A German-made Guntherman "Blue Bird" Land Speed Car in good working order. This tin lithographed wind-up car is 20 inches long and features sporty Art Deco detailing. Circa 1930.

In this world of computer technology and artificial intelligence, wind-up toys of the past seem that much more amazing.

For more than a century, the simple idea of a mainspring wound up by lever, key or handle worked to power countless toys produced in Germany, Japan and the United States.

An antique Schuco Clown playing a violin, stands about 4 3/8 inches high and is marked “Schuco Patent” on the side of one foot and “Made In Germany” on the side of his other foot.

During the 19th century, the marriage of toys with the art of automation was a marvel in itself. As early as 1875 that particular technology had been eagerly adopted in America and manufacturers were creating delightful objects.

“The clockwork was wound,” observes William Ayres author of the book “American Toys,” “and as if by magic, hands, legs, and heads move smoothly and naturally and the toys went through their assigned tasks, not jerkily or hastily, but in a smooth natural rhymed”

This combination of wheels, cogs, springs, cams, rods, string, elastic bands and other apparatus were assembled to produce a result that was, according to Ayres, “astoundingly complex in the more complicated pieces and makes one appreciate the ingenuity of the Victorian mind.”

German toy makers led the world at the time in quantity and quality. Their steel spring assembly was far superior to the brass springs used in Japan, but both countries were vastly creative in devising their wind-up designs.

In the early 1900s Ferdinand Strauss, an American toy importer, finally turned his efforts to production and by the end of World War I he had established a major mechanical toy industry in the U.S.

“The production of wind-up toys is so tangled among manufacturers that it is often difficult to determine just who did what,” wrote Richard O’Brian, the author of “The Story of American Toys,” “but among the toys known to have been produced by Strauss are such classic lithographed wind-ups as the Alabama Coon Jigger, Ham and Sam the Minstrel Team, Jazzbo Jim the Dancer on the Roof, and Jackie the Hom Pipe Dancer.”

A Lehmann wind-up "Paak-Paak", circa 1903. This toy was made until 1930.

The bottom of the “Paak-Paak” also reads “Quack-Quack” for export to England.

Strauss advertised the sale of millions of mechanical toys in the early 1920s, but he soon was being pressed by the likes of the Louis Marx Company, which also saw the potential for mass-produced wind-ups.

Marx eventually acquired the dies for some of the Strauss blockbusters, revised them, and also brought out many new ones of his own.

The Sears catalog of 1926 offered a Marx-made wind-up Balky Mule, noting “the mule backs up when he should go forward and rears up on his hind legs so that the poor driver doesn’t know what to do.”

This celluloid cowboy and horse, with its original box, is marked “Trade Mark Modern Toys” and “Made in Japan.” Circa 1940.

It was also during this period that the George Borgfeldt Company of New York made great inroads with its tin wind-up toys under the Nifty brand. Among the Nifty best-sellers of the 1920s were Barney Google Riding Spark-plug and the same comic-strip duo performing on a platform.

Borgfeldt, Marx, Joseph Scheider, Inc. of New York, Schuco of Germany, and many manufacturers in Japan prospered during the Great Depression of the 1930s, in part because of their wonderful windups featuring Disney characters and comic strip figures.

In 1932 the Sears catalog offered the classic wind-up of Popeye and his dodging parrot. While the sailor man pushed his wheelbarrow, the lid of the trunk opened and the famous parrot popped his head in and out from under his hiding place. This action is repeated many times with one winding. The price was 59¢.

Japanese toy makers combined celluloid with the grace of wind-up during the 1930s, and a typical example was a celluloid Donald Duck that did cart wheels in a neat little circle.

Marx countered with treasures like Blondie’s Jalopy, Buck Rogers Rocket Police Patrol Ship, Amos and Andy’s Fresh Air Taxi and Long Ranger Riding Silver, complete with a spinning lariat.

A relatively unknown American company, Unique Art Manufacturing Company of New Jersey scored one of the biggest hits in windups of the 1940s.

A vintage Linemar Toys Japan Walt Disney Productions Mechanical “Pluto the Drum Major” with his original box. Pluto is made of tin and is marked on his back: Linemar Toys Japan Copyright Walt Disney Productions.

Starting with obscure items like the Ho-Bo Train and Gertie the Galloping Goose, the company was able to acquire rights to a major comic strip, and for Christmas 1945 marketed the Li’l Abner Dogpatch Band. It featured Abner dancing a jig, Pappy on drums, Mammy with a drum stick, and Daisy Mae at the piano. It was a smashing success and was kept in production for several years.

Unique also did a Howdy Doody band in later years, and Marx even offered a variation of wind-up piano-playing toys but none achieved the popularity of the Dogpatch Band.

Thanks in part to a well-stored stock of materials, Marx was able to rapidly resume production following World War II, and maintain the high quality of pieces like the 1946 Donald Duck Duet with Donald and Goofy.

During the 1950s, J. Chein Company of New York joined a host of others producing wind-up toys. Their line included everything from ducks to speedboats, but their roller coaster with wind-up ‘cog’ chain and their brightly lithographed Disneyland Ferris Wheel were especially popular.

A tin lithographed and plastic wind-up robot in original box, he walks, his upper body rotates a full 360 degrees, as he destroys Tokyo. This is an example of wind-up toys from the mid to late 1960s. Made by MTU, Korea.

Marx’s wind-up Mickey Mouse of the 1950s came in plastic, as did Schuco’s Donald Duck and Wolverine’s Sulky Racer. In 1951 the Sulky Racer sold for $1.98. Line Mar Toys of Japan produced wind-ups for Marx, and Nomura, Kuramouchi and Suzuki also did exceedingly well in the same mechanical toy marketplace.

During the 1960s both the Flintstones wind-up flipover tank and the Twist Dancer were produced in Japan. Ideal, meanwhile, produced Mr. Machine, who wore a toy hat, moved his mouth and arms, and had a siren in his stomach. During the 1970s the same toy was produced with modifications and without the siren.

With a few exceptions from major companies, wind-up toys had been mostly replaced with battery-operated ones during the 1970s after more than 100 years of entertaining children with a simple spring.

—by Robert Reed

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– JP, Pennsauken, NJ, via e-mail

ANSWER: When I did a Google search for “Marion Yu + doll,” I found a few references. Google also asked if I wanted to search “Marian Yu.” I clicked on “Marian Yu” and found many more listings. The correct spelling is Marian, not Marion.

Marian Yu dolls were sold on the Home Shopping Club cable channel in the late 1980s. They were touted as “heirloom dolls”—a do-not-waste-your money promotional trigger to any knowledgeable collectibles buyer. Most dolls were sold in numbered editions of 2,000. This explains the numbers of your dolls. Costumes varied from Victorian to Country informal.

Rinker’s 30 Year Rule applies: “For the first 30 years of anything’s life, all its value is speculative.” Buying any designer doll on a home shopping channel is speculative. Few increase in value over time. Most sell on the secondary market for pennies on the initial purchase dollar.

