According to Kelly & Ellwood in their 1990 book Trivets & Stands, the first George Washington Trivet was designed and cast in brass for the Philadelphia Centennial Exposition of 1876. George Washington was an appropriate subject, considering that the Exposition was held to celebrate the 100th anniversary of the signing of the Declaration of Independence!

In a few minute’s Internet Search I easily located several of these GW trivets. Some were obvious reproductions; others appeared to be older castings. So … if the design has remained essentially the same over the years, how would someone be able to differentiate a newer reproduction from an earlier casting?

Signature The original George Washington trivet had no signature on the reverse. Recent reproductions from JZH (1948), Darilyte and Virginia Metalcrafters (1950s-1960s) were signed with the company name; the Virginia Metalcrafters trivet also bears the company logo.

Casting Mark The oldest trivets will have either a sprue, wedge or poorly filed gate mark; see my Article, Trivets of Cast Metal. You probably will not be able to detect the gate mark(s) on a recent casting because they are so well filed.

Leg Length Modern reproduction trivets tend to have legs that are less than 1 inch in length; many may be only a half an inch. That’s because these trivets were meant for decorative wall display. Earlier castings will have longer legs because that lifted the trivet farther above the surface it was designed to protect.

Shape of Legs Modern reproduction trivets have legs that are short, straight and round on cross-section. Older trivets have legs that may taper or that are square, triangular, half or quarter round on cross-section.

Evidence of Wear Look at the top surface and the bottoms of the legs; on an older trivet some wear is to be expected. The legs on antique trivets often bend inward; this is seen more commonly on brass trivets but also occurs with cast iron.

Variations of Handle The original design featured a handle that was open in the center. Subsequent castings featured either an open or a solid handle.

Backcoping Backcoping refers to a routing out of sections of the trivet reverse in order to decrease both the amount of metal needed and the weight of the final casting. In the original casting, the area behind the bust of Washington is backcoped. In contrast, most modern reproductions are completely flat on the reverse.

The Pigtail! Modern reproduction designs often do not include the pigtail of the wig George is wearing; older castings will always include it.

And what about value? At one time the George Washington trivet design was considered scarce, but since the advent of the Internet many have been brought to Auction and they are now relatively easy to obtain.

* $25-$45: Signed, reproduction trivets
* $45-$85: Older, vintage or antique, unsigned versions in brass or iron
* $85- $185: The very nicest older specimens in cast iron or brass with a prominent casting mark, long legs, nice detail and no damage
* > $200: The highest bidding would be for an original, circa 1876 George Washington Trivet specimen in brass, with open handle, 1⅜” legs and and showing signs on the reverse suggesting its origins via wax casting. I would estimate that the bidding would start at around $200 and end at $350 to $500. Two or more passionate collectors, bidding against each other, could cause the ending price to be even higher. I believe the brass trivet pictured here to be an original casting. It has a sprue mark on the reverse and the legs are bent slightly inward from age.

Now that I’ve said all that, a very nice older specimen of the George Washington trivet, cast iron with a closed handle and sprue mark on the reverse, was offered at auction by Early American through Live Auctioneers and sold for $1000 in May 2007!

As they say, value is ultimately in the eye (and pocketbook) of the beholder.

 Lynn Rosack is a Worthologist who specializes in trivets and kitchenalia

Royal Vienna and the Beehive Mark: Real or Fake?

By www.Marks4Antiques.com

If you are like me and love fine porcelain, I am sure that my frustration when finding a great piece with the “beehive” mark is all too familiar. Over the years I have seen so many versions and on so many lovely pieces, it is hard to keep those creeping doubts from screaming at you: Fake!! Fake!!

