Click here and choose an exquisite and memorable vintage card, and e-mail it to everyone on your Ho-Ho list.

These vintage Christmas cards, which were selected from the vast assortment available at R&J Silver and Such’s GoAntiques site, recall a simpler time and feature the classic winter designs of snow-covered fields and farmhouses, decorations trimmed with holly, bells and sleighs, angels and traditional Santas.

Happy holidays from all of us at WorthPoint.

WorthPoint-Get the Most from Your Antiques & Collectibles

There is rampant misuse of the term “crusher cap” in reference to US visor caps in the WWII militaria collecting market. A crusher cap is a type of visor cap that is intended to be soft and pliable. Germans also had a crusher cap designed for field use, but that is another topic. US crusher caps were designed for pilots and air personnel to comfortably wear under their headset.

The distinguishing feature of a crusher cap is that the bill is made from a single layer of leather with a leather bead around it. Other visor caps typically have two layers of leather fused or sewn together, with a machine-stitched brim. A double ply visor stiffens the cap, making it less than ideal for wearing with a headset.

The quintessential US crushers coveted by collectors are Bancroft “Flighter” caps, offered in both tan and dark green wool. Luxembergs and Flight Weights are also desirable.

If you surf the net looking for a crusher, you will find a lot of mislabeled visor caps. True crushers command many times more money than even the nicest regular visors, so when you are buying a crusher cap, make sure you are actually buying a true crusher and not an overpriced visor cap.

Here are pics of a Bancroft Flighter from my collection that is part of an 8th Army Air Corps Bombardier group. Notice the single ply brim and relaxed shape.

]]> http://www.worthpoint.com/research_library/not-all-wwii-visor-caps-are-crushers/feed 0 http://www.worthpoint.com/research_library/macv-sog-1-0-jacket-symbol-vietnam-s-elite-among-elite http://www.worthpoint.com/research_library/macv-sog-1-0-jacket-symbol-vietnam-s-elite-among-elite#comments Sat, 13 Dec 2008 00:59:24 +0000 Chris Hughes http://blog.worthpoint.com/?p=2455749

Until recently, little was known or published about MACV-SOG, an elite US Special Forces reconnaissance unit in Vietnam. SOG was under joint command by 5th Special Forces Group and CIA with an objective to recon and disrupt the Ho Chi Minh trail by running cross-border operations into denied areas, primarily Laos and Cambodia. SOG recon teams were small, typically 6 to 8 men. They had a 1-0 (pronounced “One Zero”) who was the team leader, a 1-1 assistant team leader, and a 1-2 radioman. The remaining personnel were indigenous mercenaries. Depending on region, they could be Chinese Nungs, Montagnards, Cambodes, or Vietnamese.

The 1-0 was a leader with innate skill coupled with experience. Rank was irrelevant on SOG teams. Being “good in the woods” is what ultimately determined survival or failure. 1-0’s commanded respect from all of the Special Forces community. The 1-0 jacket was a symbol worn at camp to distinguish themselves from other SOG personnel. The 1-0 jacket was awarded to 1-0’s after completion of the Recon Team Leader course at Long Than. Initially, they were intended to be worn in the field. Photographic evidence verifies this. However, the nylon material was noisy in the brush, so 1-0’s opted to wear them in camp only. Often times, jackets were modified with direct embroidery bearing the wearers name and SOG related themes like recon team names, “shell burst” skulls, etc.

There were three patterns of 1-0 jacket. The first pattern (shown here) is a pull over with a removable hood. There are two front slash pockets, single snap cuffs, and a rear map pocket in the lower back with a snap closure. There is a small oilskin tagged marked “M” inside the hood and collar to denote size (medium). The second and third patterns are not pullover and do not have a removable hood. SOG was a relatively small unit, so these jackets are extremely rare and often overlooked as being a simple windbreaker.