Prices asked and realized for Marian Yu dolls differed significantly. Internet doll dealers list dolls between $50 and $65. Private individuals offering them on “for sale” Web sites ask prices in the $40 to $50 range. A few realistic sellers use $15 and $20. Marian Yu dolls on eBay have opening bid requests starting as low as $5.95 and extending to $20. Only one example sold in the last 30 days. It closed at less then $10.

Your dolls have more play value than display value. They have no long-term collectability. Pass them along to a grandchild or favorite niece who will hug and hold them.

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QUESTION: I have a Jaymar Scrappy and Margy wooden pull toy. Scrappy plays the xylophone. Margy, dressed in a Hawaiian skirt, stands in front of Scrappy. She turns around (dances) as the toy is pulled. What can you tell me about my toy’s history and value?

– K, Reading, Pa.

ANSWER: Jacob Marx—the father of David and Louis Marx—founded the Jaymar Specialty Company. Its business offices were located in Brooklyn, New York. Jaymar manufactured wooden toys. Marx, Louis Marx’s company, produced metal and tin toys.

Jaymar’s wooden toy line included dozens of comic character wooden-jointed figures, most produced in the 1930s and 1940s. The list includes Amos, Andy, Andy Gump, Betty Boop, Ed Wynn, Ignatz the Kat, Joe Palooka, Jeep, Jiggs, Kay, Little King, Little Orphan Annie, Moon Mullins, Olive Oyl, Popeye, Sandy, and Wimpy—a trip down Nostalgia Lane for anyone who read Sunday comics and/or watched movie cartoons during that period.

[Author’s Aside: Jaymar also made jigsaw puzzles. My collection of World War II military-theme puzzles contains more than a dozen different Jaymar examples.]

Jaymar also made several Disney-licensed toys. Like Marx, Jaymar began using overseas production facilities in the early 1950s. The company ceased operations in 1990.

For more information, see these two Web sites here and here.

The Charles Mintz Studio produced Scrappy cartoons for Columbia between 1931 and 1941. Scrappy, a young boy, drew his inspiration from the antics of Hal Roach’s “Our Gang” shorts. The cast of supporting characters included Oppy (his little brother), Margy (his girlfriend), Petey Parrot, and Yippy (his dog). Dick Huemer, Art Davis, and Sid Marcus created Scrappy.

Harry McCracken’s Web site Scrappyland contains a wealth of information on Scrappy. Ted Hake’s “The Official Price Guide to Pop Culture Memorabilia: 150 Years of Character Toys & Collectibles” (New York: House of Collectibles, 2008) covers Scrappy collectibles ranging from a Scrappy animated puppet theater to bisque figures.

I e-mailed Harry McCracken. He responded: “Unfortunately, I do not have the exact date but it is likely mid-1930s . . . Most surviving examples are not in great shape—especially Margy’s skirt, which is made of simulated grass. I estimate (an example) in very good to excellent condition is worth $200 to $300.

“One other thing: Just recently I have seen modern replicas. These are smaller than the original, and Margy does not spin around as you pull the toy. They have a fake aged look to them and might be mistakenly believed to be old if you do not examine them carefully.

“. . . even though Scrappy is not remembered by many people today, he was the subject of a LOT of toys back in the 1930s—possibly more than any other non-Disney animated character.”

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QUESTION: I have a Realistic stereo camera and accessories in their period box. The first box holds the camera and viewer, the second the flash shield, and the third the photo flash. Does this material have any value?

– GC, Janesville, Wis.

ANSWER: “Dr T’s Stereo Realist Page” provides a myriad of information, including repair instructions, for the Stereo Realist camera.

Although Euclid (280AD) and Leonardo da Vinci (1584) conducted depth perception experiments, it was Keppler’s Dioptrice (1611) that provided the first detailed description of stereo vision. In 1833 Sir Charles Wheatstone created a reflecting mirror stereoscope. However, it was Scottish scientist Sir David Brewster’s stereoscope that created the stereo viewer template. Stereoscopes became popular in the mid-19th century. Queen Victoria was enchanted by one at the 1851 Crystal Palace exhibition.

[Author’s Aside: ViewMaster uses stereoscopic imagery.]

Seton Rochwite applied for a job with David White Company, a Milwaukee manufacturer of precision surveying instruments,in 1943. As proof of his abilities, Rochwite showed general manager Theodore Salzer a series of stereo slides made from a prototype stereo camera Rochwite developed. Salzer spent nine months investigating the field of stereo photography. He hired Rochwite in the fall of 1943 to develop a stereo camera for David White Company, a process that took almost four years.

The Stereo Realist, using a 35mm format, was introduced in May 1947. Success was immediate. The camera sold for $160 and the viewer for $20, a princely sum in the late 1940s. By 1952 production of the Stereo Realist represented 67 percent of David White Company’s business. Competitors entered the market. In 1955 Kodak introduced its Kodak Stereo camera, which sold for half the price of a Realist. David White Company closed its stereo camera division in 1972.

The Stereo Realist came in two basic models: the 3.5 (1041) and the 2.8 (1042). Both used the same body. The primary differences were the lens and shutter speed.

Stereo Realistic cameras and accessories are available for sale on the Internet. A seller on GoAntiques.com is asking $150 for a camera. An eBay seller is asking $198.40, reduced from $248, as a “Buy It Now” price for a camera, flash unit, support literature and carrying case.

Realistically (a pun definitely intended), your camera and accessories have a secondary market value between $145 and $165. Do not be fooled by the above prices. They are asking prices. No one is buying. Finally, the value I provided assumes your camera is in working order. If it needs repairs of any kind, its value becomes minimal.

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QUESTION: I have an “1876 Spaulding Official Baseball Guide.” How can I be certain it is not a reproduction?

– JJ, via e-mail

ANSWER: Spaulding founded his baseball store in 1876. The chance that you have a period 1876 catalog is between slim and none. Yet, miracles happen.

The paper is the first clue. If it has turned brown and brittle and the page edges are beginning to fray, this is a bad sign. If the paper is off-white, this is better, but not conclusive. Modern paper also is white.

Reprints often are marked, albeit in very small type that is difficult to spot. Look near the bottom of the first several pages.

Your eyes are the best source. If period, the guide is over 130 years old. Does it look this old? Does it show indications of use? If it looks new, it is.

If a reprint, there will be a loss of crispness in the type. Fuzziness indicates a photographic reproduction.

If you still are unable to determine if your piece is period or a copy after applying the above, take your catalog to a sports memorabilia dealer or paper ephemera expert and ask them to examine it. Good luck.