Especially, when coupled with the words ROYAL VIENNA, with or without the beehive mark, it is enough to drive you crazy and swear that you’d never buy another one of those ever! So… I did a lot of research and decided to share what I know in the hopes of keeping at least some people sane…

It turns out that the term Royal Vienna and the “beehive” mark occur frequently on fine porcelain & china pieces, mostly on items of decorative appeal. Yet, in our research, we have often found that there are several meanings attached. To begin with, there is not and never was a company or factory called “Royal Vienna.” Many collectors have used this term to refer to the “Imperial & Royal Porcelain Manufactory” in Vienna, Austria, and in operation circa 1718-1864 only. However, Royal Vienna was not its official name. In addition to their legacy for stunning porcelain artwork and ceramic masterpieces, one other involuntary contribution made to today’s collecting world is their famous “bindenschild” mark meant to represent the Royal Shield, found in the center of the Royal Crest of the Hapsburg Royal Family, who mentored and financed them. This symbol, known as the “beehive” mark in English-speaking countries because of its resemblance to a normal beehive when upside down, is the second most copied or imitated porcelain mark in history after Meissen’s crossed swords.

As mentioned, it is true that some collectors refer to pieces made by the original Imperial & Royal Porcelain Manufactory as “Royal Vienna” and use this term as an abbreviation. However, it should be pointed out that this term is also being used by others to refer to the style of certain items, not necessarily their origin or maker. For example, most classically-themed decorative plates that have a “beehive” mark and made circa 1880s-1940s, are often called “Royal Vienna Plates,” but in this case, when applied correctly, the reference is to their style. Therefore, when someone proclaims a piece to be “Royal Vienna,” the obvious question should be “do you mean from the Imperial & Royal factory period or made later in that style?”

If it is an original Imperial & Royal Manufactory piece, the authentic beehive mark is never symmetrical and always underglaze in blue or impressed [more signs and ways to distinguish these marks are also included in Rontgen’s book]. However, this is exactly where more doubts creep in… There are so many copies and imitations of the beehive mark, it can make your head spin. Not only was this mark forged almost immediately upon the original factory being auctioned off by the King because of financial difficulties, but this mark is also found to be used in several variations even to this day, sometimes by trading companies or importers. A word of caution: many pieces that used a copy or imitation beehive mark are not necessarily of poor quality. In fact, the vast majority of these later Royal Vienna pieces, especially those made circa 1870s–1950s, are of high workmanship and usually command high prices. Most were made at reputable studios and by accomplished artisans, usually in the Bohemian region of Europe, but also in England, France, Italy, etc. Many of these “copy” marks have been well documented and attributed to various makers by ceramics historians in several books and websites.

Some artists and studios of that period include:
• Ackermann & Fritz (Volkstedt, Germany) circa 1908–1951
• Augarten Vienna Porcelain (Vienna, Austria) circa 1922–Present
• C.M. Hutschenreuther (Germany) circa 1880s and again after 1970s
• Carl Knoll (Bohemia) circa 1883–1906
• Carl Thieme (Germany) circa 1903–1930s
• Erdmann Schlegelmilch [E.S. GERMANY] circa 1900–1938
• Josef Kawan (Vienna, Austria) circa 1907–1915
• Kolmar Porcelain (Prussia) circa 1897–1944
• Josef Riedl (Bohemia) circa 1890s–1940s

Most beehive mark copies are fairly easy to tell apart as each specific artisan or studio used a different variation. Although most circa 1870s–1930s marks were applied by hand, so some may vary ever so slightly from item to item, there is usually one or two details that help in attributing them accurately, especially with the help of a book or website— see our www.Marks4Antiques.com

Some of the more recent uses of the beehive mark are applied by stamp, usually in an industrial manner. For example, Arnart Imports (in business circa 1957–2001), which imported fine porcelain & china from Japan and, to a lesser extent, Italy, used a beehive mark. However, Arnart Imports’ mark is documented as being exactly symmetrical, usually in black, and having a tiny vertical line at the very bottom of the beehive and sometimes a dot right above [see photos] and is easy to tell apart from others.

Very recently, and perhaps because Arnart Imports’ items have now gained a good reputation for quality amongst collectors, it appears that several similar marks are now being used by trading companies and other Importers from China and elsewhere. These much newer items are sometimes also of good quality. In case it helps, most of the very recent Chinese beehive marks we have seen tend to be a bit more rounded.

Hopefully the above, along with a book or a website reference—and plenty of experience—can help in guiding you to more splendid treasures of “Royal Vienna.”

