– CDZ, West Hartford, CT, via e-mail

ANSWER: I did a Google search and found information about Venus Paradise coloring sets. Try “Venus Paradise color by number sets.”

Venus Paradise coloring sets were a pencil version of paint by number. Caitlin posted “Paint by Number & Venus Paradise” on Feb. 3, 2009 on the Web site Jiffy Pop Culture. The article notes:

“Another memorable art set from the 1960s was the Venus Paradise Coloring Set. Although these were market[ed] mostly for children, these sets utilized colored pencils and it was easy to learn various colored pencil techniques. The outline artwork was numbered and the colored pencils needed for the illustration were included in the set. These were vibrantly colored, rich media pencils, that would be considered a cross between the hard Berol pencils and the softer Prismacolor pencils, although Venus Paradise colored pencils were hard enough to sharpen to a sharp point without crumbling….”

Subject matter covered a wide range of images—American Indian scenes, animals, landscapes, outer space and scuba diving. The initial cost was $1 per set. The unit price rose slowly over time. Venus Paradise was still in business in 1996. An Internet seller is offering a 1996 Gumby and Pokey Venus Paradise coloring set for $14.95 plus shipping. An eBay seller has a 1982 Smurf set listed at a “best offer” price of $35.

There are several reasons you are not finding sets available. First, the market is small. Once a person has bought an example, he/she leaves the market. You are planning to do this. Second, there is no collectors’ market. The paint by number set collecting craze has passed. Third, when discovered, their low secondary market value encourages finders to discard them. Venus Paradise coloring sets cannot pass the “who cares” test.

Venus Paradise coloring sets that are offered for sale have crossover value. They appeal to the specialized theme collector more than the paint by number collector.

Persistence counts. Keep watching eBay. In a month or two, you will find an example with a theme that pleases you at a price you are willing to pay.

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QUESTION: I have a collection of “Down Beat” magazines that date between 1943 and 1945. They are in good to very good condition. Covers include black and white photographs of Cab Calloway, Benny Goodman, Glenn Miller and Dinah Shore. I also have a few issues of “Band Leader” from that same time period, one of which features a color head and shoulder portrait of Glenn Miller. What are they worth?

– MB, Bethlehem, PA

ANSWER: “Down Beat” is alive and well. It started life with a jazz focus and then shifted its coverage to swing, followed by “bop, pop, rock, freedom, fusion and nineties neoclassicism, all from the perspective of the musician.” – downbeat.com.

Albert J. Lipschultz, an insurance salesman by trade, launched “Down Beat” in July 1934. The initial eight-page issue cost 10 cents. The company was headquartered on the eighth floor of the Woods Theater building on the corner of Clark and Dearborn in Chicago. Lipschultz sold his interest to Glenn Burrs in November 1934 when James C. Petrillo, president of Local 10 of the American Federation of Musicians, told Lipschultz he could sell either insurance or magazines to his union members but not both.

“About Down Beat: A History As Rich As Jazz Itself” on downbeat.com notes: “Down Beat covers were a mixture of celebrated musicians and anonymous models. Photos of sexy models in bathing suits and tight sweaters and aspiring starlets adorned every second or third cover…When a top bandleader was featured, it was often at the cost of considerable personal dignity…With rare exceptions, a picture on Down Beat’s cover had absolutely nothing to do with anything inside the magazine, save for a brief identifying caption in a small inside box. From July 1936 through 1952 Down Beat published about 375 covers, and fewer than 145 featured any important jazz figures. Woody Herman holds the cover record in those years with 11. Jimmy Dorsey and Duke Ellington are tied at second with 10 each…

Initially published monthly, it went to a twice a month (first and fifteen) schedule in 1939. In January 1946 the magazine went bi-weekly. It returned to a monthly magazine in April 1979.

The Down Beat Web site contains a detailed history of the magazine. My attempt to find a history of “Band Leader” met with failure.

The secondary market retail value of your “Down Beat” magazines varies from $3 to $4 for issues with swimsuit model covers to $15 to $20 for issues with Hall of Fame musician covers. Most will be collected for their cover illustration, even though there is little to no follow-up inside. An inside article, especially a photo spread of a well-known band, can impact value. Although not as well known as “Down Beat,” 1940s “Band Leader” covers featured cover art of leading swing band leaders and singers. Values range from $10 to $20 per issue. Add a 25-percent premium to both when a cover features a black artist.

“Down Beat” and “Band Leader” magazines appear regularly for sale on eBay and other Internet auction sites. They also can be found at paper advertising, book, and ephemera shows.

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QUESTION: I recently acquired an original signed watercolor by Milton C. Weiler titled “Up the Inlet.” It is triple matted and framed. The inside measurements, mat edge to mat edge, are 16 inches by 9 inches. The back is covered in plain brown paper with a calling card in a clear pocket that reads: “The Sportsman’s Gallery / Of Art and Books, Inc. / 7 East 55th St. / New York, 22, New York.” What is it worth?