Hand-Tinted Photography: by Erin C. Kruml

Wallace Nutting

Demand for hand tinted photographs skyrocketed in the 1970s, 1980s and 1990s, increasing steadily into the present. Since the meager beginnings as affordable middle-class art in the 1900s to 1930s, hand-tinted photographs, in general, are now highly desirable collectibles. Often exterior or outdoor scenes and interior colonial fabricated scenes were photographed and then the photograph was hand painted and sent for matting, creating great gifts and art for any home. Wallace Nutting is the most commercially successful of all hand-tinted photographers. As today’s market swells with hand tinted photography, finding the differences between Nutting and other photographers is complicated, especially because so many early 20th century photographers used similar processes as Nutting, and a few even worked with him, adapting many of his formulas and themes. Many collecting issues have arisen from the plentiful number of photographs on the market today including: artist, subject matter or theme, size, signatures, and condition.
Hand-tinted or hand-colored photography of the early 20th century was inexpensive and a must have for almost any middle class home of the era. In the beginning, photos were colored by the photographer, but with demand came larger studios and staffs of colorists. For example, between 1920-1925 Nutting had a staff of 100 colorists, leading to hundreds of hand-tinted photographs and a decrease in price. Each picture was composed based on these elements: season, time of day, theme, distance and angle from the object, size of the lens, speed of the plate, direction of the sun, and time of exposure (Wallace Nutting-like Photographers 3-8). Unlike others, Nutting took every picture he produced and then gave them a title before coloring. Glass negatives were printed on expensive platinum paper that would not blur the image (during WWI a substitute paper was used, but the differences are negligible). The head colorist would then detail a sample picture for the photographer’s approval, which, when approved, would become the model for other colorists to follow as they produced the pictures in different sizes. In Nutting’s case, the picture was first covered in amyl acetate to help the colors stick and then painted with imported paint from England. After another check by the head colorist, the pictures were sent for mounting. Most mats were tan and indented, while in the 1930 Nutting added black mats, but never it caught on publicly. Finally, a colorist would add the signature, explaining the variance in signatures. Many buyers would reframe the pictures, which is why there exists so many different frames and mat sizes. Nutting created about 10,000 different titles, selling millions of copies ranging in sizes from 2” x 3” to 20” x 40” (Wallace Nutting Pictures 16-20). Other photographers had smaller studios and some did the coloring themselves, but none reached the success of Nutting.
Other popular hand tinted photographers of the era include David Davidson, Fred Thompson, Charles H. Sawyer, and Charles Higgins. A large number of other photographers made tinted photographs. They are not as prolific but include the following: C. J. Burnett (the first to use photographer to use platinum paper), Babcock, J. Bicknell, S.L. Blair, E.A. Bragg, Bill Brehmer, Brooks Burrows, L.A. Busch, Pedro Cacciola, C.D. Currier, Derek, Farini, Gardner, Gibson, Gunn, Guy Edward, Harris, Haynes, Margaret Hennesey, Hodges, Homer, Kabel, Kattleman, Lake, Lamson, Murray, Lyman Nelson, Patterson, Owen Perry, Phelps, Phinney, P. Reynolds, Royce, Sheldon, Stott, W.R. Summers, Ester Svenson, Thomas Thompson, Sanford Tull, Underhill, Villas, Arthur Ward, and Wright. The next few paragraphs elaborate on some of the better-known photographers.
David Davidson was Nutting’s assistant for a time. Davidson, working out of Southbury CT, created many pictures of Rhode Island, Vermont, and New Hampshire. Though many were exterior, his interior scenes were colonial influenced, like Nutting. Pictures from 1905-25 were lightly colored, while 1925-30s were heavily colored. Most had indented mats and were signed in both pencil and pen. However, during WWI he spent most of his time on motion pictures, especially newsreels (Wallace Nutting-Like Photographs 11-23).
Fred Thompson opened Thompson Art Company in 1908 (which explains why TACO is printed on his photographs). Dying in 1909, his son, Fredrick Thompson, took over the company. Thompson’s signature was in pencil, usually in thick block letters and very distinctive; it did not vary like Nutting’s. The mats were usually white linen and were often sold with other decorative items, like mirrors and calendars. Most pictures were taken in Maine, including his famous Portland Head lighthouse photograph (27-37).
Charles H. Sawyer and his Sawyer Picture Company focused on New England exterior pictures. Sawyer worked for Nutting 1902-3. He used similar processes, but changed from Platinum paper to Satista. All his pictures are exterior of the White Mountains of New Hampshire. Like Nutting, his signature is usually in the lower left or lower right corner or he also reversed-out in white on the photograph itself. Sawyer liked to accentuate the oranges and browns in his photographs. His later work, 1950-70, contained no glass within the frame. His company persisted the longest, into the 1970s (39-45).
Charles Higgins began his work taking pictures in Maine of work ships and maritime scenes. Though having a similar processing procedure as Nutting, Higgins staff was only composed of ten during his height in the 1920s. He photographed few interior scenes. Most Higgins photos are found in New England, due to his small commercial success. Higgins themes included exteriors, interiors, children, Indians, boats and seascapes. Finally, the signature is within the mat indentation and the title is below the indentation (49-54).