Patina is a natural surface tint which occurs on many objects of age. Most collectors consider patina desirable, and will pay more for an object with authentic patina.

Ivory items naturally turn slight yellow [Image #1 - Vintage whale teeth] to golden yellow [Image #2 - Antique whale tooth] through exposure to sunlight, handling (absorption of skin oil), room smoke [Image #3 - Tabua], etc. Mammoth & Mastodon tusk sections have a dark brown patina from being buried in the ground for thousands of years. Authentic patina can penetrate quite deeply into the ivory [Image #4 - Mammoth scrimshaw].

Copper, silver, bronze, tin, and other soft metal items can also gain patina with age. This is usually a type of surface oxidation caused by human handling [Image #5 - coins] & [Image #6 - silver service], exposure to air [Image #7 - outdoor bronze statue] & [Image #8 - outdoor copper statue], or submerged in the sea [Image #9 - bronze cannon].

Iron & steel can also display a decorative dark patina color from being buried in the ground [Image #10 -cannon ball]. Usually though, iron corrosion is the undesirable brown/orange rust that continues to eat-away, and may eventually destroy that item [Image #11 - rusty chain].

Stone items can also acquire patina through burial [Image #12 - arrowhead], and atmospheric exposure [Image #13 - Stonehenge].

Patina on glass items is a special case, as the amount & color can be directly related to the glass formula, length of burial, etc. [Image #18 - glass bottle]. Worthologist Bill Lindsey has written an inclusive WorthPoint article about this subject, entitled Patination and Historic Bottles.

ALL of these types of patina can be faked through the use of dyes & washes [Image #14 - faux patina tooth], or through intentional exposure of metal items in slightly acidic solutions [Image #15 - modern weather vane]. Sometimes this is obvious, and sometimes it takes a well-trained eye to reveal the forged age. For this reason, many collectors like to view items with patina intact. Patina can be a measure of age, as well as an indicator of authenticity, or NOT.

Grime, dirt, transferred oxidation, etc., are NOT patina, and are therefore not desirable. I have carefully cleaned many antique scrimshawed whale teeth, using Q-tips and denatured alcohol, to remove grime from a hundred years of handling. Natural patina is NOT effected, and the scrimshawed image can become more obvious against the naturally patina-colored background. Care must be taken to not disturb the antique ink used to accent the scribed design [Image #16 - sea turtle shell].

I have also used a clean cotton cloth with a touch of “Silvo” paste, to slightly surface-clean antique silver jewelry to reveal the natural color of the metal, and to enhance the engraved design. The residue is then buffed-off with another clean cloth. Immersion into a liquid cleaning solution will remove all of the oxidation, even in the engraving. This may be desirable for contemporary silverware & silver service in use, but usually not desirable for show pieces, like antique silver service, candlesticks, jewelry, picture frames, etc. [Image #17 - antique Sterling silver].

Remember, it is easy to clean “just a bit more”, but impossible to “undo” removed patina.

Identifying porcelain is more than just “reading” a mark. It involves careful consideration of many elements to confirm correct age and authenticity.

There are thousands of Porcelain marks and even experienced collectors and antiques dealers can have difficulty in determining whether an item is new, and avoid costly mistakes.

There has been a huge influx of porcelain items recently – mostly figurines and other decorative porcelain objects. Many are high quality and may be better for decorative purposes, but they are not antique. The vast majority of these products come from China, or Asia generally. Some have stickers or labels and many are marked with what appear to be older European or American marks and do not carry a country of origin mark. However, many of the new marks are so similar to authentic antique marks that distinguishing them requires a more detailed look.

Luckily, there are some additional ways to recognize most forged or imitation porcelain marks. Here are some tips:

• Examine the mark around the edges using a magnifying lens. If the mark appears too perfect and applied using an industrial machine, then the mark probably is recent. Most items made prior to 1950 had their marks applied by hand, so these stamps would wear out over time, or the firmness with which they were applied varied from worker to worker. Older porcelain marks are not as clear or sharp at the edges.