– MP, Bethlehem, PA

ANSWER: Milton C. Weiler (1910-1974) is a famous sporting artist. His studio was located in Garden City, Long Island. His friends included Paul Brown and Lynn Bogue Hunt, other famous sporting artists. Weiler, along with his sons Bud and Dale, had a lifelong interest in fly fishing, wing shooting and outdoor activities.

Weiler’s work is collected and appears for sale at auctions and galleries on a regular basis. I found two copies of “Up the Inlet” offered for sale, one at $2,000 and a second at best offer above $3,000. Auction estimates for comparable works are between $2,000 and $3,000.

However, as is often the case these days, auction listings either failed to sell or realized less than the low estimate. The secondary market retail value for your watercolor is between $650 and $750, and a tough sell even at these prices.

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QUESTION: Many years ago I purchased a National Cash Register brass cash register made for Pepsi Cola. I contacted National Cash Register trying to find out more information about it. When I gave them the serial number, they informed me that they had no records of the machine. When you lift up the breast plate, there are number dials that track the number of gallons sold as well as the moneys spent. There are two separate cash drawers. While the outside of the cash register looks new or fully restored, the inside of the drawers and the mechanism show signs of heavy use. What is the value of my cash register?

– LS, Bethlehem, PA

ANSWER: The antiques and collectibles business is not always a good news business. This is one of those times. Your cash register is a fantasy piece, an example that did not exist historically. Technically, it is a fake, deliberately made to deceive. It was sold initially for what it was, a fact that became lost as it passed through the hands of subsequent sellers.

I called Allan Petretti (Nostalgia Publication, PO Box 4175, River Edge, NJ 07661; nostpubl@aol.com), a good friend and author of prices guides to Coca-Cola and soda pop collectibles. Allan informed me that a gentleman in Chicago in the period between 1979 and 1983-84 had phony cash register front (breast) and top plates made for Coca-Cola and Pepsi. He purchased period cash registers and replaced the existing front and top plates with his fantasy plates.

Time is the enemy when identifying reproductions (exact copies), copycats (stylistic copies), fantasies and fakes. When these items first enter the market, word spreads among auctioneers, collectors, dealers and others. Since there are no reproduction-fake databanks, time slowly irradiates the information. Thirty years have passed. Individuals 50 or younger are probably unaware that these items are not correct.

The good news is that the balance of the cash register’s body and the interior mechanism are period. Hence, your cash register’s value is based on what a similar National Cash Register brass cash register from the same time would realize, in this instance between $300 and $350.

You now face an ethical dilemma. If you offer your fake Pepsi cash register for sale on eBay or in another venue and do not provide its history, an unsuspecting buyer will assume it is a period piece and may pay an inflated price. I am certain you paid far more than $350. Consider the price difference as tuition, part of the cost of learning the antiques and collectibles business. Sell your mistake honestly. Do not send it back into the trade so it becomes the next owner’s problem.

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

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

“Sell, Keep Or Toss? How To Downsize A Home, Settle An Estate, And Appraise Personal Property” (House of Collectibles, an imprint of the Random House Information Group), Harry’s latest book, is available at your favorite bookstore and via Harry’s Web site.

Harry L. Rinker welcomes questions from readers about collectibles, those mass-produced items from the 20th century. Selected letters will be answered on this site. Harry cannot provide personal answers. Photos and other material submitted cannot be returned. Send your questions to: Rinker on Collectibles, 5093 Vera Cruz Road, Emmaus, PA 18049. You also can e-mail your questions to harrylrinker@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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Some molds can be toxic, so it is important to wear the appropriate protection, including gloves and a proper respirator or dust mask.

The rash of devastating hurricanes in the southeast United States over the last few years has created a potentially dangerous situation for collectors and institutions now salvaging mold and mildew covered artwork and antique items from flood-affected areas. Mold should be treated very carefully.

Your first priority should be to protect yourself against any health and safety issues associated with exposures to dangerous mold. There are different types of mold. Some pose little or no hazards to humans while others can be toxic. The dangerous molds such as Stachybotrys or Chaetomium can cause serious illnesses. I would suggest that any visible mold should be considered a danger that requires immediate attention and safe handling.

Stachybotrys is a greenish black mold that grows on material with a high cellulose content, including building materials such as wood, drywall, wallpaper, insulation backing, cardboard boxes and fiberboard. This mold requires very wet and humid conditions for days or weeks in order to grow.

Chaetomium is a common fungal species that is frequently found on deteriorating wood products and often emits a stale, musty odor. Chaetomium colonies are fast growing and start off white in color. As they mature the colonies become gray to olive-green in color.

In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper filtration system is recommended.

Mold removal and treatment should usually be performed by trained mold remediation professionals. When inspecting or retrieving salvageable possessions from a flooded building it is important to wear the proper personal protective equipment. Use a respirator/dust mask that has a NIOSH rating of N-95 or higher. The mask must fit and be worn properly. Wear disposable latex gloves and coveralls, as well as goggles for eye protection. Limit the time spent in areas where mold levels are high to 15 minute intervals.