Despite the numerous photographers of the era, Nutting rose above of all then in quality and success, remaining the most sought after hand tinted photographer today. However, there are many considerations in collecting his photographs besides the presence of similar artists including: theme, size, signature, and condition. Nutting themes include exterior, interior, foreign, animals, seascapes, children, floral, men, snow scenes, and miscellaneous. Exterior scenes are composed of apple blossoms, birch trees, country lanes, ponds, lakes, and autumnal scenes. 85% of his exterior scenes were taken in spring or summer seasons. Being so common, they are valued less today. However, exterior scenes with people often sell for more than rare interiors, the price rising with the amount of people in the picture. Interior scenes often had a colonial influence, including the fashion of the models and the chosen furniture. Nutting’s hobby was antiquing, helping him achieve a realistic impression. Still, interior scenes were less popular during their day, accounting for 10% of his pictures. Therefore, interior scenes are relatively rare and usually valued at several times that of the exterior scenes (Wallace Nutting Pictures 19-22; 34).
The remaining themes are often valued higher due to their rarity. Nutting traveled abroad three times. Most pictures were taken in England and Ireland. Photos taken in Algeria, Italy, Egypt, Palestine, Scotland, France, Spain, Germany, Switzerland, Greece, Syria, Holland, Turkey and especially Canada have more value. Photos with animals sold poorly, probably because most people lived in rural settings. Sheep are the easiest to find. The rarest include horses or chickens. Only 20-25 seascapes were ever made and those remaining today are usually held in private collections. Pictures with children often did not sell well, with the exception of The Coming Out of Rosa, and are also valued highly today. Nutting did not produce floral themes until the 1930s. Hand tinted photos made in the 1930s are brighter than before because the depression made platinum paper unavailable. Usually taken by Mrs. Nutting, these pictures are rare, (only 30-40 different scenes), and often close-up, very uncharacteristic for Nutting pictures. Pictures with men sold badly, but those containing red jackets or Uncle Sam are the most sought after today. Snow scenes, due to the climate of New England, sold poorly and are usually untitled. The past’s dislikes makes snow scenes quite valuable today. Miscellaneous photos include uncategorized themes and pictures from states outside of New England. These pictures were taken after the peak of Nutting’s business and therefore sold less overall. Foreign scenes and miscellaneous scenes increase in price the quickest, being the rarest, are the most highly sought after by collectors (31-7).
The second consideration is size, which affects the value in the usual way; larger photos are valued higher than smaller ones. However, there are two exceptions: miniatures receive higher value than most large pictures and very large sizes, like 20” x 30”, 20” x 40”, or 30” x 52”, are priced low. Collectors consider two sizes, that of the mat and the picture. If the ratio between the two are unbalanced than the mat has been cropped, usually to hide stains and wear (27).
The third consideration is the signature; it helps date and authenticates a photograph. Like other photographers of his time, the head colorist actually signed most pictures. Pencil signatures are much rarer then pen signatures because pencil signatures were only used between 1900-10, while pen signatures were used for the remaining period of Nutting’s business, 1910-1941. Nutting worked in Southbury CT from 1905-1912 and then in Framingham MA from 1912 until 1941. Pen signatures without a black border were made between 1910-1930. Pen signatures with a black border were produced from 1930-1941. Overall, 1930s signatures were smaller and tighter than previous signatures (39-49).
The fourth and most important consideration is the overall condition, which includes the picture, matting, frame, etc. Any spots, foxing, or water stains on the picture itself are indicators of being improperly stored, usually somewhere damp. Many pictures were placed in an area that received at least some sunlight. Over the years, this can have a devastating impact on the colors and fading is a common problem impacting condition. Also, each colorist had different levels of skill and, therefore, some pictures are aesthetically better than others. The off-white backing where the signature and title are is considered the matting. A water-stained mat decreases the value by 25-50%. Other problems with mats include yellowing, spotting, tearing, and creasing. An overmat may be used to hide these problems, but are worth half as less as an original, unstained mat. Also, black borders indicate a 1930s picture, but are unpopular among some collectors.
Finally, the frame is usually a brown and wooden. However, Nutting sold as many as 15 different types of frames. Any chipping, pitting, paint, or ugly frames take away from the value of the picture. Also, collectors want to look for the original paper backing, a copyright label, and the original wavy glass for an increase in value (22-27).
Finally, beware of 1920s pirated prints and 1970s reproductions! However, there are some easy ways to tell a fake. The pirated prints are those created by copying popular Nutting pictures with a machine. A magnifying glass can reveal a symmetrical series of dots that indicate machine copying. Many have a colored border around the picture itself, eliminating Nutting’s signature, but keeping the title in the same place. The 1970s reproductions are photographs of actual Nutting photographs and can be seen as fakes through a magnifying glass. The photos are darker and glossier, the mats are thin, the signature has a purplish tint, and the frames are newer (70-2). Wallace Nutting photographs are wonderful collectables, but before you start your personal collection, learn as much as you can about hand tinted photography in order to make sure you are bringing home a classic, not a dud. A great place to start is two books by Michael Ivankovich, which are listed as references.
Ivankovich, Michael. Collecting Wallace Nutting Pictures: Identifications and Values. Collector Books, Paducah KY, 1997.