• Recent porcelain marks are close imitations of older authentic marks used by Meissen, Sevres, Chantilly, English Staffordshire Potteries (usually Coats of Arms or Crests), Gardner, etc… They almost always differ in one or two minor details from the old marks, such as the endings do not curl the same or have symbols that are obscure or out of scale. Although some older authentic antique marks were applied in free-hand style using an artist’s thin brush, the difference is still apparent once you have seen several examples of the original mark.

• Modern imitation porcelain marks often intentionally misspell words, such as “SEVRE” instead of “SEVRES” or “STAFORDSHIRE” instead of “STAFFORDHIRE.” Compare the name you read with the authentic one by running a quick search on Google or eBay.

• Typically, newer porcelain marks are larger than the originals. Older porcelain marks rarely exceed 1 – 1.5 inches.

• Because “china” also refers to dinnerware (as in “chinaware”), many newer porcelain marks include the word CHINA in the mark. For example, “IRONSTONE CHINA” helps to comply with the country of origin laws but also confuses a collector in thinking that this is part of the original company name. Many marks of older potteries included the word CHINA as part of their trademark.

• The universal symbol for “copyright” usually is the letter C enclosed in a circle. This did not exist before the 20th century. If a mark looks similar to an older or antique porcelain mark and also has this copyright symbol, it is a new imitation mark.

• Although there were a handful of companies that used the words VICTORIA” or “VICTORIAN” within their logo or as a name of a pattern, the words often are used in newer, imitation porcelain marks.

• Items made for export to the U.S. after 1891 must declare the country of origin. Older items usually include the country of origin as part of their overall trademark, or the name of the country – “Germany” or “England”, “France” etc.. – appears near the actual maker’s porcelain mark. Many recent Asian imports bypass this legal requirement by using a sticker or label, which is often removed or lost.

• Most antique porcelain shows tiny cracks in the glaze called “crazing,” especially on Earthenware or old glazed Chinaware that has been used extensively. New pieces exhibit similar crazing, but the lines appear very bright and white, indicating artificial stress during firing to create this effect.

Other reliable signs of age include:

1. Older molds tend to be “tighter” with almost no seams,
2. The “blow hole,” or the tiny opening that allows air to escape from within a piece while in the kiln usually is rough and hand-pierced on antique pieces.
3. The base or foot rim of older pieces show wear and tear, feel somewhat rough to the touch or are slightly discolored.
4. Older pieces used softer, gentler colors and are not too bright. Newer pieces tend to be very “intense.”
5. The “whiteness” of older porcelain is even and bright. Recent pieces tend to appear slightly gray or bluish.

Alex and Elizabeth are WorthPoint Worthologists.

As an Appraiser one here’s some pretty amazing stories about items from their owners, like great- great-great Uncle Jack’s sword from Bunker Hill, meat platters that were taken into Kentucky by Daniel Boone and copies of the Constitution found in an old trunk.

Sad to say though, 99 times out of a 100 the “Bunker Hil” sword is from Portugal, the meat platter was made 90 years after Boone shot his last bear, and the long lost copy of Constitution came in a soap box. This might seem discouraging to most, seeing all these relics debunked, but every now and again the real thing shows up.

The funny thing is that it’s not the family relic that turns out to be the most valuable item when doing a house call, in fact it is nearly always some item laying about unnoticed. This is the fun part of it all, is explaining to the home owner that the bowl the dog is eating out of is 19th Century Lambeth Art Pottery or the couch throw the cat is sleeping on is a Indian saddle blanket.

PCGS will display the dies and numerous counterfeit Chinese coins at the Long Beach, Calif., Coin, Stamp and Collectibles Expo Sept 18-20 as part of its consumer protection measure. The dies and coins were purchased through an online auction from a seller based in China. The dies are reasonably well made but the counterfeit coins would be detected quickly as fakes by specialists in Chinese coinage.

These coins are a trap for tourists who see them as a real bargain and buy them.

PCGS wanted to remove the dies and coins from the market to protect unsuspecting or unwary collectors. Unfortunately, it is suspected there are many more counterfeit coin dies out there.

Currently it is a pretty big problem in China, with plenty of poor quality counterfeits to fool tourists. However there are some good counterfeits coming out of China, and that can be dangerous.