Under no circumstances should chlorine bleach be used to clean the surface of any work of art, frame, photograph, document or other antique items. An experienced art conservator should be consulted for assistance in dealing with mold-affected materials. In most situations, surface mold can be removed from artwork using a vacuum cleaner that does not exhaust the spores back into the room. A vacuum fitted with the proper HEPA filtration system is recommended. Special attachment micro-tools, speed controls and screens are used by conservators when vacuuming to prevent damage to the art.

After the surface is cleaned of visible mold, the item is subjected to controlled ultraviolet light. Tests are then conducted from surface samples to verify that mold is no longer present. After cleaning, items should be placed in a clean and protected environment with low humidity.

Mold Removal Tips:

• Wear proper protective equipment
• Never use chlorine bleach
• Vacuum using HEPA Filters
• Expose to controlled UV light
• Place items in low humidity
• Consult experienced professionals

— by Douglas Eisele

Old World Restoration

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From The Associated Press:
Byron letters get nearly $460,000 at UK auction

To put it delicately, Romantic poet Lord Byron was a rake who racked up big gambling debts, had serial affairs and was characterized as “mad, bad and dangerous to know.” Fifteen letters written by Byron chronicling his love affairs and his dog sold to an anonymous bidder.

From The New York Times:
Thanks for the Memories, Andy Warhol

In 1965, a high-school senior ventured into Andy Warhol’s Factory to gather information for a paper. Next thing she knew, she was hired as a receptionist. She worked so diligently that Warhol gave her a self-portrait. Fast forward to today, the portrait will be auctioned at Sotheby’s next week. Estimate? Between $1 million and $1.5 million.

From The Times (UK):
Prince Michael of Kent’s christening set included in £1m heirloom auction

British royalty appear to be looking for cash in their attics. More than 300 lots inherited by the Duke of Kent, Prince Michael of Kent and Princess Alexandra from their parents Prince George and Princess Marina are going under the hammer. The timing of the sale may be because Prince Michael and Princess Alexandra will have to start paying for their apartment in Kensington Palace next year. Times are tough for everyone. Let’s hope Queen Elizabeth won’t have to rent out her corgis.

From The Associated Press via Auction Central News:
Miniature portrait of Peter the Great sells for $1.3M in NYC

In more royalty news, a portrait of a rather dorky-looking Peter the Great in a bejeweled frame went for 10 times more than its presale estimate. It is believed that Peter gave such portraits as reward for meritorious service.

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Deadpool

The Comic Speculator is a blog written by WorthPoint Comic Book “Worthologist” Matt Baum that takes a look at each week’s hot new comics and back issues and the comic market place in general. Prices discussed here are taken from the Overstreet Guide to Comics (OVST), Comicspriceguide.com (CPG) and current online auction sales. Make sure and click on the active links to learn more about the titles and creators discussed here.

Welcome to the new, improved and now weekly The Comic Speculator blog! I’ve decided that This Week in Geek , my other blog, was too darn long. From here on out I’ve karate chopped TWIG into two blogs. TWIG will also still be a weekly blog, but will be more about my own collecting habits and reviews of comics. TCS is going to be more about the dirty business of comic collecting. This blog is going to focus on printing numbers, sell-outs, internet auctions, variant covers, shipping allocations and just plain old speculation. I’ll leave all my squishy collector feelings for TWIG, while here we’ll be discussing the raw-red-meat of comic collecting.

On top of the all the great new comics hitting the stands this week, make sure and check out The Deluxe Hardcover edition of Ed Brubaker’s “Criminal,” a series of crime-noir stories inspired by the pulp detective and crime novels of the 1960s and 70s. Any fan of Brubaker’s Captain America or Daredevil work would be well-served giving this collection a try. On the collector’s front, these hardcovers are expensive to keep in print and can sell for two to three times cover price in the not to far future.

Click here to see a complete list of new comics shipping this Wednesday, Nov. 4, 2009.

Speculator Picks of the Week:

This is the part where I use my comic swami powers to peer into the future and pick out three titles that could sell out very quickly. Buy them now at cover price or pay twice as much later.

Deadpool Team-Up #899: Marvel Comics

Deadpool Team-Up #899

Solicitation: Merc with a Myth! Stop rubbing your eyes, fanboy, they don’t deceive you! Everyone’s favorite Merc with a Mouth stars in a third on-going series, hacking and wisecracking his way across the Marvel Universe with a new guest-star every month! First up: when master assassin Arcade and Nightmare, Lord of the Dream Dimension, join forces to destroy Wade Wilson and The Incredible Hercules, they get more than they bargain for, taking on two of the MU’s most irresponsible heroes! Drunken mayhem, bad jokes and billions of dollars of property damage ensue!