Ivankovich, Michael. Wallace Nutting-Like Photographers of the 20th century. Diamond Press, Doylestown, 1991.

Sarreguemines Vaisselle was established in 1748 in the city of Sarreguemines in the Northeast of France. This region was chosen for natural resources needed to produce ceramic in the 18th century such as clay, an abundant water supply and wood, which was the sole source of energy.

Beginning in the 19th century, Sarreguemines Vaisselle replaced clay with kaolin and wood with coal. Later gas replaced coal as the primary source of energy. 250 years later all of theses natural resources are found only miles from the Sarreguemines Vaisselle factory.

Following the French-German war of 1870, the Sarreguemines region was annexed to Germany and prohibitive Customs duties were imposed. Subsequently,in 1872, the factory was transferred to the city of Digoin, 250 miles southwest, in the Burgundy region. At that time due to its outstanding reputation, Sarreguemines Vaisselle kept its name and the factory has remained in Digoin ever since.

Sarreguemines Vaisselle quickly acquired fame for its quality and continuous innovation. no less than 12 gold medals were won in international competitions during the 19th century and many more since. Napoleon Bonaparte bought pieces which can still be found today at Versailles and at the Trianon.

Dating Sarreguemines Pottery by the Marks:

* A lot of the Sarreguemines pieces are clearly marked. The company has used many different marks over the centuries, which enables us to date most pieces.

* Typically you will see the word “SARREGUEMINES” either impressed or printed.

* The impressed version was in use until circa 1900. The company used the printed mark after 1900.

* Between 1870 and 1890, the impressed Sarreguemines usually also has “MAJOLICA” impressed above it.

* Many times the Sarreguemines pieces have several impressed numbers.

* The number existing of 3 or 4 figures usually refers to the model. One number between 1 and 4 refers to the size, and the last two digits refer to the production year (like 05 for 1905)

* The impressed “U & C” within an octagon stands for Utzschnieder et Company and was in use until 1890.

* From 1881 on you can find majolica marked as Sarreguemines D & V.

* Sometimes Sarreguemines pieces are marked “ESDEVE”. ESDEVE (read SDV) stands for Sarreguemines, Digoin, Vitry-le-Francois, with Digoin and Vitry being the two companies that Sarreguemines had created earlier when Sarreguemines was annexed to Germany.

* The ESDEVE mark was in use until circa 1930.

Mike Wilcox

Wilcox & Hall Appraisers

This portrait plate is a late 19th Century piece by Hutshenreuther. Like many German porcelain makers of this period they used a version of the famous Vienna Porcelain works Shield mark, inverted and altered to resemble a beehive.

The company was founded In 1814 Carolus Magnus Hutschenreuther in Hohenberg, Germany. His son, Lorenze Hutschenreuther, opened another porcelain factory in 1857 in another German city, Selb. (Selb would eventually become a center for porcelain manufacturing in Germany much like Limoges in France and Staffordshire in England.)

The two Hutschenreuther companies were owned separately by father and son, and were completely independent of one another. In fact, they competed against one another in the business of producing fine porcelain until 1969 when a merger of the two companies took place. The resulting company was named Hutschenreuther A.G., which continues to manufacture porcelain today.