The counterfeit dies and coins will be displayed at the PCGS booth #807, during the September expo. For more information you can call (800) 447-8848, e-mail CustomerService [at] collectors [dot] com or visit www.PCGS.com.

“The Endeavor is to present a painting which will give pleasure without tiring the intellect. Something beautiful to look upon. A good place to be in. Nothing more.”

Parrish focused on painting in the 1920s. His greatest pieces from that period include Daybreak (1922) and Enchantment (1926). During this time, The House of Art published prints due to popular demand. Another shift occurred in his work in 1931 when he left behind his usual themes of androgynous figures in fantastical settings for landscapes. Known as his quiet period, in 1930-1960 all his work, except Collier covers, were landscapes, (see his Brown & Bigelow calendars). In 1961 he composed his last work, Away from it All, but lived to see his own revival in the 1960s before dying at The Oaks in 1966.
Though Parrish used models, he never painted a person live. He chose to photograph his model and transfer the negative onto glass plates. The background was already painted before adding people. He then would project the human images upon paper or canvas. Either a sketch or stencil was produced and then laid upon the final product. His painting technique contributes a lot to his style. Called glazing, Parrish used varnish between each layer of oil paint. Since varnish took weeks to dry, he often worked on multiple projects at once. For more about Parrish’s life and works please see Maxfield Parrish by Coy Ludwig.
Experience and a good eye are best while collecting Parrish pieces. Due to his prolific life in New England, Parrish works are scarcer and higher priced on the West Coast. Collectors should be aware of condition, color, rarity, and size. It is best to utilize multiple factors to determine a real Parrish due to the plethora of reproductions both made in the early 20th century, called old reproductions, and those made today, new reproductions. Also, many sellers will detach illustrations from books and frame them for sale. Cropping is common; especially when there was damage to the piece, but over cropping is a sign of severe damage or a reproduction.
Knowing the environmental factors that can effect Parrish’s work is the first step towards being a wise collector. Since his major medium was paper, the aging process heavily effects value and many factors lead to the deterioration of the paper and color including: temperature, air and light. Ideally, his works should be kept in 45-55% humidity at about 68 degrees Fahrenheit. Without humidity the paper will turn brittle, but with too much humidity the paper softens. Also, air, carrying dust, spores, ash and bacteria, activates acids in the paper, destroying it over time. Often air seeps in due to bad framing or during the framing process. If, during the latter, the paper was exposed to too much air and oil from human hands, small brownish gray spots occur over time. One can clean the paper with mild soap, but it is best to see a professional conservator. Overexposure to light leads to bleached colors and yellowing. Underexposure to light, combined with some humidity and bad ventilation, creates a breeding ground for bacteria and insects. It is essential that collectors’ have a good balance of light and a well-framed work to stay in good condition.
To insure a real Parrish work, one must know the signs of a reproduction. Newer printing processes create shiny, more brilliant color. Also the shaded areas will appear blurry in a reproduction. Some sellers have been known to soak reproductions in coffee or tea, peel back the original backings, and insert a reproduction with a period frame. Therefore, an original backing does not guarantee an authentic picture. Backings are often redone, and some prefer “museum framing” or the use of rag board as a new backing. However, the value goes down with a redone backing. Also, deteriorating old frames can cause damage to the piece and are often replaced. A new frame does not equal a reproduction; so ask questions about any previous damage. Perhaps the most important factor in telling a reproduction is its size. Cropping lowers the value and is often a sign of past damage. Also, many reproductions are larger than the original, so know the size of the piece you are looking for. If there is no frame, the paper itself reveals the truth; older paper is heavier and the back will show patina, a brownish color due to the paper’s age.
Most importantly, use all the tools you can to expose a reproduction, because sometimes the seller is unaware. Some fading is to be expected in original pieces, so if it looks too good to be true, it probably is. The best advice to any collector is to learn more by attending auctions and antique shows. Only by first-hand experience can a collector become a smart collector.

References

Flacks, Erwin. Maxfield Parrish. Collector’s Press: Portland, 1998.
Gilbert, Alma.