32 PGS
$2.99 US
SEP090468
Written by Fred Van Lente; Pencils by Dalibor Talajic; Cover by Humberto Ramos.

Why it’ll go fast: Blah blah Deadpool. Blah blah selling like hotcakes. How many ways do I have to repeat myself? Deadpool is routinely selling out and this is now the third monthly series starring the Merc with a Mouth. Real soon here fans are going to experience serious Deadpool overload, but not yet. “Deadpool” shipped 50,479 copies in September checking in at #34 in the top 300 most ordered comics. Merc with a mouth #3 wasn’t far behind at #49 shipping 43,855 copies. What do the numbers mean? Retailers are skittish when ordering a second monthly Deadpool series, even though it’s selling out every month. Expect them order even lighter on a third monthly series.

Doctor Voodoo: Avenger of the Supernatural #2: Marvel Comics

Doctor Voodoo: Avenger of the Supernatural #2

Solicitation: Lost, gravely injured and stranded in the low pits of the Everdimensions, Doctor Voodoo is hunted by a brutal living nightmare that holds a festering and contagious self-doubt. Was Jericho given the mantle of Sorcerer Supreme in order to leave our dimension vulnerable to the great evil Agamotto foresees? Or is he the one man with the strength to suppress the coming darkness? The Loas do not listen, the Vishanti cannot answer— alone Jericho must decide if he is fit to serve. He will soon learn . . .

32 PGS
$2.99 US
SEP090424
Written by Rick Remender; Pencils by Gabriel Hardman and Jefte Palo; Cover by Marko Djurdjevic; Inks by Gabriel Hardman-Jefte Palo.

Why it’ll go fast: The numbers aren’t out for October yet, but I’m guessing Doctor Voodoo #1 didn’t ship huge numbers initially and the reorders helped the title considerably. Issue #2 will be ordered even lighter than issue #1, as usual, and will disappear even faster. There’re only a few copies of issue #1 online and the regular-priced ones are going quick. There’re still copies of issue #1 available at Diamond Comics, but I don’t expect they’ll last long. The Billy Tan Variant Cover of #1 is also selling very well and getting hotter.

Doom Patrol #4: DC

Doom Patrol #4

Solicitation: When Blackest Night falls, skeletons start coming out of the closets—and no one has more skeletons in his closet than Niles Caulder, founder of the Doom Patrol. Caulder has been playing god for years, and the time for a reckoning has come. The Doom Patrol thought they knew darkness. Find out how wrong they were in this Blackest Night tie-in issue! Meanwhile, in the Metal Men co-feature, trendy meets grotesque when the robots battle a group of living mannequins. Co-feature written by Keith Giffen and J.M. DeMatteis. Co-feature art by Kevin Maguire. Due 4 Nov 2009.

40 PGS
$3.99 US
SEP090105
Written by Keith Giffen; Back up story by J.M. DeMatteis; Pencils by Justiniano and Livesay; Back up story art by Kevin Maguire.

Why it’ll go fast: Anything with “Blackest Night” on the cover is selling out. Even “Titans” comics, and that hasn’t happened since the first issue. Doom Patrol #2 only shipped 22,001 copies in September checking in at #115 on the top 300 ordered comics. Issue #3 will probably be even lower and though issue #4 will receive a nice bump because of the “Blackest Night” tie-in I’m betting it still sells out quickly. When all is said and done this could be one of the tougher Blackest Night tie-ins to find.

Back Issue Market Watch!

Say what you will of the works of Rob Liefield, one thing can be agreed on by most fans. Deadpool is probably his greatest creation. Maybe the character was a happy little accident or a complete rip-off of Deathstroke the Terminator (a DC character), regardless, the kids love Deadpool. Even the really crappy Ryan Renolds version from the last Wolverine film (don’t get me started and don’t fret; justpressplay.com is reporting that the movie won’t pay any attention to the Wolvie movie Deadpool). Deadpool comics, new and old, are selling for ridiculous prices. Starting at the beginning; “New Mutants” #98 vol. 1, FEB 1991 (The first appearance of Deadpool) guides for $5 (OVST) and $40 (CPG). EBay sales are sitting right around $35-$40 with a couple auctions hitting as high as $60. Keep in mind “New Mutants” #98 is not an extremely rare comic; it was probably printed in the 500,000 to a million range. Finding copies in Very Fine to Near Mint condition is another story. If you have a copy to sell, it might be worth waiting until the rumored Deadpool movie gets closer. Keep in mind the bottom could fall out on the comic if everyone notices #98 is getting hot again.

“Deadpool” #54 vol. 2, July 2001, surprised the heck outta me. DP #54 was part of a two-part Deadpool/Punisher crossover written by Jimmy Palmiotti and drawn by Georges Jantey. The second volume of “Deadpool” was a bit of a cult title at the time that did a great job incorporating comedy with superhero action. DP #54 currently guides at $3 (OVST) $12 (CPG) and is selling for upwards of $40. Like I said, shocking!