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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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– MS, via e-mail

ANSWER: Mickey Rooney was born Joe Yule, Jr. on Sept. 23, 1920 in Brooklyn, NY. Vaudeville chorus girl Nellie Carter and comic Joe Yule, Sr., were his parents. After a failed trip to Hollywood to win a part in Hal Roach’s “Our Gang” series, Nellie and Joe Jr. returned to Hollywood in 1926. Joe Jr.’s big break came in 1927 when he was cast as Mickey “Himself” McGuire in a series based on a comic strip of the same name. After an unsuccessful attempt to change Joe Jr.’s name to Mickey McGuire (the comic’s creator disapproved) his mother settled on Mickey Rooney. MGM offered Rooney a contract. In 1937 he was cast as Andy Hardy in A Family Affair, which led to 13 more Andy Hardy movies. That year also marked Rooney’s first film appearance with Judy Garland. His movie career pinnacled from 1939 to 1941, the three years he was selected as the biggest male box-office draw.

TRIVA QUESTIONS: How many wives did Mickey Rooney have?

The Oct. 3, 1953, issue of >i>Box Office contains the following information in the Seattle listing: “Mickey Rooney ‘One Man Band’ clubs have been introduced in Seattle for the first time and are now being formed in all Sterling picture houses. These neighborhood clubs will enable band members to appear on stage and perform with their instruments on kiddies Saturday matinees.” The picture of Rooney on the washboard and the decorative lithography motifs on the clackers support an early to mid-1950s origin for your One Man Band toy.

Rooney served in the military from 1944 to 1945. His film career went into a tailspin after World War II. He worked in two radio series—Shorty Bell (summer of 1948) and The Hardy Family (1949-1950). Rooney had a short-lived TV show entitled The Mickey Rooney Show, also known as Hey Mulligan, that ran from August 1954 through June 1955.

I found nothing in Internet Mickey Rooney biographies that offer any insight into the one man band craze, a craze that most likely was over soon after it began.

When I read your initial e-mail with no pictures of the toy attached, I immediately thought of the boom-bah, also known as the boom-ba. The boom-bah, a Pennsylvania Dutch instrument best known in Berks and Lehigh County, is a percussion instrument consisting of a pogo stick with a spring at its base to which is attached a cowbell, cymbal, tambourine, horn, and sleigh bells. Variations are common. The instrument is beaten on the floor in time to music.

It is time to raise the all important “who cares” question. I am certain there are a few (emphasis on few) Mickey Rooney collectors. My suspicion is that everyone who desired a Mickey Rooney One Man Band already has an example in their collection.

Even though your toy is in fine or better condition and accompanied by the period box, its value is between $30 and $40. My heart wants me to tell you more, but my mind says keep the value low.

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QUESTION: I own a large pitcher and basin. One piece is marked with a logo that has “Bristol” in a banner on the top and “FORD CHINA COMPANY” in a banner on the bottom beneath which is “Ford City, PA.” The second piece has “Wyandote” instead of “Bristol” in the top banner. Both pieces have a blue floral design and gold scroll work. The pitcher has a hairline crack across the bottom. I am trying to decide whether to keep or sell it, as it has no reminiscent value in our family. Any information you can provide would be appreciated.

– SM, Canfield, OH, via e-mail

ANSWER: The borough of Ford City is located on the banks of the Allegheny River, about 40 miles northeast of Pittsburgh, in Armstrong County, Pa. Ford City is a company town, founded in 1887 by the Pittsburgh Plate Glass Company to support is No. 3 Works.

Captain John B. Ford and John Wick, Jr., of Wickboro (just north of Ford City) established Ford City Potteries in 1897/98. Cook and Company, Inc. purchased the plant sometime around 1904. In 1912 the Pennsylvania China Co. (Kittanning, Pa), a manufacturer of plain and decorated jardinières, ornamental vases, and tableware, acquired the plant. The plant changed hands again in 1918 when the Eljer Company (Cameron, WV), a manufacturer of sanitary ware, purchased it. Eljer expanded the line to include commercial, industrial, institutional, and residential installation fixtures. The Eljer Ford City plant closed in 2008 as part of the merger of Eljer with American Standard of Americas and Crane Plumbing to form American Standard Brands.

Bristol and Wyandote were patterns produced by the Ford China Company. Check the floral patterns on your two pieces. While they may appear identical, you should see some variation. If you do not find differences in the decoration, look at the design of the pieces. Some pottery plants used pattern names to differentiate shapes rather than decorative designs.

While the hairline crack in the bowl appears inconsequential, it is not to a collector. Any damage is the kiss of death in today’s secondary antiques and collectibles marketplace. The hairline crack means that your wash pitcher and bowl only has decorative value. The value for the set is between $45 and $55.

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QUESTION: In rummaging through some family treasures, I found a first edition of George Herman Ruth’s Babe Ruth’s Own Book of Baseball, published by G. P. Putnam’s Sons as a Knickerbockers Book in 1928. The book has its period dust jacket, albeit there is some damage at the top of the spine section. What is the value of my book?

– JL, Walnutport, PA

ANSWER: Babe Ruth’s Own Book of Baseball was published following his famous 60-home run season. In 1920 Babe hit 54 home runs, a record he broke in 1921 by hitting 59. A few seasons passed, and sports aficionados began to consider 59 an unreachable mark. The Sultan of Swat proved them wrong in 1928. He hit his 60 home runs in a 155-game season. The modern season is 162 games.

Three versions of Babe Ruth’s Own Book of Baseball were published. The first was a numbered edition of 1,000 deluxe copies signed by the Babe. Collectors and dealers suggest that not all 1,000 copies were bound and sold. The asking price for this edition in very good or better condition ranges from $1,000 to $1,400.

L. Burt, a publisher of inexpensive reprint editions, printed a 1928 edition of this work. The dust jacket matched that of the Putman edition. Currently, two copies of this edition with dust jacket are listed on abebooks.com, the first at $750 (very good plus condition) and the second at $950 (very fine copy).

Abebooks.com also lists a copy of the Putman edition in very good condition but no dust jacket at $450. This and the above suggests the presence of the dust jacket in very good or better condition adds a minimum of $200 to the value of the book.

All the books listed on abebooks.com have one thing in common. They have not sold. Since prices at this level tend to be negotiable, the final selling price is likely to be ten percent or more below the list price.

Think conservatively. If selling to a dealer, expect around $350. If sold at auction, your book should reach $500, albeit you will have to pay a commission to the auctioneer. A private buyer should pay between $500 and $600, providing you can find him.

You have a treasure. Market it wisely.

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READER’S RESPONSE: I often have written about the disparity between book and field prices. When the book price is derived from a “book price” found on an Internet site, I usually exercise extreme caution. In a recent column, I wrote about the history and value of a 1931, Gottlieb, nickel-operated, Baffle Ball pinball machine. Although the owner claimed it was in excellent condition, the photographs that accompanied the letter indicated that in was in very good to fine condition. An Internet price source listed the game at $2,975 in excellent condition and $2,232 in fair condition. I suggested a value of $2,500.