The Make Believe World of Maxfield Parrish and Sue Lewin. Pomegranate Books: San Francisco, 1990.
“Maxfield Parrish.” http://en.wikipedia….. 12 July 2007.

The most common coin used for small transactions in early America was the copper British halfpenny. These were widely accepted non-legal tender status and were a prime choice for unauthorized reproduction by private individuals. Many counterfeits were made in this country by casting or other crude methods; some were even made in England and imported to this country. During the American state coinage era, engravers used dies to mint unauthorized, lightweight, imitation British halfpence. These American-made British halfpence have the same devices, legends, and in some cases, dates as genuine regal halfpence. There are three distinctive groups of these halfpence: The first group probably struck in New York City dated prior to 1786, the second group was minted in New York City during the first half of 1787. The third group was struck at Machin’s Mills during the second half of 1787 and into 1788. Dates used on these pieces were often evasive and are as follows: 1771, 1772, and 1774 through 1776 for the first group. These pieces are not to be confused with similar English-made George III counterfeits, some of which have identical dates or with genuine British halfpence dated 1770-1775. Several individuals petitioned the New York Legislature in early 1787 for the right to coin copper for the state but the authority was never given. Instead, a law was passed to regulate the coper coins already in use. Nevertheless, various unauthorized copper coins were issued within the state, principally by two private mints. One firm, known as Machin’s Mills was located at the mills of Thomas Machin near Newburgh. The operations of Machin’s Mills were conducted in secret and were looked upon with suspicion by the local residents. They minted several varieties of imitation George III halfpence as well as coppers of Connecticut, Vermont, and New Jersey

The power of the past in design, desire, money, art, furniture and most everything else of value is echoed in reproductions.

If an item is collectible or desirable in the market place it has been reproduced! Both faithful copies and disastrous want to bee’s. The power of the market drives style, form and function. Every one wants to make a buck or to have what the Joneses have in one form or another.

If a collectible is worth something it has or will be reproduced.

Educate yourself before you buy! Read, ask questions and see examples that you can feel or touch. Remember the time period of the piece you are viewing,see what is out of place, the construction, the material and the quality of the craftsmanship.

Does it make sense that the chest is suppose to be from 1760 and it has circular saw marks on the back boards? Or the vase from 1820 has an applied paneled scene? Does it mean the Rose Medallion punch bowl is brand new if it is marked China on the bottom or that it was made in the 1890′s?

Learn about history and you can learn about reproductions and faithfully copies…

During the early 1950s, the Civil War theme became very trendy in America, largely with pre-teens and early teens. Consequently, Cheerios offered this Confederate money album, which could be acquired through the mail for very little and probably some cereal boxtops. I acquired this album in 1968 from its original owner, and it was already about fifteen years old at that time. Today its value is a whopping $10 or so, proveing that not all investments will pay off. But it is a fun album anway. I still have the original shipping envelope, which probably is worth more than the album itself.

During the NAZI era of 1930-1940 Germany, the World War II era, the government created a state policy where ‘undesirable’ groups within Germany and any of its occupied territories were isolated from the general population. These groups were identified as Jews, homosexuals, gypsies, Jehovah’s Witnesses, criminals, political prisoners, and emigrants.

Once identified, they were forced to wear a distinctively designed cloth badge on their clothing to help identify them to the general population as to which persecuted group they belonged. Eventually and systematically, those wearing the cloth badges were moved as groups and imprisoned in outdoor concentration camps.

The Jewish population was one of the largest groups forced into concentration camps. While there, they were routinely decimated through forced labor, starvation, disease, and outright extermination.

The particular symbol chosen to identify the Jewish population as a whole was the Magen David, or Shield of David. This six pointed star-shaped design is actually made by the intertwining of two triangles. It is said that the triangles represent the intertwining of the Jewish people or that one triangle points upward to G-d and the other points down to earth. However, early Jewish text does not specifically identify this symbol as that of the Jewish people. There was some references to its use on synagogues as early as the 17th century, but not how it was chosen to represent the Jewish religion. Still, this symbol was adopted by the late 19th century Zionist movement and eventually incorporated into the national flag of Israel.

