honored, richly decorated patterns, which are yours to explore and possibly own.

Some Herend patterns are majestic and gracious, some are sophisticated and sumptuous, some charming and delicate. But all are special beauties, which have been, and will be, cherished by many generations.

— by Shira Karpati

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This German-made Jasperware, like this plaque depicting classical scene, are very unappreciated items and often sell in the $80-$200 range at auction.

“Jasperware” was originally developed by Josiah Wedgwood during the mid 1700′s. The Wedgwood company was one of the most innovative companies of its time, and often its popular lines were copied by other potteries based in Staffordshire, England and in Europe. This particular piece, like many late 19th century examples by Wedgwood’s Continental imitators, is unmarked, but is very similar to marked examples produced by Schafer & Vater and the Aelteste Volkstedter Porcelain works during the turn of the 19th century.

The Schafer & Vater Porcelain Factory was located in Volkstedt Rudolstadt, Thuringia, Germany. Gustav Schafer and Gunther Vater wanted to produce high-quality porcelain and founded the Schafer & Vater Porcelain Factory, which, in turn, purchased the List Porcelain Factory at Neuhaus in 1896. In 1910, Sears Roebuck & Company had begun to import and distribute Schafer & Vater pottery into the United States, and S&V produced a series of these high-relief plaques, depicting Greek classical scenes, portraits of 18th Century Aristocracy and even Native Americans, such as Chief “Broken Arm of the Sioux.”

Values for these pieces has not appreciated much in recent years, a result of online auctions and media coverage by “Antique Roadshow” events bringing a great number of Jasperware items out of storage and into the market. In the current market, comparable German-made Jasperware plaques like the one above, depicting classical scenes, are very unappreciated items and often sell in the $80-$200 range at auction.

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

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– B, Lehigh Valley, PA

ANSWER: Leonard Lumsden Grimwade, a modeler, founded the Elgin Pottery in Hanley, Stoke-on-Trent in 1885. His older brother Sidney joined the firm shortly thereafter, the firm changing its name to Grimwade Brothers. In 1886 Grimwade Brothers added Winton Pottery to its manufacturing facilities. By 1906 Grimwade Brothers had four manufacturing facilities in England’s “Potteries” district. Leonard introduced several innovative techniques, including the enamel climax rotary kiln and a duplex lithographic transfer process.

Grimwade marketed some of its products under the Winton brand. In 1913 Queen Mary purchased a Winton tea set. In 1929 Grimwade adopted Royal Winton as the trade name for all its products.

Marguerite, the first Royal Winton chintz pattern, was introduced in 1928. More than 60 different chintz patterns followed. Royal Winton’s chintz-patterned ceramics were popular exports to the British Commonwealth and the United States. Cheadle was an extremely popular pattern in the U.S. High production costs forced Royal Winton to discontinue its chintz patterns in the early 1960s.

Royal Winton chintz patterns were one of the hot ceramic collectibles of the 1990s. Prices skyrocketed. EBay’s popularity flooded the secondary market. Prices plummeted, albeit not in the field. Specialized ceramic dealers and replacement services wage a continuous fight to prop up market prices. An Internet storefront dealer is asking over $350 for a trio consisting of a Cheadle luncheon plate, cup, and saucer. The same trio sells on eBay for less than $50. EBay prices realized are 25 percent or less of dealer asking prices, one of the greatest price differences I have encountered between field/book and eBay prices. “Buy It Now” prices on eBay reflect field/book prices, rather than reacting to actual auction results, another point worth noting.

I have no doubt you would prefer your teapot be worth the $259 “Buy It Now” price asked by an eBay seller rather than have me inform you that its value is closer to $75. I tell it like it is. If you want to feel good, use a field/book value of $2,000 plus for your set. If you want to be realistic, assume a value between $350 and $400.

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QUESTION: I own Baffle Ball, an early tabletop, coin-operated pinball machine in a wooden case. A nickel provided the player with 10 balls. The machine works and appears to be in excellent condition. What can you tell me about its history and value?