Most recently, variants of the latest “Deadpool” vol. 3, 2008, and the latest new DP series “Merc with a Mouth” (2009) have been selling for premium prices. The Liefeld variant of “Deadpool” vol. 3 #1 is selling for $60 and up on Ebay currently while the variants of “Merc with a Mouth” #1 are selling for around $15 each.

So what does it all mean? I wouldn’t start selling your Deadpool collection yet. As news continues to leak of the upcoming DP movie I would expect to see back issues selling for even more. Deadpool has been heating up for years now and doesn’t show signs of cooling.

Next week we’ll take a look at Moon Knight’s history and why his latest comic was an instant sell out. If you have any questions about these books or anything else in the comic book world feel free to contact me or post your question below in the “comments” section below. Also, you can follow me on Twitter, where I’m always screaming about something nerd-related. Thanks to all my new followers and keep the comments coming! Want to know what your comics are worth? Join WorthPoint to search its database or use its “Ask A Worthologist” feature. Remember to post the title, issue number and cover price. And finally, a word to the Federal Trade Commission; all the comics discussed here are purchased solely by the writer, who receives no gifts or free merchandise from any publishers, even though he would graciously accept them.

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Matt Baum is WorthPoint’s comic book Worthologist.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

— by Shira Karpati

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This magnificent étagère attributed to Mitchells & Rammelsberg, with four shelves and carved finial, are among the items from the antique shop and personal collection of Brad and Eunice Witt that will be up for action on Nov. 7, 2009.

ST. CHARLES, Mo. – The contents of the antique shop and items from the personal collection of Brad and Eunice Witt, including more than 300 lots of Victorian furniture, vintage French dolls, Babes in the Woods items, Yard Longs, Flow Blue, R.S. Prussia and more, will be sold without reserve on Saturday, Nov. 14.

“Brad and Eunice have decided to downsize their private collection and small antique shop,” said Jason Woody, proprietor of Woody Auction, which is facilitating the sale. “All items will sell to the highest bidder, without reserve. Come prepared for a really exciting auction.” The auction will be held in the grand ballroom of the St. Charles Convention Center.

Woody said he isn’t sure what to expect from this sale, since period furniture isn’t something he typically offers. “The R.S. Prussia and Flow Blue people will be there. I can always count on them,” he said, “but we’ll just have to see regarding the furniture. If the quality and consistency of the pieces count for anything, then it should be a wild success. We’ve got some truly wonderful furniture items.”

Some of those furniture items will include a super Victorian walnut drop-front dresser/étagère attributed to Jelliff and featuring a domed cornice with carved bust and heavy burl accent; a rare 8-foot ornate oak display cabinet with large winged gargoyle supports, beveled glass door and lots of carving; and an all-original Belter recamier with carved apron surrounded by heavy scrolls and grape clusters.

Gorgeous 14 inch by 10 ¾ inch oval Babes in Woods plaque with a summer scene of a lady and girl.

About 20 Babes in the Woods pieces, all circa 1880-1920, will cross the block. Expected to pique bidder interest will be a rare and excellent Royal Doulton winter season plaque depicting a lady and child in the woods during a snowstorm; a Royal Doulton oval plaque showing a lady playing the mandolin; and a very rare tall (16 ¾ inches) Royal Doulton vase, spring season, with a lady and girl.

Very rare Yard Long calendar print, titled “Temptation Candy Girl,” the only example known to exist.

Yard longs are so-named because they’re just that – about a yard long. The long, skinny prints usually show women, but sometimes flowers and fruit. Two pieces in the sale that should do well are a 1916 Clay Robinson & Co. advertising calendar, with a woman in a blue hat surrounded by flowers; and a Temptation Candy Girl calendar print, the only one known and with 10 of the 12 months intact.

R.S. Prussia pieces will include a 15 ½-inch carnation mold center piece bowl, cobalt blue, with great size, color and condition; and an outstanding 6-piece plume mold ice cream set, with 13-inch oval tray and five matching bowls, cobalt blue with nice gold highlights. Also sold will be a nice Victorian bride’s basket with fireglow ruffled bowl by Sandwich Glass and large silver plate frame.

Fans of vintage French dolls will not be disappointed. Anticipated top achievers include a 29 ½-inch tete Jumeau closed-mouth doll with an ornate beige and blue costume with matching hat; and a beautiful 25-inch Jumeau doll (size 12), dressed in a lavender Victorian costume with matching hat and plumes and lifelike hair with blond curls. Many other examples will be sold.

Beautiful 29 ½ inch Tete Jumeau French closed-mouth doll with ornate costume and matching hat.

Flow Blue is a common offering at many Woody Auctions, and this one will be no exception. Pieces include a 23 ¼-inch Royal Doulton burslem umbrella stand/floor vase in the Jessica pattern, with great color, pattern and size; and a 6- inch by 8-inch Nonpareil pattern handled tray by Burgess & Leigh. Also sold will be a 7-foot Victorian walnut easel with inlaid ebony designs and gold highlights.