Mike Wilcox

Wilcox & Hall Appraisers

If you can’t see a mark on a piece of fine pottery or art glass, that doesn’t mean it isn’t there. If your eye is trained to spot quality pieces but you are not able to find a mark, it can be well worth your time to keep on looking for one.

I once visited a very high-end antique store in Los Angles and was rather disappointed when I couldn’t find anything of interest I could buy and later resell for a profit. But, as I was leaving the store, for some reason I looked up at a top shelf where there were two extremely large vases. I asked the dealer if he would get a ladder and bring them down so that I could get a better look at them. Hesitantly, he did.

I examined the vases from top to bottom but couldn’t find a mark, even though I felt fairly certain they were Doulton Lambeth pieces decorated by one of their leading artists. I went over these pieces several more times but still couldn’t find a mark and was considering putting them back on the shelf. Being the stubborn person I am, as all that I refused to give up, so I examined them another time. Finally, I caught a glimpse of three letters within the body of the vase, “FEB” — meaning Florence E. Barlow, the sister of Hannah Barlow. This had just become my lucky day. The two Barlow sisters were Doulton’s best known decorators, and their vases always bring top prices.

Why hadn’t others found these marks? Very simply, the marks weren’t typically where one would find marks on pottery. I’m sure there had been hundreds of people who looked at the bottoms of these pieces and returned them to their shelf when they couldn’t see a mark. You see, ninety-five percent of these vases would have been marked on the bottom. But, not these. And, to make it more difficult, this particular mark, “FEB” had been incorporated into the actual design of the vase, making it almost impossible to find. But, not impossible to a persistant and stubborn person like me. This poor dealer had no idea these vases were special pieces.

I could barely hold my composure when I asked the price. “Two hundred and fifty dollars each,” was the dealer’s response. I didn’t know if it was time to dance or cry.

I returned to my car carrying these two precious bundles and carefully placed them in the back. Then, I pinched myself to be sure I wasn’t dreaming. You see, these wonderful 22″ vases were worth over $5,000 each at the time.

This type of find isn’t a rare occurrence. Lalique, Steuben and other art glass pieces with etched marks often present a huge challenge in finding the marks. The secret is to recognize the quality of the materials and the decorations on the piece. If they both meet the standards of a quality piece, then you should spend the time required to verify the maker.

The next show you attend, find a Tiffany Lamp and ask to look at it. I believe you will find it isn’t easy to located the marks because of their small size and because of where they are located under the shade.

You can learn to spot quality when you make a study of the most sought after pottery, porcelain, and art glass. Knowing the work and values of in demand artists will put you at the head of the class. You’ll be able to find the marks others miss.

Use every source you can in order to study. Search the Internet. See these pieces up close at shows. Invest in your own resource library. Used books can easily be found at reasonable prices through the internet. Choose your area of study.

When you spot that next high quality piece, be persistant in looking for a mark. It can pay you off tenfold.

For more information about marks, visit www.Marks4Antiques.com.

WorthPoint—Discover Your Hidden Wealth

Join WorthPoint on Twitter and Facebook.

www.31corp.com

When you’re considering buying an item or a painting that needs repair, as an antique dealer, you might ask yourself what the increase in value will be after its restoration. While I usually recommend the members of my antique business club, the 31 Club, to allow the purchaser do the restoration, there is that rare time it makes sense for you to have a piece restored.

One of our 31 Club members sent me a photo of a painting from a sales bulletin. It caught my eye, all right, and she planned to buy it. Before the sale, she contacted me again, saying the painting had some damage, but not too much. We agreed she’d bid on the piece without getting too carried away on the price. This painting soon became hers. She sent it to a restoration expert I recommended here in Chicago – Baumgartners, and yesterday I got to see it. Boy, is it a beauty!

The artist, Jean Dominique Van Caulaert (French 1877-1979) had a listing in Davensport of $9,000. While I don’t expect this one to do that well, at under $750 restored, I believe this is a real treasure. In fact, I like it so much I was thinking it would make a great addition to my own collection. But, I’m not going to do that this time. I’ve got enough for now, so look for this soon in the 31 Gallery.

While I don’t recommend you go out looking for damaged pieces, it you find a real quality piece, it might make sense if it is discounted enough. You see, when the restoration increases the value of a piece, by perhaps 5 to 7 times, that’s when you step forward and get the repairs done.