This Magen David, the Star of David, was the symbol most used by the Nazi regime to identify its Jewish population. There are many versions of the Magen David used in different regions of Nazi influence. The red star armband above is only one design possibly used in the Eastern Europe concentration camps. However, the newness of the armband suggests that it is a more recent fabrication and not authentic to the period.

Once incarcerated in concentration camps, the triangle seems to have prevailed as a unique symbol for all prisoners, only the color identifying the group the prisoner belonged. The other symbols for the other persecuted groups while in the concentration camps are identified as:

- yellow triangles for Jewish prisoners
- red triangles for political (Communist) prisoners
- purple triangles for Jehovah’s Witness
- pink triangles for homosexuals
- green triangles for criminals
- black triangles for Gypsies
- blue triangles for emigrants

Fake and Forgeries

It is evident and unfortunate that too many of the concentration camp memorabilia offered on online auction sites are not authentic. Many of them are being made from original cloth of the period which can make it hard to know for sure whether it is authentic or not. However, there is one rule of thumb to consider – if it looks too new, it is.

The Black Light Test

The other more sure way to know is to move a black light over the piece and if the thread glows, it is synthetic, a material not available during this period. That’s true of any painted object, too. If it glows under black light, it is of recent origin.

Collecting original concentration camp memorabilia is important as its very existence informs future generations that this shall not happen again.

In 1972, the American Oil Company reproduced historic political campaign buttons with the history of the candidate on a card and gave them away as premiums to its gas station customers. They featured buttons from the 1896 campaign of William Jennings Bryan through the 1968 presidential campaign.

These buttons were marked as reproductions but when placed in a faux wooden frame, a novice would have a hard time determining their individual value. The customer would assume that the buttons were authentic with a high collectible value. They, unfortunately, are more decorative than collectible.

There was a complete set of 38 buttons attached to a cardboard card telling the customer the history of the candidate. Each button featured “A-O 1972 #” and the number of the button from 1 to 38. None of the buttons have the plastic covering over the button that the real ones would have, but instead are solid metal.

Additionally in 1968, the Kleenex Corporation issued a series of 15 political button reproductions that featured the name “Kleenex 68″ along the rim of each of the button reproductions. None of the buttons have the plastic covering over the button as the original buttons would have.

All of the above political button reproductions come in a faux wooden frame with paper backing.

I’m sure there are other similar political product premiums given away by major corporations at one time or another. Let us know what they are.

“Pre – SPR” is a term commonly read on web boards, or heard from the mouths of militaria collectors at shows. It signifies a romanticized time period prior to the 1998 release of the movie Saving Private Ryan (or SPR). This Spielberg masterpiece revived so much interest in WWII and military history that overnight, countless new collectors were born. Soon all the affordable WWII militaria dried up to be replaced with skyrocketing prices.

Many assumed that SPR had only spiked the market like other good military movies have in the past. The dust would settle and the hoards of new collectors would eventually move on to new fixations. However, July 24, 2008 marks the 10-year anniversary for the release of SPR and prices haven’t dropped. They continue to rise. A common US M1 fixed-bale helmet with high-pressure liner went from being a $40.00 item in 1998 to a current value of $275.00 or more in today’s market. Rare and elite items have appreciated even more aggressively.

Fake German and Civil War militaria has existed for a long time, but after SPR, fake US WWII militaria began to flood the market at an increasing rate, especially for elite units.

SPR cannot take 100% of the credit. The 2001 HBO series Band of Brothers has been a contributing factor in recruiting masses of new collectors and single handedly making 101st Airborne memorabilia a white collar collectable.

Many speculated that Clint Eastwood’s 2006 releases Flags of Our Fathers and Letters From Iwo Jima would create insane demand for USMC and Japanese militaria. Their value has increased, but Eastwood’s films haven’t touched the impact SPR has had on militaria collecting.

I can reminisce about Pre-SPR just like the next guy, but I also see the value in a growing collecting community. With this new breed of collectors came more websites, web boards, discussion groups, and better networking. Worse things can happen to a hobby than increasing prices and fakes. I know of too many other hobbies that are dying off due to lack of young blood or interest. Who will these people sell their collections to over the next several years? This is something militaria collectors won’t have to worry about for a long time.