Al Fox, who reads “Rinker on Collectibles” in Farm and Dairy, sent me the following e-mail: “I just read your latest column . . . and saw your valuation of the 1931 Gottlieb Baffle Ball pinball machine. Either the value of Baffle Balls went through the roof in the last four years or I’m afraid you may have missed the mark. Recently Baffle Balls have been selling in the $300-to-$800 range at the Chicagoland Slot Machine Show as well as on eBay. In 2005 I bought a really nice one with original color anodized metal balls at Chicagoland for $475 and would love to find someone who would pay over $2,500 for it.”

I have a number of coin-op contacts and should have double checked the Internet value—proof once again that the best price guide information often comes from collectors in the field.

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TRIVIA QUESTION ANSWER: Mickey Rooney had eight wives—Ava Gardner (1942-1943), Betty Jane Rase (1944-1948); Martha Vickers (1949-1952); Elaine Devry (1952-1958); Carolyn Mitchell (1958-1966); Marge Lane (1966-1967); Carolyn Hockett (1969-1974); and, Jan Chamberlain (1978-present).

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

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

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

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@aol.com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2009

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1964 Chevrolet Impala sedan by Matchbox

Maxi Taxi (Ford Capri) by Matchbox

1979 Mercedes-Benz 450 SEL by Matchbox

1987 Ford LTD by Matchbox

The taxi cab is a common sight on the streets of any city. For small-scale die-cast collectors, the humble cab has been made available over the years in many forms. At any given time, most die-cast manufacturers have at least one cab in their regular line-up. The examples shown here are by no means all the cabs done in 1:64 scale. It is interesting to observe, however, how the vast majority of cabs have been painted in “taxi” yellow color scheme.

The most prolific producer of tiny taxi cabs has been Matchbox. The first cab shown is a 1964 Chevrolet Sedan, #20. Other than the “Taxi” decal on the hood and its color, this could be a regular street car. As far as I know, it was always offered in taxi form. The next Matchbox taxi is a joker in the deck. The “Maxi Taxi” of 1973 is one of the “Rolomatic” cars. When it is rolled across the floor or a table, the blown V8 engine moves up and down. The original casting is of the Ford Capri—certainly not a choice for taxi service—considering it’s a coupe. Oh well, it’s fun and could have made an interesting drag racer for an ex-taxi driver.

1987 Ford LTD ('TAXI') by Matchbox	Austin FX4R London Cab by Matchbox
Austin FX4R London Cab by Corgi	Mercedes-Benz 300 SE by Zylmez

The Mercedes Benz 450SEL #56 is an appropriate choice for a taxi as many European cabs are Mercedes sedans. This casting was offered in stock and police form as well. A newer taxi from Matchbox is the 1987 Ford LTD. It is shown in regular issue form and as one of the new “Star Car Collection,” representing the “Taxi” TV show that starred Judd Hirsch and Danny DeVito. Of course the LTD was never featured in the show, as al the cabs were Checkers. The last Matchbox is an Austin FX4R cab in London black. Originally offered in 1986, it has recently been re-released with the word ‘Taxi’ on the doors.

Corgi also offered an Austin FX4R London Cab as a Corgi Junior. The opening doors of the Matchbox make it the better casting of the two. A very early Zylmez, #D37, represents a Mercedes-Benz 300 SE in taxi form and may well be a Matchbox copy. The decal on the hood reads “United States Auto Club,” a rather curious choice for a Mercedes taxi. The crude wheels date this as an early offering from Zylmex.

1977 Dodge Coronet Custom by Tomica	1982 Chevrolet Malibu by Hot Wheels
Chevrolet Caprice by Maisto	Renault 18 by Majorette

Moving on, Tomica did a 1977 Dodge Coronet Custom, #F8 as a taxi. Hot Wheels produced a rather interesting taxi in 1982. The car is a Chevrolet Malibu sedan and was not offered in any other form or color. As a result, this is a rather rare casting and the only example of this particular Chevrolet. Maisto has recently offered a late 1990s Chevrolet Caprice as a taxi and police car. Majorette has offered several taxi models over the years. The Renault 18, #266 is un-marked except for the taxi light n the roof. The ’80s Chevrolet Impala taxi, #240 is also available in police and military form.

A newcomer to die-cast, Golden Wheel, has recently offered four car sets of taxi, police and fire vehicles. These are of excellent quality and include two cars that are seldom represented. The Checker cab should have been done long ago. This example is a delight and looks just right. It does not seem right however in police or fire guise. The early ’50s Chevrolet sedan is also a welcome addition and just as good. The modern Chevrolet Caprice cab is the third and equally well-done member of this set.

Chevrolet Caprice Classic by Majorette	Chevrolet Caprice by Golden Wheel
Checker Cab by Golden Wheel	1952 Chevrolet Sedan by Golden Wheel

—by Doug Breithaupt

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It seems he has recently been watching the Hanna-Barbera “Wacky Racers” cartoon from the 1970s, where a collection of wacky racers compete over a series of likewise wacky race courses. Dick Dastardly and Mutley, his dog, always try to cheat to win, and of course never do. Bentley’s recent purchase of a Hot Wheels “Hot Seat” car had inspired him to re-create the wacky races for himself.

Wacky racers are not new to die-cast. Almost entirely in 1:64 scale, these are hot rods with a twist. Usually, my collection focuses on realistic production or race cars, but over the years I have picked up an assortment of “custom” cars. These cars tend to fall into several categories:

• Traditional hot rods (like the ‘32 Ford ‘deuce’ coupes and Model ‘T’ high-boy roadsters);
• Futuristic custom cars (like turbine or nuclear powered cars with sleek body work);
• Cartoon cars (featuring cartoon characters at the wheel or cars from cartoons);
• Production customs (post-war cars with massive engines or wild body alterations), and;
• Wacky Racers.

My definition a Wacky Racer is a car that is almost (or totally) cartoonish in appearance but not from actual cartoons. Often Wacky Racers are planes, trains or even toilets, made into custom cars. Of course there is no perfect definition here; you know them when you see them. These are toy cars that make you smile. Some are models of actual creations by Barris or other customizers. Others came directly from the fevered brains of die-cast designers, most likely the results of a steady diet of sugar and caffeine. First and foremost, Wacky Racers are fun.

“Red Baron”

“Mini Ha Ha”

“Dog Fighter”

Nine Wacky Racers have been selected from my collection to illustrate the category. The first three have aviation aspirations or inspirations, as the case may be. The first is a true classic and one of the best known of all Hot Wheels, the “Red Baron” (1969). Not modeled after an actual car, the “Red Baron” was one of Hot Wheels’ biggest hits of the late 1960s, and later a full-sized version was created. Early editions had a spike on the helmet, but it was later removed for safety reasons. It was later released as a 25th anniversary model. Complete with twin machine guns and an iron cross on the radiator, this is one of the best wacky racers.

The second in this series comes from Matchbox. In the 1970s, Matchbox followed Hot Wheels’ lead with a wide variety of custom cars. Few qualify as Wacky Racers, but one stands out for me. The “Mini Ha Ha” (#14, 1975) is a wild custom of an actual car, the Austin Mini. At the same time, the cartoonish proportions, including the helmeted driver, and radial aero-engine are just wacky enough for me.