The Frederick Morgan painting I wrote about in my book was a painting I had relined. I bought it for $16,000 and this restoration didn’t reduce its value. It sold for $115,000 at auction at Christie’s New York. It would have been very easy to have walked away thinking it was no good because it had been “fooled with”. There are times you can be proud of the decisions you make and that was one of those decisions for me.

Usually, items should be left alone. I wouldn’t want to be looking for damaged pieces and get to be known as a dealer of repaired pieces. But if the discount is sufficient and the restored article will bring many times its cost plus repair, then jump on it.

*****

FREE MENTORING from Daryle Lambert. Visit www.31Corp.com ]]> http://www.worthpoint.com/research_library/when-should-i-restore-antique-or-fine-art-painting/feed 1 http://www.worthpoint.com/blog-entry/collecting-kentucky-derby http://www.worthpoint.com/blog-entry/collecting-kentucky-derby#comments Wed, 30 Apr 2008 18:38:43 +0000 acenh http://blog.worthpoint.com/?p=1903769

It is billed as the most exciting two minutes in sports. And it is for 3-year olds only. We’re talking about the ultimate horse race known as the Kentucky Derby.

The race may just be two minutes, but the festival in Louisville, Kentucky begins two weeks in advance. Over the past 50 years, it’s grown into the biggest event in Kentucky with parties, dinners, honors, discussions, events, warm-up horse races, golf, balloon races, fireworks, paddle boats, cruising, mint juleps and, of course, souvenirs. Collecting Derby memorabilia is the second largest pastime in Louisville and it continues well after the hooves of the winner have fallen silent. Let’s review just a few of the official ones.

The Horse

The ultimate souvenir of any Kentucky Derby is the winner itself, a three year old colt, gelding, or filly. Exact figures of what it takes to breed a Kentucky Derby winner varies, but the value increases to the millions after the awarding of the blanket of 554 roses to the winner. This is one collectible that continues to appreciate once it is retired to pasture.

The Winning Ticket

Ah, but the second biggest collectible is at the pay window. Taking home the winnings from the Kentucky Derby is the ultimate collectible and it comes with free bragging rights. What a deal. Interesting, but I’ve never seen losing tickets auctioned online anywhere.

The Mint Julep Glass

All right, these are great collectibles for the rest of us. The mint julep is the favorite drink of the Kentucky Derby, so naturally there is a special glass made both for enjoying the drink and for collecting. Official Kentucky Derby mint julep glasses became instant collectibles when they were introduced in 1938. As with any collectible, there are variations each year. According to horse-races.net, there were aluminum and Bakelite glasses during World War II. The 1950 and 1951 glasses are the rarest, but 1974 had the most variations from two different companies due to a printing error. Read Audra Blevins blog about the mint julep glass and how to make what goes inside one.

The Official Silk Scarf

Silk scarves are a relatively new collectible for the Kentucky Derby. Chuck Starr of Collectors Gallery says the first officially sanctioned scarf was introduced by Churchill Downs about 1995. Only about 200 are made every year, which makes them very rare indeed. The only place to find the current, officially sanctioned Kentucky Derby 2008 silk scarf is through the exclusive distributor sanctioned by Churchill Downs at http://www.horseartgallery.com or ordering directly from Judy Starr at a cost of $350 each. Look for the twin spires graphic on each corner of the scarf to know it is authentic.

The Official Kentucky Derby Festival Pin

Each year the Kentucky Derby Festival issues a decorative commemorative pin. Beginning in 1973 with a plastic Pegasus pin, there are now festival, corporate, chairman and balloon pins, too. Get a pin starter kit for 2008 and included is a new addition, a lanyard. There are so many pins that it is hard to get ‘pinned’ down on just how many styles there are. Each pin is available individually or as part of sets from online auction sites. Visit their store and see a full selection of pins past and present.

The Official Kentucky Derby Festival Poster

Since 1981, when renowned artist Peter Max designed the first colorful festival poster, artists from around the country have competed to provide the right pre-race excitement every year. For 2008, artist Rick Garcia of Santa Fe, New Mexico contributed a colorful rendition that includes all of the elements of the Kentucky Derby Festival. His design will be featured on t-shirts, glasses, used in media advertising and on many more Derby collectibles. All of the past Derby posters are still available by visiting their store and ordering your favorite.