Returning to Victorian furniture, the following will be sold: a magnificent and important étagère attributed Mitchells & Rammelsberg, 108 inches by 74 inches, with four shelves, large carved finial, deep pocket crest, great carving, and a huge mirror back with four swivel mirrors on each side; and a Victorian red velvet pin cushion chair with bride’s floral head piece, bride’s flowers and beveled mirror.

Also from the furniture category: a walnut center room parlor table attributed to Mallard, with long carved floral finial and rose and scroll design; a mahogany partner’s desk attributed to Horner, with large, cherub legs; a beautiful and rare Karpen mahogany barrel-shaped parlor set with love seat and two arm chairs; and a Victorian walnut marble-top table by Brooks, with a large carved pedestal.

Wonderful 15 ½-inch R.S. Prussia carnation mold centerpiece bowl, cobalt blue, great condition.

Rounding out the expected top lots: an outstanding three-piece figural clock set with bronze women holding a cherub above their head surrounding the clock, with 40-inch tall side pieces consisting of a woman holding a 6-arm candelabra above the head, and every piece matched on bronze marble and gilt metal base; and a 54-inch floor fan with light, Luminaire, by the Cincinnati Victor Co.

Online bidding will be facilitated by Proxibid.com. There will be no phone bidding, but absentee bids will be accepted with a written statement indicating the amount of the bid (deadline: noon Thursday, Nov. 12). Absentee bids will be charged an additional 10 percent of the sale price and may be faxed (316-747-2145) or e-mailed (info@woodyauction.com).

Inventory items from the Witt’s antique shop will be charged 7.45 percent unless a current sales tax number is provided. Items from their private collection are indicated with an asterisk (*) and will not be charged a sales tax.

For more information about this auction, visit the Woody Auction Web site, call at (316) 747-2694, or e-mail them at info@woodyauction.com.

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A paint-on-board creation by the renowned late folk artist Howard Finster, executed in 1983, is among the items collected by folk art collector and early self-taught art pioneer Lynne Ingram that will go on auction on Nov. 7.

BUFORD, Ga. – A Fall Masterpiece Auction, featuring around 800 lots of self-taught art, Southern folk pottery, outsider art, African-American decorative arts, quilts, circus art, new discoveries, major collections and more, including the lifetime collection of prestigious folk art collector and early self-taught art pioneer Lynne Ingram, will be held Saturday, Nov. 7.

About two-thirds of the auction will be dedicated to Ingram’s collection, most of which has been in storage for 30 years. The auction will be facilitated by Slotin Auction at the Historic Buford Hall.

“Our Fall Masterpiece Auction is always a special event on our calendar, but this year we feel particularly fortunate to have as the centerpiece the collection of Lynne Ingram,” said Steve Slotin of Slotin Auction.

Latex on plywood panel painting by Mose Tolliver, titled “Saturday Night Dance Hall” (circa 1989).

Ingram now lives in New Jersey but is originally from North Carolina. Beginning in the 1980s, she started collecting folk art when the genre was still in its relative infancy. But she didn’t just passively acquire pieces. She actually traveled around the Southeast and visited the artists, who became her friends. All the while she was amassing an outstanding collection, Slotin said.

“Lynne Ingram saw the best that these artists had to offer, and she acquired much of it along the way,” he added. “She later expanded her collection to include earlier masters who had already passed on, like Bill Traylor, but she had a keen eye for emerging second-tier artists of the day, too—talents like Mose Tolliver and Jimmy Lee Sudduth. Hers is an unbelievable, top-shelf collection.”

Slotin said the collection is made more desirable by the fact that it’s been in a New Jersey storage facility, untouched and in pristine condition, for the better part of the last 30 years. “So what you have are impressive examples of the best names in folk art, offered to the market for the very first time. Collectors would be wise to make plans to attend this sale. Stuff like this doesn’t come along that often.”

Some expected top lots of the auction follow, along with their low and high sale estimates:

Paint and graphite on cardboard work by Bill Traylor, titled “Mexican Woman,” 100% original.

• A paint and graphite on cardboard work by Bill Traylor, signed on the front and titled “Mexican Woman,” is expected to bring $25,000-$35,000. Ingram acquired the framed piece in the mid-’80s from Marcia Weber, a world-renowned expert on Traylor and an early promoter of his work. This painting is considered significant because it is 100-percent original, with no re-touches or restoration.

• A colored pencil on paper creation by Adolf Wolfli (1864-1930) was the top lot at Slotin Auctions’ last sale, held in March. It realized $40,480. This sale features another example by the Swiss self-taught artist: a graphite, pastel and colored pencil on paper work titled “The Lion and the Masked Man.” It is a strong piece in excellent condition, and carries a conservative estimate of $30,000-$35,000.