The third aero-car is a newer (comparatively) Hot Wheels release. The “Dog Fighter” (1996) is a wingless plane with four wheels, another radial aero-engine and propeller. The graphics are great, especially the most recent black and yellow version. The number of “kills” are represented on the side with tiny dog bones.

“Boothill Express"

“Vampire Van"

"Li'l Coffin"

The second set of Wacky Racers is also following a theme. The first two are from Johnny Lightning, part of the “ ’Frightning Lightning” series of 1996. My favorite is the “Boothill Express.” This George Barris custom is exceptionally well done in small-scale. This hearse is a hoot. The V8 has what must be the tallest velocity stacks of all time and the eight exhaust pipes are clearly detailed. With real rubber tires and mag wheels, this is a great Wacky Racer.

The second car, from the same “ ’Frighting Lightning” series, is the “Vampire Van.” Complete with a casket in the back, Dracula would be the darling of the drag races in this delectable die-cast.

The third of these gruesome go-carts is a 1994 offering from Hot Wheels. “Li’l Coffin” features a wheeled pinebox, complete with skull headlights and a bat on the nose. The usual V8 hot rod engine appears to have a blower attached ahead of the radiator. This car would not only let you go in style but it would also get you to the pearly gates in record time.

“Paddy Wagon”

“Radio Flyer”

“Hot Seat”

The last set is a mix of favorites. The companion to Hot Wheels “Red Baron” was the “Paddy Wagon” (1969). This dual-carbed V8 could make even the Keystone cops look good. Based on another real custom, this is the ultimate police cruiser.

Just as much fun is Hot Wheels’ “Radio Flyer” from 1998. This little red wagon could be a real paper route power house. I love the steering handle, complete with instrumentation. It makes you want a real one.

Last is the latest from Hot Wheels, the un-disputed king of Wacky Racers. The “Hot Seat” is everything a Wacky Racer should be. This seat-of-ease is perfect with a plunger steering wheel that moves when you lift the seat, twin TP rolls for quicker pit stops and a hole in the bowl, just like at home. Of course it’s rear-engined, with a motorcycle motor in the tank.

So who would you put your money on in this Wacky Race? Perhaps you have a favorite Wacky Racer from your collection, if so let me know. As a side-note, Johnny Lightning has done two of the actually Wacky Racers from the cartoon (Dick Dastersly’s and Penelope Pit Stop’s racers), but as they are actual cartoon cars, they fall in the other category. With the recent new offerings from Hot Wheels, it appears that Wacky Racers are going to delight a lot more 4-year-olds, and a few of their parents, too.

— by Doug Breithaupt

Two watch an episode of Wacky Racers, here is “Whizzin’ to Washington” Parts One and Two.

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QUESTION: I have five lead figures that my mother acquired from her grandfather when living in Macedonia around 1950. Her grandfather was born before 1890s, so the figures have to be quite old. Four figures appear to be English soldiers and one a princess dressed in a dress. Some are three-dimensional and others are flat. All are marked “Scholtz” on one side of the base with a number and letters on the other side, e.g., one is marked “sm643”. They are all in nearly perfect condition. What information can you provide about the figures and their value?

–AB, Livonia, MI, via e-mail

ANSWER: Berliner Zinnfiguren manufactured your figures. Werner Scholtz (1904-1976) founded the company in 1934—“Werner Scholtz, Fachgeschäft für Historishe Zinnsoldaten (historical tin soldiers)”— and his first shop, was located in Berlin-Charlottenburg. In 1937 the company relocated to Potsdamer Platz in Berlin and was renamed “Werner Scholtz, Herstellung Historischer Zinnfiguren (manufacturer of historical figures).” Bombs destroyed the shop in 1944 and again in 1945. The company was re-established in 1950. In 1968 it moved to its present location in Knesebeckstrasse in Berlin-Charlottenburg. When Werner Scholtz died in 1976, his son Hans-Günther Scholtz assumed control.

The Berliner Zinnfiguren web site notes: “We have designed, developed and produced approximately 1,000 different series of tin figures with themes ranging from prehistoric times to the present.” The firm also sells books dealing with military and social history.

I e-mailed the company and learned that “sm643” is still in production and lists as “Prussian Soldier, 1750.” Contact the company to identify your other figures.

I did not find a strong secondary American market for Scholtz flat or three-dimensional figures. The three-dimensional figures are worth more than the flats. My best guess is your flats are worth between $2 and $4 each, and the three-dimensional figures between $5 and $7 each.

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QUESTION: While out garage sailing, I came across a metal helmet. The owner said he received it from an uncle who was in World War II. I always am skeptical about family stories. The helmet has good patina, and the wear appears right. If it is a reproduction, it is a very good one. At $45 I took a chance. I did an Internet search on Google and found www.toppots.net, a site devoted to the M1 helmet, which is what I believe I have. The site contained an extensive authentication checklist with pictures. The helmet came through with flying colors. It appears to date between 1941 and 1943 and has its liner, interior webbing, and netting. What is its value?

– IA, Toronto, Canada, via e-mail

ANSWER: Question all stories, whether provided by a family member or dealer, when buying an antique or collectible. Make the object prove to you that it is right.

The M1 helmet replaced the M1917A1 Steel helmet in 1942. Two million U.S. M-1 helmets were made during World War II, and another million were made between 1966 and 1967 for the Vietnam War. The M1 helmet was phased out in the 1980s in favor of the PASGT helmet.

The M1 helmet was a one-size-fits-all helmet. It consisted of two parts: (1) the pot or outer steel shell and (2) the liner containing the suspension system that could be adjusted to fit the soldier’s head.

Since you found your helmet in Canada, I decided to research the use of the helmet by the Canadian Armed Services. The Canadian Armed Services did not use the American M1 helmet during World War II. However, it was used by the Canadian Army from 1960 to 1997. Are you certain you have the earlier World War II model?

M1 helmets are readily available. World War II examples command a higher price than those from post-World War II and the Vietnam War. Restoration is common, especially among re-enactors.

John Graf, whose blog appears on www.militarytrader.com, earlier this year identified 14 hot militaria collecting trends, one of which was U.S. WWI and WWII painted helmets: “During WWI, steel helmets were issued without any sort of insignia. However, soldiers with too much time—and a bit of paint—created their decorations, often copying the camouflage patterns they saw on German steel helmets. By World War II, helmets were still issued without insignia, however many units specified painting instructions that troops followed. Painted helmets from either war are prime collectibles but again, exercise caution—the prices these helmets fetch provide incentive to unscrupulous modern-day painters.” While your helmet does not have a unit or other painted decoration, I wanted readers to be aware of this added value consideration. As more and more WWII veterans are dying, their gear is finding its way into the auction, flea market, and garage sale venues.