– GC, Janesville, WI

ANSWER: In 1927 David Gottlieb founded D. Gottlieb & Co., Chicago, Ill. The company manufactured arcade games. Gottlieb created Baffle Ball in 1930. Measuring 16 inch wide by 24 inch high, it was designed to rest on any counter or tabletop. It used no electricity and did not have bumpers or flippers. The player pulled a plunger to send the balls into the playing field. The rest was up to gravity. The balls fell through the playing field, striking pins that protruded from the surface. Four circles inside a diamond motif provide the highest point count. In addition, the lower edge had a series of chambers, each assigned a value.

The plunger pressure was the primary way to position balls where the player wanted them in the playing field. Enterprising players also learned to tilt the machine during play, a practice that became a standard part of pinball play.

Early examples provided five balls for a penny. Later machines, such as the one you own, came in two varieties—10 balls for a penny or 10 balls for a nickel.

Baffle Ball sold for $17.50. The game proved so popular that 50,000 units were sold within the first few years. Gottlieb introduced Baffle Ball Sr. in 1932 and an electronic Baffle Ball in 1935. Rock-ola Manufacturing Company, a Gottlieb competitor, also distributed Baffle Ball knock-off. A Rock-ola advertisement from the mid-1930s included a telegram from C. A. Martin of California that read: “Ship at once via Acme Fast Freight 25 Babble Ball machines with stands stop Sample machine took in $64.00 in 8 days stop Wire price lots of fifty.” The metal stand was a later addition.

Baffle Ball pinball games have a high survival rate. Although collectors consider it a classic, its value is relatively modest. Book value for a machine in good condition is between $2,000 and $2,250. It is worth $3,000 in excellent condition. Add another thirty percent if fully restored.

The pictures of the Baffle Ball game that accompany your letter suggest you overestimated the condition of your example. There are signs of wear on the playing field. Portions of the case’s finish are faded and spotted. The condition of your machine is between very good and fine. It value is closer to $2,500.

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QUESTION: Attached to my e-mail is a photo of a large glass vase with a Blenko label that my son recently acquired at a garage sale for a quarter. It is signed on the bottom “Richard Blenko / 2001.” It has a bulbous body, extended neck, and flared rim. I e-mailed the Blenko Collectors Society and received this response: “Your vase is #9604 in tangerine. It was designed by Matt Carter and introduced to the catalog line in 1996. The vase you have was part of a PBS pledge drive. The design was not offered in tangerine in the catalog in 2001, the tangerine #9604 vases were made only for PBS that year…” Appraisers in my area have been of no help in determining the value of my son’s vase. What is your opinion?

– JH, Indiana, via e-mail

ANSWER: Before you can establish a value for something, you have to know what it is. Thanks to the generosity of the Blenko Collectors Society, you know the history of your piece.

William J. Blenko established sheet glass factories in Kokomo (Indiana) in 1893, Point Marion (Pennsylvania) in 1909 and Clarksburg (West Virginia) in 1911, all of which failed. He worked at various glass companies in Ohio and West Virginia until 1921, when he founded the Eureka Glass Company in Milton, West Virginia. The company specialized in producing glass for stained glass windows. Blenko struggled to keep his business alive, adding a tableware line in 1930, the year he changed the company’s name to the Blenko Glass Company.

The company made utilitarian glass focusing on classical and adaptations of classical forms. When American buyers became enamored with Studio Glass in the late 1940s, Blenko hired designer Winslow Anderson. Additional designers, e.g., Wayne Husted and Joe Philip Myers, joined the firm. Matt Carter was the company’s last design director, serving from 1995 to 2002.

In 2000, Bill Agie opened the Blenko Museum (Milton, WV), dedicated to the work of Winslow Anderson, Blenko’s first design director. This led to a renaissance of collector interest in Blenko glass. Richard Blenko, the fourth generation of Blenko family members to head the company, worked with PBS on two television specials: “Blenko: Heart of Glass” and “Retro Blenko: Three Designers of American Glass.” As a result, PBS began offering Blenko pieces as premiums during its pledge drives.

In January 2009, Big Two Mile—Blenko’s gas supplier—seized the company’s assets as a result of Blenko’s failure to pay its bill. The company closed and laid off its employees. Production resumed on a limited basis in early March.

Collectors focus on Blenko glass produced between 1947 and 1974, considered the golden age of Modernist design. Glass made after that date is viewed as more mass-market oriented and lacking in the design qualities that distinguished the glass from the 1947-1974 period.