Finally

There are other Derby collectibles beyond the officially sanctioned ones. There is an early travel poster such as the one issued by the C&O Railroad that advertised Kentucky as a travel destination rather than the Derby itself, plus old tickets, programs, newspapers featuring the winner, hats, balloons, key rings, t-shirts, Beanie horses, books, whiskey bottles, shot glasses, photos, DVD’s, plates, software games, trivets and … who knows what else?

If the Kentucky Derby is the ultimate in horse racing, then it is also the ultimate in horse racing collectibles, too. So, get them while you can. Ready? Aaaand, we’re off!

Websites:

Official Kentucky Derby Festival site

History of the Kentucky Derby Festival

Kentucky Derby Officially Sanctioned Scarves

Kentucky Derby official posters, pins and other memorabilia

About the Kentucky Derby Museum with a video presentation

As a child in Kentucky, I remember collectors would often go to the old buildings around town to dig for antique bottles. Out in the country was also a favorite place to search for antique bottle treasures, because the farmers often used their trash to fill gullies to stop erosion. In fact, anywhere trash had been disposed of is a place people would hunt for antique bottles.

If you are new to collecting these great pieces from our country’s past or considering collecting or dealing in antique bottles, it’s important to know that there are a lot of fakes out there. While there are excellent bottle guides on the market, increasing your knowledge and depending on an expert you’ve cultivated a relationship with is a good idea. It’s also very important to have a good close up look at many bottles and to handle them over and over again before you begin to trust your own judgment.

One of the best places I’ve found to learn more about antique bottles is through the Society of Historical Archaeology and Bureau of Land Management’s Historic Glass Bottle Identification and Information Website. It’s possible to spend an untold number of hours looking at their examples, reading, and going through their links.
While they don’t discuss value on the site, many of the sites they refer will discuss value.

There are many different types of bottles, and there are collectors for all of them. Some of the bottle types are liquor/spirits bottles, medicinal bottles which the druggists used, food and canning jars, beer and ale bottles, soda and mineral water bottles, and ink wells, just to name a few.

As in all categories of antiques and collectibles, there are those items that are considered more valuable and sought after than others, and antique bottles are no different. Rarity, color, condition, and age are a few important components when evaluating whether or not you’ve run across a valuable bottle. An old, rare bottle in poor condition might not be worth much.

Bottles that have raised lettering can be very desirable, and colors in blue, green, yellow, amber, grayish purple and variations of these are highly desirable. Clear or aqua colored bottles are generally less desired, and so, less valuable. There are exceptions, however.

If you find a bottle that has a circular indentation on the bottom of its base, chances are the bottle was made before 1860. This indentation (the pontil) shows where the bottle was separated from the rod after it was made.

I run across many bottles and flasks at many of the sales I attend, however, this is not one of my strongest areas. I have probably passed by terrific finds while I was out looking at paintings or pottery, however, I’m seriously considering expanding my horizons after reading Maine Antique Digest’s bottle auction results. The results showed that a brilliant yellow railroad flask made by Lancaster Glass Works of Lancaster, New York, estimated to sell between $10,000 – $20,000, sold for a whopping $29,000. While the remaining bottles weren’t hammered at such an astonishing price, these bottles managed to top over $3,000, and several came in over $10,000. It makes me wonder if it might be a good idea to risk a few dollars if I run across some at a garage sale.

Bottle collecting is of great interest to many, and there are many antique bottle clubs, magazines, and guides to help you start a collection or aid in adding antique bottles to your list of items for trade. When you come across a real find, I can safely say there will be multiple buyers lined up for it.

Everyday, members of the 31 Club, which I lead, are increasing their knowledge base about antique and collectible items just like these antique bottles. 31 Club helps take the mystery out of spotting valuable items, instructs members how to make money in these markets, and then we show how to grow your profits into lifetime wealth. All by buying, selling and reinvesting in antiques, collectibles and art.

Find out more about The 31 Club, based upon the book, “31 Steps to Your Millions in Antiques & Collectibles” at http://www.31corp.co…

Resources:

The Society of Historical Archaeology together with the U.S Department of the Interior/Bureau of Land Management
www.sha.org/bottle

www.AmericanBottle.c… has a good history of glass

www.NationalBottleMu…

www.antiquebottles.c…

The Federation of Historical Bottle Collectors
www.fohbc.com/ ]]> http://www.worthpoint.com/research_library/learning-about-and-spotting-value-antique-bottles/feed 5