You spent your $45 wisely. The secondary market retail value of your helmet as it stands is between $175 and $225.

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QUESTION: My basement contains many collector items that are gathering dust. One in particular appears to be a World War I naval semaphore light. A round cylinder with a reflector in the back is attached to a u-shaped cradle that attaches to a rod with a box. When the lid of the box is lifted, there is a signal key. The device contains a metal plate that reads: MANUFACTURED BY / THE/ NATIONAL X-RAY REFLECTOR CO. / CHICAGO, U.S.A. / TYPE B / No. 4533 / CONTRACT NO. E.F.C. / REQ’PD 3995-E/ DATE AUG. 8, 1918. What is it worth?

– DH, Vera Cruz, PA, via e-mail

ANSWER: Augustus Darwin Curtis, born in Hawley, Pa., on October 14, 1865, moved to Chicago in 1900 and shortly thereafter established the Curtis-Leger Fixture Company for which he served as president and treasurer and the National X-Ray Reflector Company for which he served as president.. Arthur J. Morgan was the secretary for both companies. A July 5, 1912, obituary noted: “Mr. Morgan was known in electrical circles through his work during the past four years in connection with commercial and technical development of indirect lighting and show-window lighting.”

The National X-Ray Reflector Company became famous for the development of a style of light reflector that promised to create less tired eyes by reducing glare. By 1916 National X-Ray reflectors were touted as producing the highest type of illumination possible. The company provided reflective lighting for a wide variety of lighting uses including banks, buildings (interior and exterior), hospitals, movie theaters, offices, schools, stages, etc.

National X-Ray Reflector Company advertised extensively in “National Geographic.” The advertisement in the July 1915 issue notes: “The efficiency of clerks, stenographers, and other employees is increased by Eye Comfort Lighting, which greatly reduces the tendency to headache and nervousness due to improper lighting.”

National X-Ray Reflector Company must have received a government contract during World War I to manufacture a ship semaphore. Your semaphore has more curiosity than collector value, albeit it certainly is a conversation piece.

Judging from the photographs that accompanied your e-mail, it has been repainted several times and is missing the front cover. As it stands, its value is between $30 and $40.

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QUESTION: I own some early issues of “Family Circle” dating form 1934, 1938, 1939, 1943 and the 1950s and 60s. I bought them because the company for which I worked advertised in them. Several early issues feature covers with images of Robert Montgomery (1934), Carole Lombard (1938), Maureen O’Sullivan (1938), Douglas Fairbanks, Jr. (1939), Margaret Lockwood (1939), Katharine Cornell (1943) and Mickey Rooney (1943). Do they have any value?

– GE, Ephrata, PA, via e-mail

ANSWER: “Family Circle” magazine began as a store-distributed magazine by Piggly Wiggly in 1932 and remained so until 1946. Eventually, it expanded its circulation to the checkout counter areas in other grocery stores. Cowles Magazines and Broadcasting bought “Family Circle” in 1962, selling it to The New York Times Company in 1972. The New York Times Company sold its woman’s magazine division to Gruner + Jarh in 1994, who sold “Family Circle” to Meredith Corporation in 2005. The magazine is now one of the famous “seven sisters” at Meredith, the others being “Better Homes and Gardens,” “Good Housekeeping,” “Ladies’ Home Journal,” “McCall’s,” “Redbook” and “Woman’s Day.”

Value for old copies rests with the cover art and full page, color advertising. Most copies sell in the fifty-cent to one-dollar range. The Carole Lombard cover is worth around $10 and the Mickey Rooney cover around $5. Demand for the other actors’ and actresses’ magazine covers is minimal. Few under the age of 50 know who Katharine Cornell and Margaret Lockwood were.

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

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

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

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@aol.com. Only e-mails containing a full name and mailing address will be considered. Please indicate that these are questions for WorthPoint.

Copyright © Rinker Enterprises, Inc. 2009

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Clairmaid Parian, circa 1966, my personal collection

Kling Parian, circa 1870, my personal collection

During my years of collecting I have come to think that most doll collectors can be divided into one of two types. Collectors who I would classify as belonging to Type One love their dolls but tend to look at them as either an artistic or financial investment. Some Type Ones strive for perfection in their collections and tend to focus on its purity, while others focus on the monetary value. They patiently build collections that inspire awe for the pristine dolls that they have acquired.

The other type, Type Two collectors, also love their dolls and, while they hope their dolls will increase in value, they tend to look appreciate the pure enjoyment they derive from them as opposed to their monetary value. A well-worn or well-loved doll, especially if there is a sentimental association, may well be viewed as the highlight of their collection. Many collectors that I have talked with explain this affection for a well-worn doll with expressions such as “I look at them and wonder what long-ago child held and played with this doll” or “Just think how many little hands have held and loved this doll.” I, too, have had these thoughts as I look at my dolls. While it seems that these two ideologies are very different, and may appear to be separated by a wide divide, the love of dolls is a thread that unites all doll collectors.

Like all self-proclaimed doll addicts, I have dolls that I aspire to own but I am forced to live with the realization that, in all likelihood, they will remain mine only in dreams. In my seemingly endless search for my next acquisition, I admit that I have found a few reproductions so well done, that they could easily fulfill the “dream doll” I crave, as well as enhance my collection. If, at some point, a collector happens to locate a well-done reproduction of a dream doll, at an affordable price, she can save a great deal of money while satisfying their dolly craving. Twentieth-century American doll maker Emma Clear is well-known not only for her Humpty Dumpty Doll Hospital, but also for producing excellent reproduction Parian and China Head dolls. Her dolls are desirable among collectors and can easily fetch several hundred dollars, as they are very eye-pleasing, and extremely well made. One of her employees, Neva Wade, who signed her dolls Clairmaid, also produced some wonderful reproduction dolls in the 1950’s and 1960’s. Emma Clear and Clarmaid dolls are marked on the shoulder plate with their last name and either a two- or four-digit number to identify the year the doll was made.

Emma Clear Signature, 1939

Clairmaid Signature, 1966

During the 1950s through the 1970s, many china-head dolls were made by home crafters using kits or at local ceramic shops. I admit that I made a few figurines during the late 1970’s and still have them; there was a wide variety of doll heads and limbs available but I never dabbled in those. Generally, the paintings on these are of a poor quality, and frequently there is a very fine crazing on the surface glaze, which is not seen in antique china-head dolls. Therefore their value is very low. These types of dolls are frequently seen for sale on eBay or at local sales, mislabeled as antique china-heads by those who are not knowledgeable of dolls.

China Head kit, circa 1970

Antique Lowbrow, circa 1890

Crafter Doll, circa 1960

It is my personal belief that collectors should always add the best example of a doll that their budget will allow at the time. The purchase of any doll—be it antique or reproduction—should always be well thought out. This ensures that your purchase will likely hold its value and can be resold if your circumstances change allowing you to upgrade to a finer example at a later time. Collecting should always bring enjoyment, and we should only collect that which speaks to us, regardless of its age.Which type of doll collector do you believe I am? What kind of doll collector are you?