• The name Howard Finster (1916-2001) is sure to get paddles wagging, and this sale features a beauty by the late iconic folk artist. It is a paint on board work housed in an artist signature wood burned frame, titled “Vision of Cartoon Howard Finster, #3,169” (Dec. 1983). The painting measures 32 ½ inches wide by 16 inches tall. This piece was originally in the prestigious collection of Chuck and Jan Rosenak (est. $4,000-$6,000).

• A carved and painted wood creation by S.L. Jones (1901-1997), titled “Man’s Bust,” should fetch $8,000-$15,000. “It’s one of the best examples of Jones’ work I’ve ever seen,” Slotin said of the 10-inch by 7-inch by 13½-inch work, in excellent condition. Also, a 1976 oil on canvas painting by Vestie Davis (1903-1978), “Hasidic Street Scene,” large at 51 inches by 27 inches, should bring $4,000-$6,000.

Hand-turned china plate teeth face jug by Lanier Meaders, crafted in 1968, with tobacco-split glaze.

• Lanier Meaders is another name familiar to veterans of the folk art scene. His hand-turned painted face jugs are renowned, and this sale will feature a china plate teeth face jug, crafted by Meaders in 1968 and with a beautiful tobacco-split glaze. The piece boasts great veining all around and measures 9 inches in height. The face has three teeth and the jug is in overall mint condition. It should sell for $3,000-$5,000.

• Bidding should be brisk for a paint-on-board by Teofilo Magliocchi, titled “Madonna and Child.” The signed work features a frame decorated with costume jewelry adornments. It is a very large piece—47 inches by 75 inches, including the frame (est. $3,000-$5,000). Other works, including a collection of erotic pencil drawings by Magliocchi, an exciting up-and-coming folk artist, will also be offered.

• The aforementioned Mose Tolliver will be represented in the form of a latex on plywood panel work done circa 1989 and titled “Saturday Night Dance Hall.” The 36-inch by 40-inch piece is estimated to bring $2,000-$3,000. Also, a paint, glitter, lettering, mixed media on Masonite work by African-American sign maker John Edward Welch, titled “Abraham Lincoln, It Would Help to Save the Union” (1999), should realize $1,000-$1,500.

Original paint on board work by up-and-coming artist Teofilo Magliocchi, titled “Madonna and Child.”

Folk art is a rambling but rapidly burgeoning genre. For a long time it was dismissed by highbrow critics, mainly because it was created by untrained, often uneducated and sometimes eccentric artists. But today, folk art has found a place in some of the most well-respected art institutions in the world. The High Museum in Atlanta has acquired folk art through Slotin sales.

For more information about this auction, call (770) 532-1115 or (404) 403-4244, e-mail to auction@slotinfolkart.com or folkfest@slotinfolkart.com, or visit the Slotin Auction Web site.

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Signed serigraph by Italian-born artist Nicola Simbari (b. 1929), titled “White Dress” is expected to bring in an estimated $700 to $1,000.

Another Salvador Dali lithograph this one from is “Divine Comedy” series (1960, est. $1,500-$2,000). The entire auctioneer

ORLANDO, Fla. – More than 300 original and reproduction works of art by some of the greatest names in 20th century fine art—Pablo Picasso, Salvador Dali, Joan Miro, Pierre Bonnard and others—will be sold alongside contemporary names like Peter Max, LeRoy Neiman, Nicola Simbari and Gary Benfield at a live and Internet auction, and the entire auctioneer’s premium will be donated to Hope and Help Center of Central Florida, an AIDS/HIV awareness organization based in Winter Park.

The event is slated for Saturday, Nov. 7 and will be facilitated by Baterbys Art Auction Gallery. For online bidding information, visit the Baterbys Web site. The entire auctioneer’s premium will be donated to Hope and Help Center of Central Florida, an AIDS/HIV awareness organization based in Winter Park.

Intertested bidders will be treated to artwork spanning a broad range of themes, to include city scenes, Biblical/religious, rural life, Abstract and Realist. Cocktails and hors d’oeuvres will be provided by Cuba Libre Rum Bar & Restaurant. There will also be enlightening art lectures and spontaneous raffles.

Mention of the name Salvador Dali (known as the most “celebritized” artist) often evokes soft watches and surrealist dream imagery. But later in life, Dali turned to more traditional subjects, in particular those involving biblical and historical references. His entire “Aliyah Suite” is an example of this and will be auctioned on Nov. 7, along with other limited-edition works (like the “Divine Comedy” series).

Dali’s “Aliyah Suite” was executed in 1968. Each image in the 25-print series is an original lithograph (d’Arche Vellum), about 20 inches by 15 inches each, and signed lower right in pencil and numbered of 250 lower left. All are in excellent condition. The “Divine Comedy” series (circa 1960) comprises six signed, framed prints, with an image area of 13 inches by 10 ½ inches.

Gary Benfield (Br., b. 1965) is best known for his romanticized female figure paintings and equestrian renderings. Offered Nov. 7 will be a six-work series of serigraphs on wove paper, executed between 2003-2007. Each serigraph is signed in gold pen in a limited-edition series (750). The six titles include “Escapade II,” “Golden Mask,” “Renaissance,” “Heavenly Dance,” “Day Dreaming” and “Love Secrets.”