Your son’s vase is worth at least twenty-five cents, the value he established when he bought it. As you suspect, it is worth more. The question is: How much more? I called Debbie Coe, co-author along with her husband Randy of “Elegant Glass: Early Depression & Beyond,” 3rd Edition (Schiffer Publishing) to discuss the secondary market value for PBS vases. She suggested a secondary retail value between $20 and $25. I concur. Collector demand is limited. Most Blenko collectors who want a PBS example already own one.

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QUESTION: I have three cup and saucer sets that I inherited from my mother. I assume she received them in the 1950s. There was a fourth set but it broke. The cups are pedestal based and have a fancy scroll gold-colored handle. The inside of each cups is pearlized. The outsides of the cups and saucers are painted with beautiful fruit designs, e.g., pineapple, raspberry, strawberry, etc., on a pearlized surface. The saucers are stamped “JAPAN” on the bottom. What can you tell me about them?

– CC, Drumheller, Alberta, Canada, via e-mail

ANSWER: You own Japanese luster ware. While it is possible your cups and saucers date from the 1950s, it is far more probable that they were made in the 1930s.

The cups and saucers were part of a larger luncheon set that included a matching teapot, creamer, and sugar. The set probably had luncheon plates as well.

Although hand painted porcelain, these sets have minimal collector value. A full set sells between $50 and $65. An individual cup and saucer, assuming the pattern matches, is valued between $4 and $6.

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Rinker Enterprises and Harry L. Rinker are on the Internet. Check out his Web site: http://www.harryrinker.com

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.

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

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Chips on the top rim of this Weller Art Pottery vase were professionally restored by Old World Restorations, Inc., Cincinnati, Ohio.

The repairs are invisible to a cursory glance. Which is why one needs to be on the lookout for repaired porcelain, art pottery and clay pieces.

Antiques and collectibles enthusiasts often find themselves frequenting community charity auctions, local antique shows, neighborhood garage sales and internet web sites searching for their next “Great Find.” But buying from someone you don’t know—and may never be able to find again—is sometimes risky business.

For collectors of different types of ceramic art, including porcelain figurines, art pottery and clay sculpture, one of the issues facing them is the fact that chipped or broken porcelain can be professionally restored so that the damage is no longer visible. But the pieces may not always be marked as such.

So, how can one know if an item has been damaged and restored?

There are different methods and types of equipment used by conservators to detect invisible restoration of ceramic objects. Ultraviolet (UV) light is used to examine the surface of an object and to reveal adhesive residue or any substances that may have been applied over the original surface to mask damage. X-ray can also be used to show fractures that have been invisibly restored. If allowed, a collector can usually have art and antique items inspected by an experienced conservator or museum conservation lab.

But if your are standing in the middle of a flea market, holding a piece you might be interested in buying, knowledge and experience are probably the most valuable tools with which collectors can equip themselves when inspecting and buying ceramic art. It is important to learn as much as possible about the objects’ nature and composition and be able to confirm that it has the proper shape, size, design and glaze. Even when buying from reputable auction houses and dealers, one should still have a basic knowledge of the methods and materials that were used to create the object.

Don’t be afraid to ask the seller questions like: “How and when did you acquire the object?” “Have you thoroughly examined it for damage and repairs?” and “Are you willing to document the condition in writing and provide a money back guarantee if it differs from your representation?” (Answers to these questions are especially important when buying over the Internet).

Pair of early porcelain candlesticks with old discolored repairs, small chips and missing leaves. This damage is difficult to see on a photo posted on an Internet listing.

I recommend a visual inspection of the object in direct sunlight. Look for inconsistencies in the color, decoration and glaze. When a damaged ceramic object is restored, it will usually have some type of clear non-fired coating applied over the repair to mimic the original surface glaze. In some instances, this “simulated glaze” is applied over the entire surface. Unlike original fired glazes, new acrylic coatings often contain lint or dust particles that can be seen with the naked eye under direct sunlight.

Some original ceramic glazes exhibit a network of fine cracks know as “crazing.” These small surface cracks should not be restored and are nearly impossible to replicate when completing a restoration in an area of an object that is crazed. If an object has visible crazing, look for inconsistencies or the absence of crazing in suspicious areas that may indicate a restoration.