Letha Berry is a Worthologist who specializes in dolls and accessories

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When determining the value of a doll, several factors must be considered. These include the doll’s rarity, its overall quality and condition. The quality of dolls can vary greatly, even among the same manufacturer. Collectors prefer dolls made of pale bisque with finely painted faces, featuring multi stroked eyebrows and individual upper and lower eyelashes. Another desirable feature of antique dolls is closed mouths, as fewer of these were manufactured, thus making them rarer. Finally, for most collectors, condition is everything. A doll in excellent condition means that there is no restoration or damage to the doll in such areas as hairlines, chips or cracks, that they have original or appropriate wigs (no synthetics) and they are wearing original or appropriate era clothing. Any damage can have a negative affect on the value of a doll—as much as 75 percent—depending on the type and area where the damage is located. When purchasing a doll, it is always best to deal with a reputable doll dealer, as they will disclose any damage and price their dolls accordingly.

Baby Aero – Noel Barrett Antiques & Auctions Ltd. (used with permission)

Bye Lo Baby

The value of the majority of bisque-head dolls falls into the few-hundreds-dollar range. An example would be Grace Putman’s highly popular Bye Lo Baby, which was know as “The Million Dollar Baby,” and remains a favorite among doll collectors. When they were first manufactured in 1922, they were the first dolls produced that portrayed a realistic three-day-old infant. These highly collectible dolls originally sold from 50 cents to $25, depending on size and features. The heads of these dolls were manufactured by many different makers in a wide variety of materials, including bisque, composition, wax, wood and vinyl. Facial features can be all painted or have glass eyes; rarer examples of Bye Lo Baby include a Schoenhut model with a wooden head, models with a wax head, and the 11-inch bisque head “Baby Aero,” model # 1418.

The bodies of Bye Lo Babies are cloth and have been called froglike, due to the appearance of their curved legs. They have been manufactured in many sizes ranging from the small (4 to 5 inches) to the larger dolls of 20-plus inches. Due to their popularity, one might think that these dolls would sell for a premium. But since large numbers were manufactured, they are easily found for sale on the doll market, which negatively impacts their value. Book values range from $200 to $800 for the more common examples, depending on their size and condition. The more rare wooden-head dolls command a much higher price, with book values ranging from $1,700 to $2,200. It might be surprising to find that the 11-inch “Baby Aero” will bring prices of $2,800 to $3,200. As always a cautionary note on the price listed: book values reflect what a collector might expect to pay a dealer for a doll in excellent original condition.

Many of the German bisque-head dolls, though beautiful, are worth a fraction of what similar sized French bisque dolls will command. This is due in part to the large numbers of bisque dolls produced in Germany. The Armand Marseille (AM) doll company, located in Koppelsdorf, was one of the most prolific of the German firms. I have read that during the peak of their production they were making over 1,000 doll heads per day. AM produced mainly bisque-head dolls from 1885 until approximately 1930, and also produced doll heads for many other firms for use on other doll bodies.

My Dream Baby from my personal collection.

AM mold numbers 370 and 390 are probably the most common found on the market; many collectors will tell you that the first antique doll they purchased was one of these molds. This firm produced many baby dolls, including “My Dream Baby,” which quite possibly is their most famous doll. Realized prices at auction on these dolls are in the $80 to $100 range. Other baby dolls made by the AM firm include: Baby Phyllis, Dickie, Kiddiejoy, Baby Betty and Baby Ellen. Due to the large number of AM dolls produced, and which still available on the secondary market, they are among the most affordable of all German bisque-head dolls. There are exceptions, of course; AM dolls such as their Googlies, Just Me and Lady Dolls can command prices into the thousands of dollars depending on size, quality and in excellent condition.

20th century Dolls

Beginning in the early part of the 20th century, consumers were looking for more realistic facial features in the dolls they purchased. This gave rise to the German character face dolls, which are highly desirable among today’s doll collectors. The faces of character dolls show a realism and a depth of expression which is lacking in the dolly faced dolls. The German firms of Kammer & Reinhardt (K*R) and Kestner and Heubach produced some wonderful high quality character dolls.

K & R Marie, Mold 101. Sheldon and Sophia Gajarian (used with permission)

Kammer & Reinhardt of Waltershausen, Thuringia, Germany, founded its doll factory in 1886 and designed many lovely doll heads, but the company did not own a porcelain factory so it lacked the means to produce them. So many of K*R heads found on dolls were actually produced by the Simon & Halbig firm and may bear both firms markings on their heads. K*R is probably best know for its character children and baby dolls. Most character dolls have painted eyes, although some examples can be found featuring glass eyes. One example of a very desirable child character doll is the K*R mold number 101, dating circa 1909. Mold number 101 was used on both the Marie and Peter character children dolls made by K*R, and they are considered to be brother and sister dolls. It is interesting to note that mold 101 can be found in a rare mulatto doll, as well. These wonderful dolls are usually found with painted brown or blue eyes that have a downward look, one-stroke tapered brows, a closed mouth with full, pouty, coral-colored lips on a fully jointed composition body. The 19- to 20-inch example, if found in excellent condition and with painted eyes, has a value of $4,500 to $5,000. Much rarer is the glass-eyed example which has a book value of $12,500.

While not enough to retire on, owning a few of these dolls would provide a tidy sum to add to that retirement account.

Letha Berry is a Worthologist who specializes in dolls.

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But collectors can take heart. With more cards, candy tins and cuddly teddy bears on the marketplace than you can shake a cupid’s arrow at, Valentine’s Day keepsakes are a surefire source of the warm and fuzzies. And at generally reasonable prices, they’re a good investment, too.

The holiday as we celebrate it today is a whole lot sweeter than its pagan origins. Valentine’s Day is believed to be a Christianized offshoot of Lupercalia, a fertility festival celebrated on Feb. 15 in ancient Rome. Modern lovers can thank Pope Gelasius for recognizing that the pagan traditions of Lupercalia—frenzied boys slapping womenfolk with strips of goat hide soaked in sacrificial blood, for instance, and a crude lottery system that allowed randy bachelors to literally pull the names of their mates out of a communal urn—were not only un-Christian but downright un-romantic, as well.

Lupercalia out, St. Valentine in

Around 498 A.D., the pope gave a thumb’s down to Lupercalia and decreed Feb. 14 would be celebrated as a Christian feast day in honor of St. Valentine—but which one? Historians disagree because there were no less than three third-century Christian saints named Valentine or Valentinus. Supposedly, they were all martyred on the same date—Feb. 14.

Tales of these mystery-enshrouded religious figures’ heroism and propensity for romance gave rise to numerous legends. One of the most popular has a lovelorn priest named Valentine, confined to jail and awaiting his death sentence, writing a letter to his beloved and signing it “From Your Valentine,” a catchy sentiment that would live forevermore.