Original oil paintings and hand-embellished giclee prints by the supremely gifted artist Elena Bond will also be sold. The giclees include “Strolling Harbor Side” edition of 95, 24 inches by 40 inches; “Love Gondolier” edition of 95, 36 inches by 18 inches); “Sand and Surf” edition of 95, 32 inches by 32 inches; and “City Reflections” edition of 95, 19 inches by 60 inches. All the giclees are artist-signed and in excellent condition.

The oil on canvas paintings by Bond include “The Waters of Venice,” “Early Morning in Venice,” “Still in Mediterranean Waters,” “La Trattoria, Hand and Hand,” “Night in the Keys,” “Arch and Lake, Artists Café,” “Summer Manhattan Style,” “After Hours Chill” and “Le Station de Metro.” The works range in size from 16 inches by 12 inches to 20 inches by 60 inches. All are signed and in excellent condition.

An original signed lithograph (d’Arche Vellum) by Salvador Dali (1968), from his “Aliyah Suite” (est. $1,550-$2,300), will be among the more than 300 pieces of artwork up for bid Nov. 7, 2009 at an auction hosted by Baterbys Art Auction Gallery.

Nicola Simbari (It., b. 1929) effortlessly launched his painting career while still in his 20s with a one-man show in London. After that, he was commissioned to paint murals for the Italian Pavilion at the 1958 World’s Fair in Brussels. His brilliant, impressionistic style and vivid, dramatic and energized interpretations of the Mediterranean have established Simbari as one of today’s most sought after artists.

Three of his works will be included in the Baterbys Nov. 7 auction. All three are serigraphs, done around 1990. They include: “Piazzo Del Duomo” (36 ¼ inches by 33 inches, hand-signed lower right, hand-numbered lower left); “White Dress” (31 inches by 36 inches, hand signed lower right, hand-numbered lower left); and “El Parasol” (35 inches by 26 ¾ inches, hand-signed and hand-numbered).

Baterbys holds quarterly live and Internet auctions, all of which benefit non-profit organizations that provide developmental and holistic programs for children with life-threatening illnesses. Baterbys has raised substantial funds for groups such as Threshhold Center for Autism and Give Kids the World.

A original oil on canvas painting by Elena Bond, titled “La Trattoria,” artist signed, should gavel between an estimated $3,900 and $4,400.

The Hope and Help Center of Central Florida was established in 1988 to stop the spread of HIV/AIDS and at the same time provide social support to those who are battling the disease in central Florida. The group offers specializes services designed to lower the disease transmission rate, supply the financial and medical needs of diagnosed patients, and prevent the worsening effects of the AIDS virus.

For more information on the Nov. 7 auction and the firm’s calendar of upcoming auction dates, visit the Barerbys Web site. call (866) 537-0265 or e-mail, to press@baterbys.com.

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From The Associated Press:
32-carat diamond sells for $7.7M at NYC auction

Leonore Annenberg, widow of “TV Guide” founder and billionaire Walter Annenberg, certainly knew how to celebrate her birthday. For her 90th in 2008, she had jeweler David Webb design a ring with a 32.01-carat emerald-cut diamond. Mrs. Annenberg died a year later. Last week, the ring sold at Christie’s for more than $2 million above its high estimate of $5 million.

From The Wisconsin State Journal:
Doug Moe: Sinatra letter worth more than antiques

An 84-year-old Wisconsin woman was set to go to an “Antiques Roadshow” in Madison. She had several items she wanted appraised. As she was about to leave her house, the friend who was driving her spotted a letter signed by Frank Sinatra on the wall. Said friend insisted on taking it. The angry missive had been sent to Chicago columnist Mike Royko refuting some things Royko had written including that Sinatra traveled with a flock of flunkies. The columnist then wrote, “If you say you have no flunkies, I take your word and apologize. I’ll even apologize to the flunky who delivered the letter.” The Roadshow appraisal? $15,000. None of the woman’s antiques even came close.

From BBC:
‘No consent’ for Mandela auction

Her heart was in the right place even if her brain wasn’t. Actress Charlene Theron put up a trip to the 2010 World Cup in South Africa at a charity auction. And to add further enticement, she threw in a meeting with Nelson Mandela. Only thing was she never got permission from Mandela. The prize went for $140,000 only after Theron promised to kiss the winner—a woman??—for 20 seconds.

From ARTINFO:
Judge: No Refund on Incorrectly Valued Schnabel Painting

In a case of caveat emptor, a buyer was told that a Julian Schnabel was worth $500,000, but she could get it for $380,000. That old saying that “if it sounds too good to be true, it probably isn’t” was the case here. After advancing money for the purchase, the buyer discovered it had been sold in 2007 for a paltry $156,000 and sued to get her money back. A New York Supreme Court judge basically said, “Tough luck.”

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