Chris Hughes is a WorthPoint Worthologist specializing in 20th century militaria and the owner of Rally Point Militaria and Vietnam Uniform – Military Collectibles sites.

This weekend I went to a flea market that had an “antique store liquidation sale” in an adjacent building. The building contained numerous rows of furniture. I would guess between 70-100 pieces total. The event was advertised on television and radio as an antique tag sale however; all the pieces were pricey reproductions.

I wanted to take pictures, but there were signs posted stating, “no cameras”. It would have been difficult to snap a shot because there were sales staff cruising through the isles constantly. I looked on the web for images of this type of furniture for my blog, but I only found one example that resembled the inventory I saw (see pic).

The furniture spanned many periods including colonial, country/primitive, Arts and Crafts, Shaker, fantasy/eye sore, and a style I will simply call “Tacky Asian”. All of the pieces had an oil rubbed look (like Pottery Barn furniture) with artificial distressing under the finish. The wood species appeared to be the same for every piece. It was soft wood with no prominent grain pattern.

The construction of each piece was poor with horrible dovetailing, chunky proportions, visible plane marks, weeping glue joints that did not get sanded, etc. The hardware was thin, artificially patinated, and too exaggerated for each period (particularly the Arts and Crafts and Asian pieces). The interiors of the cabinets also had an imported smell that resembles the odor of poorly tanned leather from India or Mexico, or the smell of every Pier One Imports store I’ve been in.

Each piece was marked with a sales tag bearing the name of the piece, period of manufacture, and price. My wife and I chuckled over the circa 1900 Arts and Crafts entertainment center… perfect for your turn of the century big screen Television. I felt a pit in my stomach as I walked past pieces with a red “Sold” tag dangling from them because many of them had sold for what a real example would cost.

I guess the moral of this story is buyer beware. Study real antique pieces before spending money on anything and learn from experts you trust. Once you have been around real antiques, fakes will stick out and offend your eyes.

The pieces I’ve mentioned in this blog were probably made with the intent of being marketed as inexpensive reproductions. It was the people leasing the building space for the liquidation sale that were misleading the public. Cheap repros are easy to spot, but there are also fakes created by skilled craftsman. These pieces require serious examination of the wood, construction, smell, finish, and hardware. You also have to watch out for period pieces that have been refurbished.

Sellers seldom mention flaws in pieces they are selling, unless you ask direct questions. I’ve also learned when you are evaluating an item with the intent to purchase, if something doesn’t add up it’s best to walk away from the piece because you will never be fully content with it.

As in everything in the world “all that glitters isn’t gold”. If you are a novas or an auction veteran there is always something to learn and if you don’t learn you will get burned.

Auction companies provide a service, both to the buyer and the seller. Providing a venue for Estate Attorneys, Trust Departments, Estate Executors, Heirs, The General Public and Dealers to dispose of personal and real property. In doing this they create a venue for you and me to buy items we collect or need.

Buying and selling at auction is a two way street.A little knowledge can sometimes be very dangerous for consumers and dealers alike.

Since the beginning of the antique collecting craze people have been trying to scrape a living or earn a little extra money from it. Knowledge is worth a lot of money if used properly and feeling you have the ability to know more than the next guy or gal can make you a lot of money or cost you dearly when buying or selling.

Fakes and copies are sold on a daily bases in auctions across the world. The ability to reproduce antiques is no new thing; some reproductions from a hundred years ago are being sold as two hundred years old or older because the same method was used to make them.

One thing we forget is just because technology has moved forward doesn’t mean we can’t step back and use methods that are two hundred years old. New technology gives us the ability to age and distress metal, wood and most other materials.

Learn as much as you can but never be afraid to say “I don’t know” or ask someone that does know, a person who is an expert in their field.

I have attached photographs of an example of what you don’t know can hurt you or make you a lot of money.

Everyone knows “Tiffany” and that is valuable, how valuable is this piece? I look forward to your comments and will follow up with an answer and my own comments soon…