Over the centuries, Valentine’s Day evolved into a day specifically set aside for lovers. A pivotal event occurred in 1414 when Charles, the Duke of Orleans, a prisoner of war in the Tower of London, penned a love poem to his wife on—you guessed it—Feb. 14. That heartfelt note, still in existence, is considered the earliest known valentine.

Antique Valentine's card

For more information about this beautiful card, visit GoAntiques.

By the late 1700s, Britishers’ fondness for exchanging small tokens of love on Valentine’s Day, including handwritten notes and homemade cards bedecked with lace, satin and ribbon, gave way to commercially printed, ready-made cards featuring poeticized sentiments.

1909 Ullman card

If you would like this lovely card for your loved one, go to GoAntiques.

In America, entrepreneur Esther A. Howland became known as “The Mother of the Valentine” in the 1840s for her pioneering card designs marrying elaborate floral and lace decorations with such enduring sentimental motifs as bleeding hearts, turtledoves, cupids and lovers’ knots. Today, Americans send about a billion valentine cards every year, second only to Christmas, which boasts a 2.6 billion-card volume annually.

The 20th century saw the advent of more whimsical and humorous valentine cards, particularly in America, where schoolchildren adopted the tradition of Valentine’s Day parties, often built around crepe paper-decorated valentine boxes for collecting store-bought cards from classmates.

Small boy in uniform

Find out more about this blushing cutie on GoAntiques.

For decades, children’s valentines, commonly sold in classroom-sized packs, have typically featured lovesick cartoon animals and cherubic kids delivering pun-filled declarations of puppy love. Highly sought after among collectors, mechanical valentines dating from the 1930s-1950s are among the most charming valentine ephemera.

Mechanical bunny

More about this adorable honey can be found on GoAntiques.

The aphrodisiac properties of chocolate have been appreciated for centuries, but it wasn’t until the 1860s that British chocolatier Richard Cadbury had the genius idea of putting the food of love—or maybe just lust—in a heart-shaped box. Victorian swains on both sides of the pond found it a dandy way to woo their valentines, and a courtly tradition was born. Today, Americans purchase some 38 million heart-shaped boxes of candy every Valentine’s Day.

Fairbrook candy tin

This beautiful collectible is being offered on GoAntiques.

Heart-shaped valentine tins dating from the early to mid 1900s are highly collectible, particularly those from legendary brands like Hershey, Whitman and Fanny Farmer. On the contemporary front, collectors get all shook up over Russell Stover’s long-running line of Elvis Presley valentine tins.

Elvis Presley tins

If the King of Rock ’N’ Roll rules your heart, you might covet these Elvis tins.

In recent years, Valentine’s Day teddy bears have gained in popularity as both collectibles and alternative romantic gifts. Vintage teddies by Ideal and Knickerbocker command premium prices in exceptional condition. With dozens of Valentine’s Day editions available, Ty’s Beanie Baby Bears and American Greetings’ Care Bears offer collectors unending possibilities to express their ursine ardor.

1940s teddy bear

Isenberg teddy bear

If you’d like to cuddle this 1940s bear, visit GoAntiques. Or what about this charmer designed by Barbara Isenberg? It, too, can be found on GoAntiques.

KISS-e Ty Beanie Baby

Tenderheart Care Bear

Pucker up to this Beanie Baby on GoAntiques. Does this Care Bear melt your heart? Check it out on GoAntiques.

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So what makes that copy of the Avalon Hill “Dune” board game that turned up at an estate sale or the local charity thrift more valuable than a pile of “Star Wars” and “Star Trek” board games from the 1970s?

Dune

There are a number of factors involved in what makes a hobby board game valuable. Being able to identify a worthwhile, desirable board game can empower the dealer to price such an item more appropriately while enabling the buyer to determine if a price is fair or not.

Because most aftermarket hobby-board games are bought to be used as practical, playable items, a few key factors serve to determine value—I call them the “Five Cs” of evaluating a hobby board game’s worth.

• Criticism—Hobbyists are very aware of critical opinion and assessment of hobby games, and certain titles that have a longstanding reputation for quality or design significance, such as “Cosmic Encounter,” “We the People” and “Up Front,” command higher prices than poorly regarded or rarely played titles.

Cosmic Encounter

A simple Internet search for reviews of a particular title will likely provide a good idea if a game is in demand among hobbyists. Most laymen outside of the hobby may be unaware that critical evaluation of board games even exists. Nonetheless, it absolutely behooves appraiser and buyer to understand that games, as an authored medium, command critical attention from those within the hobby community. Simply put—good games are worth more money.

• Commonness—If the game is long out of print, then value naturally increases. Because of the age of many hobby games and the fact that many smaller publishers and boutique manufacturers produced relatively small print runs, some games are extremely rare. Further, if the game was never available domestically, it could carry an even higher value. If the game is seldom seen in online auctions, then it will also tend toward a higher price due to a lack of supply. Exceptionally rare games, such as 3M’s “Jati” or Ludoliere’s “Full Metal Planete,” can command prices upward of $300 based on their extreme rarity alone.

Jati

• Completeness—Most hobbyists will purchase a game with intent to play it, so making sure that every piece is present is essential. That being said, some incomplete but component-dense games, such as Milton Bradley’s early 1990s game “Heroquest,” will often be bought below assumed market value as a “parts set” to complete another incomplete game. Most hobby games will include a manifest of components in their rulebooks with which a prospective buyer or seller can audit its contents and identify any missing components. Component lists and photographs are also widely available on the Internet for most hobby games.

• Condition—Box condition is significant, and since games are principally paper and cardboard, many of the barometers of condition for those materials apply. Cards can be damaged, boards split at the creases and plastic figures broken. Moldy, stained or torn games tend to be valued lower but may still be quite desirable. With the advent of PDF scans and downloadable content, some hobbyists will accept less-than-perfect copies if they can find adequate replacements for damaged components online.

• Currency—Popularity of certain games rises and falls in the hobbyist community. There are a number of factors that drive a game’s relative currency. For example, if at a large game convention, there is widespread play of a game such as “Dune,” then prices at online auctions may spike while availability declines as copies are snatched up by interested parties. Likewise, if a game is the topic of current discussion or debate at one of the online community forums, the value can increase or even decline.

Older game reissues affect value of originals

Currently available or scheduled reprints and reissues of older games also directly affect value as modern publishers have discovered that making older games available again can be quite profitable—but not for those selling the original editions on the secondary market. When Valley Games reissued the highly regarded “Hannibal: Rome Versus Carthage” in 2007, average online prices for the original Avalon Hill edition plummeted from $200 or more down to less than the retail price of the latest edition—$60.

There is a lot of hidden value to be found in the hobby-gaming market. Tapping into it does require a little more research and awareness than typical when valuing an old TV-show board game or an early edition of a popular favorite. It falls on sellers and buyers to become more educated and aware of how this particular niche stands apart from mass-market board games in order to tap into it.

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