Carefully run your finger along the edges to reveal any rough spots or chips that may be hard to see. Some vases and flat objects can be lightly tapped with your finger or a straight pin to check for structural cracks. A cracked object will not “ring” like a bell when tapped.

An Imari porcelain plate with old repairs and rim chips that are easily visible to the naked eye.

I also suggest that you carry a small straight pin with you when shopping for ceramic objects. With the permission of the seller, carefully and lightly “touch” the point of the pin to the surface of the glaze where you suspect a restoration. The pin will easily slide across the glasslike surface of original fired and un-restored glaze; however, it will not slide across, and may even sink into, the simulated materials used to restore the damage. Be careful not to scratch or damage the glaze or the restoration. Some claim that a similar test can be done by touching a suspected area of an object to your teeth to reveal a difference between original and restored glazes.

Before you buy:

• Do your homework and know what it is that you are looking at
• Research basic restoration and conservation techniques
• Ask the seller questions to document an objects history and condition
• Conduct thorough inspections in good light
• Consult an experienced art conservator or museum
• Ask for written money-back guarantee

— by Douglas Eisele
Old World Restoration

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Will Seippel, the founder, CEO and president of WorthPoint, recently discovered a pair of these 18th-century Sevres end pieces at an estate sale after many people passed them over, including a pair of expert appraisers, who tagged them at $125 each. Their true value is much, much more.

Just as the everyday collector hopes to come across a Great Find—an item bypassed by many, purchased for a pittance and worth thousands—experts can miss a valuable item staring them in the face.

Will Seippel, the founder, CEO and president of WorthPoint, recently had such an experience.

Will wanted to attend a private estate sale in the Buckhead neighborhood of Atlanta, but circumstances—in this case a late flight back from Ohio—had delayed his arriving at the sale. By the time he got there, there were only minutes left before it closed for the day at 5 p.m.

“I thought I could get them to apply their second-day 50-percent-off discount early, if I found anything,” Will said.

But after briefly talking with the organizers of the sale, Will had learned that most of the estate’s pieces had been sold ealier in the day, prior to his arrival. Additionally, the sales company had hired two appraisers to help evaluate prices before the sale. So, he thought, finding anything worthwhile was going to be a longshot.

Still, Will decided to look over what was left. His eyes were immediately drawn to a pair of white porcelain pieces—each with four cherubs surrounding a pillar holding up a low bowl. He looked at the tags: $125 each.

He picked one up and turned it over: “I thought I recognized the mark on the bottom and knew immediately I had something.”

The pieces were early porcelain, 18th-century French, Will thought, judging by the irregular salt-glazed finish. They were also made in pieces and then combined into the final piece, as the “technology” did not exist in the early 1700’s to mold such intricate and large pieces in one mold.

A mark and the iron assembly helped to determine the identity of this circa 1740 Sevres end piece.

“They were also sophisticated in the detail and that the floral decoration is usually indicative of Meissen porcelain of the period, but the puttis/cherubs were typically French,” Will said. “The square iron bolts holding them together also dated them.”

What he had found, hiding in plain sight from all the experts and experienced buyers all day long, Will decided, were Sevres porcelain end pieces.

Still, he stood there for a few moments, blinking, because he couldn’t believe what he was holding.

Well, it was time to buy. Since it was 5 p.m. and the end of the first day sale, Will asked the persons conducting the sale to give him second-day pricing to save a trip back the next morning, and possibly waiting in line. He ended up with a very good deal, if not a textbook “Great Find.”

The sophistication in the detail and that the floral decoration is usually indicative of Meissen porcelain of the period, but the puttis/cherubs are typically French.

After getting his buy home, he called Thom Pattie, WorthPoint’s chief Worthologist, who, looking at photos send via e-mail, confirmed that Will had indeed made a good buy: the pieces were marked in an early Sevres mark and were made about 1740.

Wow, a pair of Sevres end pieces in great condition, acquired at a steal at $100, that are easily worth $1,000 to $3,000 each. This story only goes to show that when on the hunt for a Great Find, don’t disregard an item just because an “expert” passed on it.

Gregory Watkins is the editor of WorthPoint.com.

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